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Published together with many others in my portfolio in The C-41 Photographic Magazine, beautiful italian photography magazine ♥
Una de muchas fotos publicadas en mi portfolio en The C-41 Photographic Magazine, bella revista italiana de fotografía ♥
LEGAL NOTICE • This work is a copyrighted protected image © Bernard Egger :: rumoto images | All Rights Reserved |
no release | no flickr API | None of my works, no part of this photostream may be published, copied, reproduced, stored in retrieval system, or transmitted, in any form or by any means, without the prior express permission of Bernard Egger.
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Please contact me to buy the rights to use and publish this photo, to obtain a license or to get a version in higher resolution. more...
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📷 photographer: Bernard Egger :: rumoto images
event: 2009 Mille Miglia, Passo della Raticosa IT
Abarth 695 esseesse :: rumoto image # 3183 cc
Published in Metro Records 82,000 More Rail Trips This Morning Than Trump's Inauguration Day : DCist
Published in The Other Signs Part One | PoPville
Published in Why we can’t just March Today. | elephant journal
Published in What Will It Take For The Women's March To Become A Movement? | Fast Company | Business + Innovation
my subway study was published in the spring/summer issue of nthWord, an online magazine devoted to ideas, words, and images. much to my surprise, they featured my image on the table of contents, as well as with a prose piece (about committing suicide by jumping in front of a train; having lost a friend this way, i haven't been able to read it just yet, but i know i will).
there's nothing quite like seeing your work used editorially -- it's both a privilege and an honor, and i'm extremely grateful to the editors at nthWord for including me.
Hello everyone,
Again, I'm sorry I'm not around much, things haven't gone too well lately.
I had to move house again, and Joe and I have gone our seperate ways for now, and along with unemployment, I just haven't really felt able to do anything creative.
However, a lovely friend of mine, Ultrasparky on flickr, produces a lovely little queer zine called Pink Mince, and included me in the 'starkers' issue.
You can pick yours up from www.pinkmince.com from anywhere in the world. Isn't that handy?
I hope you're all well, and I hope I'm back properly soon.
x
Published: www.thestkittsnevisobserver.com/why-elderly-men-die-more-...
Das war der beste Redner, den ich bisher bei den Coronaprotesten gehört habe. Druckreif und frei ohne Manuskript gesprochen. Logisch, sachlich und engagiert. Sein Hauptkritikpunkt waren die geplanten neuen Impfstoffe, die in die Genstruktur des Menschen eingreifen. Er sieht darin eine große Gefahr für die menschliche Evolution. Ich habe mich später noch mit ihm unterhalten, muss das aber erst noch verarbeiten und es würde hier auch zu weit führen.
That was the best speaker I've ever heard at the Corona Protests. Ready for print and spoken freely without manuscript. Logical, factual and dedicated. His main criticism was of the planned new vaccines that would intervene in the genetic structure of humans. He sees a great danger for human evolution. I talked to him later, but I have yet to process this and it would also go too far here.
Frankfurt Rossmarkt, Coronaprotest
Photograph published on November 11, 2020 in the Italian website "Antimafia" ( link below)
www.antimafiaduemila.com/home/rassegna-stampa-sp-20870845...
Photograph also published on September 14, 2022 { link below}
guardianlv.com/2022/09/calling-yourself-a-conservative-do...
Published: Columbus Magazine Issue 13 2008
Frank Sinatra "I GET A KICK OUT OF YOU"
it.youtube.com/watch?v=hH9LdY40jw8
taken in Venice - Nov '07
Take a look at my interview with my friend Julian (Freelance Virtuoso)
50 Most interesting slide show
btw : link to my PUBLISHED shots
Venice (Italian: Venezia [veˈnɛttsja] ( listen), Venetian: Venesia) is a city in northern Italy known both for tourism and for industry, and is the capital of the region Veneto, with a population of about 272,000 (census estimate 1 January 2004). Together with Padua, the city is included in the Padua-Venice Metropolitan Area (population 1,600,000).
The name is derived from the ancient tribe of Veneti that inhabited the region in Roman times.[1][2] The city historically was the capital of an independent city-state. Venice has been known as the "La Dominante", "Serenissima", "Queen of the Adriatic", "City of Water", "City of Masks", "City of Bridges", "The Floating City", and "City of Canals". Luigi Barzini, writing in The New York Times, described it as "undoubtedly the most beautiful city built by man".[3] Venice has also been described by the Times Online as being one of Europe's most romantic cities.[4]
The city stretches across 117 small islands in the marshy Venetian Lagoon along the Adriatic Sea in northeast Italy. The saltwater lagoon stretches along the shoreline between the mouths of the Po (south) and the Piave (north) Rivers. The population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 60,000[5] in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazioni of Mestre and Marghera; and 31,000 live on other islands in the lagoon.
The Republic of Venice was a major maritime power during the Middle Ages and Renaissance, and a staging area for the Crusades and the Battle of Lepanto, as well as a very important center of commerce (especially silk, grain and spice trade) and art in the 13th century up to the end of the 17th century. This made Venice a wealthy city throughout most of its history.[6] It is also known for its several important artistic movements, especially the Renaissance period. Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi.
You can also find me on Instagram: tekapa_pictures
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#Frankfurt#Germany#City#urban#cityphotography#urbanphotography#cityexplorer#exploringthecity#urbanexplorer#street#streetphotography#streetshot#blackandwhitephotography#blackandwhite#bw#bnw#blacknwhite#blackandwhitephoto#bwlover#bwlovers#tekapapics
81.366.2012
They found me through flickr and asked if I would be happy for them to publish my photos in their magazine, it's out today! big grin :)
I was there for Switchfoot Live in Malaysia concert on 1st May 2011 as the official photographer. Two of my shots have been published in the local newspapers (below is the original shots). More of my photos are expected to be published soon in magazines.
