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Reference: DS.JLT-5-3-1.2
This image has been taken from the Joseph L Thompson & Sons Ltd shipbuilders’ collection. The photographs, taken at the Sunderland Based Shipyard were used in the publicity campaign 'The Art of Shipbuilding' published in 1946 to promote the firms of Joseph L. Thompson & Sons Ltd and Sir James Laing & Sons Ltd.
Inspired by the upcoming Grayson Perry exhibition 'The Vanity in small differences' Tyne & Wear Archives have created this set in reaction to some of the themes surrounding Sunderland and its social make up that have been explored by Grayson Perry in his six large scale tapestries.
This set features both Social and Landscape Photography of a nostalgic Sunderland; these consist of both Aerial views of the physical make up of Sunderland's landscape, mixed with social portraits of the working community and industrial scenes traditionally associated with Sunderland's Heritage. Both are relevant to Grayson Perry's upcoming collection of Tapestries exploring the story of class mobility and the influence social class has on our aesthetic taste.
When recently interviewed on the subject Perry states "When I asked club singer Sean Foster-Conley what I should feature in my tapestries to show working-class taste, he said “the mines and shipyards”. “But they no longer exist,” I replied. In a very important way, however, he was right. The heavy industries that shaped the north of England also shaped the emotional lives of the generations of people who lived there. Winding towers and cranes can be torn down in a day, but the bonds, formed through shared hardship working under them, live on."
These images of a community driven by industry, mixed with Aerial
Views of the physical make up of Sunderland during this time reflect on Perry's view of the eternal relevance that Sunderland's social and industrial past has on its present community.
More information on 'The Vanity of Small Differences' can be found here.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
ENGLISH:
I've chosen my best photos of Maranhão trip and published them in Maranhão, images of a Brazilian paradise, a visual recollection of the state of Maranhão, from the crumbling buildings of its capital, São Luís to the mesmerizing and unique landscapes of the Lençóis Maranhenses, through the fascinating celebration of the bumba-meu-boi festival .
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ESPAÑOL:
He seleccionado mis mejores fotos del Maranhão y las he publicado en Maranhão, imágenes de un paraíso brasileño un recuerdo visual del estado de Maranhão, desde los decrépitos edificios de su capital, São Luís a los fascinantes y únicos paisajes de los Lençóis Maranhenses, pasando por la increíble celebración del festival del bumba-meu-boi.
This photograph was published in the Illustrated Chronicle on the 23rd of January 1917.
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 and information to add please comment below.
At Project SuperStar (Vietnamese Pop Idol) Tv show
Published on Tuổi Trẻ, special edition for Têt 2007.
TV station WBIR in Knoxville used a couple of my photos in their Tennessee Travel segment on the Paperclip Holocaust Museum of Whitwell, TN. My photos appear at 2:32 and 2:52
Hagerstown, Indiana (September 10, 2012) The new Model T Ford Museum is slated to hold its grand opening during Richmond’s Octoberfest on September 28 at 6 p.m. The museum which was previously located in Centerville, Indiana near the Warm Glow Candle Factory for 5 years moved just a few miles east to Richmond, Indiana’s Historical Depot District this past spring.
Since the move to Richmond volunteers have been steadily preparing the museum’s new home, displays and vehicles for the event.
Today, a photo shoot for the Model T Museum’s newly acquired 1930 Pietenpol Sky Scout was held at the Hagerstown Airport.
The plan arrived at the airport around 10:00 a.m. this morning and was assembled by Model T enthusiasts and many of them brought their own Model Ts to use during the photo shoot.
One of the people there today was Mr. Jay Klehfoth who is the CEO and publisher of the Vintage Ford Magazine.
Jay is a walking encyclopedia when it comes to all things Model T. I was to learn he’s pretty knowledgeable in a lot of areas too. During our walk around of the plane Jay pointed out one of the parts for the engine had been made by a former factory in Richmond of all places. And there are many other special things about this airplane I’m sure he’ll be writing about in the next issue of the the Vintage Ford Magazine. He not only knew a lot about the Pietenpol Sky Scout plane that was being photographed for the magazine cover. He’s pretty sharp when it comes to airports too. He said that the Hagerstown airport were today’s photo shoot was done has the longest grass landing strip in the United States which to me made it the perfect place for today’s event.
