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I Swingle Singers sono un gruppo musicale specializzato nell'interpretazione a cappella di brani di vari generi musicali, spaziando dal repertorio classico ai più recenti riarrangiamenti di brani jazz, folk e pop.
Cantare una musica come se fosse suonata: questa, in sintesi, l’arte di The Swingle Singers, capaci di riprodurre con la voce il suono degli strumenti. Il complesso, costituito a Parigi da Ward Swingle all’inizio degli anni Sessanta e ricomposto in occasione del trasferimento a Londra, è stato poi sempre rinnovato nell’organico sotto la supervisione del fondatore. Educato secondo i canoni della tradizione corale inglese, con un repertorio che spazia da Mozart a Gershwin, da Bach a Duke Ellington, il gruppo ha registrato la Sinfonia di Luciano Berio con la direzione di Pierre Boulez, eseguendola poi con la New York Philharmonic Orchestra e con la Chicago Symphony Orchestra. Richiesti per concerti e per masterclass in tutto il mondo, The Swingle Singers si sono più volte esibiti al Teatro alla Scala di Milano e all’Accademia di Santa Cecilia a Roma.
Joanna Goldsmith-Eteson soprano
Sara Brimer soprano
Clare Wheeler contralto
Oliver Griffiths tenore
Christopher Jay tenore
Kevin Fox basso
Edward Randell basso
Published May 4th 2013
- As part of 'Courageous Mayhem'
A graphic comic compendium that showcased several comic artists and their stories. Edited by Gar Shanley.
(Prints available)
(Original size A3 - In ink on paper and post production colour created on computer.)
My original Inked A3 Cartoon pages could be Art Exhibited interestingly with the colouring overlaid in Acetate sheets.
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The comic story is an expression of characters heroic personal revolt against austerity and urban imprisonment, it echoes the story of Alexander the Great who is also seen as a Don Quixote. Escaping capitalist mono rationalism Alexander discovers nature is still there alive and full of wonder!
Confronting Darius the local Scrapyard King of Ireland he abducts his daughter a young traveller woman to be his bride Roxanne! Together on the road they joust with the pursuing police and farmers tractors (Quixote's windmills) and Alexander even promises to lead all the animals in a grand revolt!
Until suddenly time and space fall away and the Poet of our Cosmos, interested, arrives to talk with them….
Alexander's search for something lost now ends up on life's cliff and limit where his escape can go no further. But as our hero's mask falls away and now completely naked he discovers he is loved by Roxanne, at last they make love and riding together upon Alexander's loyal bicycle stead Buce Phalus, returning them back to the city to bring their discoveries of love, empathy and a revolution in human values home!
The Postcard
A postally unused postcard published prior to 1918 by B.B. of London. The photography was by Hutchinson & Svendsen. The image is a glossy real photograph, and the card has a divided back.
Miss Phyllis Dare
Phyllis Dare (15th. August 1890 – 27th. April 1975) was an English singer and actress, famous for her performances in Edwardian musical comedy and other musical theatre in the first half of the 20th century.
The Early Years
Born Phyllis Constance Haddie Dones in Chelsea, London, Dare first performed on stage at the age of nine, in the Christmas pantomime 'Babes in the Wood' (1899).
Later that year, she appeared as Little Christina in 'Ib and Little Christina'. She soon played Mab in the Seymour Hicks musical 'Bluebell in Fairyland', and at the age of 15, she took over the starring role of Angela in 'The Catch of the Season'.
In 1909, Dare created the role of Eileen Cavanagh in the hit musical 'The Arcadians', where she met the producer George Edwardes. This started a long association between the two, who collaborated on productions including 'The Girl in the Train', 'Peggy' and 'The Quaker Girl'.
In 1912, she starred in 'The Sunshine Girl'. In 1913 she joined the cast of 'The Dancing Mistress' as Nancy Joyce at the Adelphi Theatre, and continued to star in successful productions throughout the 1920's, including in the role of Mariana in 'The Lady of the Rose' (1922).
The Later Years
During her later career, she turned to straight plays, some of which included 'Aren't We All' in 1929, 'Words and Music' in 1932, and 'The Fugitives' in 1936.
Phyllis appeared occasionally in films, starring in 'The Argentine Tango and Other Dances' in 1913, 'Dr. Wake's Patient' in 1916, 'Crime on the Hill' in 1933 and 'Debt of Honour' in 1936.
In the 1940's she appeared in a tour of 'Full House', and was later cast in 'Other People's Houses'.
In 1949, Phyllis Dare opened as Marta the mistress in Ivor Novello's musical, 'King's Rhapsody'. The show ran for two years, and was Dare's last theatrical endeavour. She retired to Brighton in 1951, and died at the age of 84.
Published by Design Studio Press, this 96 page hardcover book features all the materials created for the Entartete Kunst series, as well as some new work created specifically for this collection.
Available on Amazon and at other fine book retailers!
Published by Ebal, Brazil 1967-1969
One of the 31 complete runs we acquired from the Pedigree collection Rio Grande do Sol, Brazil
Not every day i get the Opportunity to have my work seen in a magazine all over the world.