Click the links to view the articles from the newspapers;
Note: this photo was published in an undated (Jan 6, 2011) Everyblock NYC zipcodes blog titled "10036." It was also published as an illustration of a "shiny nylon jacket" in a Mar 2, 2011 blog titled "Blue Gertrude 'Chatel' down jacket." And it was published in an Apr 19, 2011 Pizza Recipe Recipes for Pizzas blog, with the same caption and detailed notes that I had written on this Flickr page. It was also published in an Apr 25, 2011 Apple iPad Blog Online blog, with the same caption and detailed notes I had written on this Flickr page.
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As I noted in this Flickr set a year ago, no New Yorker in his right mind goes to Times Square on New Year's Eve. Nobody from Manhattan, anyway -- you can never tell about those crazy people in the remote boroughs of Brooklyn, Queens, Staten Island, or the Bronx (and we won't even try to imagine what those crazy folks in New Jersey might do). Actually, even some residents of Manhattan have experienced the New Year's Eve count-down once in their lives, if only so they can speak with some authority about the subject. In my case, it was back in 1969; and it was only because I had had a pleasant dinner at a fancy restaurant a couple blocks from Times Square, and had to walk to the subway when no taxis could be found. There I was, in the midst of it all ... and once was more than enough.
Why do New Yorkers do their best to stay away from Times Square on New Year's Eve? Well, have you ever looked at a TV report from Times Square in the midst of all that mayhem? There are a gazillion other people out there, jammed against each other, shoulder to shoulder — and they're all drunk (or at least they look that way), and they're all screaming at the top of their lungs. You can't just drive to a nearby corner and park your car, with a plan of getting back in your car and fleeing after you've seen what a crazy idea it was. And you can't take a taxi right to the middle of Times Square — at least, not after mid-afternoon on New Year's Eve. Even worse, there are no public bathrooms anywhere to be found, so you're in trouble if you drink too much beer ... except that the cops do their best, quite understandably, to make sure nobody in the Times Square area (which, on this special night, is broadly defined to cover the area from 34th Street to 59th Street, and from Sixth Avenue to Eighth Avenue) is drinking or doing anything that might look dangerous. Or carrying a backpack that might contain dangerous things.
Consequently, it often seems that most of the crowd has chosen to get roaring drunk before they arrive on the scene. All of which might be great fun if the weather is clear, and the temperature is somewhere above the freezing mark. But if it's 30 degrees or lower, and it's drizzling or raining or snowing, this is not a place where you want to spend six or eight hours standing around with two million of your best (drunken) friends...
Thus, it should not surprise you to hear that I was not in Times Square to watch the ball drop at midnight on New Year's Eve of 2010 (or, for that matter, any other year going back to 1969). However, I remembered that my visit to Times Square in the early afternoon of Dec 31, 2009 had been somewhat interesting, and since the weather forecasters were predicting mild, mostly-sunny skies this year, I thought it might be interesting to try it again.
I took the IRT subway down to Times Square, and then spent the next two hours wandering north up Broadway to about 49th Street, and then back toward 42nd St. again. Even at 1:30 PM, the streets were already crowded with families and tourists, and what seemed to be an even larger number of police. It also seemed like almost everyone was wearing a party hat, or a set of "2011" fake eyeglasses, or some other kind of celebratory costume or adornment. There were also gazillions of digital cameras, and an equal number of Blackberries and cellphones. I wonder how many millions and millions of digital images and video clips were shot during the course of the afternoon.
Perhaps the funniest sight during the afternoon was the frequent appearance of delivery guys wearing bright, colorful, and instantly recognizable Domino's Pizza uniforms, wandering through the crowds with large, insulated "thermal" bags that probably carried half a dozen pizzas. In a couple cases, they were peering anxiously at individuals at a specific street corner; my assumption was that someone had called Domino's from their cell phone, requesting delivery to that exact spot. But in other cases, it looked far more likely that the delivery guys were just wandering around, looking for hungry people that were probably willing to pay a premium price for a good hot slice of pizza ... or the whole darn pie.
Around 2:45 PM, I was wandering south on Broadway once again, but when I got as far as 44th Street, I could see that the cops had completely closed off the next two blocks, and that even the sidewalks were impassable. I knew that they were cordoning the crowd into fenced-in rectangular areas, and that (a) each person allowed into such a rectangular area was first searched by a cop for booze, weapons or other contraband, and (b) once inside the fenced-in area, you weren't allowed out unless you left for good.
As more people arrived, the cops kept moving northwards, filling up one rectangular area after another. The obvious strategy for me, then, was to turn around and head north -- toward the local IRT subway stop at Broadway and 50th Street. But I got no further than 46th Street before everything stopped, and I could make no further progress along the sidewalk, even though I had been hugging the sides of the buildings along the way to avoid the throngs everywhere else. Fortunately, I was only about 10 feet from the corner of Broadway and 46th; but it took a good, solid 15 minutes to actually reach the corner -- at which point I heard the cops yelling to the crowd that they were closing everything down, and that anyone who wanted to go elsewhere would have to take the "side street" (i.e., 46th Street) over to 8th Avenue, in order to navigate further northward.
There were more barricades at 8th Avenue and 46th Street, and the narrow passageways onto 8th Avenue itself were being closed down. I managed to squeeze through, got onto 8th Avenue, and then easily walked up to 50th Street. Back over to Broadway, and I could look down the avenue all the way to the tower on 42nd Street where the ball would drop later tonight. And turning around, I could look several blocks north up Broadway, and see that (a) they were all empty, and (b) the cops had cordoned them off, too. By now, it was about 3:15 PM, and I got the sense that it wouldn't be long before the fenced-in crowds would be all the way up to where I was, and then further north, perhaps all the way up to Central Park at 59th Street.
In any case, it was clearly time to go home. I uploaded the 800+ photos that I had taken during the afternoon, enjoyed a delicious New Year's Eve dinner at home, and then settled down to watch the revelry on television as the countdown came to an end. As I noted at the end of last year's Flickr set of Times Square images, the TV coverage was obviously far more extensive than what I could accomplish with just one DSLR camera; and it was also infinitely more sophisticated, with high-end TV cameras located on strategic vantage points all around the square. On the other hand, the TV images appear, and then disappear, often leaving no lasting impression. By contrast, these still images will hopefully be interesting to look at months, if not years, from now. For better or worse, they'll be here whenever you'd like to see them...