This Pietenpol that will be on display at the museum is powered by a 20 HP Model T engine which was modified to include dual-ignition which is used in aviation. According to an article in the AntiqueAirfield.com website from September 10, 2012 there was only one original Pietenpol Sky Scout built by Bernard Pietenpol himself, and just two replicas. The article also said that all 3 were still flying.
The new Model T Ford Museum is going to be an exciting addition to what is one of Indiana’s grandest historical areas and a must in this part of the Midwest.
Richmond is a perfect place for any day trip. But, if you want to see all that Richmond has to offer you’ll need to plan on staying several days.
The Model T Ford Museum is located in Richmond’s Historic Depot District at 309 N 8th St, Richmond, IN 47374 - 765-488-0026.
Model T Ford Museum website: www.mtfca.com/clubpages/museum.htm
Additional Information:
The Model T Ford Club of America has nearly 8,000 families worldwide. Members are from all 50 states and 41 other countries.
The Vintage Ford Magazine is published bimonthly by the Model T Ford Club of America, 119 W. Main Street, Centerville, Indiana and is mailed to all members. Subscription rates are $35.00 per year (six issues) in the United States ($42.00 Canada and $44.00 elsewhere) and include member ship in the club.
All correspondence should be ad dressed to:
THE MODEL T FORD CLUB
OF AMERICA
P.O. Box 126
Centerville, IN 47330-0126
765-855-5248 fax 765-855-3428
e-mail: admin@mtfca.com
Raw Video: Prepping Pietenpol Sky Scout For Photo Shoot youtu.be/7_JnszAF8GA
Video: Pietenpol Sky Scout Photo Shoot youtu.be/h3m6ZWgNJMg
Video: Model T Ford Museum Grand Opening Set youtu.be/OwIiE5O1UQk
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this page without written permission and consent.
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Lungo il corso della sua poliedrica carriera che attraversa quattro decenni, la leggenda del jazz Dee Dee Bridgewater, vincitrice di Grammy e Tony Awards, ha raggiunto i più alti livelli musicali, regalandoci la sua interpretazione unica di standards, ma anche facendo intrepidi salti di fede rivisitando i classici del jazz.
L’intrepida viaggiatrice, esploratrice, pioniera e custode della tradizione, tre volte insignita del Grammy, tra cui quello recentissimo nel 2011 per il Best Jazz Vocal Album con Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee, ha pubblicato Midnight Sun, il suo nuovo album, una sorta di lettera d’amore che attraversa tutta la sua pluripremiata carriera, sempre acclamata dalla critica.
La carriera della Bridgewater ha sempre gettato dei ponti tra i diversi generi musicali. Si è guadagnato la sua prima esperienza professionale come membro del leggendario Thad Jones/Mel Louis Big Band, e attraverso gli anni Settanta si è esibita con grandi del jazz come Max Roach, Sonny Rollins, Dexter Gordon e Dizzy Gillespie. Dopo un incursione nel mondo del pop durante gli anni Ottanta, si è trasferita a Parigi e ha iniziato a rivolgere la sua attenzione di nuovo al jazz. Dopo aver firmato con l’Universal Music Group come produttrice, ha pubblicato una serie di titoli di successo partendo da Keeping Tradition nel 1993. Quasi tutti, tra cui l’acclamatissimo tributo a Ella Fitzgerald, Dear Ella, che ne ha vinti due, sono stati nominati ai Grammy.
Dee Dee Bridgewater voce
Theo Croker tromba
Irwin Hall sax
Michael King piano
Kassa Overall batteria
Eric Wheeler basso
Photograph published in Committee to Unleash Prosperity in an article by Jonathan Becker published September 2nd, 2016.
"Lance Roberts Says the Surging Federal Deficit Is a Bad Sign for economic Growth".
committeetounleashprosperity.com/lance-roberts-says-the-s...
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.
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La popstar britannica Rita Ora arriva in concerto in Italia il 30 aprile 2019 al Fabrique di Milano.
Rita Ora, nata Rita Sahatçiu, è una cantante, attrice e modella britannica di origine kosovara.
Nel 2009 l’artista viene notata dal rapper e produttore musicale Jay Z e successivamente appare nel video “Young Forever” dello stesso Jay Z oltre che nel video “Over” di Drake.
