View allAll Photos Tagged Published
Published 04/12/1917
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.
Published in 2004/April EDN ASIA magazine. It told us that don't be stupid to pay the money which is worth a deer to buy a dog.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Published 13/11/1917
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.
The Postcard
A carte postale that was published by I. P. M. of Paris. The card was posted in Les Andelys using a 10c stamp on Monday the 27th. April 1914, one hundred days before Great Britain declared war on Germany to initiate the greatest conflict that the world had ever seen.
The card was sent to:
Miss Brett,
'Fairhaven',
Burgh Heath,
Surrey,
England.
The message on the divided back of the card was as follows:
"Petit Andelys,
26. 4. 1914.
We are spending the
weekend in this
wonderfully beautiful
place, and are lodged
just at the side of the
bridge.
I think you know all the
other places we have
seen, but I don't
remember you mentioning
this place. I hope you will
see it some day.
C. P."
The Explosion on Board the Kometa
So what else happened on the day that C. P. posted the card?
Well, on the 27th. April 1914, the Russian steamer Kometa exploded off the coast of Algeria, killing half of the 30-man crew and injuring nine more.
Albert Soboul
The day also marked the birth, in Ammi Moussa, Algeria, of the Algerian-French historian Albert Soboul.
Albert, who specialized in the French Revolution and Napoleonic periods, died at his family home in Nimes on the 13th. September 1982 at the age of 68.
Joseph Harold Moore
Also born on the 27th. April 1914, in Florence, South Carolina, was the American air force officer Joseph Harold Moore.
On the 11th. December 1959, Joseph received the Bendix Trophy for flying a F-105 Thunderchief over a 100 kilometer closed course in order to establish a world speed record of 1,216 mph.
Joseph, who was leader of Operation Rolling Thunder during the Vietnam War, died in San Antonio, Texas at the age of 92 in 2006. He was laid to rest at Fort Sam Houston National Cemetery.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Serata dedicata alla storica etichetta Cramps con Area, Eugenio Finardi e Claudio Rocchi
Gli Area, una delle poche rock band italiane conosciute ovunque. Eugenio Finardi, cantante, autore, chitarrista e pianista amante di quel rock combattivo e impegnato. Claudio Rocchi, uno dei maggiori fautori del grande successo della Cramps nel mondo del cantautorato italiano. Ecco i tre protagonisti della serata di Mercoledì 7 Settembre al Palasharp in esclusiva per Demo-Suona 2011.
La Cramps Record, l’etichetta della ‘musica totale’, di fusione ed internazionalità, sempre all’avanguardia, audace ed innovativa rispetto a quelli che potevano essere i gusti e le conoscenze in campo musicale dei primi anni Settanta. Nel 1973 La Cramps Records pubblicò una delle sue prime opere: il brano "Arbeit macht frei" degli Area, sempre rivolti ad una ricerca formale, espressiva e comunicativa del messaggio sociale. Impossibile racchiudere questa band in un’unica definizione di genere. Gli Area infatti negli anni hanno saputo spaziare tra rock, progressive e jazz, dedicandosi alla sperimentazione e alla canzone politica. Dopo 30 anni di cambiamenti sia sociali che musicali, in cui ciascuno dei componenti ha di volta in volta intrapreso progetti individuali, ecco che Ares Tavolazzi (basso), Paolo Tofani (chitarre e synth) e Patrizio Fariselli (tastiere) sono nuovamente insieme sul palco per rivivere insieme al pubblico del Demo-Suona quell’esperienza musicale unica chiamata Area. Insieme a loro, sul palco del Palasharp anche Eugenio Finardi, giunto alla Cramps Records proprio grazie alla volontà di Demetrio Stratos, fondatore e cantante mai dimenticato degli Area. Con questa etichetta Finardi pubblica il suo primo disco “Non gettare alcun oggetto dai finestrini”, vero e proprio esempio di rock italiano e primo dei tanti altri lavori che seguiranno, tutti improntati su un rock duro, combattivo e politicamente impegnato, capace di fotografare la realtà italiana con canzoni semplici e dirette. Claudio Rocchi, insieme ad Eugenio Finardi, ha contribuito a rendere la Cramps protagonista del cantautorato Italiano, attraverso l’originalità melodica e compositiva che lo ha sempre contraddistinto. La sua musica, a parte una breve sperimentazione nel mondo dell’elettronica, era e rimane psichedelica, mistica e visionaria, unica nel suo genere in Italia. Serata imperdibile dunque quella del 7 Settembre al Palasharp con la reunion degli Area, Eugenio Finardi e Claudio Rocchi, che, uno dopo l’altro sul palco di Demo-Suona 2011, faranno vivere al pubblico un’esperienza intensa ed impegnata tra rock e musica d’autore.
MORE: ACRM.org/call
Call for POSTER Proposals — World’s largest interdisciplinary rehabilitation research event >>> ACRM Annual Conference #ACRM2023
• 35+ PM&R focus areas
• All digital posters — on BIG TVs
• No more hassles of paper posters
• Submit from anywhere in the world; you don’t need to be there in person.
• Amplify your work
• GET PUBLISHED: Accepted poster proposals are published in the ARCHIVES of PM&R.