I was contacted last week by the editor of the ROSL a Magazine to ask if they could use my picture ...well you know me by now Sure...Yip Grrrrreat NO Problem.
The issue goes all over the world to all Commonwealth countries.and is dislplayed in overseas house in London and in Edinburgh.
I was as you would say jumping for joy when i seen this today my picture in the big picture and another wee bit of me and The photo "The Belfast Child"around the world
Info about Rosl-The Royal Over-Seas League ,Patron HM The Queen Vice Patron HRH Princess Alexandra Brief history of the Royal Over-Seas League
The Royal Over-Seas League is a unique institution. It is the practical embodiment of an idea conceived by a young man John Evelyn Wrench who saw what was then the British Empire not merely as a political and economic structure but as a 'far flung brotherhood of individual men and women of diverse creeds and races living under
differing conditions in different latitudes'. He sought to encourage friendship and understanding between them.
Founded in 1910 as the Over-Seas Club, it was granted a Royal Charter of Incorporation in 1922. To mark its Golden Jubilee in 1960, Her Majesty the Queen granted the title 'Royal'.
View large
Published in 1967 for the princely sum of two rupees. The original is of polyconic projection to the scale of 1 inch to 15.78 miles.
The Postcard
A stereoscopic view card that was published by the London Stereoscopic and Photographic Company. There is no information on the reverse of the card.
The International Exhibition of 1862
The International Exhibition of 1862, or Great London Exposition, was a world's fair. It was held from the 1st. May to the 15th. November 1862, beside the gardens of the Royal Horticultural Society, South Kensington, London, England, on a site that now houses museums including the Natural History Museum and the Science Museum.
It attracted 6,096,617 visitors who viewed contributions from 39 countries.
Organisation of The Exhibition
The exhibition was sponsored by the Royal Society of Arts, Manufactures and Trade, and featured over 28,000 exhibitors representing a wide range of industry, technology, and the arts. Receipts (£459,632) were slightly above cost (£458,842), leaving a total profit of £790.
The buildings, which occupied 21 acres, were designed by Captain Francis Fowke of the Royal Engineers, and built by Charles and Thomas Lucas and Sir John Kelk at a cost of £300,000 covered by profits from the Great Exhibition of 1851.
They were intended to be permanent, and were constructed in an un-ornamented style with the intention of adding decoration in later years as funds allowed.
Much of the construction was of cast-iron, 12,000 tons worth, though façades were brick. Picture galleries occupied three sides of a rectangle on the south side of the site; the largest, with a frontage on the Cromwell Road, was 1150 feet long, 50 feet high and 50 feet wide, with a grand triple-arched entrance. Fowke paid particular attention to lighting pictures in a way that would eliminate glare.
Behind the picture galleries were the "Industrial Buildings" . These were composed of "naves" and "transepts", lit by tall clerestories, with the spaces in the angles between them filled by glass-roofed courts. Above the brick entrances on the east and west fronts were two great glass domes, each 150 feet wide and 260 feet high - at that time the largest domes ever built. The timber-framed "Machinery Galleries", the only parts of the structure intended to be temporary, stretched further north along Prince Consort Road.
The opening took place on the 1st. May 1862. Queen Victoria, still in mourning for her consort Prince Albert did not attend, instead her cousin the Duke of Cambridge presided from a throne sited beneath the western dome. An opening address was delivered by the Earl Granville, chairman of Her Majesty's Commissioners, the group responsible for the organisation of the event. William Sterndale Bennett composed music for the opening ceremony.
An official closing ceremony took place on the 1st. November 1862, but the exhibition remained open to the public until the 15th. November 1862.
Parliament declined the Government's wish to purchase the building, and the materials were sold and used for the construction of Alexandra Palace.
Babbage's Analytical Engine and Other Exhibits
The exhibition was a showcase for the advances made in the industrial revolution , especially in the decade since the first Great Exhibition of 1851. Among the items on display were; the electric telegraph, submarine cables, the first plastic, Parkesine, machine tools, looms and precision instruments.
Exhibits included such large pieces of machinery as parts of Charles Babbage's analytical engine, cotton mills, and maritime engines. There was also a range of smaller goods including fabrics, rugs, sculptures, furniture, plates, porcelain, silver and glass wares, and wallpaper.
The manufacture of ice by an early refrigerator caused a sensation.
The work shown by William Morris's decorative arts firm of Morris, Marshall, Faulkner & Co. attracted much notice. The exposition also introduced the use of caoutchouc for rubber production and the Bessemer process for steel manufacture.
The London and North Western Railway exhibited one of their express passenger locomotives, Lady of the Lake. A sister locomotive, Watt had famously carried Trent Affair despatches earlier that year, but the Lady of the Lake (which won a bronze medal at the exhibition) was so popular that the entire class of locomotive became known as Ladies of the Lake.
A large tiger skin, shot in 1860 by Colonel Charles Reid, was exhibited here. The skin was mounted by Edwin H. Ward and subsequently became "The Leeds Tiger", still on display at Leeds City Museum.
