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Article published by Bay Area Citizen online on 4/25/16 following the time capsule event on 4/20/16.
Corrections: Harris County archivist Sarah Canby-Jackson helped with the removal of the items onsite, UHCL archivist Lauren Meyers worked with the items after the event to salvage them. Also, Jim Johnson did not work at Freeman Library in 2009; someone in the community reminded generally (not Johnson) that the capsule was there.
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a lively and entertaining tale, magic heroine, interesting to read about the scenes around Baghdad at the time.
186/365 2018
They Came to Baghdad is an adventure novel by Agatha Christie, first published in the United Kingdom by the Collins Crime Club on 5 March 1951 and in the United States by Dodd, Mead and Company later in the same year. The UK edition retailed at eight shillings and sixpence (8/6) and the US edition at $2.50.
The book was inspired by Christie's own trips to Baghdad with her second husband, archaeologist Sir Max Mallowan, and is also one of few Christie novels belonging to the action and spy fiction genres, rather than to mysteries and whodunnits.
Wikipedia
Baghdad in the 50s
Size 49x49in. w/ 7in sqs. Using Espresso and Sunflower fr 100 Afghans to Knit & Crochet. For the book go to amazon.com and search for Jean Leinhauser and Rita Weiss.
Dear DIY, Art and Crafts Lover, Enjoy a creative and wonderful origami windmill making instructions with Colors Paper. The channel will publish some awesome DIY Windmill making tutorial regularly and others DIY, Art and Crafts Ideas. So please SUBSCRIBE the channel. SUBSCRIBE: www.youtube.com/ColorsPaper Rainbow Windmill making instruction is very easy for beginners (Kids and All). You can use Envelopes for personal or official. If you learn how to make paper windmill for kids and all then you have to follow the instruction step by step. Let's enjoy the video... Thanks. ✔ Material required: ☑ Sixteen pieces 7cm x 7cm square paper eight colors ☑ One piece A4 size paper ☑ One piece 7cm x 2cm paper ☑ Decorative Pearl and ☑ Crafts Pin ✔ Tools required: ☑ Glue How to make a Paper Windmill for Kids - Windmill making Tutorial (Pinwheel) youtu.be/5AK3fKEafCg How to make a Paper Windmill - DIY Pinwheel making tutorial for Kids youtu.be/CteqPNXrJG4 ★ FOLLOW US ON SOCIAL MEDIA ★ Google Plus _ ift.tt/2wi4gDV Facebook _ ift.tt/2gWbDaD Twitter _ twitter.com/ColorsPaper 🎼 Music From: www.youtube.com/audiolibrary/music Carefree by Kevin MacLeod is licensed under a Creative Commons Attribution license (ift.tt/1bFo3O7) Source: ift.tt/1sZnE0L Artist: incompetech.com/
This photograph was published in the Illustrated Chronicle on the 24/08/1917.
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 recognize anyone in the images and have any stories and information to add please comment below.
Photos from the Publish and Be Damned self-publishing fair held at the ICA on Saturday 17 March 2012.
Photo: Lucy Pawlak
The Postcard
A postally unused carte postale published by Ern. Thill of Brussels.
Ypres
Ypres is a Belgian municipality in the province of West Flanders. Though the Dutch Leper is the official name, the city's French name Ypres is most commonly used in English.
During the First World War, Ypres (or 'Wipers' as it was commonly known by the British troops) was the centre of the Battles of Ypres between German and Allied forces.
The famous Cloth Hall was built in the 13th century. At this time cats, then the symbol of the devil and witchcraft, were thrown from the Cloth Hall in the belief that this would get rid of demons. Today, this act is commemorated with a triennial Cat Parade through the town.
-- Ypres in the Great War
Ypres occupied a strategic position because it stood in the path of Germany's planned sweep across the rest of Belgium and into France from the north (the Schlieffen Plan).
The neutrality of Belgium, established by the First Treaty of London, was guaranteed by Britain; Germany's invasion of Belgium brought the British Empire into the war. The German army surrounded the city on three sides, bombarding it throughout much of the war. To counterattack, British, French, and allied forces made costly advances from the Ypres Salient into the German lines on the surrounding hills.
-- The First Battle of Ypres
In the First Battle of Ypres (19th. October to 22nd. November 1914), the Allies captured the town from the Germans. The Germans had used tear gas at the Battle of Bolimov on the 3rd. January 1915.
-- The Second Battle of Ypres
The Germans' use of poison gas for the first time on the 22nd. April 1915 marked the beginning of the Second Battle of Ypres, which continued until the 25th. May 1915.
