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I gotta say .. I love the style of UglyFly and am really stoked that my photos have been featured in the header twice now! www.uglyfly.ro/
My second Surigao picture published in the May 2009 issue of Smile Magazine, the in-flight
publication of Cebu Pacific Airlines. The first pic saw print in the magazine's April issue.
Here's the May online issue, with the Surigao image on page 97:
www.ink-live.com/smile/2009/may/
Keep clicking my friends! Have a splendid weekend!
a'driane nieves: A Time for Furious Dancing
September 5, 2025 - January 4, 2026
Past Exhibition
A Time for Furious Dancing includes new and recent work by a’driane nieves, a self-taught, interdisciplinary artist whose practice explores the interior landscape of the self. Born in 1982 in San Antonio, Texas, nieves investigates the physical, epigenetic, psychological, and emotional effects of trauma—ancestral, inherited, historical, and personal—on identity and behavior. Drawing deeply from memory and emotion, her abstract compositions serve as a vessel for confronting pain and reclaiming joy, offering viewers an intimate visual language of transformation. The exhibition’s title is inspired by Hard Times Require Furious Dancing, a collection of poems by Alice Walker, published in 2010. The book explores themes of joy, sorrow, love, loss, and resilience in the face of personal and global challenges. A Time for Furious Dancing marks the artist’s first solo museum exhibition in the United States.
a'driane nieves (b. 1982, San Antonio, Texas) is a visual artist and writer whose interdisciplinary practice explores the interior landscapes of the self. A self-taught painter, she began painting in 2011 as a form of art therapy during recovery from postpartum depression and a bipolar disorder diagnosis. What started as personal healing evolved into a deeper investigation of emotional suppression and memory.
Influenced by artists such as Joan Mitchell, Cy Twombly, Alma Thomas, and Mary Lovelace O’Neal, nieves works with painting, writing, soft sculpture, and text-based media. Her abstract expressionist approach embraces vulnerability, healing, and nonlinear narratives. Text often appears in her work as fragments—sometimes legible and obscured—reflecting the complexity of self-expression.
As a Black, queer, neurodivergent woman, nieves uses her practice to assert her presence and agency, creating space for others to do the same. She is also the founder of an arts nonprofit and magazine focused on creative access and community building.
Her work has been exhibited internationally at venues including Consortium Museum (France), Art Basel (Switzerland, Hong Kong, Miami), Frieze (London, Seoul), Galerie Marguo (Paris), Various Small Fires (Los Angeles), Standing Pine Gallery (Tokyo), and BODE Projects (Berlin). Her work is also held in collections across North America, Europe, and Asia.
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The Harvey B. Gantt Center for African-American Arts + Culture, Charlotte NC - December 27, 2025
Located in the heart of Uptown Charlotte at Levine Center for the Arts, the Gantt is the epicenter for the best in visual, performing and literary arts reflecting the African diaspora.
www.ganttcenter.org/visit-the-gantt/
Sometimes standing up for what’s right means having the courage to blaze your own trail.
Harvey Bernard Gantt grew up in the 1940s and 50s in then-segregated Charleston, South Carolina. As the oldest child of Wilhelmina and Christopher Gantt, he often attended NAACP meetings with his father. It was there, and at the family dinner table with his four sisters, that he began to appreciate the importance of advocacy and the injustice of racial discrimination.
After graduating second in his class from Burke High School in 1960, Gantt left home to study architecture at Iowa State University. In January 1963, after a legal battle that escalated to the U.S. 4th Circuit Court of Appeals, Gantt became the first African-American student accepted at Clemson University. In September 1963, Lucinda Brawley became the first African-American woman to be admitted to Clemson and in October 1964 married Harvey. Harvey Gantt graduated with honors from Clemson in 1965, earning a Bachelor’s degree in Architecture and later a Master of City Planning from Massachusetts Institute of Technology (MIT).
He moved to Charlotte after graduating from MIT, and, in 1971, co-founded Gantt Huberman Architects. A pioneer in blending urban planning with the practice of architecture, Gantt Huberman employed a diverse group of professionals who were charged with designing buildings that encourage community. As a result, the firm has developed some of the city’s most iconic landmarks, including the Charlotte Transportation Center, TransAmerica Square, ImaginOn, Friendship Missionary Baptist Church, and the Johnson C. Smith University Science Center.