The Postcard
A postally unused LP Series postcard that was published by the Lansdowne Publishing Co. Ltd. of London. The image is a glossy real photograph, and the card has a divided back. It was printed in Great Britain.
Note how nearly all of the vehicles other than buses are taxis rather than private cars - in the early post-war years, large-scale car ownership in the UK had yet to get going.
Piccadilly Circus
Piccadilly Circus is a road junction and public space in London's West End. It was built in order to connect Regent Street with Piccadilly. In this context, a circus, from the Latin word meaning "circle", is a round open space at a street junction.
The Circus now connects Piccadilly, Regent Street, Shaftesbury Avenue, the Haymarket, Coventry Street (onwards to Leicester Square) and Glasshouse Street.
Piccadilly Circus is close to major shopping and entertainment areas, and its status as a major traffic junction has made the Circus a busy meeting place and a tourist attraction in its own right.
Piccadilly Circus is particularly known for its video display and neon signs mounted on the corner building on the northern side, as well as the Shaftesbury Memorial Fountain and statue of Anteros (which is popularly, though mistakenly, believed to represent Eros).
Piccadilly Circus is surrounded by several notable buildings, including the London Pavilion and Criterion Theatre. Underneath the plaza is Piccadilly Circus Underground Station, part of the London Underground system.
History of Piccadilly Circus
Piccadilly Circus connects to Piccadilly, a thoroughfare whose name first appeared in 1626 as Piccadilly Hall, named after a house belonging to one Robert Baker, a tailor famous for selling piccadills, a term used for various kinds of collars.
The street was named Portugal Street in 1692 in honour of Catherine of Braganza, the queen consort of King Charles II, but by 1743 it was being referred to as Piccadilly.
Piccadilly Circus was created in 1819, at the junction with Regent Street, which was then being built under the planning of John Nash on the site of a house and garden belonging to a Lady Hutton. The intersection was then known as Regent Circus South (just as Oxford Circus was known as Regent Circus North), and it did not begin to be known as Piccadilly Circus until the mid 1880's, with the construction of Shaftesbury Avenue. In the same period, the Circus lost its circular form.
The junction has been a very busy traffic interchange since construction, as it lies at the centre of Theatreland, and handles exit traffic from Piccadilly, which Charles Dickens Jr. described as follows in 1879:
"Piccadilly, the great thoroughfare leading
from the Haymarket and Regent Street
westward to Hyde Park Corner, is the nearest
approach to the Parisian boulevard of which
London can boast."
Piccadilly Circus tube station was opened on the 10th. March 1906, on the Bakerloo line, and on the Piccadilly line in December of that year. In 1928, the station was extensively rebuilt to handle an increase in traffic.
Piccadilly Circus's first electric advertisements appeared in 1908, and, from 1923, electric billboards were set up on the façade of the London Pavilion. Electric street lamps, however, did not replace the gas ones until 1932.
The circus became a one-way roundabout on the 19th. July 1926, and traffic lights were first installed on the 3rd. August 1926.
During World War II many servicemen's clubs in the West End served American soldiers based in Britain. So many prostitutes roamed the area approaching the soldiers that they received the nickname "Piccadilly Commandos", and both Scotland Yard and the Foreign Office discussed possible damage to Anglo-American relations.
The Holford Plan for the Circus
At the start of the 1960's, it was determined that the Circus needed to be redeveloped to allow for greater traffic flow. In 1962, Lord Holford presented a plan which would have created a "double-decker" Piccadilly Circus; the upper deck would have been an elevated pedestrian concourse linking the buildings around the perimeter of the Circus, with the lower deck being solely for traffic, most of the ground-level pedestrian areas having been removed to allow for greater vehicle flow.
This concept was kept alive throughout the rest of the 1960's. A final scheme in 1972 proposed three octagonal towers (the highest 240 feet (73 m) tall) to replace the Trocadero, the Criterion and the "Monico" buildings.
Fortunately the plans were permanently rejected by Sir Keith Joseph and Ernest Marples; the key reason given was that Holford's scheme only allowed for a 20% increase in traffic, and the Government required 50%.
The Holford plan is referenced in the documentary film "Goodbye, Piccadilly", produced by the Rank Organisation in 1967 as part of their Look at Life series when it was still seriously expected that Holford's recommendations would be acted upon. Piccadilly Circus has since escaped major redevelopment, apart from extensive ground-level pedestrianisation around its south side in the 1980's.
Terrorist Bombs
Piccadilly Circus has been targeted by Irish republican terrorists multiple times. On the 24th. June 1939 an explosion occurred, although no injuries were caused, and on the 25th. November 1974 a bomb injured 16 people. A 2lb bomb also exploded on the 6th. October 1992, injuring five people.
The Shaftesbury Memorial Fountain
The Shaftesbury Memorial Fountain in Piccadilly Circus was erected in 1893 to commemorate Anthony Ashley Cooper, 7th. Earl of Shaftesbury. Lord Shaftesbury was a Victorian politician, philanthropist and social reformer.
It was removed from the Circus twice and moved from the centre once.
The first time was in 1922, so that Charles Holden's new tube station could be built directly below it. The fountain returned in 1931. During the Second World War, the fountain was removed for the second time and replaced by advertising hoardings. It was returned again in 1948.
When the Circus underwent reconstruction work in the late 1980's, the entire fountain was moved from the centre of the junction at the beginning of Shaftesbury Avenue to its present position at the southwestern corner.
The subject of the Memorial is the Greek god Anteros, and was officially given the name The Angel of Christian Charity, but it is generally mistakenly believed to be his brother Eros.
Location and Sights
Piccadilly Circus is surrounded by tourist attractions, including the Criterion Theatre, London Pavilion and retail stores. Nightclubs, restaurants and bars are located in the area and neighbouring Soho, including the former Chinawhite Club.