They captured high ground east of the town. The first gas attack used chlorine. Mustard gas, also called Yperite from the name of the town, was also used for the first time near Ypres, in the autumn of 1917.
Vera Brittain was an English Voluntary Aid Detachment nurse, writer, feminist and pacifist who made the following observation in her 1933 memoir, 'Testament of Youth':
“I wish those people who talk about going
on with this war whatever it costs could see
the soldiers suffering from mustard gas
poisoning.
Great mustard-coloured blisters, blind eyes,
all sticky and stuck together, always fighting
for breath, with voices a mere whisper, saying
that their throats are closing, and they know
they will choke.”
-- The Third Battle of Ypres
Of the battles, the largest, best-known, and most costly in human suffering was the Third Battle of Ypres (31st. July to 6th. November 1917, also known as the Battle of Passchendaele), in which the British, Canadian, ANZAC, and French forces recaptured the Passchendaele Ridge east of the city at a terrible cost of lives.
After months of fighting, this battle resulted in nearly half a million casualties to all sides, and only a few miles of ground won by Allied forces. During the course of the battle Ypres was all but obliterated by artillery fire.
-- Lieutenant-Colonel Beckles Willson
In 1920 Lieutenant-Colonel Beckles Willson wrote:
'There is not a single half-acre in Ypres
that is not sacred.
There is not a single stone which has not
sheltered scores of loyal young hearts,
whose one impulse and desire was to fight
and, if need be, to die for England.
Their blood has drenched its cloisters and
its cellars, but if never a drop had been spilt,
if never a life had been lost in defence of
Ypres, still would Ypres have been hallowed,
if only for the hopes and the courage it has
inspired and the scenes of valour and sacrifice
it has witnessed'.
-- Ypres Today
After the Great War the town was extensively rebuilt using money paid by Germany in reparations, with the main square, including the Cloth Hall and town hall, being rebuilt as close to the original designs as possible (the rest of the rebuilt town is more modern in appearance).
The Cloth Hall today is home to the 'In Flanders Fields Museum', dedicated to Ypres's role in the First World War and named after the 'Poppy' poem by John McCrae.
Ypres these days has the title of 'City of Peace' and maintains a close friendship with another town on which war had a profound impact: Hiroshima. Both towns witnessed warfare at its worst: Ypres was one of the first places where chemical warfare was employed, while Hiroshima suffered the debut of nuclear warfare.
Ypres hosts the international campaign secretariat of Mayors for Peace, an international Mayoral organisation mobilising cities and citizens worldwide to abolish and eliminate nuclear weapons by the year 2020. It didn't happen.
Lila Downs
Town Hall, New York City
April 19th, 2014
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Photograph published 5th September 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 recognize anyone in the images and have any stories and information to add please comment below.
Photo published 14/10/18
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 recognize anyone in the images and have any stories and information to add please comment below.
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this page without written permission and consent.
-----------------------------
Il party-rock fa ballare il Forum di Assago
Il 7 maggio gli Lmfao tornano a Milano, dove fa tappa il loro Tour europeo: il duo party rock si esibisce al Mediolanum Forum di Assago per uno show travolgente. Reduci dal successo planetario per il secondo album Sorry for Party Rocking (2011) e per la hit Party Rock Anthem, i rapper Redfoo e Sky Blu tornano in tour, pronti a scatenare il pubblico con pezzi electro come Sexy and I know it e Champagne Showers. Gli Lmfao si sono formati a Los Angeles nel 2006 e hanno all'attivo due album. Il loro esordio sulla scena musciale è avvenuto con il disco Party Rock nel 2009.
Apre il concerto, alle ore 20.00, la cantante inglese Estelle.
Sul palco del Forum ci sarà solo Redfoo: Sky Blue è ancora in convalescenza per un intervento.
One of my photos of Coldplay performing at Dingwalls for BBC Radio 2 In Concert is currently being used on the iPlayer
Published 27/10/1917.
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.
Photograph published 9th April 1918.
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 recognize anyone in the images and have any stories and information to add please comment below.
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I was approached online by them with a request to use a specific photo, and they did a pretty good job of it, too. No pay, but then i wasn't concerned about that, just my name and some copies - which arrived today! Thanks Where Maps!
The originally flickr-posted photo is here.
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-----------------------------
Appuntamento domenica 10 giugno al Mediolanum Forum di Assago con The Script, per la prima delle due tappe italiane del loro tour mondiale che ha già fatto registrare sold out da un capo all’altro del mondo. Milano è la prima tappa italiana dell’European Freedom Child tour, mentre la seconda ed ultima è al Gran Teatro Geox di Padova.