While significant, Gantt’s impact on the city extends beyond improving the built environment. He joined Charlotte City Council in 1974 and again broke barriers when he was elected Charlotte’s first African-American mayor in 1983. Remaining in office for two terms, Gantt stood shoulder-to-shoulder with other Charlotte leaders committed to establishing a New South City.
SouthBound Extra: A Preview Of Harvey Gantt Interview
Gantt continues to advocate for equity and equal rights and is often tapped to serve on civic, cultural, and business boards, and to lead philanthropic efforts and community initiatives. In 2009, the former Afro-American Cultural Center opened its doors to a new, award-winning facility and was renamed the Harvey B. Gantt Center for African-American Arts + Culture in honor of Harvey B. Gantt, an American trailblazer.
Naming The Center
When it was first proposed that this building be named after me, I hesitated. Being a man of tradition, I always felt it was more appropriate to name a building or street for someone after their passing, as a way to honor their work. Admittedly, it took some convincing by Board Chair Earl Leake and others. After much processing and discussion with my wife, Cindy, the prevailing factor that led me to say "yes" was that it was for the sake of posterity. I envisioned walking into the building with my grandchildren and had thoughts of others doing the same with future generations. I saw them talking about the sacrifices of many who made Charlotte great, and the enormous history and accomplishments of the African American community. And I remembered my parents and others who served as inspirations to me. I am forever grateful to them for being the driving force and motivation in my life.
I thought about the enormous history of the residents of the historic Second Ward community of "Brooklyn," where the Gantt Center now stands. I hope that those who have already "crossed over" can smile and feel proud knowing that we have not forgotten their sacrifices; how they nurtured, pushed and prodded young minds to strive for excellence. We are forever grateful to them. Brooklyn residents often referred to the old Myers School as the "Jacob's Ladder School." Its skyward stairway was a visible reminder of the importance of aspiring to greater things and a good education. Not just teachers, but an entire community rallied behind the youth, molding bright minds.
That's why I agreed to the naming of the building, and that's why I want you to join me in celebrating our history and the dawning of a new day for all of us. Charlotte is a great community and the Carolinas are a great region. I call this home because the city and community represent all that is symbolic to steadfastness and a "can do" attitude. While our nation and world still struggle with acknowledging and appreciating our differences, the Gantt Center can serve as a vehicle for people to come celebrate African American art, history and culture. Residents and visiting friends alike will have numerous opportunities to enjoy all aspects of Levine Center for the Arts. The Gantt Center will serve as one of the entry points to experience the arts, sporting events and many other amenities that Charlotte has to offer. Thank you for your interest in and support of the Harvey B. Gantt Center for African American Arts + Culture. May this edifice always stand as a symbol that this community and nation are places where we all "belong".
By Harvey B. Gantt
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Gli Editors di Tom Smith Tornano al Fabrique di Milano giovedì 20 ottobre 2022 con due novità: un nuovo album e un nuovo membro. Infatti l’osservato speciale è innanzitutto il tastierista Blanck Mass, all’anagrafe Benjamin John Power, nuovo pilastro della band inglese, appena tornata sul mercato con “EBM”, ottavo capitolo di una discografia varata nel 2005. A parlarne è il batterista Edward “Ed” Lay. “Benjamin ha una personalità contagiosa e un modo di porsi davanti alle cose semplicemente travolgente” dice. “Averlo con noi sul palco non solo ci permette di sfruttare appieno lo spettro sonoro delle nuove canzoni, ma anche rinvigorire quelle che suoniamo ormai da 15-20 anni”.
Gli Editors non sono mai rimasti fermi a livello creativo e, sin da quando hanno mosso i primi passi come semplice band composta da amici di università a Birmingham, hanno sempre cercato di sorprendere e di non scrivere mai album prevedibili, senza paura di spiazzare il proprio pubblico.