Illuminated Signs
Piccadilly Circus was surrounded by illuminated advertising hoardings on buildings, starting in 1908 with a Perrier sign, but only one building now carries them, the one in the northwestern corner between Shaftesbury Avenue and Glasshouse Street. The site is unnamed (usually referred to as "Monico" after the Café Monico, which used to be on the site); it has been owned by property investor Land Securities Group since the 1970's.
The earliest signs used incandescent light bulbs; these were replaced with neon lights and with moving signs (there was a large Guinness clock at one time). The first Neon sign was for the British meat extract Bovril.
From December 1998, digital projectors were used for the Coke sign, the square's first digital billboard, while in the 2000's there was a gradual move to LED displays, which by 2011 had completely replaced neon lamps.
The number of signs has reduced over the years as the rental costs have increased, and in January 2017 the six remaining advertising screens were switched off as part of their combination into one large ultra-high definition curved Daktronics display, turning the signs off during renovation for the longest time since the 1940's. On the 26th. October 2017, the new screen was switched on for the first time.
Until the 2017 refurbishment, the site had six LED advertising screens above three large retail units facing Piccadilly Circus on the north side, occupied by Boots, Gap and a mix of smaller retail, restaurant and office premises fronting the other streets.
A Burger King located under the Samsung advert, which had been a Wimpy Bar until 1989, closed in 2008, and was converted into a Barclays Bank.
Coca-Cola has had a sign at Piccadilly Circus since 1954. In September 2003, the previous digital projector board and the site that had been occupied by Nescafé was replaced with a state-of-the-art LED video display that curves round with the building.
From 1978 to 1987 the spot had been used by Philips Electronics, and a neon advertisement for Foster's used the location from 1987 until 1999.
For several months in 2002, the Nescafé sign was replaced by a sign featuring the quote "Imagine all the people living life in peace" by Beatle John Lennon. This was paid for by his widow Yoko Ono, who spent an estimated £150,000 to display an advert at this location. Coca-Cola, Diet Coke, Coca-Cola Zero, Fanta, Sprite and Vitamin Water have all been advertised in the space.
The Hyundai Motors sign launched on the 29th. September 2011. It replaced a sign for Sanyo which had occupied the space since 1988, the last to be run using neon lights rather than Hyundai's computerised LED screen.
Earlier Sanyo signs with older logos had occupied the position since 1978, although these were only half the size of the later space.
McDonald's added its sign in 1987, replacing one for BASF. The sign was changed from neon to LED in 2001. A bigger, brighter screen was installed by Daktronics in 2008.
Samsung added its sign in November 1994, the space having been previously occupied by Canon Inc. (1978–84) and Panasonic (1984–94). The sign was changed from neon to LED in summer 2005, and the screen was upgraded and improved in autumn 2011.
L'Oreal, Hunter Original and eBay had signs in the Piccadilly Circus billboards since October 2017. One Piccadilly, the highest resolution of all the LED displays was installed by Daktronics in late 2013, underneath the Samsung and McDonald's signs. It allowed other companies to advertise for both short- and long-term leases, increasing the amount of advertising space but using the same screen for multiple brands.
The Curve, a similar space to One Piccadilly, was added in 2015, replacing a space previously occupied by Schweppes (1920–61), BP (1961–67), Cinzano (1967–78), Fujifilm (1978–86), Kodak (1986–90) and TDK (1990–2015).
On special occasions the lights are switched off, such as the deaths of Winston Churchill in 1965 and Diana, Princess of Wales in 1997. On the 21st. June 2007, they were switched off for one hour as part of the Lights Out London campaign.
Other companies and brands that have had signs on the site include Bovril, Volkswagen, Max Factor, Wrigley's Spearmint, Skol, Air India and Will's Gold Flake Cigarettes.
By way of a summary, and to aid the dating of other photographs of Piccadilly Circus, major brands and dates are as follows:
-- BASF up to 1987
-- Bovril from 1923
-- BP 1961 to 1967
-- Canon 1978 to 1984
-- Cinzano 1967 to 1978
-- Coca Cola from 1954
-- eBay from 2017
-- Fosters 1987 to 1999
-- Guinness from 1930 - see below
-- Fujifilm 1978 to 1986
-- Hyundai from 2011
-- Kodak 1986 to 1990
-- l'Oréal from 2017
-- McDonald's from 1987
-- Nescafé from 1999
-- Panasonic 1984 to 1994
-- Perrier from 1908
-- Philips 1978 to 1987
-- Samsung from 1994
-- Sanyo 1978 to 2011
-- Schweppes 1920 to 1961
-- TDK 1990 to 2015
Guinness
-- From 1930 to 1932, a Guinness ad showed a pint of Guinness and stated that 'Guinness is Good For You.'
-- From 1932 to 1953 the Guinness ad featured a clock and stated 'Guinness Time' as well as 'Guinness is Good For You.'
-- From 1954 to 1959 the Guinness clock had a zoo-keeper and two juggling sealions under it.
-- From 1959 to 1972 the Guinness ad featured a cuckoo clock with a swinging pendulum incorporating two back-to-back toucans.
In the photograph above, you can just see the edge of the Guinness ad on the far left. The ad is pre-sealions, therefore the photograph was taken prior to 1954.
The Criterion Theatre
The Criterion Theatre, which is a Grade II* listed building, stands on the south side of Piccadilly Circus. Apart from the box office area, the entire theatre, with nearly 600 seats, is underground, and is reached by descending a tiled stairway. Columns are used to support both the dress circle and the upper circle, restricting the views of many of the seats inside.
The theatre was designed by Thomas Verity, and opened as a theatre on the 21st. March 1874, although original plans were for it to become a concert hall.
In 1883, the Criterion was forced to close in order to improve ventilation and to replace gaslights with electric lights, and was re-opened the following year. The theatre closed in 1989 and was extensively renovated, re-opening in October 1992.
The London Pavilion
On the northeastern side of Piccadilly Circus is the London Pavilion. The first building bearing the name was built in 1859, and was a music hall. In 1885, Shaftesbury Avenue was built through the former site of the Pavilion, and a new London Pavilion was constructed, which also served as a music hall. In 1924 electric billboards were erected on the side of the building.
