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Published by Longmans Young Books in 1969.
Finding this book has very nearly finalised my quest for my childhood books. This was very elusive, I only remembered the cover and images and not the name, so all google searches were fruitless. Then my mum spotted it for me at a boot sale, and I was thrilled to bits!
A question - anyone know a book about a little bear who ran away to join the circus? Early 1970s? American?
The Postcard
A postally unused Mason's Alpha Series postcard published by Roberts & Wrate Ltd. of Portsmouth. The image is a glossy real photograph, and the card, which was printed in England, has a divided back.
Southsea
Southsea is a seaside resort located in Portsmouth at the southern end of Portsea Island, Hampshire. The name originates from Southsea Castle, a fort located on the seafront and constructed in 1544 to help defend the Solent and approaches to Portsmouth Harbour.
When Henry VIII was in the castle he witnessed the sinking of the warship Mary Rose in the Solent.
By the mid to late Victorian era, Southsea had become a largely middle-class neighbourhood, with many naval officers and other professionals in residence. Sir Arthur Conan Doyle moved from Portsmouth to Southsea in 1882 with less than £10 (about £900 today) to his name. He set up a medical practice at 1 Bush Villas in Elm Grove.
Southsea Common
Southsea Common was created when about 480 acres (2sq. km.) of marshland was drained. Because the castle required clear lines of fire, the area was not built on, and remains today as a park and garden.
The Common is home to a remarkable collection of mature elm trees, believed to be the oldest and largest surviving in Hampshire. They escaped Dutch elm disease because of their isolation.
The Ladies' Mile was set out within the Common in 1925. The Ladies' mile is home to several semi-mature date palms. Planted in 1996, these palms are now some of the largest in the UK, and for the last few years have fruited and produced viable seeds, the first time this species of palm has been recorded as doing so in the UK.
Lumps Fort
Lumps Fort is a disused fortification built on Portsea Island as part of the defences for the naval base at Portsmouth.
Early History of the Fort
Lumps Fort dates from the 18th. century. The earliest reference to it is in the records of the Board of Ordnance in 1805 which mention 'Lumps Fort - three 32-pounder guns'.
By 1822 the fort was the site of a semaphore station on the semaphore line from London to Portsmouth. It was constructed here to avoid the smog of the town of Portsmouth so it could see and be seen from Portsdown Hill.
The fort had fallen out of use as a defensive fort by the 1820's, and in 1827 part of the fort fell into the sea. The semaphore station was closed in 1847 when the electrical telegraph took over.
Palmerston-Era Reconstruction
The fort was reconstructed between 1859 and 1869 as one of the Palmerston forts in the line of Portsmouth Harbour defences. It was designed to be fitted with 17 guns, and had a barrack block at the rear to accommodate 100 men.
It was not normally manned, with only a Master Gunner normally in residence at the Fort - in 1885 the Master Gunner was H. Orchard.
The fort was also used by the City of London Artillery Volunteers who undertook gun practice from there in 1889.
The fort was re-armed in the 1890's with three 6-inch rifled breech-loader Mk. IV guns on hydro-pneumatic carriages. These guns were taken away in 1906.
The fort was re-armed in 1914 with a 6-pounder Hotchkiss anti-aircraft gun.
In 1942, an elite special forces unit, the Royal Marine Boom Defence Patrol Detachment, was based in two Nissen huts at the fort and trained in the Solent opposite. The unit went on to conduct Operation Frankton, the 'Cockleshell Raid' on shipping in Bordeaux harbour.
Post-Military Use of Lumps Fort
After WW II, the fort was planted as a rose garden, with the Eastern part of the site becoming the Southsea Model Village.
Adjacent to the site is the Canoe Lake, constructed from a large area of marshland, which was opened on 17 June 1886 and used as a boating lake. During World War II, the lake was used for experiments into countermeasures against magnetic mines.
Published work. Tear sheet from Nu Woman summer 2012 issue. Photography. Barry Williams. Hair and makeup. Italia Williams. Styling. Sabrina Dodgson-Sturrup. Models. Adam Brown and Abigail Moss.
My photo of Minne the Lake Creature was published in the April '12 issue of Mpls.St.Paul Magazine after it was found on flickr.