Se con i primi due splendidi album – l’esordio “The Back Room” del 2005 che ricevette una nomination per il Mercury Prize e il secondo “An End Has A Start” (2007) capace di raggiungere la prima posizione delle classifiche britanniche – la band di Tom Smith era stata inserita nel novero delle band indie rock anni Zero (Franz Ferdinand, Bloc Party, Interpol), già dalla svolta synth di “In This Light and on This Evening” del 2009 è apparso chiaro a tutti che gli Editors non potevano essere incasellati in un unico filone musicale.
Indie rock, post punk, new wave, synth pop, canzoni da stadio: la band inglese ha messo insieme tutto questo con personalità in vent’anni di carriera vissuti sempre ad altissimi livelli creativi e di riscontro del pubblico.
Tom Smith – voce, chitarra, pianoforte, sintetizzatori
Russell Leetch – basso, chitarra acustica,
Edward Lay – batteria
Justin Lockey – chitarra, sintetizzatori
Elliott Williams – chitarra, pianoforte, sintetizzatori
Benjamin John Power – tastiere, sintetizzatori
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Onstage festeggia i vincitori degli Onstage Awards e il mondo della musica live con un grande evento, il 20 marzo dalle 21.30 al Fabrique di Milano.
Onstage Awards – The Party celebra il grande successo dell’edizione 2015. Oltre 500.000 voti del pubblico e le preferenze di una giuria di addetti ai lavori hanno decretato i vincitori dei 16 premi dedicati ai migliori performer ed eventi live dell’anno.
Cesare Cremonini sarà al Fabrique per ritirare i premi vinti agli Onstage Awards Party: Migliore Artista italiano, Miglior Tour e Inno live dell’anno con Logico #1. Durante la serata si esibiranno nomi caldi della scena italiana e internazionale. I belgi Balthazar (della scuderia PIAS e già in tour con gli Editors nel 2014) che suoneranno per la prima volta in Italia i brani dell’album Thin Walls – in uscita il 30 marzo. Sul palco del Fabrique ci sarà anche Zibba, che presenterà in anteprima il suo nuovo singolo Muoviti svelto, anticipazione dell’omonimo album previsto per il 31 marzo. Guest star della serata, i Negrita. La rock band toscana presenterà il nuovo album 9 suonando per la prima volta dal vivo il nuovo singolo Il gioco. Come ha scritto Pau su Facebook, un’electro-anteprima di quello che porteranno sul palco durante il tour di aprile. Dopo tanto live, sarà il dj set di Boosta (tastierista e co-fondatore dei Subsonica) ad animare la serata.
Presenta Claudio Guerrini di RDS.
I Balthazar (band belga della scuderia PIAS che ha accompagnato in tour gli Editors nel 2014) guidati da Maarten Devoldere e Jinte Deprez, dopo aver attraversato il mondo con l’album “Rats” – disco dell’anno per Libération – presentano sul palco dell’evento Onstage Awards – The Party i brani del nuovo album Thin Walls, in uscita il 31 marzo.
Maarten Devoldere - vocals, guitars, keyboards
Jinte Deprez - vocals, guitars
Patricia Vanneste - vocals, violin, synthesizer
Simon Casier - vocals, bass guitar
Michiel Balcaen - drums
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Opening-act di Catfish and the Bottlemen, mercoledì 5 Febbraio 2020 all'Alcatraz di Milano, Lilian More.
Classe ’94, amante della musica fin da piccola, Linda Bosco in arte Lillian More si avvicina al sogno di diventare una musicista all’età di 9 anni appassionandosi alla musica Pop–Punk californiana dei Green Day e iniziando a suonare la chitarra a 10 anni da autodidatta. All’età di 14 inizia a scrivere i primi brani e a suonare in diversi progetti musicali, per poi incidere le prime demo due anni più tardi, completamente scritte e musicate da lei stessa.
Il sogno si trasforma in professione nel 2013, con la produzione e pubblicazione dell’EP “Now we Go!” anticipato dal singolo “We Don’t Care Anymore”. Il brano è stata lanciato a Casa Sanremo 2014 durante la settimana del Festival, riscuotendo grande successo. Dall’evento è partito un Radio Tour italiano di due settimane che ha toccato molte città italiane.Il singolo è stato trasmesso su oltre 500 emittenti radio FM italiane, radio streaming e reti televisive nazionali ed estere. L’anno successivo Lilian si esibisce live come artista emergente al “Festival Show 2014” trasmesso sulla rete nazionale di VERO Capri TV insieme ad artisti di fama nazionale ed internazionale.
