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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/
Happy day - my work (eight photos!) has just been published in a pinhole collection called Dark Chamber Vol II by Urban Fox Press .
Featuring work by Billy Childish, Wolf Howard, Dave Wise, Nhung Dang, Antonio Goncalves, Matthias Hagemann, Terry Towery, Lena Kallberg, Mark Tweedie, Boris Malyi, Arunas Kulikauskas, Christian Nze, Suzanne Rochette, Peter Wiklund, Robin Cruz, Leslie Bastress, David Gates, Gabriel Biderman, Hugh Jones, Steve Irvine, Ian Bodfish, Willem Labeji, Melissa Joi Slepekis, Ohte Kumi, Simon Peevers, Karl Farrer, Patrick Schaudy and Aurelie Hubert.
Woodcut cover artwork by Billy Childish.
Nhung Dang is in this book too, great images -
The Postcard
A postcard that was published by A. E. Farrier of Thornton Heath. The card, which was printed in Saxony, was posted in Thornton Heath, Surrey on Thursday the 1st. September 1904 to:
Miss Bailey,
33, Hinstock Road,
Plumstead,
London S.E.
The message on the divided back of the card was as follows:
"Still alive and very
much kicking.
Hope you are
likewise."
Karl Ernst
So what else happened on the day that the card was posted?
Well, on the 1st. September 1904, Karl Ernst was born in Berlin.
He became an SA- Gruppenführer who, in early 1933, was the SA leader in Berlin. Before joining the Nazi Party he had been a hotel bellboy and a bouncer at a gay nightclub.
The SA (short for Sturmabteilung), literally Storm Detachment, functioned as the original paramilitary wing of the Nazi Party. It played a significant role in Adolf Hitler's rise to power in the 1930's.
It has been suggested that it was Ernst who, with a small party of stormtroopers, set the Reichstag building on fire on the night of February 27th. 1933. There is evidence indirectly to substantiate this, although the consensus of nearly all historians is that Marinus van der Lubbe set the Reichstag on fire.
SA Leader Ernst Röhm had repeatedly called for a "second revolution" that would introduce socialism into the Reich and banish the old Conservative forces of business and government.
Fearing the socialistic tendencies of the SA, along with Röhm's ambition to absorb the Reichswehr into the SA, conservative elements in the German Army and Kriegsmarine pressed for an elimination of SA power.
The Night of the Long Knives
Adolf Hitler—who had served as Ernst's best man at his wedding six weeks earlier—undertook a purge of the SA, an event known to history as the Night of the Long Knives.
The Execution of Karl Ernst
Ernst was arrested in Bremerhaven together with his wife as he was about to get aboard a cruiser in order to travel to Madeira where he planned to spend his honeymoon.
He was handed over to an SS-commando unit, flown back to Berlin where he was shot by a firing squad in the early evening of the 30th. June 1934. He was 29 years old.
According to the official death list drawn up for internal-administrative use by the Gestapo, he was one of fourteen people shot in the grounds of the Leibstandarte.
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!
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Uno spettacolo teatrale frizzante, ironico e sensuale con le star neo-burlesque
Direttamente dai palchi del West End a Londra, "An Evening of Burlesque" arriva in Italia con uno spettacolo frizzante e di gusto e con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò.
An Evening of Burlesque è uno spettacolo frizzante e di gusto che, in una combinazione di commedia, malizia e talento vocale, porta sul palco del Teatro Smeraldo l'affascinante arte del burlesque con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò. Protagoniste dello spettacolo alcune delle star più luminose del neo burlesque britannico come Chrys Columbine, Amber Topaz, Kiki Kaboom, Miss Hotcake Kitty e Ginger Blush.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Uno spettacolo teatrale frizzante, ironico e sensuale con le star neo-burlesque
Direttamente dai palchi del West End a Londra, "An Evening of Burlesque" arriva in Italia con uno spettacolo frizzante e di gusto e con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò.
An Evening of Burlesque è uno spettacolo frizzante e di gusto che, in una combinazione di commedia, malizia e talento vocale, porta sul palco del Teatro Smeraldo l'affascinante arte del burlesque con un cast di eleganti showgirl che incarnano lo charme parigino e il glamour di Las Vegas in una combinazione di sensualità, arguzia, magia, ballo e favolosi costumi in stile retrò. Protagoniste dello spettacolo alcune delle star più luminose del neo burlesque britannico come Chrys Columbine, Amber Topaz, Kiki Kaboom, Miss Hotcake Kitty e Ginger Blush.
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
_________________
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
The Postcard
An S.B. Series greetings postcard published by Solomon Bros. Ltd. of Graphic House, New North Road, London.
The card was posted on Wednesday the 21st. June 1916 to:
Mrs. W. H. Clarke,
3 Newby St.,
Wandsworth Road,
Clapham,
London SW.
The message on the back of the card was as follows:
"Dear Horrie,
Just to wish you many happy
returns and good luck.
So sorry I have not written
before I am rather busy now.
Have you heard from Will?
I owe him a letter I think.
When does he come home?
Elsie is coming to see you
tomorrow evening.
Love from all, Kate".
The Battle of Carrizal
So what else happened on the day that Kate posted the card to Horrie?
Well, on the 21st. June 1916, close to 100 United States Cavalry and militia loyal to Venustiano Carranza clashed at the town of Carrizal, Chihuahua, Mexico.
The battle resulted in 14 Americans killed, 39 wounded and 24 captured, with 27 Mexicans being killed and 11 wounded.
Joseph Bamford
The day also marked the birth in Uttoxeter, Staffordshire of Joseph Cyril Bamford CBE, British business executive and founder of the multinational JCB manufacturing company, manufacturing heavy plant.
Biography of Joseph Bamford
Joseph Bamford was born into a recusant Catholic family which owned Bamfords Ltd., an agricultural engineering business.
Joseph's great grandfather Henry Bamford was born in Yoxall, and had built up his own ironmongery business, which by 1881 employed 50 men, 10 boys and 3 women.