Benjamin Simpson showed photos from the Indian subcontinent.
Photographs of the Exhibition
William England led a team of stereoscopic photographers to produce a series of 350 stereo views of the exhibition for the London Stereoscopic Company. The images were made using the new collodion wet plate process which allowed exposure times of only a few seconds. These images provide a vivid three-dimensional record of the exhibition. They were on sale to the public in boxed sets, and were delivered to the Queen by messenger so that she could experience the exhibition from her seclusion in mourning.
Music at The Exhibition
Unlike The Great Exhibition of 1851, the Society of Arts chose to have a distinctive musical component to the exhibition of 1862. Music critic Henry Chorley was selected as advisor, and recommended commissioning works by William Sterndale Bennett, Giacomo Meyerbeer, Daniel Auber, and Gioacchino Rossini. Being in his retirement, Rossini declined, so the Society asked Giuseppe Verdi, who eventually accepted.
William Sterndale Bennett wrote his Ode for the opening of the International Exhibition (upon a text by Alfred, Lord Tennyson). Meyerbeer wrote his Fest-Ouvertüre im Marschstil, and Auber wrote his Grand triumphal march. These three works premiered at the opening of the exhibition, with the orchestra led by conductor Prosper Sainton.
Controversies involving Verdi's contribution, the Cantata Inno Delle Nazioni, prevented the work from being included in the inaugural concert. It was first performed on the 24th. May 1862 at Her Majesty's Theatre in a concert organized by James Henry Mapleson.
The pianist Ernst Pauer performed daily piano recitals on the stage under the western dome.
The Opening Ceremony Accident
At the opening of the exhibition on the 1st. May 1862, one of the attending Members of the British Parliament, 70-year-old Robert Aglionby Slaney, fell onto the ground through a gap between floorboards on a platform. He carried on with his visit despite an injured leg, but gangrene set in, and he died on the 19th. May.
published in Buzz
Photographer: Fayyaz Ahmed
Model: Iffy Zafar
Hair & Makeup: Asma Zuberi @Depilex
Label: Arsalan & Yahseer
Published by Bedřich Kočí in Prague. Circa 1908.
Animated gif generated with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes.
- Jordyn Jones Photo | Published by Social Media: www.instagram.com/p/BpH00VCnYcM/ | Website: www.jordynonline.com | Official Website: www.jordynjonesofficial.com | Tags: #jordynjones #jordyn #jones #actress #model #singer #dancer #designer
The Columbus Metro Parks has included one of my photos (golden spider web at sunrise, take at Three Creeks Metro Park) in their Autumn edition of the Parkscope. Doing me cute happy dance : )
Source: NASA
Published: August 6, 2018
About the image: This picture of Neptune came from NASA's Voyager 2 spacecraft in 1989. Credit: NASA/JPL
solarsystem.nasa.gov/resources/1001/neptune-poster-versio...
The Postcard
A postcard published by the Lansdowne Production Co. of London bearing an early high-quality image of Hyde Park Corner.
The monochrome photograph has been rather crudely hand tinted - the artist has added pink 'blossoms' to the trees which are the same colour as the lower half of the bus near the Wellington Arch.
The card was posted on Tuesday the 4th. September 1951 to a post box in Tel Aviv.
The Wellington Arch
The Wellington Arch, also known as Constitution Arch or (originally) as the Green Park Arch, is a Grade I-listed triumphal arch by Decimus Burton that forms a centrepiece of Hyde Park Corner in central London.
It stands on a large traffic island with crossings for pedestrian access. When constructed (1826–1830) the arch stood in a different location nearby; it was moved to its current site in 1882–1883.
The arch originally supported a colossal equestrian statue of the 1st. Duke of Wellington by the sculptor Cotes Wyatt, as a result of which it has acquired the name "The Wellington Arch." A bronze quadriga (an ancient four-horse chariot) by Adrian Jones has surmounted the arch since 1912.
History of the Wellington Arch
Both the Wellington Arch and Marble Arch (originally sited in front of Buckingham Palace) were planned in 1825 by George IV to commemorate Britain's victories in the Napoleonic Wars.
During the second half of the 1820's, the Commissioners of Woods and Forests and the King resolved that Hyde Park, and the area around it, should be renovated to match the splendour of rival European capital cities, and that the essence of the new arrangement would be a triumphal approach to the recently completed Buckingham Palace.
The committee of the project, led by the Prime Minister, Lord Liverpool, and advised by Charles Arbuthnot, selected Decimus Burton as the project's architect. In 1828, when giving evidence to a Parliamentary Select Committee, Arbuthnot explained that he had nominated Burton:
"Having seen in the Regent's Park, and elsewhere,
works which pleased my eye, from their architectural
beauty and correctness".
Burton intended to create an urban space dedicated to the celebration of the House of Hanover, national pride, and the nation's heroes.
The renovation of Hyde Park, Green Park, and St. James's Park began in 1825, with the demarcation of new drives and pathways, subsequent to which Burton designed new lodges and gates, viz. Cumberland Gate, Stanhope Gate, Grosvenor Gate, the Hyde Park Gate/Screen at Hyde Park Corner, and, later, the Prince of Wales's Gate, Knightsbridge, in the classical style.