"SHE'S BAAACK!
→ Like those neighbors you haven't seen all winter, Minne the Lake Creature reappears each spring to jazz up our lives. There's no telling where she'll pop up. She likes all the Minneapolis lakes. If you do see her, don't ask if she wintered in Florida (not that there's anything wrong with that!). Minne takes pride in being a hardy Minnesota gal who likes to stay close to home."
Full disclosure: The photo was meant to highlight the return of the floating sculpture to the Chain of Lakes, but the photo was actually taken last fall.
The Postcard
A postally unused carte postale published by Lévy et Neurdein Réunis of 44, Rue Letellier, Paris. The card, which was distributed by des Magasins Modernes, has a divided back.
Le Château de Chastellux
The Château de Chastellux is a French château with elements from the eleventh, thirteenth, fifteenth and nineteenth centuries. It is located in Chastellux-sur-Cure in the Yonne, Bourgogne-Franche-Comté.
The château is still inhabited by the family who built it, a rarity in France. The oldest existing part of the building, the Saint-Jean tower, was built c. 1080 AD.
The main building was the first part of the château to be registered as a Monument Historique in 1925. The Saint-Jean tower and the surrounding buildings were later classified in 1976 and 1989 respectively.
Early History of the Château
Chastellux takes its name from a place called Castrum Lucii located on the banks of the Cure, 15 km from Avallon. Initially, the building was a Roman fort made of wood and stone. There remain many traces of Roman influence in the region, including the Mosaic of Chagnats which was found in a local field and is currently on display at the museum of Avallonnais, in Avallon.
The oldest evidence of presence of the lords of Chastellux on the current site of the château is an account of a hearing at 'The ancient Saint-Jean tower in 1116'. The hearing was about a property dispute between local barons and clergy of the Abbey of Molesme.
For ten centuries, the château of Chastellux did not stop being enlarged, embellished and restored by successive generations of the family.
Planted on a rocky peak surmounting the Cure, its strategic location helped to protect the castle from attack.
In the twelfth century, the château became a fortress, comprising tall towers linked by a thick battlement and guarded by a walkway. Wooden buildings, which were backed along the walls, were used for livestock and the storage of animal feed.
Comfort in the early days was nonexistent, and quality of the accommodation played a very minor role compared to the defensive role of the fortress.
The tower of Saint-Jean is the last remnant of this fortress. The tower, one of the oldest in Europe, consists of five levels. The staircase leading to the floors was cut into the thickness of the wall (a thickness of 3.5 meters at ground level). On the second floor is a dungeon accessed through an opening in the floor. The roof is topped with a lantern containing the warning bell, to alert the château inhabitants to impending danger.
In the 13th. century a larger building was built. The year 1240 was inscribed on a stone wall, providing a date of construction of the guard room, which is the second oldest structure after the tower of Saint-Jean.
Recent History of the Château
The château suffered considerable damage during the French Revolution. All the old medieval weapons were stolen in 1792, and the winery was looted and its contents auctioned.
On the 5th. August 1793, the furniture and archives of the
château were seized, and priceless paintings were burnt at Place Saint-Julien Avallon, currently the site of City Hall. All traces of the family blazon, found on woodwork, painting or a decorative element were destroyed.
Under the Restoration, César Laurent Chastellux renovated the château and its grounds. He removed the decorative additions of the eighteenth century, and fully restored its medieval decor.
In 1975 a chimney fire set fire to the roof and attic of the château. The tower of Amboise still bears the traces of this fire.
Several films have been shot at the Château de Chastellux during the 20th. century. These include 'Mon Oncle Benjamin' (1969), 'L'Épingle Noire' (1982), 'Le Fantôme du Lac' (2004).
Visiting the Château
The castle is privately owned, but has been open to visitors since 2008.
François Lefèbvre (1762-1835), Chinese Pavilion in the Park of Laeken/Der chinesische Turm im Park zu Laeken, 1787 Aquarell/Watercolour
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
This photograph was published in the Illustrated Chronicle on the 21st 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.
The Postcard
A DP Series postcard that was printed and published by E. T. W. Dennis & Sons Ltd. of Scarborough. The rather obscure joke isn't very funny.