Nel 2011 viene pubblicato il singolo di DJ Fresh, “Hot Right Now” interpretato dalla cantante. Il singolo debutta alla vetta della classifica in UK e il video riceve oltre 50 milioni di visualizzazioni in pochissimo tempo su YouTube.
“ORA” è il titolo del suo album di debutto, pubblicato il 27 agosto del 2012 nel quale ha collaborato con importanti artisti come Will.i.am, Ester Dean, Drake, The Dream, Kanye West e da cui sono estratti i singoli di successo “Right Now”, “R.I.P.” e “How We Do (Party)” subito alle #1 posizioni delle classifiche in UK. Nel 2014 pubblica i singoli "I Will Never Let You Down" con cui debutta in vetta alla classifica in UK e "Black Widow" con Iggy Azalea, entrambi certificati oro in Italia. Nel frattempo accetta di ricoprire il ruolo di coach a The Voice Uk 4 in compagnia di Tom Jones, Will.i.am e Ricky Wilson e successivamente viene scelta come giudice per il talent X Factor UK. Nel 2015 viene pubblicato il video del singolo “Poison”, e successivamente il singolo “Body on Me” in collaborazione con Chris Brown. Nel 2017 pubblica il singolo “Your Song”, brano scritto da Ed Sheeran, certificato disco di platino in Italia e collabora con AVICII in “Lonely Together”, già disco di platino in Italia, per cui ha vinto nella categoria Miglior Video Dance agli MTV Video Music Awards. Il 20 dicembre 2017, collabora con il collega britannico Liam Payne al singolo “For You”, colonna sonora del film Cinquanta sfumature di rosso, certificato oro in Italia.
Nel 2018 esce la collaborazione tutta al femminile “Girls” con la rapper Cardi B., Charli XCX e Bebe Rexha. Il nuovo singolo “Let you love me”, invece, ha già superato 50 milioni di visualizzazioni su YouTube e oltre 45 milioni di stream su Spotify.
“Phoenix” è il nome del secondo album dell’Artista, che verrà pubblicato il 23 novembre 2018.
AWIB-ISAW: Necropolis and Surrounding Landscape at Palmyra, Syria. (II)
View of necropolis, tower tombs, and fauna surrounding Palmyra. by Erik Hermans (2008)
copyright: 2008 Erik Hermans (used with permission)
photographed place: Palmyra, Tadmora or Hadrianopolis (Palmyra) [http://pleiades.stoa.org/places/668331/]
Published by the Institute for the Study of the Ancient World as part of the Ancient World Image Bank (AWIB). Further information: [http://www.nyu.edu/isaw/awib.htm].
The Postcard
A postally unused carte postale published by Robert Laillet of Chartres. The card has a divided back.
The statue has unfortunately been vandalised at some point in its history.
Chartres
Chartres is a city and capital of the Eure-et-Loir department in France. At the 2019 census, there were 38,534 individuals living in the city.
Chartres is famous worldwide for its Gothic cathedral which is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th. century.
Part the old town, including most of the library associated with the School of Chartres, was destroyed by Allied bombs in 1944.
The Cathédrale Notre-Dame de Chartres, is one of the finest and best preserved Gothic cathedrals in France and in Europe. Its historical and cultural importance has been recognized by its inclusion on the UNESCO list of World Heritage Sites.
Chartres is built on a hill on the left bank of the river Eure. The medieval cathedral is at the top of the hill, and its two spires are visible from miles away across the flat surrounding lands. To the southeast stretches the fertile plain of Beauce, the "Granary of France", of which the town is the commercial centre.
Chartres cathedral was built on the site of the former Chartres cathedral of Romanesque architecture, which was destroyed by fire (that former cathedral had been built on the ruins of an ancient Celtic temple, later replaced by a Roman temple).
Begun in 1205, the construction of Notre-Dame de Chartres was completed 66 years later.
The stained glass windows of the cathedral were financed by guilds of merchants and craftsmen, and by wealthy noblemen, whose names appear at the bottom. It is not known how the famous and unique blue, bleu de Chartres, of the glass was created, and it has been impossible to replicate it.
Chartres in WWII
In World War II, the city suffered heavy damage, both by bombing and during the battle of Chartres in August 1944, but the cathedral was spared by an American Army officer who challenged the order to destroy it.