Bamfords International Farm Machinery became one of the country's major agricultural equipment suppliers, famous for its balers, rakes, hay turners, hay wufflers, mangold cutters, and standing engines, which were exported all over the world. The company eventually ceased trading in 1986.
After attending Stonyhurst College, Joseph joined the Alfred Herbert company in Coventry, at the time the UK's largest machine-tool manufacturer, and rose to represent the firm in Ghana.
He returned home in 1938 to join the family firm, but in 1941 was called up by the RAF to serve in World War II. Working in supply and logistics, he returned to the African Gold Coast, to run a staging post for USAF planes being ferried to the Middle East.
JCB
On returning home in 1944, Bamford initially worked for English Electric developing electric welding equipment in Stafford. A short return stint with the family firm proved too stifling, and his Uncle Henry released him, saying he thought:
"Joe has little future ahead of him."
After selling Brylcreem for a short while, in October 1945 Bamford rented a 10 feet (3 m) by 15 feet lock-up garage for 30 shillings (£1.50) a week, and made a farm trailer from scrap steel and war surplus Jeep axles, using a prototype electric welder bought for £2-10s (= £2.50).
He opened for business on the day his first son, Anthony, was born, and sold the trailer for £45 and a cart, which he also repaired and sold for another £45.
Having no interest in taking over rival businesses, Joseph's philosophy was:
"Focus on what you do best, be innovative,
and re-invest in product development and
the latest manufacturing technologies."
His strategy resulted in a series of market-leading innovations:
-- 1948 – Introduced the first hydraulic tipping trailer in Europe.
-- 1950 – Moved to an old cheese factory in Rocester, Uttoxeter, where the workforce totalled six.
-- 1951 – Began painting his machinery yellow.
-- 1953 – Brought out his breakthrough product, the backhoe loader.
-- 1957 – Brought out the "Hydra-Digga", incorporating the excavator and the major loader as a single all-purpose tool which was useful for both the agricultural as well as construction industry, which JCB grew with.
-- 1958 -- Bought ten motor-scooters with the number plates JCB1 to JCB10, to get their number plates to transfer to his firm's vehicles.
-- 1991 – Brought out the JCB Fastrac high speed agricultural tractor.
With exports to the United States beginning, profits increased from 1960 onwards. JCB won seven Queen's Awards for Exports as its sales spread to more than 130 countries around the world, while Bamford himself was appointed a CBE for Services to Export in 1969.
In 1993, he became the first British citizen to be honoured in the Association of Equipment Manufacturers Hall of Fame, and remained the only British inductee until his son Anthony was inducted in 2008.
Marketing
What made Bamford different from many engineers was that he was also a marketeer. Bamford personally demanded to know daily from his staff how many "JCB Yellow" vehicles were off the road awaiting spares. Bamford created an image that JCBs were there to work, and if an owner-operator's machine was down, then Bamford wanted to know about it—which gained him 95% of the owner-operator market in the UK.
Bamford placed a 12 V socket into the cab of his vehicles, and delivered the first 100 personally, arriving in his Rolls Royce with number plate JCB1.
One of the first Lear jets in Europe was purchased to fly in non-UK customers (the fleet has since got larger), who were met by another European first, a stretched Cadillac with the same number of seats as the jet. Bamford also conceived the "Dancing Diggers," whose 1999 display in Las Vegas stopped the gamblers.
Personal Style
A non-smoking teetotaller, who was so careful with his money that he claimed his wife still made their own curtains, Bamford worked from 09:00 until 23:00 every day. He saw his role in life to be like the Nonconformist Cadbury and Lever families.
He built Rocester along the lines of Bournville and Port Sunlight into an effective marketing home for the company, and an efficient production centre and a virtual "home" for his employees.
He saw no need to recognise trade unions. The Rocester works were surrounded by 10,000 acres (40 km2) of landscaped grounds in which his company's employees could shoot, fish, swim, and sail.
Bamford paid more than fair wages, which rose regularly, and annual bonuses based on reports of individual worth. In 1967 Bamford stood on a farm cart and handed out personal cheques totalling £250,000.
This extraordinary focus in return gave unprecedented levels of workforce flexibility, with the average JCB employee through the strike-dominated 1970's and early 1980's, being seven times more productive than the average British manufacturing worker.
Retirement
In 1975, Bamford left his wife Marjorie (née Griffin – married 1941), handed over the business to their two sons, and set up home with his secretary, Jayne Ellis, in Switzerland as tax exiles.
He continued to design both boats and diesel engines. Bamford was awarded the honorary degree of a Doctor of Technology from both Loughborough University in 1989 and Keele University in 2000.
The Death and Legacy of Joseph Bamford
Bamford died at the age of 84 in a London clinic on the 1st. March 2001.
At his death, JCB was the largest privately-owned engineering company in Great Britain, employing 4,500 people and manufacturing 30,000 machines a year in 12 factories on three continents.
JCB had revenues of £850m in 1999, earned from 140 countries.
Joseph's portraits by Lucinda Douglas-Menzies and Leslie Smithers (whilst he was still the head of his JCB empire) are in the National Portrait Gallery.
William B. Ruger
Also born on that day was William B. Ruger, an American inventor who developed the Ruger Standard firearm.
William, who was born in New York City, was co-founder of Sturm, Ruger & Co. William died in 2002.
This photograph was published in the Illustrated Chronicle on the 25th of May 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 or 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.
NAHA Collection published in Hairstylist Guide on news stands now Nov 2012
Photos BABAK - www.babak.ca [ the images look like they were re airbrushed by the magazine ]
First Minister: “Choice is between economic recovery or economic retreat."
Growth in Scotland’s onshore revenues last year has more than offset the downturn in oil revenues, figures published today in Government Expenditure and Revenue Scotland 2015-16 (GERS) have shown.
The Postcard
A postally unused carte postale that was published by Ern. Thill of Brussels.
The monument in the Place du Faubourg St. Paul in Dinant records the execution by firing squad of 83 Dinant citizens, of whom 45 were women, by the invading Germans on the 23rd. August 1914.