The card was posted in Colwyn Bay, Denbighshire on Monday the 17th. August 1970 to:
Mr. & Mrs. F. Hardy,
Lees Lane,
Winterton,
Scunthorpe,
Lincolnshire.
The message on the divided back of the card was as follows:
"Arrived safe. It is
raining this morning -
no good to do a bit
of harvesting today.
Hope the weather is
a bit better for you.
Daisy".
Venera 7
So what else happened on the day that Daisy posted the card?
Well, the 17th. August 1970 marked the launch of Venera 7.
Venera 7 was a Soviet spacecraft, part of the Venera series of probes to Venus. When it landed on the Venusian surface on the 15th. December 1970, it became the first spacecraft to soft-land on another planet, and the first to transmit data from there back to Earth.
Launch of the Venera 7
The probe was launched from Earth on the 17th. August 1970, at 05:38 UTC. It consisted of an interplanetary bus, based on the 3MV system, and a lander. During the flight to Venus, two in-course corrections were made using the bus's on-board engine.
Design of the Venera 7 Lander
The 500 kg lander was designed to be able to survive pressure of up to 180 bars and temperatures of up to 580 °C. This was significantly greater than what was expected to be encountered, but significant uncertainties as to the surface temperatures and pressure of Venus resulted in the designers opting for a large margin of error.
The interplanetary bus carried a solar wind charged particle detector and a cosmic ray detector. On the lander there were temperature and pressure sensors as well as an accelerometer to measure atmospheric density. The probe also carried a radar altimeter.
The Touch-Down of the Lander
Venera 7 entered the atmosphere of Venus on the 15th. December 1970. The lander remained attached to the interplanetary bus during the initial stages of atmospheric entry to allow the bus to cool the lander to −8 °C (17 °F) for as long as possible.
The lander was ejected once atmospheric buffeting broke the interplanetary bus's lock-on with Earth. The parachute opened at a height of 60 km, and atmospheric testing began with results showing the atmosphere to be 97% carbon dioxide.
The parachute was initially reefed down to 1.8 square metres, opening to 2.5 square metres 13 minutes later, when the reefing line melted as designed.
Six minutes after the un-reefing, the parachute started to fail, resulting in a descent more rapid than planned. The parachute eventually failed completely, and the probe entered a period of freefall. As a result, the lander struck the surface of Venus at about 16.5 m/s (37 mph).
The probe appeared to go silent on impact, but recording tapes kept rolling. A few weeks later, upon a review of the tapes by the radio astronomer Oleg Rzhiga, 23 minutes of very weak signals were found on them. The spacecraft had landed on Venus, and probably bounced onto its side, leaving the antenna not aimed correctly for strong signal transmission to Earth.
The probe transmitted information to Earth for a total of 53 minutes, which included about 20 minutes from the surface. It was found that the temperature at the surface of Venus was 475 °C (887 °F). From the spacecraft's rapid halt (from falling to stationary inside 0.2 seconds), it was possible to conclude that the craft had hit a solid surface with low levels of dust.
The probe provided information about the surface of Venus, which could not be seen through a thick veil of atmosphere. The spacecraft definitively confirmed that humans cannot survive on the surface of Venus, and excluded the possibility that there is any liquid water on Venus.
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Giovedì 6, venerdì 7 e sabato 8 settembre 2018 si svolge a Milano la prima edizione di Milano Rocks, il festival gemello del celebre Firenze Rocks. Tre giorni a tutta musica con alcuni tra i concerti più attesi di settembre 2018 a Milano
Imagine Dragons si aggiungono allo straordinario cast di “Milano Rocks”.
Uno show unico e straordinario, un’occasione imperdibile per vedere live una delle band internazionali di maggiore successo nel nostro Paese che hanno conquistato 2 Dischi di Platino per il loro ultimo album “Evolve” che contiene i successi “Thunder” (4 Dischi di Platino) e “Whatever It Takes” (Disco di Platino e da oltre 3 mesi tra i brani più suonati dalle radio italiane).