Nel 2015, oltre a continuare a scrivere nuovi brani e ad esibirsi live, lancia il nuovo singolo dal titolo “Believe in Chance”. Il brano, realizzato nello stesso anno e prodotto da Lilian, viene presentato come potenziale singolo estivo alla celebre manifestazione dei Deejay OnStage 2015 a Riccione promossa da Radio Deejay. Su un numero di oltre 2000 artisti partecipanti, la giovane cantautrice arriva alla finalissima.
Nel 2017 Lilian dà vita ad una nuova Web Serie, dove racconta di sé in maniera sponteanea e senza filtri, realizzando cover di brani che hanno segnato la sua crescita artistica. I video diventano subito virali, raggiungendo più di 300.000 visualizzazioni totali.
A Maggio uscirà il suo nuovo singolo “Belong To No One”, che anticipa l’album atteso per la fine del 2017.
Lilian More, Voce e chitarra
Roberto Alvisi, Batteria
Andrea Cataneo, Chitarra
Mirco Marisio, Basso
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The Interrupters, ska-punk band in arrivo da Los Angeles all’Alcatraz di Milano, martedì 20 giugno 2023 per l’unico concerto italiano del loro tour europeo.
La band è considerata portabandiera del nuovo ska-punk internazionale.
Sotto contratto con Hellcat Records, l‘etichetta fondata da Tim Amstrong dei Rancid, negli ultimi anni hanno trovato spazio nella cultura popolare mainstream e alcuni dei loro brani sono stati inseriti in popolari serie TV come Twilight Zone e The Umbrella Academy.
Si definiscono “una band innamorata dal leggendario movimento ska2Tone degli anni '80, alimentata da un'energia contemporanea, che fa sembrare musica rilassante il thrash metal a 180 bpm”.
I loro dischi, compreso l’ultimo “In The Wild”, sembrano tutti scritti per essere suonati dal vivo.
La band di Los Angeles, dopo aver sopportato le battute d'arresto del tour a causa della pandemia COVID, è tornata a suonare dal vivo ai quattro angoli del globo, facendo tappa anche in Italia con la partecipazione come Headliner del Festival punk rock italiano per eccellenza, il Bay Fest. Un live show coinvolgente ed energico che rende la data di Milano davvero molto attesa: c’è tutta la voglia di gustarsi il set esplosivo della band capitanata da Aimee Allen e dai tre fratelli Bivona.
Un concerto che attraverserà le canzoni dei loro dischi, a cominciare da recente “In The Wild” che ha definito gli Interrupters come leader indiscussi della new wave dello ska, un album meno aggressivo e su melodie più rock-steady rispetto ai precedenti.
Dal vivo ci sarà spazio anche per i loro primi pezzi, come “Take Back the Power”, "By My Side" e "A Friend Like Me" passando per hit come “She’s Kerosene” e “Gave You Everything” ma anche medley di cover di band fraterne come Offspring e Bad Religion.
“Andare ad uno concerto di The Interrupters è come andare in una chiesa dove tutta l'iconografia religiosa viene tolta e sostituita con specchi in modo che la band e il pubblico diventino una cosa sola. Accesi dalla frontwoman Aimee Allen e dall'infaticabile entusiasmo dei fratelli Bivona, il pubblico potrà assistere alla gioia in azione”.
Aimee Interrupter – lead vocals
Kevin Bivona – guitar, lead and backing vocals
Justin Bivona – bass, backing vocals
Jesse Bivona – drums, backing vocals
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Love Mi, il grande festival musicale completamente gratuito ideato da Fedez, organizzato da Doom Entretainment e prodotto da Vivo Concerti, torna in piazza Duomo martedì 27 giugno. L’evento condotto da Mariasole Pollio e Max Angioni, con Gabriele Vagnato nel backstage, inserito all’interno del palinsesto “Milano è Viva” promosso dall’Amministrazione comunale per sostenere gli spettacoli dal vivo, anche quest’anno è legato a una raccolta fondi tramite il numero solidale 45596 (attivo fino al 2 luglio) o tramite donazione sul sito della Fondazione Fedez, destinata a sostenere l’Associazione Andrea Tudisco ODV.