In 1934, the building underwent significant structural alteration and was converted into a cinema. In 1986, the building was rebuilt, preserving the 1885 façade, and converted into a shopping arcade.
In 2000, the building was connected to the neighbouring Trocadero Centre, and signage on the building was altered in 2003 to read "London Trocadero". The basement of the building connects with the Underground station.
Major Shops
The former Swan & Edgar department store on the west side of the Circus was built in 1928–29 to a design by Reginald Blomfield. Since the closure of the department store in the early 1980's, the building has been successively the flagship London store of music chains Tower Records, Virgin Megastore and Zavvi. The current occupier is clothing brand The Sting.
Lillywhites is a major retailer of sporting goods located on the corner of the circus and Lower Regent Street, next to the Shaftesbury fountain. It moved to its present site in 1925. Lillywhites is popular with tourists, and they regularly offer sale items, including international football jerseys at up to 90% off.
Nearby Fortnum & Mason is often considered to be part of the Piccadilly Circus shopping area, and is known for its expansive food hall.
The County Fire Office
Dominating the north side of the Circus, on the corner of Glasshouse Street, is the County Fire Office building, with a statue of Britannia on the roof. The original building was designed by John Nash as the extreme southern end of his Regent Street Quadrant.
Its dramatic façade was clearly influenced by Inigo Jones's old Somerset House. Although Robert Abraham was the County Fire Insurance Company's architect, it was probably Nash who was instrumental in choosing the design.
In 1924 the old County Fire Office was demolished and replaced with a similar but much coarser building designed by Reginald Blomfield, but retaining the statue of Britannia. During the London Blitz it was the only building in the Circus to be damaged, although only a few window panes were blown out. The building is Grade II listed.
Piccadilly Circus Underground Station
Piccadilly Circus station on the London Underground is located directly beneath Piccadilly Circus itself, with entrances at every corner. It is one of the few stations to have no associated buildings above ground, and is fully underground. The below-ground concourse and subway entrances are Grade II listed.
The station is on the Piccadilly line between Green Park and Leicester Square, and the Bakerloo line between Charing Cross and Oxford Circus.
Demonstrations at Piccadilly Circus
The Circus' status as a high-profile public space has made it the location for numerous political demonstrations, including the 15th. February 2003 anti-war protest and the "Carnival Against Capitalism" protest against the 39th. G8 summit in 2013.
Piccadilly Circus in Popular Culture
The phrase 'It's like Piccadilly Circus' is commonly used in the UK to refer to a place or situation which is extremely busy with people. It has been said that a person who stays long enough at Piccadilly Circus will eventually bump into everyone they know.
Probably because of this connection, during World War II, "Piccadilly Circus" was the code name given to the Allies' D-Day invasion fleet's assembly location in the English Channel.
Piccadilly Circus has inspired both artists and musicians. Piccadilly Circus (1912) is the name and subject of a painting by British artist Charles Ginner, part of the Tate Britain collection.
Sculptor Paul McCarthy produced a 320-page two-volume edition of video stills by the name of Piccadilly Circus.
In the lyrics of their song "Mother Goose", on the Aqualung album from 1971, the band Jethro Tull tells:
"And a foreign student said to me:
'Was it really true there were
elephants, lions too, in Piccadilly
Circus?'".
Bob Marley mentioned Piccadilly Circus in his song "Kinky Reggae", on the Catch a Fire album in 1973.
L. S. Lowry's painting Piccadilly Circus, London (1960), part of Lord Charles Forte's collection for almost three decades, sold for £5,641,250 when auctioned for the first time at Christie's on the 16th. November 2011.
Contemporary British painter Carl Randall's painting 'Piccadilly Circus' (2017) is a large monochrome canvas depicting the area at night with crowds, the making of which involved painting over 70 portraits from life.
In Call of Duty: Modern Warfare (2019), the second campaign mission takes place at Piccadilly Circus, where the game has the player intervene during a terrorist attack by the fictional terrorist group Al-Qatala. There is also a multi-player map called Piccadilly, which appears to take place in the aftermath of the terrorist attack.
Circa
Circa is an art platform based at London's Piccadilly Circus. They commission and stream a monthly programme of art and culture, every evening at 20:21, across a global network of billboards in London, Tokyo and Seoul.
Established in October 2020 by British-Irish artist Josef O'Connor, the daily and free public art programme pauses the world famous advertisements in Piccadilly Circus and across a global network of screens for three minutes every evening.
They commission new work to fill the space that considers the world in response to the present year. It is the largest digital art exhibition in Europe. O'Connor recalls:
‘I first had the idea when I was 19, but it was only
about three years ago that I acted on it and reached
out to the screen owner, Landsec, via Twitter.
I was inspired by Piccadilly’s kinetic architecture -
how it morphed and changed with time to reflect
the world - from neon lights in 1908 to the iconic
red and white Sanyo sign in the 1990's, etc.
You could accurately guess the decade by just
looking at a photo or postcard of the landmark.
This inspired the concept for Circa, to pause time
and commission artists to create new work that
considers the world around them, circa 2020/21, etc.’
The first artist to fill the three-minute daily slot was Ai Weiwei, who is quoted as saying in an interview with The Art Newspaper that:
"Circa 2020 offers a very important platform
for artists to exercise their practice and to
reach out to a greater public”.
Other notable artists and curators whose works have been exhibited as part of the Circa programme include Cauleen Smith, Eddie Peake, Patti Smith, James Barnor curated by Hans Ulrich Obrist, Vivienne Westwood, David Hockney, Alvaro Barrington and Anne Imhof.
Each commission for the project is approved by an independent council chaired by the British independent curator and ex-director of The Royal Academy, Norman Rosenthal.
On the 1st. January 2021, Circa commissioned two live performances from Patti Smith to help put an end to 2020 and beckon in the New Year. The New Year's Eve screening in Piccadilly Circus was eventually cancelled due to Covid restrictions, but the performance was still broadcast for free via the Circa YouTube Channel on the 31st. December to an audience of over 1.5million people around the world.