The Battle of Dinant
The Battle of Dinant was an engagement fought by French and German forces in and around the Belgian town of Dinant in the Great War, during the German invasion of Belgium.
On the morning of the 15th. August 1914, German troops captured the Citadel of Dinant which overlooked the town; the Citadel was recaptured by a French counter-attack during the afternoon.
French troops spent the next few days fortifying the Meuse crossings and exchanging fire with German troops on the east bank.
A German raiding-party drove into Dinant on the night of the 21st. August, but the attack degenerated into a fiasco in which the Germans fired at each other.
Rather than assume that the small-arms fire had come from the French on the west bank, the Germans blamed Belgian civilians, killing seven and burning down 15 to 20 houses in reprisal. The raiders ran away, with 19 dead and 117 wounded.
On the 23rd. August, the Germans attacked Dinant again, under the impression that the town was full of francs-tireurs (snipers; terrorists to the Germans) and massacred 674 unarmed Belgian civilians, while fighting the French, who were dug in along the west bank and on the east end of the bridge.
The massacre was a systematic attack on assumed civilian resisters, and was the largest German atrocity perpetrated during the invasion, which became known as The Rape of Belgium.
Background to the Battle
In 1914, Dinant had a population of 7,000 people, and was an important strategic crossing on the Meuse, where the river flows through a south–north gorge. Three roads and a path converged on the town from the east, over an escarpment and down into the town, along which an attack from the east would come.
The wooded ridge on the east bank was topped by the Napoleonic era stone Citadel of Dinant overlooking the town and the Meuse bridge, 100 m (330 ft) below.
In 1914 there was a ribbon of streets about 4 km (2.5 mi) long on the east bank, a few hundred metres wide. Before the battle, the Mayor of Dinant urged the population to not take part in the fighting, and forbade manifestations in support of the Allies.
Prelude to the Battle: 6th. - 14th. August
The first steps in the German invasion of France began with the Occupation of Luxembourg and the invasion of Belgium on the 4th. August. Five German infantry brigades, three cavalry divisions with horse artillery and machine-gun detachments and ten Jäger battalions crossed the Belgian border.
The 5th. Cavalry Division advanced through Luxembourg and entered Belgium on the 10th. August, with orders to advance 60 km (37 mi) north-west to Dinant and then scout the Meuse as far as the French border near Givet.
The town of Dinant was close to the French border, between Liège and Mons on the east bank of the Meuse. On the 6th. August, Belgian engineers dispersed a patrol of German hussars at Anseremme and on the 12th. August, French infantry at Dinant destroyed a cavalry patrol.
By the 14th. August, the French Fifth Army had occupied Dinant and the west bank of the Meuse. The next day, the main force of the German 3rd. Army, commanded by Colonel-General Max von Hausen, arrived.
The 15th. August
On the 15th. August, the 12th. Freyberg Jäger Battalion and the 13th. Garde-Jäger Battalion supported by horse artillery and machine-guns, attacked the town and citadel. The Germans got a machine-gun into the citadel around 11:45 a.m. and the French retreated through a small stairway along the cliff, having had 50 percent casualties. Jäger descended the stairway and advanced into the town by 1:30 p.m.
In Dinant a civilian had been killed, one had been wounded and the hospital and houses on the east bank had been hit by shells.
Night raid, 21st. August
A German raiding party mounted in motor vehicles attacked Dinant on the night of 21st. August and killed seven civilians and burned 15 to 20 houses. Germans claimed later that civilians had attacked them, although the civilians stated that it had been an attack by drunken soldiers. A German soldier wrote later that they had been ordered to:
"Kill everyone and wipe off the map one part
on the left bank of the Meuse!!!
It was a tremendously colossal honourable task,
and if successful, it would be famous for all time".
The Massacres of the 23rd. August
At 4:50 a.m. on the 23rd. August, in a thick fog, 57 German artillery batteries began to bombard Dinant.
Two German columns advanced into the Dinant town centre, along rue Saint-Jacques and a road down into Faubourg Saint-Nicolas and the Place d'Armes.
Three civilians were shot at the riverbank where they had fled from the soldiers, who later admitted that they had no idea if the victims had taken up arms. The Germans killed male civilians during the day, and at 5:30 p.m., 27 men were shot in the Rue des Tanneries.
The German troops barricaded streets with furniture and soldiers from IR 182 captured a man on suspicion of firing at them, although he was unarmed, and tied him to a barricade as a human shield. When German artillery mistakenly bombarded the force, the man was shot before the Germans withdrew.
German troops set fire to houses, and by late afternoon the area was on fire; in Leffe and St. Jacques 312 civilians had been killed by the Germans.
Near the town centre, Grenadier Regiment 100 entered Faubourg Saint-Nicolas, where they were fired on by French troops. The Germans had anticipated attacks by civilians, and each time they reached a door they stopped, fired through windows and threw bombs into the cellars.
To cross the Place d'Armes, which was visible to the French across the river, the Germans used civilians as a human shield. Dinantais forced from houses were held at an iron works and the prison in the Place d'Armes. German soldiers on high ground outside the town fired on civilians in the prison courtyard for a time.
In the late afternoon, 19 men at the ironworks were shot; the rest were taken to the Place d'Armes, being made to shout, "Long live Germany! Long live the Kaiser!" along the way.
Soldiers of GR 100 separated 137 men, lined them up against a garden wall and shot them, on the orders of Lieutenant-Colonel von Kielmannsegg, the Battalion commander.
A local magistrate was sent across the river to warn francs-tireurs that the hostages would be shot if the firing continued. The magistrate returned having been shot and wounded by the Germans on the way and said that only French soldiers were firing.
After more gunfire, civilians were lined up against a wall and shot. Of the 77 victims, seven were men over 70, 38 were women or girls, and 15 were children under 14 (seven being babies).