On the 16th. August 1944, Colonel Welborn Barton Griffith Jr. questioned the necessity of destroying the cathedral, and volunteered to go behind enemy lines to find out whether the Germans were using it as an observation post.
With his driver, Griffith proceeded to the cathedral and, after searching it all the way up its bell tower, confirmed to Headquarters that it was empty of Germans. The order to destroy the cathedral was withdrawn.
Colonel Griffith was killed in action later on that day in the town of Lèves, 3.5 kilometres (2.2 miles) north of Chartres. For his heroic action both at Chartres and Lèves, Colonel Griffith received, posthumously, decorations awarded by the President of the United States and the U.S. Military, and also from the French government.
Following deep reconnaissance missions and after heavy fighting in and around the city, Chartres was liberated on the 18th. August 1944, by the U.S. 5th. Infantry and 7th. Armored Divisions commanded by General George S. Patton.
Churches of Chartres
The Église Saint-Pierre de Chartres was the church of the Benedictine Abbaye Saint-Père-en-Vallée, founded in the 7th. century by Queen Balthild. At the time of its construction, the abbey was outside the walls of the city. It contains fine stained glass and, formerly, twelve representations of the apostles in enamel, created circa 1547 by Léonard Limosin, which now can be seen in the fine arts museum.
Other noteworthy churches of Chartres are Saint-Aignan (13th., 16th. and 17th. centuries), and Saint-Martin-au-Val (12th. century), inside the Saint-Brice hospital.
Museums of Chartres
Chartres' Museums include:
-- Le Musée des Beaux-Arts, a fine arts museum, housed in the former episcopal palace adjacent to the cathedral.
-- Le Centre International du Vitrail, a workshop-museum and cultural center devoted to stained glass art, located 50 metres (160 feet) from the cathedral.
-- Le Conservatoire du Machinisme et des Pratiques Agricoles, an agricultural museum.
-- Le Musée le Grenier de l'Histoire, a history museum specializing in military uniforms and accoutrements, in Lèves, a suburb of Chartres.
-- Le Musée des Sciences Naturelles et de la Préhistoire, a Natural science and Prehistory Museum (closed since 2015).
Other Features of Chartres
The river Eure, which at this point divides into three branches, is crossed by several bridges, some of them ancient, and is fringed in places by remains of the old fortifications, of which the Porte Guillaume (14th. century), a gateway flanked by towers, was the most complete specimen, until destroyed by the retreating German army on the night of the 15th./16th. August 1944.
The steep, narrow streets of the old town contrast with the wide, shady boulevards which encircle it and separate it from the suburbs. The Parc André-Gagnon lies to the north-west, and squares and open spaces are numerous.
Part of the Hôtel de Ville dates from the 17th. century, and is called l'Hôtel de Montescot. There is also La Maison Canoniale dating back to the 13th. century, and several medieval and Renaissance houses.
La Maison Picassiette, a house decorated inside and out with mosaics of shards of broken china and pottery, is also worth a visit.
There is also a statue of General Marceau (1769–1796), a native of Chartres and a general during the French Revolution.
The Economy of Chartres
Historically, game pies and other delicacies of Chartres are well known, and the city's industries have also included flour-milling, brewing, distilling, iron-founding, leather manufacture, perfumes, dyeing, stained glass, billiard requisites and hosiery.
More recently, businesses include the manufacture of electronic equipment and car accessories. Since 1976 the fashion and perfumes company Puig has had a production plant in the commune.
Pilgrimages
Chartres has been a site of Catholic pilgrimages since the Middle Ages. The poet Charles Péguy, who was born in 1873, revived the pilgrimage route between Paris and Chartres before the Great War.
At the outbreak of the war, Péguy became a lieutenant in the French 276th. Infantry Regiment. He died at the age of 41 in battle, shot in the forehead, near Villeroy, Seine-et-Marne on the 5th. September 1914, the day before the beginning of the Battle of the Marne. There is a memorial to Charles near the field where he was killed.
After the war, a number of students carried on the pilgrimage in his memory. Since 1982, the association Notre-Dame de Chrétienté, with offices in Versailles, organizes the annual 100 km (62 mi) pilgrimage on foot from Notre-Dame de Paris to Notre-Dame de Chartres. About 15,000 pilgrims, from France and countries outside France, participate every year.