L'annuncio del concerto arriva con il post sull'account Instagram ufficiale di Fedez: «Il mio regalo alla città di Milano @lovemi 27 Giugno. Quest’anno raccoglieremo fondi per aiutare la @associazioneandreatudisco che regala accoglienza e supporto a bambini con gravi patologie e le loro famiglie.».
Lo scorso anno, Love Mi aveva ospitato oltre 20.000 persone in Piazza Duomo e 1 milione 500 mila telespettatori su Italia 1 raccogliendo un totale di 400.000 € devoluti alla Fondazione Tog. Quest'anno il ricavato della Fondazione Fedez, sosterrà l’Associazione Andrea Tudisco ODV e sul palco saranno ospitati alcuni tra i più importanti nomi della scena musicale italiana per regalare al pubblico presente e ai telespettatori una grande giornata di musica live.
Insieme a Fedez, a esibirsi sul palco di LOVE MI 2023 una line-up stellare, con alcune tra le voci che stanno conquistando i primi posti di tutte le classifiche musicali in Italia: Caneda, Seryo, Luigi Strangis, Matteo Romano, La Sad, Il Pagante, Speranza, Andrea Damante, Fred De Palma, Ana Mena, Clara, Villabanks, Artie 5ive, Tony Boy, Digital Astro, Bresh MILES, Mara Sattei, Matteo Paolillo, Francesca Michielin, gIANMARIA, ANNA, AVA, Francesco Avallone, Capo Plaza, Tony Effe, Rose Villain, Emma, Angelina Mango, Achille Lauro, Quentin40, Tananai, J-Ax, Articolo 31, Rondodasosa, Capo Plaza, Annalisa, Tedua, Lazza e Orietta Berti.
E poi l'importante raccolta fondi, che avverrà tramite il numero solidale e il sito della Fondazione Fedez, sosterrà l’Associazione Andrea Tudisco ODV che, da oltre 25 anni, opera con l’obiettivo di garantire il diritto alla salute dei bambini provenienti da ogni parte del mondo che, non potendo essere assistiti adeguatamente nelle strutture ospedaliere della propria città di residenza, hanno bisogno di essere curati nei reparti specializzati degli ospedali di Roma. Offre gratuitamente ospitalità e assistenza ai bambini con gravi patologie e alle loro famiglie, permettendo così al bambino di “vivere” la malattia attraverso l’accoglienza e l’amore della famiglia e della comunità. Fornisce, inoltre, gratuitamente il servizio di clownterapia nei reparti pediatrici dei principali ospedali romani.
Published April 1, 1956. Part of "LeConte Stewart Papers" in the Special Collections Department, J. Willard Marriott Library, University of Utah.
The Postcard
A postally unused carte postale that was published by Phot-Express. The card was printed by Baudinière of Nanterre.
The photograph would have been taken very soon after a bombardment, because rubble from collapsed buildings was always rapidly cleared from roads and pavements.
Visé Paris No. 399
The card bears the imprimatur 'Visé Paris' followed by a unique reference number. This means that the image was inspected and deemed by the military authorities in the French capital not to be a security risk.
'Visé Paris' indicates that the card was published during or soon after the Great War.
Abba Eban
"History teaches us that men and
nations behave wisely when they
have exhausted all other alternatives".
This was said during a speech in London UK on 16th. December 1970 by Abba Eban (1915-2002), an Israeli diplomat and writer.
The Use of Artillery in the Great War
Artillery was very heavily used by both sides during the Great War. The British fired over 170 million artillery rounds of all types, weighing more than 5 million tons - that's an average of around 70 pounds (32 kilos) per shell.
With an average length of two feet, that number of shells if laid end to end would stretch for 64,394 miles (103,632 kilometres). That's over two and a half times round the Earth. If the artillery of the Central Powers of Germany and its allies is factored in, the figure can be doubled to 5 encirclements of the planet.
During the first two weeks of the Third Battle of Ypres, over 4 million rounds were fired at a cost of over £22,000,000 - a huge sum of money, especially over a century ago.