Circa and Serpentine Galleries' collaborative presentation of James Barnor’s work in April 2021 completed a journey that began more than half a century ago, when Barnor photographed BBC Africa Service presenter Mike Eghan against the backdrop of Piccadilly Circus’s neon signs in 1967.
The iconic image is held within the Tate collection, and was the inspiration behind Ferdinando Verderi’s Italian Vogue cover, with Barnor remote-shooting model Adwoa Aboah standing in the exact same location to create a present reflection on the past.
To celebrate her 80th. Birthday, British fashion designer Vivienne Westwood was commissioned by Circa to present a new video work in Piccadilly Circus created with her brother entitled 'Don't Buy a Bomb,' an anti-war message presented for ten minutes on the Piccadilly Lights screen.
In the ten-minute film, the punk icon performed a re-written rendition of ‘Without You’ from My Fair Lady to offer a stark warning of societal indifference to looming environmental catastrophes, a cry against the arms trade, and its link to climate change.
In May 2021, British artist David Hockney's 2.5 minute iPad drawing of a sunrise entitled “Remember you cannot look at the sun or death for very long,” was broadcast by Circa across digital billboard screens in London's Piccadilly Circus, New York's Times Square and prominent locations in Los Angeles, Tokyo and the largest outdoor screen in Seoul.
this is the video i mentioned on my picture yesterday, which i'd embedded on my blog.
the music is by porcelain, a band i saw, live, in beijing.
this is the description from yesterday's picture:
the full moon has come to mean that, work permitting, i'll be out chasing a moon shot. yesterday, i met up with mr.G, anthony ayiomamitis and chris kotsiopoulos at [surprise, surprise] sounion. anthony's calculations were exact!
i shot my image with a canon EF 70-200mm f/2.8 L IS USM lens and a canon EF 2x II extender.
i don't have video capabilities on my 40D, but i did make a video sequence of a series of stills, in an attempt to convey the feeling at the first moments of moonrise.
click to view the others' shots and the video on the blog!
on facebook: www.facebook.com/pages/helen-sotiriadis-photography/12063...
BLOWN DOWN
High winds toppled a brand new grain bin June 11th near Notre Dame, damaging a piece of equipment in the process.
ID: 004136
This picture is (c) Copyright Frank Titze, all rights reserved.
It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.
See more pictures on frank-titze.art.
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Exposure: Digital
Developing: ---
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Processing: Digital
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Exposure: 03/2016
Processing: 03/2016
Published: 06/2016
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Flickr "taken" date set as actual publish date.
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I was pleased to have three of my bird photographs published in the October edition of Gardening Australia magazine. The New Holland Honeyeater on the red flowering gum, the Red-browed Finch on the grass stem and the two Striated Pardalotes at their nesting hole are my photos.
Photograph published on 12/15/2019 to illustrate an article by Mark Greene "Surprise: The War on Women Is a War on Democracy"
medium.com/@remakinkmanhood/surprise-the-war-on-women-is-...
On the Road
From Wikipedia, the free encyclopedia
"Marylou" redirects here. For the album by Anna Rossinelli, see Marylou (album).
For other uses, see On the Road (disambiguation).
On the Road
1st edition
On the Road is a novel by American writer Jack Kerouac. On the Road is based on the travels of Kerouac and his friends across America. It is considered a defining work of the postwar Beat and Counterculture generations, with its protagonists living life against a backdrop of jazz, poetry and drug use.
The idea for On the Road formed during the late 1940s. It was to be Kerouac's second novel, and it underwent several drafts before he completed it in April 1951. It was first published by Viking Press in 1957.
When the book was originally released, The New York Times hailed it as "the most beautifully executed, the clearest and the most important utterance yet made by the generation Kerouac himself named years ago as 'beat,' and whose principal avatar he is."[1] In 1998, the Modern Library ranked On the Road 55th on its list of the 100 best English-language novels of the 20th century. The novel was chosen by Time magazine as one of the 100 best English-language novels from 1923 to 2005.[2]
This section is written like a personal reflection or opinion essay rather than an encyclopedic description of the subject. Please help improve it by rewriting it in an encyclopedic style. (December 2012)
Many aspects go into understanding the context of On the Road, and they must be viewed cohesively in order to appreciate why the book was as relevant and pertinent as it was. The following issues are important to consider as the foundation for the book and its reception by the public.
Kerouac biography[edit]
Kerouac was born in a French-Canadian neighborhood of Lowell, Massachusetts, and learned English at age six. (He had difficulty with the language into his teens.) He grew up in a devout Catholic home, and this influence manifested itself throughout the work. During high school, Kerouac was a star football player and earned a scholarship to Columbia University. After dropping out following a conflict with the football coach, he then served on several different sailing vessels before returning to New York in search of inspiration to write. Here he met the likes of Allen Ginsberg and William Burroughs who would not only become characters in the book but also form the core of the Beat Generation.[3]
Many of the events depicted in the book are the experiences that shaped both its content and production. Kerouac met Neal Cassady, who would become Dean Moriarty, in December 1946 and began his road adventures in 1947 while writing what would become The Town and the City. The adventures themselves, which took place between 1947 and 1950, were meant to help him overcome writers block during early attempts to write the book. It was through letters and other interactions with his friends that Kerouac decided to write the first person narrative that became On the Road as we know it today.[3]
The publication process was another adventure unto itself, which took a major psychological toll on Kerouac. He was discouraged by the struggle (even though he continued to write during the period) and finally agreed to substantially revise the original version after years of failed negotiations with different publishers. He removed several parts in order to focus the story and also to protect himself from potential issues of libel. He also continued to write feverishly after its publication in spite of attacks from critics.[3]
Historical context[edit]
On the Road portrays the story of a fierce personal quest for meaning and belonging. This comes at an interesting point in American history when conformity was praised and outsiders were suspect. The Beat Generation arose out of a time of intense conflict, both internally and externally.
The issues of the Cold War, the Second Red Scare and McCarthyism took center stage of the cultural arena in the 1950s. As the U.S government cracked down on left-wing influences at home and abroad, the sentiment of unifying and banding together led to extreme measures of censorship and control.