There were no authoritative precedents for such buildings, which required windows and chimney stacks, in the classical style, and, in the words of Guy Williams:
"Burton's reticent treatment of the supernumerary
features and of the cast iron gates and railings was
greatly admired".
At Hyde Park Corner, the King required:
"Some great ceremonial outwork that would
be worthy of the new palace that lay to its rear".
The King accepted Burton's proposal for a gateway and classical screen, along with a triumphal arch, which would enable those approaching Buckingham Palace from the north to ride first through the screen and then through the arch, before turning to descend Constitution Hill and enter the forecourt of Buckingham Palace through Nash's Marble Arch.
The screen became the neoclassical Hyde Park Gate/Screen at Hyde Park Corner, which delighted the King and his Committee, and which the architectural historian Guy Williams describes as:
"One of the most pleasing architectural works
that have survived from the neo-classical age".
The triumphal arch has been described as "One of London's best loved landmarks".
Burton's original design for the triumphal arch, which was modelled on the Arch of Titus at Rome, was more technically perfect, and coherent with the Screen, than that of the arch that was subsequently built.
Burton's original design, however, was rejected by the Committee – who had envisaged a design based on the Arch of Constantine, on which Nash's Marble Arch had been modelled – because it was not sufficiently ostentatious.
Burton created a new design, "to pander to the majestic ego", which was much larger and which was accepted on the 14th. January 1826, and subsequently built as the present Wellington Arch.
The arch has a single opening, and uses the Corinthian order. Much of the intended exterior ornamentation was omitted as a cost-saving exercise necessitated by the King's overspending on the refurbishment of Buckingham Palace, which was underway at the same time.
A contemporary account, written in anticipation of its completion to its original plan, describes what was intended:
"The entabulature is loft and elegant, with a richly
sculptured frieze, and a row of boldly projecting
lions' heads on the cymatium, marking the centres
of columns and other sub-divisions of the order.
Above the entablature, on a lofty blocking course,
is raised an attic, the body of which is embellished
with a sculptural representation of an ancient triumph.
On each of the columns is a statue of a warrior, and
on the summit of the acroterium which surmounts the
attic is a figure in a quadriga or ancient four horse
chariot."
However the arch was left devoid of decorative sculpture as a result of the moratorium in 1828 on public building work. Instead, despite the strong objection of Burton, was mounted with an ungainly equestrian statue of the Duke of Wellington by Matthew Cotes Wyatt, the son of the then recently deceased James Wyatt, who had been selected by the statue's commissioner, and one of its few subsequent advocates, Sir Frederick Trench.
The bronze by Matthew Cotes Wyatt, which surmounted the arch, was, at 40 tons and 28 feet (8.53 m) in height, the largest equestrian figure ever made.
However Matthew Cotes Wyatt was not competent: Guy Williams contended that "He was not noticeably talented", and the Dictionary of National Biography states:
"Thanks to royal and other influential patronage,
Wyatt enjoyed a reputation and practice to which
his mediocre abilities hardly entitled him".
Trench, and his patrons the Duke and Duchess of Rutland, had told public subscribers to the statue that it would be placed on top of Burton's triumphal arch at Hyde Park Corner.
Burton expressed his opposition to this proposal "as plainly and as vehemently as his nature allowed" consistently over successive years, because the ungainly statue would "disfigure" his arch.
He claimed that the statue was much too large for the arch and the surrounding neighbourhood. He also noted that the statue would have to be placed, contrary to all classical precedent, across, instead of parallel with, the roadway under the arch.
Burton had envisaged that his arch would be topped with only a small quadriga whose horses would have been parallel with the road under the arch. Burton's objections were extensively endorsed by most of the aristocratic residents of London.
A writer in The Builder asked Lord Canning, the First Commissioner for Woods and Forests, to ban the project:
"We have learnt, and can state positively, that Mr. Burton
has the strongest objection possible against placing the
group in question on the archway... and that he is taking
no part whatever in the alteration proposed to be made
in the upper part of the structure to prepare it to receive
the pedestal... Mr. Burton, through the mildness which
characterizes him, has not expressed this opinion so
loudly and so publicly as he ought to have done.... an
opinion prevails very generally, that he is a party to the
proceedings, and this has induced many to be silent
who would otherwise have spoken."
The Prime Minister, Sir Robert Peel, contended that another site would be preferable, and proposed, on behalf of the Crown, to offer an alternative location, but the statue's subscribers rejected all alternative proposals.
Every single MP except Sir Frederick Trench wanted the statue to be placed elsewhere. Canning wrote:
"The remonstrances which reach Her Majesty's
Government against the proposed appropriation
of the arch are so many and so strong, the
representations of its architect, Mr. Burton, in the
same sense, are so earnest, and the opinion of
every other eminent architect, artist, or other
competent authority who has been consulted on
the subject is so decided against the placing of
the Wellington statue on the arch."