Artillery was the killer and maimer of the war of attrition.
According to Dennis Winter's book 'Death's Men' three quarters of battle casualties were caused by artillery rounds. According to John Keegan ('The Face of Battle') casualties were:
- Bayonets - less than 1%
- Bullets - 30%
- Artillery and Bombs - 70%
Keegan suggests however that the ratio changed during advances, when massed men walking line-abreast with little protection across no-man's land were no match for for rifles and fortified machine gun emplacements.
Many artillery shells fired during the Great War failed to explode. Drake Goodman provides the following information on Flickr:
"During World War I, an estimated one tonne of
explosives was fired for every square metre of
territory on the Western front.
As many as one in every three shells fired did
not detonate. In the Ypres Salient alone, an
estimated 300 million projectiles that the British
and the German forces fired at each other were
"duds", and most of them have not been recovered."
To this day, large quantities of Great War matériel are discovered on a regular basis. Many shells from the Great War were left buried in the mud, and often come to the surface during ploughing and land development.
For example, on the Somme battlefields in 2009 there were 1,025 interventions, unearthing over 6,000 pieces of ammunition weighing 44 tons.
Artillery shells may or may not still be live with explosive or gas, so the bomb disposal squad, of the Civilian Security of the Somme, dispose of them.
A huge mine under the German lines did not explode during the battle of Messines in 1917. The mine, containing several tons of ammonal and gun cotton, was triggered by lightning in 1955, creating an enormous crater.
The precise location of a second mine which also did not explode is unknown. Searches for it are not planned, as they would be too expensive and dangerous. For more on this, please search for "Cotehele Chapel"
The Somme Times
From 'The Somme Times', Monday, 31 July, 1916:
'There was a young girl of the Somme,
Who sat on a number five bomb,
She thought 'twas a dud 'un,
But it went off sudden -
Her exit she made with aplomb!'
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.
The Jews for Urban Justice Newsletter was published monthly by the organization.
The May 1969 issue contains a calendar of events, a recounting of the Freedom Seder, a report on a gathering of left-wing Jewish groups, and a list of board members, among other reports
From Wikipedia:
“Jews for Urban Justice (JUJ) was a Jewish-American left-wing activist organization based in Washington, D.C., and its suburbs. The organization was founded to oppose anti-black racism within the predominantly white Jewish community of Washington, D.C.
“Jews for Urban Justice was created by young Jewish intellectuals in the Summer of 1966 to oppose anti-black racism from white Jewish landlords and businesspeople, which they felt fueled antisemitism in the African-American community. Alleging that white Jews and predominantly white Jewish institutions were "part of the power structure" and that white Jews "gyp and rob" African-Americans in the ghetto, JUJ urged rabbis and other Jewish community leaders to address the problems of racism and classism within the Jewish community.
“Jews for Justice fought for equal access to housing for African-Americans at a time when white Jewish land developers in the DC metropolitan area used racially restrictive covenants that excluded African-Americans and other people of color from buying homes in white Jewish neighborhoods.
“JUJ was involved in Martin Luther King Jr.'s Poor People's Campaign, the Mothers Day Welfare Rights March, and the Delano grape strike. In solidarity with the United Farm Workers strike, JUJ urged synagogues and rabbis in the DC area to forgo using California grapes in their sukkahs. JUJ succeeded in convincing Joseph Danzansky to stop carrying California grapes at Giant Food grocery store locations.
“JUJ helped organize the Freedom Seder on the third night of Pesach, April 4, 1969, the anniversary of the assassination of Martin Luther King Jr. Arthur Waskow, a JUJ member and Jewish Renewal rabbi, was instrumental in creating the Freedom Seder. Waskow created a new Haggadah for the seder, saying "I wove the story of the liberation of ancient Hebrews from Pharaoh with the liberation struggles of black America, of the Vietnamese people, passages from Dr. King, from Gandhi." 800 people gathered for the Freedom Seder at the Lincoln Temple, an historically black Protestant church in Washington, D.C., bringing together blacks, whites, Christians, and Jews. The seder was attended by prominent black civil rights leaders, including Reverend Channing E. Phillips and Topper Carew.