When the Grenadiers reached the west bank, they killed 86 civilians in Neffe; 23 civilians found hiding under a railway viaduct were shot, and 43 were taken to the east bank and shot there.
Aftermath of the Battle
On the 24th. August, the area of Dinant south of the bridge, which had not been attacked on the 23rd., was systematically burned down by the Germans.
Dinant was looted, and German troops destroyed public and historic buildings, including the collegial church and the town hall.
When IR 178 crossed the Meuse to Bouvignes, 31 villagers were killed. The Germans claimed that the civilians helped the French, and 19 people, including two ten-year-olds from Hastière-par-Delà, were killed and the village burned.
Survivors later gave evidence recorded by the Belgian Second Commission report. The Tschoffen wall massacre was not committed to punish alleged francs-tireurs, because the soldiers knew the victims were innocent as individuals.
However they perceived them as collectively responsible for the actions of supposed francs-tireurs. When people asked the guards why they had been assembled in the iron works:
"Some said it was for our own safety.
Others said we were to be executed
for shooting".
Casualties and Commemoration
Fires set by the Germans on the night raid of the 21st. August provoked the flight of 2,500 inhabitants the next day.
On the 23rd. August, about 674 civilians were massacred, 1,200 houses were burned down and 400 people were deported to Germany and interned until November.
This massacre was the largest of "The Rape of Belgium", which was instrumental in the US involvement in the war.
The killings continued on the 24th. August; houses burned for days and lit up the countryside and the stench of corpses polluted the air as they decomposed in the sun.
The Germans lost 1,275 men killed and about 3,000 wounded, and the French had about 1,100–1,200 casualties in the fighting around Dinant.
In the 4th. Infantry Brigade (Général de Brigade Philippe Pétain), Lieutenant Charles de Gaulle was among the first to be wounded, receiving a bullet in the fibula.
On the 6th. May 2001, Walter Kolbow, a high secretary at the German Ministry of Defence, placed a wreath and bowed before a monument in Dinant to the victims bearing the inscription:
'To the 674 Dinantais martyrs,
innocent victims of German
barbarism'.
Suspended Animation Classic #617
First published October 22, 2000 (#43) (Dates are approximate)
The Nevermen
By Mark Allen
Different is good, right? Well, sometimes. Unfortunately, that can't be said in the case of The Nevermen, by Phil Amara and Guy Davis.
Primary problems with this book are a confusing plot filled with characters on whom no background nor motivation is given (so why should we care about them?), and which quickly creates the feeling that the reader has been dropped into the middle of a very convoluted storyline.
Let's begin with the main characters, the Nevermen; five crime-fighting individuals in hat, trench coat, and goggles, among whom it is impossible for the human eye to distinguish a difference. From the beginning, the reader is treated to various scenes in which one or two of the Nevermen engage villains in battle, for no obvious reason except that they are villains. In those scenes, it is nearly impossible to tell which of the clone-like Nevermen are even involved in the struggle. And, though the story does come together in the final issue, it is a long, baffling ride to a barely-satisfying conclusion. Now, since The Nevermen is supposed to be a mystery, many might argue the merit of this type of storytelling. But background and character motivation does nothing to spoil a good mystery.
Guy Davis' art is one of the few saving graces of this work. His dark, somewhat-sketchy style lends a very menacing atmosphere to the city and its villains. High marks also go to the artist's conceptions of many of the characters, Manboulian, a chilling villain, much of who's skeleton is exposed, as well as The Murderist, a former Neverman himself, are both visually entertaining. The Nevermen themselves, with their trench coats and strength-enhancing/gadget-laden exoskeletons are an interesting visual blend of pulp detective and superhero.
The art of a comic is important. It is, however, secondary to the story itself. Those wishing to indulge in the empty calories of eye-candy, help yourself to The Nevermen. Contact www.darkhorse.com or your local comic shop for availability.
The Nevermen, Copyright 2000, Dark Horse Comics, 32 pages, $2.95.
This photograph was published in the Illustrated Chronicle on the 2nd of July 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.
Schmap Oxford Tenth Edition
Its great to be published.
www.schmap.com/oxford/sights_historic/p=160601/i=160601_1...
This photograph was published in an online article on January 21st 2025 in:
'COUNTRY LIVING' Magazine online written by Jill Gleeson and titled:
''10 Biggest Domestic Cat Breeds and What to Know Before Adopting One -
These mega mousers can run about double the size of an average domestic cat! ''
It was also previously published in an online piece in CATTIME.COM focusing on Chausie mixed cat breed information and characteristics.
It was previously published in the GETTY IMAGES COLLECTION on August 5th 2021
CREATIVE RF gty.im/1332253649 MOMENT ROYALTY FREE COLLECTION and became my 5,285th frame to be represented by Getty Images (I now have 7000+).
I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 47.499+ Million visitors to my FLICKR site.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
Photograph taken at an altitude of Fifty two metres at 18:20pm on an overcast summer evening on Tuesday 3rd August 2021, off Hythe Avenue and Chessington Avenue in Bexleyheath, Kent.
New to my neighbourhood is this magnificent young Chausie, a hybrid originally bred from the non domestic species Jungle cat (Felis Chaus) and a greater number of domestic cats (Felis Silvestris catus). This one is absolutely gorgeous, incredibly friendly and the single greatest predatory hunter I have ever witnessed in my garden, catching several mice in one sitting with consummate ease.
This is a brown ticked variant of the species that live to around 14 years and are highly intelligent, social and loving. Chausie kittens in the UK fetch between eight hundred and two thousand pounds each.
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Nikon D850 Focal length: 600mm Shutter speed: 1/125s Aperture: f/7.1 iso640 Hand held with Tamron VC Vibration control set to ON (Position 1) 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (5960k) Colour space: RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 28m 28.05s
LONGITUDE: E 0d 8m 10.56s
ALTITUDE: 52.00m
RAW (TIFF) FILE: 130.00MB NEF FILE: 91.5MB
PROCESSED (JPeg) FILE: 46.70MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
In May 1969 London Transport published this small folder, printed in full colour and priced at 1/- (one shilling = 5p) showing the twelve tile motifs on the first section of the Victoria line of the Lonodn Underground. This had opened in sections from Walthamstow Central to Victoria between September 1968 and March 1969. As the tube diagram reproduced in this folder shows the extension south to Brixton, and that completed the line, was under construction and opened in 1971/72. The motifs on this latter group of stations are not shown here.