• The best posters qualify for awards
• And the opportunity to present in front of the whole ACRM community as a Poster Spotlight
WORLDWIDE REACH
AMPLIFY YOUR WORK
ELEVATE & AMPLIFY
UP-LEVEL your work, your career
TAKE YOUR RESEARCH FURTHER
_________________
Every Fall, ACRM holds the largest interdisciplinary rehabilitation research event every: the ACRM Annual Conference :: Progress in Rehabilitation Research :: Translation to Clinical Practice :: ACRMconference.org
For information on exhibiting, sponsoring, and advertising opportunities please contact sales@ACRM.org or phone +1.703.435.5335 or use this form ACRM.org/salesform.
~~~~~~~~~~~~~~~~
For the LOVE of rehabilitation research BE HERE
At #ACRM, all members of the rehabilitation team are warmly welcomed in the spirit of helping to IMPROVE LIVES
~~~~~~~~~~~~~~~~
ACRM: American Congress of Rehabilitation Medicine: Improving lives through interdisciplinary rehabilitation research
JOIN Us. Be MOVED.
DISCOVER ACRM Member Benefits
SIGN-UP & receive FREE ACRM eNews: ACRM.org/enews
GET ACTIVE in ACRM & receive the ARCHIVES of PM&R: ACRM.org/join
(badge)
We've published a new article on our site,
here's an excerpt: Some of us love light weight knives but are shy to admit it because others promote heavy knives so greatly. Most lightweight kitchen knives are stamped blades, except for the Japanese Shun knives.
You know how people go on and on about the quality of forged knives and Japanese construction which...
applianceauthority.org/kitchen-knife-sets/mac-kitchen-kni...
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
Esattamente 70 anni fa, il 27 novembre 1942 a Seattle, nasceva uno dei più grandi autori e musicisti contemporanei, Jimi Hendrix. Precursore di molte strutture e del sound di quelle che sarebbero state le future evoluzioni del rock attraverso un'inedita fusione di blues, rhythm and blues, soul, hard rock, psichedelia e funky, Jimi Hendrix, durante la sua parabola artistica, tanto breve quanto intensa, aveva già lasciato intravvedere un eclettismo e una versatilità molto più ampia di quanto testimoniano i suoi lavori.
Figli dello stesso atteggiamento artistico, mostrando rara versatilità e capacità strumentale e permettendosi di shakerare suoni e generi musicali come classico, rock, jazz, punk, reggae, funky, blues, i Quintorigo, dopo il bellissimo omaggio a Charles Mingus, presentato in tantissimi concerti e nei principali festival italiani con numerosi riconoscimenti (Top Jazz in primis), non potevano esimersi dal compiere un sentito ed originale tributo al genio dell’artista statunitense.
Quintorigo Experience è il titolo dell’album che tramite licenza Emi verrà pubblicato a maggio, nel quale la band romagnola con la riconosciuta e innegabile bravura nel manipolare gli arrangiamenti, assecondandoli alla propria originale formazione, affronta dodici capitoli del fantastico repertorio di Jimi Hendrix, coinvolgendo sull’album importanti guest come vocalist, quali Eric Mingus (figlio del grande mito Charles Mingus), Vincenzo Vasi (noto collaboratore e musicista di Vinicio Capossela), Maria Pia De Vito (già dal vivo con Quintorigo in molte date del tributo a Mingus) e Luca Sapio (vocalist dell’ultimo album in studio ‘English Garden’ e frontman della relativa tournée).
Andrea Costa - violino
Gionata Costa - violoncello
Stefano Ricci - contrabbasso
Valentino Bianchi - sassofoni
Moris Pradella - voce
Batman The animated series and Batgirl anniversaries published in the San Diego Comic-Con Souvenir book 2017!
The Postcard
A postally unused postcard bearing no publisher's name that was published prior to June 1918. The card, which has a divided back, was printed in Germany.
Rotten Row
Rotten Row (to the right of the picture) is a broad track running along the south side of Hyde Park in London.
Rotten Row was established by William III, who created the broad avenue and lit it with 300 oil lamps in 1690 - the first artificially lit highway in the UK.
Rotten Row is a common street name in towns and villages in England and Scotland. It describes a place where there was once a row of tumbledown cottages infested with rats (raton), and goes back at least to the 14th. century.
In the 18th. century and onward, Rotten Row became a popular meeting place for upper-class Londoners. Particularly on weekend evenings and at midday, people would dress in their finest clothes in order to ride on horseback along the Row and be seen by others.
The adjacent South Carriage Drive (on the left in the photograph) was used by society people in carriages for the same purpose.
Rotten Row is still maintained as a bridleway to ride horses in the centre of London, but it is little used - there are few horses in central London, although the Household Cavalry, stabled nearby at Hyde Park Barracks in Knightsbridge, exercise their horses there.
The IRA Car Bomb
A sad day in the Regiment's history was the 20th. July 1982, when the IRA set off a car bomb by remote control as The Queen's Life Guard were passing. Four men and seven horses were killed.