Inizialmente previsti per il 9 e 11 marzo, i live nel nostro paese erano stati rimandati a causa di una bronchite che aveva colpito il frontman della band Danny O’Donoghue.
Ad aprire lo show al Forum, e quello al Gran Teatro Geox di Padova in programma per lunedì 11 giugno, saranno i Seawards, il duo italiano composto da Giulia Granger Benvenuto e Francesco Proglio De Maria.
In scaletta non mancheranno le grandi hit della band come “Hall of Fame”, “For the First Time”, “Breakeven” o “The man who can’t be moved”, ma i live saranno anche l’occasione per presentare dal vivo al pubblico italiano i brani di “Freedom Child” – quinto album in studio della band e quarto a raggiungere il primo posto nella classifica UK – che è stato lanciato proprio dal singolo “Rain”, entrato prepotentemente nelle classifiche radiofoniche e nella Top 10 di iTunes in oltre 47 Paesi.
Il disco, pubblicato a settembre 2017, arriva a distanza di 3 anni dall’ultimo lavoro discografico: un periodo di crescita che ha portato la band ad esplorare nuovi territori sonori e ad affrontare nelle 14 tracce dell’album i cambiamenti – da quelli musicali a quelli culturali e politici – del nostro tempo.
Le 14 tracce del disco raccontano di storie di vita reale nello stile che da sempre caratterizza la band irlandese, ma che in questo lavoro esplora anche nuovi territori sonori. Per la prima volta, il trio formato da Danny O’Donoghue (voce, piano), Mark Sheehan (voce, chitarra) e Glen Power (voce, batteria), ha scelto di collaborare con autori e producer esterni, tutti di prim’ordine, tra cui Toby Gad (Beyoncé, Fergie, John Legend, Demi Lovato, ecc.) e Nasri Atweh (Justin Bieber, David Guetta, Shakira, Cristina Aguilera e tanti altri). Il disco ha raggiunto la vetta delle classifiche di vendita nel Regno Unito, su iTunes ha conquistato la posizione #1 in Irlanda e in altri 13 paesi, e la top ten in ben 47. Il videoclip ufficiale di “Rain” conta più di 30.000.000 di visualizzazioni su YouTube. Più di 29 milioni di dischi venduti su scala internazionale, 3 album multi-platino (ognuno dei quali ha raggiunto il primo posto delle classifiche nel Regno Unito) e 4 singoli certificati platino negli Stati Uniti, i The Script sono una delle band di maggior successo al mondo. Sono anche una delle band più attive dal punto di vista live con oltre 1,4 milioni di biglietti venduti nel corso di oltre 200 concerti. Il live nel leggendario Croke Park Stadium nella “loro” Dublino, ha fatto registrare il sold-out in pochi minuti.
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© ALLAN PLATT 2012, 2017
Marina And The Diamonds
Friday, June 5th, 2015
Bowery Presents
Webster Hall, NYC
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I forgot to upload this earlier, but here it is. From the March 2007 Photo Life magazine.
Here's the original picture.
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The Postcard
A postally unused postcard that was published by Hinode-Shoko of Seoul. The card has a divided back.
Itinerant vendors in Korea in the early part of the 20th. century generally used to transport their wares on large wooden frames carried on their back.
The man's burden of poultry would have been heavy.
The Korean Gat
The man in the photograph is wearing the traditional Korean gat (Korean: Hunminjeongeum 갓)
A gat is a traditional hat worn by men along with hanbok (Korean traditional clothing) during the Joseon period. It is made from bamboo or horsehair with a bamboo frame, and is partly transparent.
Most gats are cylindrical in shape with a wide brim on a bamboo frame. Before the late 19th. century, only noble class men could wear gat, which represented their social status and protected their topknots.
Robert Neff of the Korean Times has written the following about Korean male headware:
'One of the most important articles of clothing for Koreans in the late 19th. century was the hat. The elderly man with his majestic black horse hair hat, often seen in pictures, is the iconic image of Korean male society during the Joseon Dynasty (1392 - 1910).
According to Percival Lowell, an American who stayed in Seoul in the winter of 1883-84:
"No Korean can in decency appear
without it [hat], except only to make
room for some other hat."
It was a sign of manhood, "the most essential of attributes," and a badge of one's position in Korean society.
Lowell seemed amused with the difference between Korean and American culture. In the United States it was considered poor manners to wear a hat indoors, and one would rarely remove one's shoes, but the opposite was true in Korea:
"A man would part with any or all of
his clothing sooner than take off his
hat. On entering a house, he leaves
his shoes outside to await his return,
but he and his hat go in together.