The construction of the first new tube line to serve the central area of the network in sixty years had been a long time in coming; planning, approval and construction itself had taken from the mid-1940s until the mid-1960s. In engineering terms the new line largely followed the established pattern of London's existing deep-tube lines and stations - albeit with some advances in terms of tunnelling and, especially, operation. The stations were designed by the Design Research Unit under Misha Black. The DRU were amongst the most important industrial designers in post-war Britain. The design intention was very plain; at platform level the use of a muted palette of stainless steel with 6" x 6" ceramic tiles in various shades of grey. The roundels were on glass panels, back illuminated. The train exteriors were the now standard Underground plain aluminium bodies and the interiors were also muted with only the seating moquette standing out. The intention behind this cool, uncluttered look was that colour was added by passengers and advertising.
However to distinguish each individual station and to add some sense of colour architecture behind each seating unit is a tiled panel; each was specifically designed for the station and often includes a pun or play on the origin of the name. The designers of these were important artists and designers in their own name and included Julia Black, Hans Unger, Edward Bawden, Tom Eckersley and Crosby/Fletcher/Forbes. Sveral of these artists and designers had produced publicity items for London Transport such as posters.
The panels are still in position although over time some slight amendments have been made notably in the PPP upgrade programme in the early 2000s. Two designs had been replaced; those at Oxford Circus and Green Park and we (I worked for LU's design team at the time) took the opportunity to reinstate the original designs seen here. At the former only the southbound platform has the tiled recesses as the northbound platform, badly damaged by fire many years ago, no longer has recesses. We also put a large version in the main ticket hall but when I recently went through I see some cretin has placed an a/c unit over it. The designs and panels, along with other elements of the DRU design are 'protected' under LU's own Design Policy for the line although this has allowed for the change to some of the field colours of tiles to better give colour contrast as now required under modern design codes.
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this page without written permission and consent.
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Steve Hackett presenta “Genesis Classics with Hackett Favourites Introducing Wolflight" all’Estathé Market Sound a Milano.
Da Acolyte a Wolflight con Genesis Revisited. Il leggendario Steve Hackett torna con un nuovo disco e un live set che è una “total experience” per gli amanti del prog e della musica. Senza confini di genere e di tempo.
Dopo due anni di successi e sold out, il leggendario chitarrista dei Genesis Steve Hackett continua la rivisitazione della sua carriera, con il meglio del repertorio Genesis, il 40ennale del primo album solista “Voyage of the Acolyte” e un nuovo capitolo appena scritto, “Wolflight”, che sta già scalando le classifiche.
Con una carriera e un repertorio che attraversa decenni di storia del rock, dai Genesis alla sua eccezionale carriera solistica, dopo i Genesis Revisited Tour del 2013 e 2014 che lo hanno portato in tutto il mondo, i premi e i concerti in teatri storici come la Royal Albert Hall, Steve Hackett annuncia il nuovo tour mondale che toccherà l'Italia nel settembre 2015.
Il live set includerà infatti i brani favoriti del Genesis Revisited, oltre all'omaggio al primo album solista e alla presentazione dal vivo di alcuni brani del nuovo album, capitolo più recente di una lunga carriera che lo ha portato a pubblicare, oltre ai 7 album con i Genesis, 30 album da solista e uno con il super gruppo GTR insieme con Steve Howe degli Yes e dell'Asia.
Un musicista che ha percorso la storia del rock e continua a percorrere i sentieri della creatività musicale.
Il nuovo album "Wolflight", uscito alla fine di marzo di quest'anno è il primo album originale in studio dopo "Beyond The Shrouded Horizon", del 2011. Porta l'ascoltatore in un lungo viaggio musicale, dalle antiche culture ai ricordi d'infanzia, da "Black Thunder" ispirata da Martin Luther King, a "Corycian Fire" ispirato ai luoghi mistici della Grecia antica a "Love Song To A Vampire" che si interroga sul difficile tema delle relazioni abusive.
Sul palco con Steve Hackett un eccezionale team di musicisti di altissimo livello: alle tastiere Roger King (Gary Moore) alla batteria, percussioni e voce Gary O'Toole (Kylie Minogue, Chrissie Hynde), al sax, flauto e percussioni Rob Townsend (Bill Bruford), al basso e chitarra Roine Stolte (Flower Kings), già special guest in Genesis Revisited e per la prima volta nella line up della band, e alla voce Nad Sylvan (Agents of Mercy).
The Postcard
An image of part of the grounds of St. Joseph's Convent in Reading on a postcard which was posted in Reading on Monday the 20th. October 1919 to an address in Rue Marcadet, Paris.
The convent was founded in Reading, Berkshire in 1910, but since then it has undergone a name change - it is now a thriving independent Catholic day school for boys and girls aged 3 to 18 called St. Joseph's College.
Notable alumnae include two singers - Marianne Faithfull and Alma Cogan.
Virginia Woolf
So what else happened on the day that the card was posted?
Well, on the 20th. October 1919, a novel by Virginia Woolf was published for the first time. It is called 'Night and Day', and is set in Edwardian London.
The book contrasts the daily lives of two acquaintances, Katharine Hilbery and Mary Datchet, and examines the relationships between love, marriage, happiness and success.
Thoughts From Virginia Woolf
"One cannot think well, love well,
sleep well, if one has not dined well."
"Why are women so much more
interesting to men than men are
to women?"
"The eyes of others our prisons;
their thoughts our cages."
"I thought how unpleasant it is to
be locked out; and I thought how
it is worse, perhaps, to be locked in."
"Fiction is like a spider's web, attached
ever so slightly perhaps, but still attached
to life at all four corners. Often the
attachment is scarcely perceptible."