Decimus Burton himself wrote:
"The arch would, I consider, suffer greatly in importance
if the colossal statue in question be placed there, because
it would become a mere pedestal.
The want of proportion in the proposed surmount, compared with the columns and other details of the architecture, would show that they had been designed by different hands, and without reference for each other. I have desired to witness
the completion of this building, as originally designed by me, and as approved by the Lords of the Treasury, yet I would prefer that the building should remain for the present in its forlorn and bare state, rather than a colossal equestrian
statue should be placed upon it.
I fear that if this appropriation of the building should be decided upon, a proposition would soon be made for removing altogether the facades of columns, the slender proportions of which would appear so incongruous and
out of proportion compared with the prodigious
dimensions of the statue".
Burton had realized that the disciples of Pugin and advocates of Pugin's anti-classicism would remove all classical elements from his arch if permitted the opportunity to do so.
Despite Burton's objections, the Wellington statue was placed on the arch in autumn 1846; Williams contends that the product was "ridiculous". The Builder contended:
"Down, unquestionably, it must come. As the network
of timber is removed, spar by spar, from before it, so
does the folly of the experiment, the absurdity of the conjunction, and the greatness of the sacrifice become apparent.
Its effect is even worse than we anticipated – the
destruction of the arch by the statue, and of the statue
by its elevation on the arch, more complete.
Every post brings us letters urging renewed efforts to
remove the figure to another site".
The issue of the removal of the statue became national. However, the Government failed to remove the statue, despite having professed, when it had been placed, that they would do so if it provoked serious aversion.
Foreign intellectuals who visited London identified the incongruous fusion of the statue and the arch as:
"Spectacular confirmation of the
artistic ignorance of the English".
Guy Williams writes that
"The arch at Hyde Park Corner is a visible reminder
of one of the fiercest attacks that have ever been
launched in the worlds of art and architecture.
The face of London might have been very different
now – freer, perhaps, of the 'monstrous carbuncles'
so disliked by the present Prince of Wales – if Decimus
Burton had been a little more pugnacious, and so better
equipped to stand his ground".
The Quadriga
During 1882, traffic congestion at Hyde Park Corner required Burton's arch to be moved to the top of Constitution Hill to create space for traffic. Burton's great-nephew Francis Fearon suggested that the moving of the arch would be a good opportunity to remove the Wellington statue from the arch. Fearon contended that the:
"The arch should be relieved once
and for all of its unsightly load".
The campaign led by Fearon was successful: Wyatt's incongruous statue was removed to Aldershot, and its place on Burton's arch, which was moved to Constitution Hill in 1883, was occupied by a Quadriga by Captain Adrian Jones.
Jones' statue is not nearly as elegant as Burton's designed statue intended for the arch, but it is more coherent with the arch than Wyatt's statue, and its figures, unlike those of Wyatt's statue, are aligned with the roadway under the arch.
Jones's statue is based on a smaller original which caught the eye of Edward VII at a Royal Academy exhibition. The sculpture depicts Nike, the winged goddess of victory, descending on the chariot of war, holding the classical symbol of victory and honour, a laurel wreath.
The face of the charioteer leading the quadriga is that of a small boy (actually the son of Lord Michelham, who funded the sculpture). The angel of peace was modelled on Beatrice Stewart.
The statue is the largest bronze sculpture in Europe.
Public Access to the Arch
The arch is hollow inside, and until 1992 housed the smallest police station in London. Transferred to the ownership of English Heritage in 1999, the arch is open to the paying public.
The arch offers three floors of exhibits detailing its history, exhibition space, and high terraces on both sides with views of the surrounding area.
One half of the arch functions as a ventilation shaft for the Hyde Park Corner road underpass, constructed in 1961–1962.
Martin Chambers
So what else happened on the day that the card was posted?
Well, the 4th. September 1951 marked the birth in Hereford of Martin Chambers.
Martin Dale Chambers is an English musician, who is best known as a founding member and drummer of the rock band the Pretenders. In addition to playing the drums with the group, Chambers sings backing vocals.
Martin Chambers' Career
Prior to joining the as-yet unnamed Pretenders, Chambers played with James Honeyman-Scott in Cheeks, a band led by former Mott the Hoople keyboardist Verden Allen. At the time Chambers joined the band in 1978, he was working as a driving instructor in Tufnell Park, London where he had got a job with the British School of Motoring:
"Because it came with a
car so I could get about."
Because of that he found where Jim and Pete were living and then replaced Jerry Mackleduff on drums. At Chambers's first rehearsal with the group, Hynde recalled:
"We plugged in and started playing "Precious",
and I remember clearly, I had to turn around
and face the wall, I was laughing so hard,
because as soon as Martin started playing with
us, I knew this was it. We had the band."
Martin also recalled the rehearsal:
"We knew it straight away.
We just locked in."
In the Autumn of 1981, The Pretenders cancelled their US and Canada Tour as Chambers had cut his hand, and the injury was so bad that he couldn’t play for a number of weeks. The band decided to postpone the tour rather than replace Chambers.