The Bataclan Theatre Massacre
Chartres was the home of Omar Ismael Mostefaï aged 29, one of the three gunmen who attacked the audience at the Bataclan concert venue on the 13th. November 2015, starting at 21.40.
It was part of a carefully co-ordinated attack on Paris; over a 20 minute period, Islamist militants also killed and injured people at the Stade de France, and at six restaurants and cafes along the 10th. and 11th. arrondissements.
Shootings and bomb blasts on that night left a total of 130 people dead and hundreds wounded, with more than 100 in a critical condition.
The Start of the Bataclan Massacre
On the evening of the 13th. November 2015, the American rock band Eagles of Death Metal was playing to an audience of about 1,500 people at the Bataclan on the Boulevard Voltaire in the 11th. arrondissement of Paris.
One of the restaurants was a popular Cambodian eatery in the trendy Canal Saint-Martin area, where at least 12 people died. Another 19 people were killed at a busy restaurant on nearby Rue de Charonne.
Three dark-clad gunmen had been waiting in a black rental car near the venue for more than an hour, and were armed with Zastava M70 assault rifles. The M70 is a derivative of the Soviet AK-47, and can fire at a rate of 620 rounds per minute. Over 4 million of the hellish things have unfortunately been manufactured.
The terrorists were three French natives of Algerian descent. As the band was playing their song "Kiss the Devil", the three men got out of the car and opened fire on people outside the venue, killing three.
They then burst into the concert hall and sprayed the crowd with automatic gunfire. Witnesses heard shouts of "Allahu Akbar" as the terrorists opened fire. Initially, the audience mistook the gunfire for pyrotechnics. The band ran offstage and escaped with many of the crew, although their tour manager was killed.
Rows of people were mown down by gunfire or were forced to drop to the ground to avoid being shot. Survivors described hundreds of people lying beside and on top of each other in pools of blood, screaming in terror and pain.
The gunmen also fired up into the balconies, and dead bodies fell down onto the stalls below. For a few minutes, the hall was plunged into darkness, with only the flashes from the assault rifles as the gunmen kept shooting.
The terrorists shouted that they were there because of French airstrikes against Islamic State. A witness who was inside the Bataclan heard a gunman say:
"This is because of all the harm
done by Hollande to Muslims all
over the world."
A radio reporter attending the concert reported that:
"The terrorists were calm and determined, and they
reloaded three or four times. Two gunmen attacked
the concert hall; one gunman covered fire while
another reloaded to ensure maximum efficiency."
Whenever a gunman stopped to reload, members of the crowd, some with bullets in them, ran for the emergency exits, scrambling over each other to escape. Some were shot from behind as they fled, and the terrorists laughed as they shot them. Those who reached an emergency exit were shot by the third gunman, who had positioned himself there.
Other groups of people barricaded themselves in backstage rooms. Some smashed open the ceiling in an upstairs toilet, and hid among the rafters under the roof. Those who could not run lay still on the floor or under bodies pretending to be dead. One women was seen hanging from a third floor window.
According to survivors, the terrorists walked among those who were lying down, kicked them, and shot them in the head if there were any sign of life.
An eyewitness reported hearing the gunmen ask amongst themselves where the members of the Eagles of Death Metal were once the gunfire stopped. Mostefaï and another of the gunmen then went upstairs to the balconies, while the third attacker stayed downstairs and fired at people who tried to flee.
Initial Armed Response to the Terrorists
The Brigade of Research and Intervention (BRI) arrived on the scene at 22:15, soon followed by the elite tactical unit, RAID. At 22:15, the first two responding officers entered the building armed with handguns and encountered one of the terrorists who was standing on the stage.
The Jihadist died after being shot by the officers and detonating his explosive vest. Mostefaï and the other remaining gunman (Mohamed-Aggad) then fired upon the officers, forcing them to withdraw and wait for backup.
The Stand-Off
From this point, Mostefaï and the other attacker took about twenty hostages and herded them into a room at the end of a corridor located further within the building. They also seized the hostages' mobile phones and attempted to use them to access the Internet, but they were unable to find a signal.
Some of the hostages were forced to look down into the hall and out the windows and report what they saw. During this time, the two terrorists fired on police and first responders as they arrived at the scene.