"It is fatal to be a man or woman pure
and simple: one must be a woman manly,
or a man womanly."
"Humour is the first of the gifts to perish
in a foreign tongue."
"Once conform, once do what other people
do because they do it, and a lethargy steals
over all the finer nerves and faculties of the
soul.
She becomes all outer show and inward
emptiness; dull, callous, and indifferent."
"Literature is strewn with the wreckage of
men who have minded beyond reason the
opinions of others."
"There is much to support the view that it
is clothes that wear us, and not we, them;
we may make them take the mould of arm
or breast, but they mould our hearts, our
brains, our tongues to their liking."
"Let a man get up and say, 'Behold, this is
the truth', and instantly I perceive a sandy
cat filching a piece of fish in the background.
Look, you have forgotten the cat, I say."
"On the outskirts of every agony sits
some observant fellow who points."
"One likes people much better when
they're battered down by a prodigious
siege of misfortune than when they
triumph."
"There can be no two opinions as to what
a highbrow is. He is the man or woman of
thoroughbred intelligence who rides his
mind at a gallop across country in pursuit
of an idea."
"If you do not tell the truth about yourself
you cannot tell it about other people."
"Some people go to priests; others to
poetry; I to my friends."
"For most of history, Anonymous
was a woman."
"If I can only note that the past is beautiful
because one never realises an emotion at
the time. It expands later, and thus we don't
have complete emotions about the present,
only about the past."
"To enjoy freedom we have to control
ourselves."
"Yet it is in our idleness, in our dreams,
that the submerged truth sometimes
comes to the top."
"Language is wine upon the lips."
"I read the book of Job last night, I
don't think God comes out well in it."
"Every secret of a writer's soul, every
experience of his life, every quality of
his mind is written large in his works."
"The truth is, I often like women. I like
their unconventionality. I like their
completeness. I like their anonymity."
"The history of men's opposition to
women's emancipation is more
interesting perhaps than the story
of that emancipation itself."
"The older one grows, the more
one likes indecency."
"One of the signs of passing youth
is the birth of a sense of fellowship
with other human beings as we take
our place among them."
"This soul, or life within us, by no
means agrees with the life outside us."
"I want the concentration and the romance,
and the worlds all glued together, fused,
glowing: have no time to waste any more
on prose."
"Masterpieces are not single and solitary
births; they are the outcome of many years
of thinking in common, of thinking by the
body of the people, so that the experience
of the mass is behind the single voice."
"A woman must have money and a room
of her own if she is to write fiction."
"I was in a queer mood, thinking myself
very old: but now I am a woman again -
as I always am when I write."
"I would venture to guess that Anon,
who wrote so many poems without
signing them, was often a woman."
"You cannot find peace by avoiding life."
"My own brain is to me the most
unaccountable of machinery -
always buzzing, humming, soaring
roaring diving, and then buried in
mud. And why? What's this passion
for?"
"Someone has to die in order that
the rest of us should value life more."
"The beauty of the world, which is so
soon to perish, has two edges, one of
laughter, one of anguish, cutting the
heart asunder."
"Nothing has really happened until
it has been recorded."
"These are the soul's changes. I don't
believe in ageing. I believe in forever
altering one's aspect to the sun. Hence
my optimism."
"Mental fight means thinking against
the current, not with it. It is our business
to puncture gas bags and discover the
seeds of truth."
"It is far more difficult to murder
a phantom than a reality."
"Really I don't like human nature
unless all candied over with art."
"The telephone, which interrupts the
most serious conversations and cuts
short the most weighty observations,
has a romance of its own."
"Boredom is the legitimate
kingdom of the philanthropic."
"If we help an educated man's daughter
to go to Cambridge are we not forcing
her to think not about education but
about war? - not how she can learn, but
how she can fight in order that she might
win the same advantages as her brothers?"
"The man who is aware of himself is
henceforward independent; and he is never
bored, and life is only too short, and he is
steeped through and through with a
profound yet temperate happiness."
"That great Cathedral space which
was childhood."
"This is an important book, the critic
assumes, because it deals with war.
This is an insignificant book because
it deals with the feelings of women
in a drawing-room."
"It seems as if an age of genius must
be succeeded by an age of endeavour;
riot and extravagance by cleanliness
and hard work."
"Yet, it is true, poetry is delicious; the
best prose is that which is most full
of poetry."
"It's not catastrophes, murders, deaths,
diseases, that age and kill us; it's the way
people look and laugh, and run up the
steps of omnibuses."
"Life is not a series of gig lamps
symmetrically arranged; life is a
luminous halo, a semi-transparent
envelope surrounding us from the
beginning of consciousness to the
end."
First published Canon G12 shot! Lit with iPhone flashlight app using the G12's pretty amazing macro abilities.
Shot for Assignment #94: Music.
The Postcard
A postally unused carte postale that was published by L. C. H. The card has a divided back.
Enemy artillery during the Great War targeted churches, cathedrals and other tall buildings because of their value as observation posts. Shells aimed at churches which just missed their target tended to fall in the churchyards, throwing up gravestones, coffins and corpses.
'The Shell' by H. Smalley Sarson
'Shrieking its message the flying death
Cursed the resisting air,
Then buried its nose by a battered church,
A skeleton gaunt and bare.
The brains of science, the money of fools
Had fashioned an iron slave
Destined to kill, yet the futile end
Was a child's uprooted grave'.
Abba Eban
"History teaches us that men and
nations behave wisely when they
have exhausted all other alternatives".
This was said during a speech in London UK on 16th. December 1970 by Abba Eban (1915-2002), an Israeli diplomat and writer.
Visé Paris
The reference to 'Visé Paris' means that the image has been inspected by the military authorities in the French capital and deemed not to be a security risk.
'Visé Paris' signifies that the card was published during or soon after the end of the Great War.
Vermandovillers
Vermandovillers is a commune in the Somme département in Hauts-de-France in northern France. It is situated 26 miles (42 km) east of Amiens.