Formati nel 2009 da Dan Reynolds, il chitarrista Wayne Sermon, il bassista Ben McKee e il batterista Daniel Platzman, gli Imagine Dragons hanno guadagnato un enorme seguito dopo aver pubblicato una serie di EP indipendenti. Dopo essere stati messi sotto contratto da Alex Da Kid per la sua KIDinaKORNER e aver pubblicato un EP “Continued Silence” (2012) dal quale è stato estratto il singolo “It’s Time” (2 volte disco di platino), arriva nello stesso anno l’album di debutto “NIGHT VISIONS” che entra alla posizione n°2 della Top 200 Billboard Chart.
“Night Visions” catapulta la band ai vertici di tutte le classifiche vendendo 5.3 milioni di copie nel mondo ottenendo la certificazione di disco di platino in ogni angolo del pianeta e ORO in Italia. L’album, inoltre, si piazza al n° 1 su Spotify in tutto il mondo diventando l’album più ascoltato del 2013.
Il secondo album platino Smoke + Mirrors ha debuttato al #1 nella classifica Billboard Top 200 album e ha venduto 1.1 milioni di copie globalmente. Nel disco il singolo certificato ORO in Italia “I Bet My Life”.
Secondo Spotify, gli Imagine Dragons sono i 13esimi migliori artisti al mondo.
Dan Reynolds – voce, chitarra acustica
Wayne Sermon – chitarra
Ben McKee – basso
Daniel Platzman – batteria
Illuminated arches in Kilmarnock.
--
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( Published as the "Picture Of The Week" in the Kilmarnock Standard - Oct 17, 2014 )
Foto por Guilherme Grespan
Observações:
Todas as fotos aqui postadas estão livres para divulgação, desde que com minha assinatura na foto e com os devidos créditos, como segue abaixo:
Foto por Guilherme Grespan - www.flickr.com/photos/guilhermegrespan/
As fotos estão com tamanho reduzido para web, tenho todas em alta resolução, e sem a assinatura, caso alguem precise é só me enviar um email.
Qualquer utilização das fotos em meios comerciais, favor me contactar.
Contato:
email: gui_grespan@yahoo.com.br
Ao Publicar:
Caso você publique esta foto em algum local, favor me informar por email, para que eu possa manter o histórico.
Muito Obrigado.
______________________________________________________________________
Photo by Guilherme Grespan
Notes:
All photos posted here are free to disclosure, provided that with my signature on the photo and with the appropriate credits, as follows below:
Photo by Guilherme Grespan - www.flickr.com/photos/guilhermegrespan/
The photos are reduced in size for web, have all at high resolution, and without the signature, if someone needs just send me an email.
Any use of photos for media business, please contact me.
Contact:
email: gui_grespan@yahoo.com.br
By Post:
If you publish this picture in any place, please let me know by email, so I can keep the history.
Thank you very much.
my first ever published work in this issue of DJMAG!
please check it out!
p.s a must see in full size!
ta
sonnyme.com
Since some people have been asking the picture that I had published in this book can be seen here: www.flickr.com/photos/angelamcdonald/187016036/in/set-721...
All profits from this book will go to two charitable organizations still working in the Gulf Coast.
"Signs of Life is a remarkable collection of the most striking Gulf Coast signs that appeared following Hurricanes Katrina and Rita. Taken by over forty photographers—local residents, relief volunteers, and those passing through—the messages in Signs of Life are sacred and profane, defiant and defeated, heartbreaking and humorous, frightening and encouraging. They remind us that everyone has a story to tell."
—Josh Neufeld, author of Katrina Came Calling
"It's impossible to speak for the people who lived through Katrina. Far better to let them speak for themselves. That's exactly what these images (sad, hopeful, funny, enraging) capture—and it's exactly what Signs of Life is about."
—Rob Walker, author of Letters from New Orleans
*****Profits from sales of the book will go to two organizations still working in the area: Common Ground Relief and Hands On Network.*****
I am honored to have a picture included in this noble endeavor.
For more info about the book or to buy it click below:
and
Spread the word!