Chambers proved to be a versatile drummer within the group, with a hard-hitting style that is evident on songs such as "Middle of the Road".
Guitarist Adam Seymour has acknowledged that:
"There's a definite thing going on in
the rhythm between Chrissie's guitar
and Martin's drums that you would
need a scientific equation to explain.
Martin kind of pulls back on the beat
while Chrissie's pushing it forward."
Chambers' first tenure with the group lasted from mid-1978 until the mid-1980's. Coping with the death of bandmates Honeyman-Scott and Farndon proved difficult, and his consequent lack of enthusiasm resulted in his departure from the group during the Get Close sessions.
According to Hynde:
"I felt his playing had deteriorated.
I think he was still very traumatized
by the loss of Pete and Jimmy."
Martin concurred, admitting:
"I wasn't really into it
to be honest."
Chambers rejoined the group in 1994 during the sessions for Last of the Independents, and has been with the group ever since. When he rejoined, Seymour recalled:
"When Martin sat down, it
began to feel like a real band."
Martin summed up his reunion with the group, saying:
"At the end of the day Chrissie asked
me back because no one could make
it work quite like we did."
Hynde concurred, saying:
"I missed him terribly. ... Both he and I
were floundering—and probably not
playing well—and I needed someone
to kick me in the ass and inspire me.
We went through one song and it was
the same buzz as when we first played
together. No one has that swing and
feel."
In late 2008, The Pretenders released the album Break Up the Concrete with Chambers being replaced by Jim Keltner, although Chambers remained an official member and played with the band on live dates.
In addition to playing with the Pretenders, Chambers also plays in the band Miss World fronted by songwriter Jonathan Perkins, who had worked with artists such as XTC and Original Mirrors.
In late September and early October 2009, Chambers sat in on drums for the seven Mott the Hoople reunion shows (2 in Monmouth and 5 at Hammersmith Odeon) alongside former Cheeks bandmate Verden Allen due to the illness of Dale Griffin who had loaned Chambers his kit for his first live show in 1967 at St. Mary's Church Hall, Ross on Wye, Herefordshire.
Way back in 1908, a weekly - "A Conviccao" - was edited and published by Antonio Xavier Serrao at Cotula vaddo in Saligao village (Goa-India). The picture of the vintage newspaper shows the masthead of its issue dated January 23, 1909. I am anxious to see some of the oldest newspapers.
Says my erudite friend Fr Nascimento Mascarenhas, hailing from Saligao, "A Conviccao, news weekly, Saligao, Cotula. Editor and Publisher Antonio Xavier Serrao (began publishing it in his own printing press, from January 1908 and with some inturuptions, stopped publishing it from 18th May, 1912 no. 188, 4th year... Printed in small folio (no folio pequeno), published from 15th January 1887 to 1895, edited by Gustavo A.de Silva, Leopoldo C.da Gama, Pascoal Joao Gomes and others... May be the copies of this weekly are in the Central Library , Panjim, now shifted to Patto, Panjim. Kindly find out and photograph the first one of January 15, 1887. It will be great." By the way, Fr Nascimento has recently published his fifth Goa book LAND OF THE SAL TREE (pp 290), which contains stories of the history, legends and traditions of Saligao, a typical Goan village and illustrated by Mel D'Souza.
www.flickr.com/photos/52243088@N00/7121920595/in/photostream
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You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Opening-act di Ellie Goulding, al Mediolanum Forum di Assago il 1° febbraio 2016, Sara Hartman.
Sara Hartman is just full of surprises. This frizzy haired and funny 20-year-old with a huge voice had never left New York, but a year ago, she jumped on a plane by herself to Berlin, Germany in order to pursue a dream of making music.
“I had just finished reading Patti Smith’s book, Just Kids,” she recalls. “That really helped me while I was getting my bearings. To me, Berlin is like New York when it still had that raw young energy in the seventies. The streets might be dirty, but people are making art everywhere. That’s so intoxicating to me. Berlin is very welcoming for creative people. When you have a center like that, great things are inevitable. Being away from home is very hard, but the energy is beautiful.”
The story starts a long way from Berlin though. She might’ve been raised in Sag Harbor, but her upbringing couldn’t be farther apart from the usual depiction of The Hamptons in movies, television, and magazines. The Hartman family stood out among the few “year-round” natives. Dad designs and builds pools for the area’s residents, while mom creates visual art. In similar fashion, dad turned Sara on to the likes of Goldfinger, as mom introduced her to Radiohead and The Talking Heads. “Life is weird,” she smiles. “That’s a major characteristic of my childhood. My mom always encouraged my siblings and me to make things out of nothing. Meanwhile, my dad showed me a really diligent work ethic. I feel like I’ve got both of those sides in what I do—the head and the heart.” She took that mindset into the studio to create something different.
This photograph was published in the Illustrated Chronicle on the 9th of March 1916.
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 and have any stories or information to add 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.
Bain News Service,, publisher.
Mounted escorts in Gov. Clinton's funeral parade, New York
5/8/08 (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Subjects:
New York
Format: Glass negatives.
Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Bain News Service photograph collection (DLC) 2005682517
General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00533
Call Number: LC-B2- 92-5
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Davide, Enrica, Giosada e gli Urban Strangers, i quattro finalisti di #XF9, in diretta dal Mediolanum Forum di Assago, Milano, giovedì 10 Dicembre 2015, avranno l’onore di condividere lo stesso palco con giganti della musica come i Coldplay, in vetta alle classifiche in 53 paesi. Chris Martin & Co si esibiranno live in esclusiva per l’Italia proprio sul palco della Finale per regalare al pubblico ben due successi del nuovo album: "A Head Full of Dreams" e "Adventure of a Lifetime".
X Factor Italia vuole siglare un altro primato: l’intera giuria si esibirà sulle note dei propri successi e con le proprie band: Elio e le Storie Tese, Skunk Anansie e Fedez e Mika.
Alessandro Cattelan vi racconterà questo grandissimo evento musicale scandendo i ritmi di una serata che si preannuncia veramente intensa. Avrete modo di assistere a una sfida davvero speciale tra Enrica, Davide, Giosada e Urban Strangers al fianco di un grande artista italiano: Cesare Cremonini. Dopo 34 date del Logico Tour, la pop star bolognese accompagnerà al pianoforte i ragazzi nella prima manche dedicata ai duetti, al termine della quale uno di loro lascerà la gara, oltre ad eseguire "Lost in weekend".
La sfida proseguirà con la manche degli inediti, appena presentati e già in cima alla classifica iTunes. Per lo scontro decisivo, i due super finalisti si giocheranno il podio con un brano scelto da ciascuno di loro tra quelli interpretati durante il lungo percorso ad X Factor. Solo uno di loro si aggiudicherà un contratto con Sony Music Italia e la possibilità di pubblicare un album.
Non finisce qui: un inedito duetto infiammerà il Forum, quello di Fedez & Mika, che si esibiranno per la prima volta live nel loro "Beautiful Disaster". Elio e le Storie Tese si porteranno al Forum uno dei classici storici della band, "Servi della gleba", mentre gli Skunk Anansie la nuovissima "Love Someone Else".
Il vincitore della nona edizione di X Factor Italia è Giosada.
My photo of a Davidson's plum tree in the latest issue (No. 131) of Wild magazine.
Thanks to Ang for inspiring me to use a 50mm lens.
First Minister Nicola Sturgeon and Finance Secretary Derek Mackay visited business start-up Aquila Biomedical, based at Edinburgh BioQuarter.
Where they released latest Government Expenditure and Revenue Scotland (GERS) figures show Scotland’s fiscal position improved in 2016-17.
I have another eight photos which have been published. They appear in a brochure by the Tennessee Trails and Byways program entitled "Screaming Eagle Trail" and have been rearranged into the montage here. The brochure can be found at most any rest area in the state or can be downloaded as a PDF here:
tntrailsandbyways.com/trail/10/screaming-eagle/
The photos which are mine are:
1) Loretta Lynn's Kitchen - www.flickr.com/photos/brent_nashville/3671591488/
2) Cumberland Furnace Depot - www.flickr.com/photos/brent_nashville/2706188416/
3) Hickerson Hotel - www.flickr.com/photos/brent_nashville/5444884236/
4) Dickson War Memorial Building - www.flickr.com/photos/brent_nashville/3635504322/
5) Ragan's Furniture - www.flickr.com/photos/brent_nashville/3193282129/
6) Dickson County Courthouse - www.flickr.com/photos/brent_nashville/5563129735/
7) Patsy Cline Memorial - www.flickr.com/photos/brent_nashville/6256626597/
8) Birthplace Shrine Chapel - www.flickr.com/photos/brent_nashville/3783786973/
OM newsletter was published by Roger Priest, a seaman apprentice journalist assigned to the Pentagon and the Washington Navy Yard 1969-70 that criticized the brass, opposed the war in Vietnam and urged military personnel to form a union and had a national circulation of about 1,000.
Its publication resulted in a court martial for Priest where he faced charges of soliciting fellow soldiers to desert, urging insubordination and making statements disloyal to the United States that could have resulted in up to six years hard labor, forfeiture of pay and grade and a dishonorable discharge.
Priest was ultimately convicted of promoting disloyalty and given a reprimand, reduction in rank and a bad conduct discharge. At the time it was regarded as a victory for Priest.
In 1971, a panel of Navy appeals judges reversed that conviction and awarded Priest an honorable discharge, A later review of the case by Rear Admiral George Koch, commandant of the Washington Naval District, dropped the reprimand.
Vol. 1 No. 1 – April 1, 1969 - washingtonspark.files.wordpress.com/2020/06/1969-04-01-om...
Vol. 1 No. 2 – May 1, 1969 - washingtonspark.files.wordpress.com/2020/06/1969-05-01-om...
Vol. 1 No. 3 – June 1969 - washingtonspark.files.wordpress.com/2020/06/1969-06-om-vo...
Special Edition – July 1969 - washingtonspark.files.wordpress.com/2020/06/1969-07-om-sp...