A Great War Battle at Vermandovillers
A German attack occurred on the 24th. September 1914. It was partially blocked by the 75th. Infantry Regiment at Vermandovillers’ Etoilé woods near to Herleville.
The front was stabilised for two years until the spearhead attack of the 4th. September 1916 at edge of Etoilé woods. The attack had been assigned to the 132nd. Division of the 10th. Army, against heavily concreted machine gun bunkers that the Germans had been building for 2 years.
The battle ended on the 9th. September 1916 because of lack of troops. The 158th., the 366th. Infantry Regiment and the 1st. Battalion Chasseurs showed exemplary conduct and suffered heavy losses.
Between the 4th. and 9th. September 1916, the 86th. Brigade lost 1,071 men, the 264th. Brigade lost 1,513 and 108th. Brigade 1,580.
These figures account for the fact that within a 5 kilometre (3 mile) radius around Vermandovillers, there are buried 1,261 French soldiers. 22,632 German soldiers lie in the Vermandovillers German war cemetery, including the writers Reinhard Johannes Sorge and Alfred Lichtenstein.
In the Somme there are 410 Commonwealth cemeteries,
22 French Military cemeteries and 14 German cemeteries.
The largest of them is the German cemetery situated on the
French front at Vermandovillers. 10,000 men were laid to rest under black crosses; the remainder were buried in 15 mass graves.
The British are not counted because although many were killed in the fighting, they are buried mainly near the Villers–Bretonneux Australian National Memorial.
A Poem About the Battle of the Somme
'It was 1916 on the 1st of July
That artillery and smoke blackened the sky.
Shots rang out and men fell dead,
The sky was black, while the ground was red.
To battle the Germans the French and British had come,
To the bloodiest fight of the War, The Battle of the Somme.
While artillery rained down on the German side
The allies swallowed their fear and stood with pride.
Waiting to be ordered over the top,
To run without question, don’t look back and don’t stop.
But this is when the slaughter started,
Machine guns screamed out as bodies and limbs became parted.
Fifty-eight thousand casualties in one single day
‘A necessary loss’ the Generals would say.
‘We will rest for now and recommence tomorrow
No time for the men to indulge in their sorrow’
So they readied the next batch of men for the slaughter,
Would they fare better when faced with the mortars?
The answer to this question was obviously no
As the casualty counts continued to grow.
For every single centimetre of ground that was taken
The lives of two men were sadly forsaken.
And so the battle waged on and on,
The bloodiest battle of World War One.
Yet as they made progress towards German lines,
The allies had one thing in the front of their minds.
For the Germans had a weapon the allies had yet to discover
One that would find men even if they took cover.
As the allied assault drew nearer and nearer
The time to use this weapon had never been clearer.
The little grey canisters flew through the air
Giving the allied forces more than a scare.
The men now engaged in a fight for their lives,
They could not protect themselves with their guns or their knives.
Their only weapon now was a mask
But fitting it in time was a very hard task.
‘Gas, Gas!’ some men would cry
Most had masks, the rest would die.
Their screams could be heard as they approached their death,
Blood curdled in their lungs as they drew their last breath.
Eventually their eyes would roll back in their head
And with a final twitch and spasm they lay still, dead.
And so the battle waged on and on,
The bloodiest battle of World War One.
Even with the threat of the German gas,
It was time for a final allied assault to mass.
And with this Britain unveiled their tank
When the battle ended they had this to thank.
It stormed over No-Man’s Land, through German wire,
The Germans shook in fear as it prepared to fire.
For the British troops it opened the way,
For the deaths of their comrades the Germans would pay.
And the German death count grew and grew
As the allied assault continued to break through.
And though the fighting had not ended,
The morale of the allies began to get mended.
They pushed with valor towards their objective,
With a new vigour the Germans had not expected.
Although the enemy held, and did not retreat
This battle is viewed as a German defeat.
It was 1916 on the 21st of November
That the five month long battle was finally over.
No shots rang out but thousands were dead,
The sky was still black, the ground was stained red.
To battle the Germans the French and British had come,
To the bloodiest fight of the War, The Battle of the Somme'.
The Use of Artillery in the Great War
Artillery was very heavily used by both sides during the Great War. The British fired over 170 million artillery rounds of all types, weighing more than 5 million tons - that's an average of around 70 pounds (32 kilos) per shell.
If the 170m rounds were on average two feet long, and if they were laid end to end, they would stretch for 64,394 miles (103,632 kilometres); the line would go round the equator over two and a half times. If the artillery of the Central Powers of Germany and its allies is factored in, the figure can be doubled to 5 encirclements of the planet.
During the first two weeks of the Third Battle of Ypres, over 4 million rounds were fired at a cost of over £22,000,000 - a huge sum of money, especially over a century ago.
Artillery was the killer and maimer of the war of attrition.
According to Dennis Winter's book 'Death's Men' three quarters of battle casualties were caused by artillery rounds. According to John Keegan ('The Face of Battle') casualties were:
- Bayonets - less than 1%
- Bullets - 30%
- Artillery and Bombs - 70%
Keegan suggests however that the ratio changed during advances, when massed men walking line-abreast with little protection across no-man's land were no match for for rifles and fortified machine gun emplacements.
Many artillery shells fired during the Great War failed to explode. Drake Goodman provides the following information on Flickr:
"During World War I, an estimated one tonne of explosives was fired for every square metre of territory on the Western front. As many as one in every three shells fired did not detonate. In the Ypres Salient alone, an estimated 300 million projectiles that the British and the German forces fired at each other were "duds", and most of them have not been recovered."
To this day, large quantities of Great War matériel are discovered on a regular basis. Many shells from the Great War were left buried in the mud, and often come to the surface during ploughing and land development.
For example, on the Somme battlefields in 2009 there were 1,025 interventions, unearthing over 6,000 pieces of ammunition weighing 44 tons.
Artillery shells may or may not still be live with explosive or gas, so the bomb disposal squad, of the Civilian Security of the Somme, dispose of them.