The Cold War was the backdrop for this fight. In a short time after defeating Germany, the Soviet Union fell from ally to threat in the eyes of the United States. In the postwar reconstruction process, the two powers found themselves continually at odds. The sentiment arose clearly as a struggle between two opposing ways of life. Contention over Soviet support for alleged communist revolution in Iran, then Turkey and Greece, led to the American policy of containment and the Truman Doctrine. Before a joint session of Congress on March 12, 1947, President Harry S. Truman stated, "I believe it must be the policy of the United States to support the people who are resisting attempted subjugation by armed minorities or by outside pressures."[4] That summer, Secretary of State George C. Marshall proposed a plan for the economic reconstruction of Europe. While Western European countries planned how to go about rebuilding with American help, the Soviets walked away and forced the Eastern European countries to do the same. A Soviet aid and recovery plan followed for these countries and would mark the beginning of a punch and counterpunch pattern that would typify the early years of the Cold War. This laid a foundation for the tension that would define the period.[4]
Beat Generation summary[edit]
It was in this climate that some individuals of the young generation were seeking meaning outside the mainstream worldview. Amidst all the conflict and contradiction, the Beats were seeking out a way to navigate through the world. As John Clellon Holmes put it, "Everywhere the Beat Generation seems occupied with the feverish production of answers—some of them frightening, some of them foolish—to a single question: how are we to live?"[5]
The idea of what it means to be "beat" is still difficult to accurately describe. While many critics still consider the word "beat" in its literal sense of "tired and beaten down," others, including Kerouac himself promoted the generation more in sense of "beatific" or blissful.[6] "Beat" can also be read as a 'rhythm' such as in music, as in Jazz - a rhythmic beat or 'the rhythm of life' itself.
Holmes and Kerouac published several articles in popular magazines in an attempt to explain the movement. In the November 16, 1952 New York Times Sunday Magazine, he wrote a piece exposing the faces of the Beat Generation. "[O]ne day [Kerouac] said, 'You know, this is a really beat generation' ... More than mere weariness, it implies the feeling of having been used, of being raw. It involves a sort of nakedness of mind, and ultimately, of soul: a feeling of being reduced to the bedrock of consciousness. In short, it means being undramatically pushed up against the wall of oneself."[7] He distinguishes Beats from the Lost Generation of the 1920s pointing out how the Beats are not lost but how they are searching for answers to all of life's questions. Kerouac's preoccupation with writers like Ernest Hemingway shaped his view of the beat generation. He uses a prose style which he adapted from Hemingway and throughout On the Road he alludes to novels like The Sun Also Rises. "How to live seems much more crucial than why."[7] In many ways, it is a spiritual journey, a quest to find belief, belonging, and meaning in life. Not content with the uniformity promoted by government and consumer culture, the Beats yearned for a deeper, more sensational experience.
Holmes expands his attempt to define the generation in a 1958 article in Esquire magazine. This article was able to take more of a look back at the formation of the movement as it was published after On the Road. "It describes the state of mind from which all unessentials have been stripped, leaving it receptive to everything around it, but impatient with trivial obstructions. To be beat is to be at the bottom of your personality, looking up."[5]
Literary context[edit]
At the time of publication, On the Road was not the first book to criticize contemporary American culture. A nonconformist sentiment characterized the arts and popular culture of the 1950s as a way of rejecting societal norms. Many of the best selling books of the time achieved this same mission.[4]
J. D. Salinger produced the first shock to the tranquil suburban landscape with the publication of The Catcher in the Rye in 1951. His protagonist Holden Caulfield struck a chord with young readers also at odds with the adult world. Caulfield's rejection of the regimentation and "phoniness" of the world around him resonated with the struggle for meaning that drove the Beat Generation. Salinger's rejection of traditional middle-class values signaled the first widely recognized public stand against the cultural conformist pressure.[4]
Among the best-selling novels of 1950s was Peyton Place by Grace Metalious. Published in September 1956, it managed to be the second most sold book in the country that year and then to top the chart in 1957. In fact, it went on to be the best-selling book in American history up to that point.[8] Often cited as the prime example of the decline in American culture of the decade, the novel examines the traditional values of a New England mill town by introducing the complications of extramarital sexual affairs. A book that received a broad range of reviews after publication, Peyton Place's popularity shows that popular culture was ready for a break from their traditional expectations.[8]
Another popular contemporary was Sloan Wilson's The Man in the Gray Flannel Suit (1955) that dealt with the increasing suburbanization of American society. Tom Rath struggles with the dilemma of following his conscience or pursuing the big salary and lush lifestyle typically portrayed of the 1950s family. In the end, though, he discovers that he can have both. While Wilson can be seen as chastising the societal norms at times, he concludes with his character achieving them. This shows the dichotomy of attitudes toward the middle-class values of the day.[9]
Production and publication[edit]
The scroll, exhibited at the Boott Cotton Mills Museum in Lowell, Massachusetts, summer 2007
Kerouac often promoted the story about how in April 1951 he wrote the novel in three weeks, typing continuously onto a 120-foot roll of teletype paper.[10] Although the story is true per se, the book was in fact the result of a long and arduous creative process. Kerouac carried small notebooks, in which much of the text was written as the eventful span of road trips unfurled. He started working on the first of several versions of the novel as early as 1948, based on experiences during his first long road trip in 1947. However, he remained dissatisfied with the novel.[11] Inspired by a thousand-word rambling letter from his friend Neal Cassady, Kerouac in 1950 outlined the "Essentials of Spontaneous Prose" and decided to tell the story of his years on the road with Cassady as if writing a letter to a friend in a form that reflected the improvisational fluidity of jazz.[12]
The first draft of what was to become the published novel was written in three weeks in April 1951 while Kerouac lived with Joan Haverty, his second wife, at 454 West 20th Street in Manhattan, New York. The manuscript was typed on what he called "the scroll"—a continuous, one hundred and twenty-foot scroll of tracing paper sheets that he cut to size and taped together.[13] The roll was typed single-spaced, without margins or paragraph breaks. In the following years, Kerouac continued to revise this manuscript, deleting some sections (including some sexual depictions deemed pornographic in the 1950s) and adding smaller literary passages.[14] Kerouac authored a number of inserts intended for On the Road between 1951 and 1952, before eventually omitting them from the manuscript and using them to form the basis of another work, Visions of Cody.[15] On the Road was championed within Viking Press by Malcolm Cowley and was published by Viking in 1957, based on revisions of the 1951 manuscript.[16] Besides differences in formatting, the published novel was shorter than the original scroll manuscript and used pseudonyms for all of the major characters.