As he sits down to eat, he divests
himself of his outer garments that he
may eat with greater freedom, but his
hat stays on; and so it sticks to him
through life ― a permanent black halo."
There were many types of hats. The iconic hat, the gat, was made from horse hair and bamboo and was black and somewhat transparent.
It had a fairly wide brim that in the past, according to popular legend, was much wider as a means of preventing unrest. Because of its wide brim, conspirators were kept apart, and were unable to whisper their plans to one another.
There was also a large mourning hat made from bamboo. It was designed to hide the face of mourners from others they might encounter on the streets. It was considered a grievous breach of etiquette to look into the face of the mourner.
Early French missionaries used the mourning hat to disguise themselves as they traveled the Korean peninsula before the 1880's. They were able to move about in relative secrecy for no one would attempt to communicate with a mourner.
Court officials' hats had slightly bent-forward ear-shaped horizontal wings. It was said they symbolized the wearer's attentiveness and willingness to "catch every word of command that the King may utter."
As Korea entered the 20th. century, there were many reforms forced on the population. Some were readily accepted and appreciated, but others, especially those that dealt with hair styles and hats, were vehemently opposed.
"A man is much more firmly bound to
his hat than he is attached to his wife.
He may put away the latter; without
the hat, life becomes a hollow mockery,
for the hat makes the man. Without it
he remains forever a boy."
Hats remained a part of male culture throughout the first half of the 20th. century, but have since disappeared. The only exceptions are those worn by elderly males in the Jongno area, or the bright colorful caps that young teens and adults wear while out with their friends. The "permanent black halo" is no more.'
How Japan Took Control of Korea
Erin Blakemore has written the following for history.com in 2018, and updated it in 2023:
In 1910, Korea was annexed by the Empire of Japan after years of war, intimidation and political machinations; the country would be considered a part of Japan until 1945. In order to establish control over its new protectorate, the Empire of Japan waged an all-out war on Korean culture.
Schools and universities forbade speaking Korean, and emphasized manual labor and loyalty to the Emperor. Public places adopted Japanese, too, and an edict to make films in Japanese soon followed.
Topographical and other postcards of Korea were published with descriptions in Japanese text.
It also became a crime to teach history from non-approved texts, and authorities burned over 200,000 Korean historical documents, essentially wiping out the historical memory of Korea.
During the occupation, Japan took over Korea’s labor and land. Nearly 100,000 Japanese families settled in Korea with the land they had been given; they chopped down trees by the million and planted non-native species, transforming a familiar landscape into something many Koreans didn’t recognize.
Nearly 725,000 Korean workers were made to work in Japan and its other colonies, and as World War II loomed, Japan forced hundreds of thousands of Korean women into life as “comfort women”—sexual slaves who served in military brothels.
Korea’s people weren’t the only thing that was plundered during Japan’s colonization—its cultural symbols were considered fair game, too. One of the most powerful symbols of Korean sovereignty and independence was its royal palace, Gyeongbokgung, which was built in Seoul in 1395 by the mighty Joseon dynasty.
Soon after assuming power, the Japanese colonial government tore down over a third of the complex’s historic buildings, and the remaining structures were turned into tourist attractions for Japanese visitors.
As historian Heejung Kang notes, the imperial government also attempted to preserve treasures of Korean art history and culture—but then used them to uphold imperial Japan’s image of itself as a civilizing and modern force.
This view of Korea as backward and primitive compared to Japan made it into textbooks, museums and even Koreans’ own perceptions of themselves.
The occupation government also worked to assimilate Koreans with the help of language, religion and education. Shinto shrines originally intended for Japanese families became places of forced worship.
Historian Donald N. Clark explains:
"The colonial government made Koreans
worship the gods of imperial Japan,
including dead emperors and the spirits
of war heroes who had helped them
conquer Korea earlier in the century.”
This forced worship was viewed as an act of cultural genocide by many Koreans, but for the colonists, it was seen as evidence that Koreans and Japanese were a single, unified people.
Though some families got around the Shinto edict by simply visiting the shrines and not praying there, others grudgingly adopted the new religious practices out of fear.
By the end of its occupation of Korea, Japan had even waged war on people’s family names. At first, the colonial government made it illegal for people to adopt Japanese-style names, ostensibly to prevent confusion in family registries.
But in 1939, the government made changing names an official policy. Under the law, Korean families were “graciously allowed” to choose Japanese surnames.