Thanks,
Angie
Lady Gaga
ARTRAVE THE ARTPOP BALL
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May 4th, 2014
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Published by Johnson News Agency, Midland, Texas. A "Natural Color Card" made by E. C. Kropp Co., Milwaukee, Wis. -- KHL
Photos taken from the top of the American Psychological Association building, Washington, DC USA
Published in Events roundup: Planning for growth, GGWash happy hour, and more - Greater Greater Washington
Published: Managing Cultural Tourism in Town and Cities - Advice and Guidance for Public Authorities and Local Communities, European Commission 2007
Getting published in Dawn Magazine front Page .. Continuously from last 3 weeks, couldn't upload last 2 pages, some color issues in this online version, u can see original colors in printed version
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I Bastille (spesso stilizzato come BΔSTILLE) sono un gruppo musicale alternative rock inglese formatosi nel 2010 a Londra e composto dal leader Dan Smith, Chris Wood, Kyle Simmons e Will Farquarson. Era nato come progetto solista del leader Dan Smith, che ha deciso più tardi di formare una band.
La loro musica racconta favole in formato pop song, come se le canzoni fossero tante colonne sonore del personale microcosmo della band, tra pop e rock, sperimentazioni di archi e percussioni e la totale assenza di chitarre. Pompeii, il primo singolo, scala le classifiche radiofoniche inglesi in breve tempo e in Italia è singolo di platino nelle classifiche digitali. Il disco di debutto, Bad Blood, conferma il loro successo stratosferico.
Dan Smith - voce, percussione e tastiere
Will Farquarson - chitarra, basso
Kyle Simmons - tastiere
Chris "Woody" Wood - batteria
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All photos © Mosby Images | John Wayland Photography and protected by law. No photo in whole or part may be linked, published, reproduced or transmitted without written consent.
Sadly, I'm back in Vancouver after 19 absolutely amazing days in Japan. I'm currently about 10 days behind in getting new photos from the trip up on Flickr and waaaaaay behind in looking at all of the great new shots from my Flickr contacts, but I'll catch up eventually.
On my return to Vancouver, I was treated to a package waiting for me in my mailbox: my personal copy of beijing chic. Thanks to Melisa, five of my Beijing shots posted on Flickr were selected to be included in the book:
• Tsinghua University Memorial Gate [page 167]
• Tsinghua Science Park at night [page 168 and back cover]
• Chengfu Lu at night [page 169]
• Lion at Fragrant Hills [page 170]
• Still more to climb (Simatai Great Wall) [page 188]
Thanks again, Melisa!
Oh, and my Flickr stream passed through 25,000 views a few days after I got to Tokyo... thanks to everyone for their visits, kind words, and continued support!
This photograph was published in the Illustrated Chronicle on the 16th 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.
Published with the kind permission of Tierpark Hagenbeck Gemeinnützige Gesellschaft mbH, Hamburg (www.hagenbeck.de)
For legal reasons, a further publication of the image is not permitted.
Refer to the Terms of Tierpark Hagenbeck (www.hagenbeck.de/footer/agb.html)
Veröffentlicht mit der freundlichen Genehmigung des Tierpark Hagenbeck Gemeinnützige Gesellschaft mbH, Hamburg (www.hagenbeck.de)
Aus rechtlichen Gründen ist in diesem Fall eine weitere Veröffentlichung des Bildes nicht gestattet. Siehe hierzu die AGB der Tierpark Hagenbeck Gemeinnützige Gesellschaft mbH (www.hagenbeck.de/footer/agb.html)
Sign at the Central Park/Conservatory Green Line. I never really paid attention to these signs till I saw TheeErin's set of them. Used on Chicagoist: chicagoist.com/2008/05/15/cta_gives_self.php
I'm so excited to share with you that my Gratitude Pages have been published in the April issue of Art Journaling Magazine! More at my blog.
Published by F W Holloway, Neath.
Posted to Peterborough.
From the hillside above the Lion pub. Villiers Street can be seen crossing the view diagonally
I've been published in the Spring 2016 issue of Georgia Backroads magazine. They published my images of Possum Trot Church that I photographed for Historic Rural Churches of Georgia last year. Check out their website at www.hrcga.org. And you can use this link to see all of my Possum Trot photos: www.facebook.com/media/set/?set=a.735314636574977.1073741....
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