Vol. 1 No. 4 – October 1, 1969 - washingtonspark.files.wordpress.com/2020/06/1969-10-om-vo...
Vol. 1 No. 5 – January 1970 - washingtonspark.files.wordpress.com/2020/06/1970-01-om-vo...
Vol. 1 No. 6 – April 1970 - washingtonspark.files.wordpress.com/2020/06/1970-04-01-om...
Special Edition – April 1970 - washingtonspark.files.wordpress.com/2020/06/1970-04-01-om...
Thank You to Subscribers -= April 8, 1970 - washingtonspark.files.wordpress.com/2020/06/page-1.pdf
Special Edition – May 1, 1970 - washingtonspark.files.wordpress.com/2020/06/1970-05-01-om...
For more information and related images, see flic.kr/s/aHsmLuExUi
For other alternative periodicals, including local GI press, see washingtonareaspark.com/contributors/periodicals/
Most issues are courtesy of the Independent Voices website.
Georg Baselitz *1938 (Lena, 1992). 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.
Published by Usborne books in 1979, The Detectives Handbook (also published as 3 separate books) was quite simply my favourite childhood book.
Usborne are always known for the wealth of their illustrations, and these were no different. Pages of Colin King's artwork that made me want to go out and copy it, and above all, I wanted that detectives office!
Jinsop
A Branko Documentary Film
Cast: Jinsop Ho, Jinsop Rodriguez, Irlene Castro, Victor Lema
In the 1970's, in Quito, Ecuador, Branko met a Korean-American school friend, Jinsop Ho Odirling.
Jinsop became an overnight teenage sensation when he published in 1973, an LP Record, Mi Oracion.
Jinsop Ho, also recorded a second LP Record.
Jinsop's music, became the anthem of a young generation.
Soon after, Jinsop travelled to the US and disappeared into thin air.
There are no other albums recorded by Jinsop, after 1980.
Some years later, Branko tracked Jinsop to a small Restaurant in Queens, NY and to another Restaurant in Newark NJ.
Branko was able to record Jinsop, interpreting the songs that had stunned a whole generation.
These recordings, are the only complete music videos of Jinsop, now available on the net.
Recently on July 2014, in Ecuador, the second place participant, of a TV Reality Music Program, "Yo me llamo - Ecuador", (My name is - Ecuador), was Alejandro Rodriguez, who has adopted the professional name of Jinsop Rodriguez. He sings and imitates Jinsop Ho.
Branko met Jinsop Rodriguez, on August 2015, at a recent event, in Queens NY, and invited Jinsop Rodriguez to record at the same Restaurant, where two decades ago, he had recorded Jinsop Ho.
Jiinsop Ho, passed away, at a seaside village, in Ayangue, Ecuador, on June 24, 2012
The original trumpet player, from Jinsop Ho's album, Dr. Victor Lema, also appears in this movie.
Special appearance by the actress, Irlene Castro.
Branko thanks Soledad, for her wonderful help, and Jinsop Rodriguez wife, Mariasol.
Thanks also to the radio announcer, Segundo Montesdeoca, and to Jaime Pardo, owner of Sabor Latino Restaurant, in Newark.
Videos of Jinsop Ho, by Branko
www.youtube.com/playlist?list=PLD45FAEBBC6B41773
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En Quito Norte, Ecuador; en los 1970's, Jinsop Ho, fué estudiante del Colegio Anderson y Branko del Tecnico Don Bosco.
Branko: - Nos conocíamos de eventos que hacían los dos colegios.
Después no lo vi por más de veinte años, pero siempre traté de encontrarlo en New York. En una oportunidad vi un anuncio en un bar Ecuatoriano de Bushwick, Brooklyn; pero no pude encontrarlo.
Años después lo encontré en Bares Ecuatorianos de Queens NY y Newark NJ.
Yo hago películas documentario y esta película, es un homenaje a uno de nuestros Grandes, mi amigo, Jinsop Ho.
Branko
En esta película, tenemos la participación del cantante, Alejandro Rodriguez, ahora conocido con el nombre artístico de, Jinsop Rodriguez, participante y segundo lugar, de la segunda temporada, del programa de canto e imitación en TV, Yo me llamo (Ecuador).
Transmitido por Teleamazonas, desde el 17 de Marzo 2014, hasta el 13 Julio 2014
Video Jinsop Rodriguez, by Branko
© branko
youtube channel: www.youtube.com/a2b1
Published Author: Robert Boyd - as photographed for his book jacket - " The Road To Nowhere."
Robert's non-fiction book on Canadiana, was published in 06 or 07 by local publishing firm - Granvile Island Publishing.
My happy homeschooler loved the book and found it very fascinating!
Published by B. Kočí in Prague.
Scroll down to view the animated image. Animated gif generated with StereoPhotoMaker, a freeware program by Masuji Suto & David Sykes
Galpão da Philips: July 19, 2008 - Guarulhos/SP
[Do not publish without permission]
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Foto por Rodrigo Bertolino: http://www.flickr.com/rodrigobertolino
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