At 23:30, an elite police squad entered the building. One unit evacuated survivors from downstairs, while another unit went upstairs. They found Mohamed-Aggad and Mostefaï, who had begun using hostages as human shields. They shouted out to police the number of a hostage's phone.
Over the next 50 minutes, they had four phone exchanges with a police negotiator, during which time they threatened to execute hostages unless they received a signed paper promising France's departure from Muslim lands.
The Police Assault
The police assault began at 00:20 and lasted three minutes. Police launched the assault because of reports that Mohamed-Aggad and Mostefaï had started killing hostages. Police using shields burst open the door to the room and exchanged fire with Mohamed-Aggad and Mostefaï while managing to pull the hostages one-by-one behind their shields. One terrorist detonated his explosive vest, and the other tried to do the same but was shot.
Ninety people were killed at the Bataclan on that night, and hundreds of others were wounded. Almost all of the deceased victims were killed within the first 20 minutes of the attack. All of the hostages were rescued without injury.
Police dog teams from the Brigade Cynophile assisted with body removal because of concerns that there could still be live explosives in the theatre. Identification and removal of the bodies took 10 hours, a process made difficult because some audience members had left their identity papers in the theatre's cloakroom.
Omar Ismael Mostefaï
The homegrown suicide bomber Omar Ismael Mostefaï was identified after his finger was found among the Bataclan concert hall carnage.
Mostefaï was born in the Paris suburb of Courcouronnes and had eight past convictions for petty crimes. He is said to have been radicalised by a Belgian hate preacher at a mosque in France.
The Jihadist was buried in the Cimetière Parisien de Thiais
located in Val-de-Marne.
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
This photograph was published in the Illustrated Chronicle on the 12th of January 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.
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.
Two of the first issues of the B.E.F. News published June 25, 1932 and July 9, 1932 by the Bonus Expeditionary Force-BEF--or Bonus Army—are published for the estimated 50,000 people that made up their encampments around the Washington, D.C.
The World War I era veterans and their families began arriving in the city in May to press demands for an accelerated wartime bonus that had been promised them in the future.
After nearly two months of demonstrations and lobbying Congress, they were routed from the camps by the U.S. Army on orders of President Herbert Hoover who feared a communist uprising. Two veterans were killed and dozens injured in the eviction.
Smaller groups would return the city in the coming years until the. Bonus was finally paid out in 1936. Congress, with Democrats holding majorities in both houses, passed the Adjusted Compensation Payment Act authorizing the immediate payment of the $2 billion in WWI bonuses, and then overrode Roosevelt's veto of the measure.
For a PDF of this tabloid-size, 8-page newspaper, see flic.kr/s/aHskf3FKxS
Vol. 1 No. 1 June 25, 1932: washingtonspark.files.wordpress.com/2019/12/1932-vol-1-no...
Vol. 1 No. 3 July 9, 1932: washingtonspark.files.wordpress.com/2019/12/1932-vol-1-no...
For more information and related images, see
Courtesy of the Anacostia Community Museum, Smithsonian Institution.
Paul (B& K Photos) has published an excellent CD of Gainsborough in the 1947 floods which I would heartily reccomend to anyone, but I don't think it features this shot of the old Newsums building ankle-deep in water during a flooded period.
I am tempted to say this is 1947,but I am not 100% sure on that, and have a feeling it might be more recent than that.
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
Estilismo: Paulo Mendez
Makeup: Marcelo Celis, Coni Montenegro.
Modelos: Danae Barla y Joanna Ferrari.
Pelo: Cristopher Maldonado, Romina silva, Felipe Cardenas.
Foto: Pedro Quintana.
Asist. foto. Caro Albornoz, Mathias Sielfeld.
This week, I came home to find a plaque that featured one of my photos. In the Fall, my photo was selected from over 500 photos as a winner and lead photo of the Annual Fall Photo contest. The paper has a distribution of approximately 415,000. It was fun to get the call while at WDW. Thanks for looking.
P.S. I have nothing to do with the bomber on the right ;-)
The Postcard
A postcard published by the Philco Publishing Co.
The card was posted in London on Saturday the 13th. October 1906 to:
Miss M. Sabourin,
28 Cadogan Terrace,
Victoria Park,
London NE.
The message on the back of the card was as follows:
"12.10.06.
Hello! How are you?