At least 84 percent of all Koreans took on the names since people who lacked Japanese names were not recognized by the colonial bureaucracy, and were shut out of everything from mail delivery to ration cards. Historian Hildi Kang writes:
“The whole point was for the government
to be able to say that the people had
changed their names ‘voluntarily.’”
The Plundering of Korea by Japan
(a) Historic Korean Artifacts
Koreans accuse the Japanese of plundering hundreds of thousands of ancient Korean artifacts, mostly during their 36-year occupation of the peninsula. Most Japanese consider the issue a dead one, resolved by the 1965 Japan-Korea Treaty, which led to the return of some 1,400 items.
However the treaty was not definitive, as it neglected artifacts in Japanese private collections, as well as those originating in North Korea.
The size of the haul is astounding. Eighty percent of all Korean Buddhist paintings are believed to be in Japan. And, says Seoul art historian Kwon Cheeyun:
"35,000 Korean art objects and
30,000 rare books have been
confirmed to be there, too."
However that is only the tip of the iceberg: vastly more is believed to be hidden away in private collections.
Determining legal ownership is far more difficult than with the art looted by the Nazis. Toshiyuki Kono, a law professor at Kyushu University. states:
"It's almost impossible to trace the
provenance of centuries-old artifacts."
Besides, the Japanese annexation was internationally recognized in 1910, meaning that relocating Korean artifacts within "Japanese territory" was lawful at the time.
To Korea's annoyance, Japan holds many items of particular value. More than 1,000 bronze, gold and celadon pieces owned by the late businessman Takenosuke Ogura now make up the core of the Tokyo National Museum's Korean section.
A lot of precious Korean artifacts are now owned by private Japanese citizens or organizations, which means that the Japanese government can’t just acquire them and hand them back to Korea. So, unless the Korean government offers to actually spend millions of dollars to buy back the artifacts, it is unlikely they will ever be returned.
As well as removing cultural artifacts to Japan, the Japanese also burned countless Korean government buildings and palaces.
(b) Natural Resources
The Japanese also removed vast amounts of Korea's natural resources, including lumber, rice, coal, iron ore and many other minerals.
The land itself was also appropriated by the Japanese; by 1910 an estimated 8% of all arable land in Korea had come under Japanese control. This ratio increased steadily, and by 1932, the ratio of Japanese land ownership had grown to 53%.
Japanese landlords included both individuals and corporations. Many former Korean landowners became tenant farmers, having lost their entitlements almost overnight because they could not pay for the land reclamation and irrigation improvements forced upon them. As often occurred in Japan itself, tenants had to pay over half their crop in rent.
2018 Mermaid Parade
Saturday June 16th 2018
Coney Island, Brooklyn (NY)
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Michelangelo di Lodovico Buonarroti Simoni; 6 March 1475 – 18 February 1564), known simply as Michelangelo, was an Italian sculptor, painter, architect and poet of the High Renaissance. Born in the Republic of Florence, his work had a major influence on the development of Western art, particularly in relation to the Renaissance notions of humanism and naturalism. He is often considered a contender for the title of the archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. Given the sheer volume of surviving correspondence, sketches, and reminiscences, Michelangelo is one of the best-documented artists of the 16th century and several scholars have described Michelangelo as the most accomplished artist of his era.
He sculpted two of his best-known works, the Pietà and David, before the age of thirty. Despite holding a low opinion of painting, he also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. His design of the Laurentian Library pioneered Mannerist architecture. At the age of 71, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. He transformed the plan so that the western end was finished to his design, as was the dome, with some modification, after his death.
Michelangelo was the first Western artist whose biography was published while he was alive. In fact, two biographies were published during his lifetime. One of them, by Giorgio Vasari, proposed that Michelangelo's work transcended that of any artist living or dead, and was "supreme in not one art alone but in all three."
In his lifetime, Michelangelo was often called Il Divino ("the divine one"). His contemporaries often admired his terribilità his ability to instill a sense of awe in viewers of his art. Attempts by subsequent artists to imitate Michelangelo's impassioned, highly personal style contributed to the rise of Mannerism, a short-lived style and period in Western art following the High Renaissance.
Second time in a row! Competition category this time is "Creative Landscapes". Didn't win the last one so I'm just gonna have to keep going until I do manage to win one of those memory cards! Let's do this!
I've got a photo published in the Winter 2008 / 5th anniversary issue of FDQ!
(It's on page 82, if anyone who has the issue is interested. XD)
Thanks M! :)
Local new paper (Pioneer Press) printed a photo of mine on the front page this morning. Check out the original photo here.