To this day, each time the The Queen's Life Guard pass where the bomb was detonated, they bring their swords down from the "slope" to the "carry", coupled with an "eyes right" or "eyes left" as an ongoing tribute.
Official images of the new 21103 Back to the Future Time Machine set have been published. What do you think about them?
Link To Article: www.groovebricks.com/lego-21103-back-to-the-future-time-m...
-_-_-_-_-_-_-_-Groove Bricks-_-_-_-_-_-_-_-
Website: www.groovebricks.com
Twitter: www.twitter.com/#!/groovebricks
Flickr: www.flickr.com/photos/groovebricks/
YouTube: www.youtube.com/user/groovebricks
Facebook: www.facebook.com/pages/Groove-Bricks/391878220866206
Very pleased to see my Snowy owl place in the top 10 in Sigma’s Amateur Photographer of the Year ‘Mono Culture’ contest.
My first published work!! Something of a milestone for me, and I am proud as can be. Appreciate it may be small fry just now, but it gives me the confidence to go from here.
This image above is a screenshot of my image on their website, and it has been clicked on showing a credit for me.
Big Ant TV Media LLC ©
Published Pro Freelance Photographer
PAID SHOOTS ARE 1st PRIORITY
(PORTFOLIO BUILDING” SHOOTS ARE 2ND)
“PLEASE INQUIRE WITHIN”
#fffweek #sbfw #nyfw #stylefw
#fashionphotographer
#canon5DMarkIV
#UrbanModeling
#plussizemodeling
#sportsphotographers
#BigAntTVMedia #editorialphotographers
#NYCPhotographers #BiggsthePhotographer
#lens4fashion #biganttvproductions #m76photo
2018 Mermaid Parade
Saturday June 16th 2018
Coney Island, Brooklyn (NY)
© 2018 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Photo published with permission from Alvin Johnson [www.facebook.com/AlvinJohnsonPhotography]. All rights reserved.
Recently published image on pages 16-17 of the Oregon Hunter's association...I am humbled and blessed again! This magazine is currently available on the shelves of many Oregon stores
This photograph was published in the Illustrated Chronicle on the 17th of July 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 and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
vans trip to austria, slovenia and croatia. published in Thrasher Skateboarding Magazine March, 2010
This photograph was published in the Illustrated Chronicle on the 20th of July 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 and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
Bunion cartoons created by George Martin were published in my local newspaper The Leicester Mercury.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Alessandro Mannarino ritorna con la sua scrittura evocativa e quel sound trascinante che lo ha reso uno dei cantautori più apprezzati della scena: al Fabrique di Milano il 4 aprile.
Dopo il successo di "Corde 2015", lo spettacolo itinerante con cui il cantautore ha chiuso la stagione live del suo album precedente, è il momento di un nuovo viaggio, quello di Apriti Cielo Tour che vedrà Mannarino esibirsi nelle principali città italiane.
Continua l’incredibile successo di Mannarino sia per concerne il piano discografico, sia per quanto riguarda la dimensione live dove il cantautore ha debuttato il 25 marzo con un doppio sold out da 15.000 persone al PalaLottomatica di Roma in uno spettacolo con 12 musicisti e oltre 30 strumenti provenienti da tutto il mondo.
Sul palco Mannarino propone sia brani diventati ormai classici che lo hanno consacrato come uno dei più amati e apprezzati cantautori italiani, sia le canzoni del nuovo album.
Per l’Apriti Cielo Tour, Mannarino è accompagnato dalla sua carovana di musicisti e polistrumentisti, a cui si aggiungono per l’occasione nomi di grande prestigio. Sul palco l’elemento trainante sono percussioni e batteria. Le prime suonate dal brasiliano Mauro Refosco, conosciuto per essere il percussionista dei Red Hot Chili Peppers e della band Forrò in the dark, per aver suonato con David Byrne e Brian Eno e per essere parte del supergruppo Atoms for Peace (composto da Thom Yorke dei Radiohead, Flea dei Red Hot Chili Peppers, Nigel Godrich, Joey Waronker).
Alla batteria uno dei più apprezzati musicisti italiani, Puccio Panettieri, che vanta collaborazioni con i più importanti artisti italiani.
Alle chitarre ci sono Giovanni Risitano e Alessandro Chimenti che accompagna Mannarino dal 2009 e che anche in questa occasione suona anche guitalele, banjio, chitarra portoghese e ronroco; alla chitarra classica, cavaquinho e sitar Paolo Ceccarelli. Al basso e contrabbasso un altro elemento storico della band, Niccolò Pagani. Alle tastiere e alla fisarmonica Mauro Menegazzi. Ai fiati Renato Vecchio e Antonino Vitali che suoneranno sax, tromba, flauto traverso e flicorno, ma anche flauti indiani, shalumeau e duduk armeno.
Ai cori le siciliane Azzurra, Ylenia e Simona Sciacca. Simona Sciacca ha iniziato la sua collaborazione con Mannarino incidendo con lui il brano La strega e il diamante, nell’album Il bar della rabbia. Ylenia Sciacca è la voce femminile del brano Le Rane contenuto in Apriti Cielo.
This photograph was published in the Illustrated Chronicle August 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 and information to add please comment below.