A huge mine under the German lines did not explode during the battle of Messines in 1917. The mine, containing several tons of ammonal and gun cotton, was triggered by lightning in 1955, creating an enormous crater.
The precise location of a second mine which also did not explode is unknown. Searches for it are not planned, as they would be too expensive and dangerous. For more on this, please search for "Cotehele Chapel"
The Somme Times
From 'The Somme Times', Monday, 31 July, 1916:
'There was a young girl of the Somme,
Who sat on a number five bomb,
She thought 'twas a dud 'un,
But it went off sudden -
Her exit she made with aplomb!'
Several of my photos have been used in the Spring 2013 edition of NCT Mattters, the magazine of the National Childbirth Trust in the UK.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Lo sposalizio è stato il corpo e il pane della comunità. Il mattone fondante della comunità. Veniva consumato con il cibo e con la musica. Una specie di eucarestia in cui la nuova coppia veniva ingerita dalla comunità che gli si stringeva intorno avvolgendola di stelle filanti nell’ultimo, infinito ballo dei “ziti” (che così si chiamano tanto gli sposi quanto la pasta). La musica aumentava vorticosamente di ritmo fino ad assorbire la coppia che finiva per girare avvolta come uno spiedo in una girandola colorata di fili di carta. A quel punto era digerita e pronta per generare e rinnovare la comunità. Questa musica che accompagnava il rito era musica umile, da ballo, adatta ad alleggerire le cannazze di maccheroni e a “sponzare” le camicie bianche, che finivano madide e inzuppate, come i cristiani che le indossavano. Un repertorio di mazurke, polke, valzer, passo doppio, tango, tarantella, quadriglia e fox trot, che era in fondo comune nell’Italia degli anni ‘50, ‘60, e che si è codificato come una specie di classico del genere in un periodo nel quale lo “sposalizio” è stato la principale occasione di musica, incontro e ballo. Poi le tastiere elettroniche hanno preso il sopravvento e gli sposalizi sono diventati matrimoni. L’aria condizionata è entrata in un altro genere di ristorazioni in cui la musica è diventata una specie di dessert più parente del liscio che dell’epoca mitica dei mantici, dei violini e delle farfisa.
A Calitri, in alta Irpinia, negli anni in cui è esistita una comunità, che è poi finita frantumata nelle migrazioni che sono state il sangue vivo dello sviluppo, questa comunità si è rinnovata e celebrata in un luogo cardine del paese: la “casa dell’Eca”. Nei racconti della mia infanzia si è trasformata in “casa dell’Eco”. La casa dove nasceva l’eco. Eco della musica, degli schiamazzi, delle burle, delle feste, luogo del pantheon dei personaggi mitici che fanno una comunità in cui si viene ribattezzati e realmente ri-conosciuti, nel soprannome che la comunità stessa impone, in luogo della chiesa. Da qualche decennio la casa dell’Eco tace, e l’unico eco che si spande è quello dei racconti. Se ci si appendessero dentro le fotografie di tutte le coppie sarebbe un sacrario di guerra. Giovani con la divisa nuziale che andavano ad affrontare, sparacchiando, la vita, dopo la sparecchiatura dei tavoli della casa dell’Eca.
Qualche anno fa, un gruppo di anziani suonatori di quell’epoca aurea non priva di miseria, ha preso l’abitudine di ritrovarsi davanti alla posta nel pomeriggio assolato. Avevano l’aria di vecchi pistoleri in paglietta. A domandargli cosa facessero appostati davanti a quell’ufficio postale, rispondevano che montavano la guardia alla posta, per controllare l’arrivo della pensione. Quando l’assegno arrivava, sollevati tiravano fuori gli strumenti dalle custodie e si facevano una suonata. Il loro repertorio fa alzare i piedi e la polvere e fa mettere a ammollo le camicie sui pantaloni. Ci ricorda cose semplici e durature. Lo eseguono impassibili e solenni, dall’alto del migliaio di sposalizi in cui hanno sgranato i colpi. Hanno nomi da gloria nella polvere: Tottacreta, Matalena, il Cinese, Parrucca. Il più impassibile di loro non aveva nemmeno bisogno di un soprannome, tanto era lapidario il nome originale: Rocco Briuolo. Ora Rocco è andato a suonare “due Paradisi” tra i santi che ha dipinto come fossero suoi compari. Tra santo Canio e santo Liborio. Ora può, come nella vecchia canzone, dire a san Pietro guardando giù, che “il Paradiso nostro è questo qua”. E con ragione, perché la sua umanità, il suo violino e il suo pennello, hanno portato un poco di divino in noi, che l’abbiamo conosciuto. La sua “Banda della Posta” lo accompagna con la filosofia nella quale è vissuto: un lavoro ben fatto, che non si prende mai sul serio. A lui è dedicato questo disco fatto di racconti in musica, cic’ tu cic’ e bottaculo. A quadriglie, a cinquiglie, fino all’incontrè.
Banda della Posta:
Giuseppe Caputo , "Matalena" - violino
Franco Maffucci , "Parrucca"- chitarra e voce
Giuseppe Galgano, "Tottacreta"- fisarmonica
Giovanni Briuolo- chitarra , mandolino
Vincenzo Briuolo- mandolino , fisarmonica
Giovanni Buldo , "Bubù"- basso
Antonio Daniele- batteria
Crescenzo Martiniello, "Papp'lon" - organo
Gaetano Tavarone , "Nino"- chitarre
Well, this 1cm long fellow came round today to model for me. Sweet isn't he??? I used a EF-S 55-250 IS reversed to shoot him.
This is my first ever picture to be published!!!
Practical Photography July 2009 p12
Right click on the map and select "original" to see the map detail.
The black numbers in the circles indicates the adjacent plate number.
These are photographs of the Atlas of the City of Trenton, New Jersey. Published by A. H. Mueller & Co. in 1905.
This photograph was published in the Illustrated Chronicle on the 18th of May 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 or 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.