I think I owe you a p.c.
don't I?
Bert and I went over to
Miss Mellish's place the
other Sunday - had a
very decent time - but
Bert did not see Daisy!!!
Do you ever hear from
her?
Hope you are well.
Kindest regards,
Yours sincerely,
Will Rogers".
Philco
The Philco Publishing Co. of 1-6 Holborn Place, London were active between 1905 to 1934. They published many different types of artist-signed cards and photo-based view-cards.
They are noted for three large sets representing Faith, Hope, and Charity.
Most of their cards were printed in Germany, although a set of real photo birthday greeting cards were manufactured in Italy.
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.
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).
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.
Joseph Samachson
So what else happened on the day that Will Rogers posted the card?
Well, the 13th. October 1906 marked the birth of Joseph Samachson. Joseph was an American scientist and writer, primarily of science fiction and comic books.
Joseph Samachson's Career
Joseph Samachson was born in Trenton, New Jersey. He was the son of Russian Jewish parents, Anna Roshansky and David Louis Samachson, a businessman.
After graduating from Rutgers University, he earned a Ph.D. in chemistry from Yale at the age of 23 before becoming an assistant professor at the College of Medicine, University of Illinois.
Joseph also headed a laboratory in metabolic research at the Veterans Administration Hospital in Hines, Illinois, a research unit dealing with diseases that affect the skeleton.
Samachson worked as a research chemist for the American Molasses Company until 1938, leaving to become a freelance technical writer.
Samachson wrote and translated a number of scientific papers. He also wrote science fiction and comics.
Science Fiction and Pulps
Samachson's novella "The Dragon Army", written under his "William Morrison" byline, was the cover story in the November 1952 issue of Fantastic Adventures.
Joseph wrote a number of science fiction works (under the pseudonym William Morrison), including two novels published in Startling Stories.
He also wrote the 1937 pulp title Murder of a Professor and short stories for a number of magazines, including Money from Heaven (1942). He also penned a couple of Captain Future pulp novels c.1941–1942 (under the house name "Brett Sterling"), and had work appear in the science fiction magazine Galaxy.
Joseph's young adult novel Mel Oliver and Space Rover on Mars was published by Gnome Press in 1954, and was also published in a Dutch translation.
Comics
Joseph began writing for DC Comics in late 1942, working on comic scripts for characters which notably included Batman. He also wrote scripts for comics and characters including Sandman, Green Arrow, Airwave and Robotman, as well as a string of 17 science-fiction stories in 1955 and 1956.
In 1955, he created (with artist Joe Certa) the Martian Manhunter in the pages of Detective Comics #225.
Don Markstein's Toonopedia suggests that Samachson wrote many subsequent appearances of J'Onn J'Onzz rather than just the first. Jerry Bails also lists Samachson as having co-created the historical DC character Tomahawk.
In 1943 Samachson also created the character Two-Gun Percy, which first appeared under the DC Comics imprint All Funny Comics and was drawn by Bernard Baily.
In 1975, DC Comics adapted an unused story that Joseph wrote in the 1940's featuring the Seven Soldiers of Victory into a six-part serial in Adventure Comics #438-443.
Television
Samachson also wrote scripts for Captain Video and His Video Rangers.
Joseph Samachson's Other Work
With his wife Dorothy Samachson, he wrote about theater ("Let's Meet the Theatre" and "The Dramatic Story of the Theatre"), music ("Masters of Music" and "The Fabulous World of Opera"), ballet, archaeology ("Good Digging") and a number of other titles, including Rome, a Rand McNally "Cities of the World" title.
In addition, Samachson was a frequent contributor to scientific journals and the author of "The Armor Within Us: The Story of Bone".
The Death of Joseph Samachson
Samachson died of complications from Parkinson's disease on the 2nd. June 1980 in Chicago, Illinois. Joseph was 73 years of age when he died.
He was survived by his wife, now deceased, a son, Michael Samachson, and a daughter, the photographer Miriam Berkley.
It's published! You can find this photo in "Message for Obama" published by the Guardian.
9 Goals for '09
1 - Take more artistic photos instead of shots of animals
2 - Get into UTeach Summer Masters Program
3 - Get into shape
4 - Be the best Maid Of Honor ever for my 2 best friend's from college weddings
5 - Be the best geometry teacher I can be
6 - See my best friend from birth, Bizzie, and go see some shows in Austin with her
7 - Clean and organize my apartment this year. I'm really gonna do it this time.