“In 1970, JUJ released a manifesto titled "The Oppression and Liberation of the Jewish People in America", outlining their ideology as an anti-racist, anti-war, Jewish socialist organization that was critical of the mainstream Jewish establishment. The manifesto calls for white Jewish solidarity with African-American, Native American, Chicano, Italian-American, and Appalachian communities. The JUJ manifesto is critical of Israeli policy towards Palestinians and supports Palestinian self-determination, but is not explicitly anti-Zionist. JUJ's manifesto critiqued conflating Zionism with Jewishness and objected to antisemitic expressions of anti-Zionism.
“We call upon the Jewish people to free itself by joining in alliance with others to abolish the Amerikan empire that now oppresses the Jewish people and many other peoples at home and much of the human race outside. We call upon the Jewish people to join the task of creating a democratic, communitarian, libertarian, and socialist society in America. We believe that a fully socialist society will be one in which many self-governing communities are able to end the alienations of mind and body, of politics from economics, of spirit from work, of individual from collective, and thus to create the new, unalienated person; that these communities will differ freely from each other in the shapes they give to the wholeness they make out of their previously alienated lives; and that among these communities a liberated Jewish people will joyfully take its place.”
— The Oppression and Liberation of the Jewish People in America
For a PDF of this 8—page 8 ½ x 14 newsletter, see
May 1969 - washingtonareaspark.com/wp-content/uploads/2024/12/1969-0...
For more information and related images, see flic.kr/s/aHsmPyzBsk
For other local alternative periodicals, see washingtonareaspark.com/periodicals/
Donated by Craig Simpson
This photograph was published in the Illustrated Chronicle on the 8th of May 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.
NEWCOMERS ARE PROUD, TOO
Picture published in the Daily Jeffersonian of Monday, March 5, 1962, on page 7.
Pictured are children of families that moved recently to Cambridge from New Jersey as a result of employment opportunities at the RCA plant here. They, too, are proud that their new hometown is the birthplace of Astronaut John Glenn.
From left to right are:
Back row – Patty Honeyford, 620 Harrison Ave., Nelson Crooks, 1708 N. 14th St., Dianne and Keith Munson, 1331. Scott Ave., Charles Iden, Edgeworth Lane; Bob Lowry, 610 N. 7th St.
Front row: Ellen Crooks, Lisa Crooks, Connie Iden, David Lowry, Richard and Peter Honeyford and Peter Lowry.
Ok, so not exactly profiling my photographic abilities, but quite entertaining! This shot was used by the American Magazine Slate for an article on cliche photographs from around the world.
Full article here:
Original Photo:
www.flickr.com/photos/pramal/4618081103/in/set-7215762408...
This article was published today (Sun 27 May) in The Sun-Herald Magazine "Sunday Life". It's about the new Australian web site Red Bubble. The feature image you see is by Webgrrl" , a very dear friend of mine. Great to see your hard work paying off and receiving the credit you sincerely deserve. Xx
Photograph published 25th July 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.
Thanks for viewing one of my many London-based photos. I've been published my London Daily Photo series every day since 2006 via my blog, tikichris.com. Please have a look at more of my shots of London from over the years:
tikichris.com/category/london-daily-photo/
Of course, I'd love to know what you think! You're welcome to leave a comment or to get in touch.
This shot is in the Dec/Jan edition of the South Sound Magazine. It all stems from our first visit to the Hedman House bed & breakfast in Puyallup, Washington (near Tacoma). The night I arrived it had just snowed and the place looked so lovely that it was begging to be photographed.
Fast forward about 20 months, and I'm contacted by South Sound Magazine asking permission to use this for an article they are running about B&Bs in the south Puget Sound area. Of course I said yes, cause this is a great B&B.
I just didn't know they would use it for the cover page of the article. All the other B&Bs got a thumbnail size photo (one place didn't even get a photo).
Just now when I went to insert a link to the original photo, I found that this isn't one that I posted to flickr. Unfortunately, a recent crash of my portable hard drive has wiped out all the other photos of this trip. Luckily I gave Normajeanne at Hedman House copies of all the shots. Maybe I should aske for a set back from her.