8 - Make it to church at least once a month
9 - Continue to have a life outside of work!
Published by Faber in 1969.
What are crocodile tears? This entertaining book explains in English, in French and in pictures.
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.
These four images plus two more images used as promos were in The Plain Dealer today. This is a full newspaper page in our Inside & Out section. Promo images are in photostream below.
Our daily circulation is 356,286 with daily readership estimated to be 883,690. So if only one in four readers finds this page, that's still 200,000 "hits," which is much better than this page will do on Flickr!
The images: Flying tigers, Julia butterfly, www.flickr.com/photos/jonfobes/106667951/ Pink orchid and Zebra butterfly.
I hadn't planned to, but I ended up writing the text block for these images, which reads:
Awesome. Orchids. Everywhere.
That pretty much sums up the Cleveland Botanical Garden's "Orchid Mania: Blossoms & Butterflies" show, running through March 26.
The other thing to know about the event can be summed up in even fewer words: bountiful butterflies, approximately three times more than normally seen in the Cloud Forest of Costa Rica biome in the Eleanor Armstrong Smith Glasshouse.
You'll see, among others, Postman, Cattleheart, Zebra Longwing and Julia butterflies and also the captivating Blue Morpho; you'll watch them flutter around orchids, ginger blossoms, leaves, branches and even land on visitors, providing magical moments that have patrons pointing their cameras in three directions at once and clicking shutters as fast as their fingers can function.
And don't forget to visit the spiny desert of Madagascar, also in the glasshouse. The resident chameleon is as beautiful as any flower.
But the stars of this show are the awesome orchids: Big orchids, small orchids, white orchids, purple orchids ... some peer out from frames as living artwork, others spring from free-standing orchid sculptures, and others congregate in pots that haunt every nook and cranny of the botanical garden.
As one weary worker said Thursday during setup for the show, "If there's such a thing as orchid overdose, this might be it!" But of course, there's no such thing as orchid overdose, just as there's no such thing as too much beauty – you always want more.
The Victorians coined the word "orchidelirium" to describe flower madness – now I know why.
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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.
Suspended Animation Classic #215
Originally published February 7, 1993 (#6)
(Dates are approximate)
Two-Fisted Tales
By Michael Vance
You can’t go home again. What was revolutionary in 1951 is not today because the revolution succeeded. Risqué then, even Marilyn Monroe seems innocent now.
“Two-Fisted Tales” and EC Comics changed comic books forever. In 1951, they were startling; they set a new standard. That standard was adopted, and has now been surpassed many times.
Well, not entirely. The early issues of “Mad” magazine remain unequaled. Certain stories from “Tales from the Crypt”, “Weird Science” and other EC Comics are still classics. But the first issues of “Two-Fisted Tales” now being reprinted seem … tame.
An anthology comic, each issue featured four stories. In the second issue, five artists are represented that all became legends.
John Severin and Bill Elder’s “War Story” is set in the Korean War. “Jivaro Death!” by Harvey Kurtzman takes place on the Amazon River. Both use twist endings that were typical of EC, but atypical of Kurtzman’s later work.
Johnny Craig’s “Flight From Danger” travels to Germany during WWII. Aboard an 18th century ship, Wally Wood spins the tale of a man’s impression into the British navy in “Brutal Capt. Bull”. Craig’s tale of the attempted flight of a scientist to America and Wood’s adventure both fall short of the heights these artists were to reach.
But in ’51, they must have seemed as wild as Monroe.
They lack the sophistication of later “Two-Fisted Tales” stories because most ‘50s comics lacked the maturity that this title and other ECs would eventually inspire. In their day, EC would inevitably become so controversial that they helped trigger the near death of the entire industry under the pink eye of Senator Joseph McCarthy!
Genius has to start somewhere. Alas, genius never stands unchallenged. But don’t save your pennies for later, more innovative issues, or the complete series will never see the light of day. And, at one time, it was the light of day.
“Two-Fisted Tales #2/$1.50, 31 pages, published by Russ Cochran/available in comics shops.
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.
This photograph was published in the Illustrated Chronicle on the 28th of September 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 and have any stories and 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.