Viking Press released a slightly edited version of the original manuscript on 16 August 2007 titled On the Road: The Original Scroll corresponding with the 50th anniversary of original publication. This version has been transcribed and edited by English academic and novelist Dr. Howard Cunnell. As well as containing material that was excised from the original draft due to its explicit nature, the scroll version also uses the real names of the protagonists, so Dean Moriarty becomes Neal Cassady and Carlo Marx becomes Allen Ginsberg, etc.[17]
In 2007, Gabriel Anctil, a journalist of the Montreal's daily Le Devoir discovered, in Kerouac's personal archives in New York, almost 200 pages of his writings entirely in Quebec French, with colloquialisms. The collection included ten manuscript pages of an unfinished version of On the Road, written on January 19, 1951. The date of the writings makes Kerouac one of the earliest known authors to use colloquial Quebec French in literature.[18]
Plot summary[edit]
The two main characters of the book are the narrator, Salvatore "Sal" Paradise, and his new friend Dean Moriarty, much admired for his carefree attitude and sense for adventure, a free-spirited maverick eager to explore all kicks and an inspiration and catalyst for Sal's travels. The novel contains five parts, three of them describing road trips with Moriarty. The narrative takes place in the years 1947 to 1950, is full of Americana, and marks a specific era in jazz history, "somewhere between its Charlie Parker Ornithology period and another period that began with Miles Davis." The novel is largely autobiographical, Sal being the alter ego of the author and Dean standing for Neal Cassady. The epic nature of the adventures and the text itself creates a tremendous sense of meaning and purpose for the themes and lessons.
Part One[edit]
The first section describes Sal's first trip to San Francisco. Disheartened after a divorce, his life changes when he meets Dean Moriarty, who is "tremendously excited with life," and begins to long for the freedom of the road: "Somewhere along the line I knew there would be girls, visions, everything; somewhere along the line the pearl would be handed to me." He sets off in July 1947 with fifty dollars in his pocket. After taking several buses and hitchhiking, he arrives in Denver, where he hooks up with Carlo Marx, Dean, and their friends. There are parties — among them an excursion to the ghost town of Central City. Eventually Sal leaves by bus and gets to San Francisco, where he meets Remi Boncoeur and his girlfriend Lee Ann. Remi arranges for Sal to take a job as a night watchman at a boarding camp for merchant sailors waiting for their ship. Not holding this job for long, Sal hits the road again. "Oh, where is the girl I love?" he wonders. Soon he meets Terry, the "cutest little Mexican girl," on the bus to Los Angeles. They stay together, traveling back to Bakersfield, then to Sabinal, "her hometown," where her family works in the fields. He meets Terry's brother Ricky, who teaches him the true meaning of "mañana" ("tomorrow"). Working in the cotton fields, Sal realizes that he is not made for this type of work. Leaving Terry behind, he takes the bus back to New York and walks the final stretch from Times Square to Paterson, just missing Dean, who had come to see him, by two days.
In this section, Kerouac not only introduces many of the book's characters but also its central conflicts and dilemmas. He initially shows Sal as the deep thinking writer who yearns for greater freedom. As the plot unfolds he shows the depth and degree of Sal's internal conflict in the pursuit of "kicks," torn between the romanticized freedom of the open road and practicality of a more settled, domestic life. Dean appears as the "yellow roman candle" that catalyzes the action of the novel. His uncontainable spirit invites Sal to follow but also foreshadows problems of commitment and devotion that will reappear later on.
Part Two[edit]
In December 1948 Sal is celebrating Christmas with his relatives in Testament, Virginia when Dean shows up with Marylou (having left his second wife, Camille, and their newborn baby, Amy, in San Francisco) and Ed Dunkel. Sal's Christmas plans are shattered as "now the bug was on me again, and the bug's name was Dean Moriarty." First they drive to New York, where they meet Carlo and party. Dean wants Sal to make love to Marylou, but Sal declines. In Dean's Hudson they take off from New York in January 1949 and make it to New Orleans. In Algiers they stay with the morphine-addicted Old Bull Lee and his wife Jane. Galatea Dunkel joins her husband in New Orleans while Sal, Dean, and Marylou continue their trip. Once in San Francisco, Dean again leaves Marylou to be with Camille. "Dean will leave you out in the cold anytime it is in the interest of him," Marylou tells Sal. Both of them stay briefly in a hotel, but soon she moves out, following a nightclub owner. Sal is alone and on Market Street has visions of past lives, birth, and rebirth. Dean finds him and invites him to stay with his family. Together, they visit nightclubs and listen to Slim Gaillard and other jazz musicians. The stay ends on a sour note: "what I accomplished by coming to Frisco I don't know," and Sal departs, taking the bus back to New York.
In this section, Marylou sums up the dilemma of Dean's lack of commitment and selfishness when she says that he will always leave you if it isn't in his interest. This central conflict appears again after Dean returns to Camille in San Francisco, abandoning his two travel companions. Sal again finds himself at a loss for purpose and direction. He has spent his time following the other characters but is unfulfilled by the frantic nature of this life. Much of the euphoria has worn off as he becomes more contemplative and philosophical.
Part Three[edit]
In the spring of 1949, Sal takes a bus from New York to Denver. He is depressed and "lonesome"; none of his friends are around. After receiving some money, he leaves Denver for San Francisco to see Dean. Camille is pregnant and unhappy, and Dean has injured his thumb trying to hit Marylou for sleeping with other men. Camille throws them out, and Sal invites Dean to come to New York, planning to travel further to Italy. They meet Galatea, who tells Dean off: "You have absolutely no regard for anybody but yourself and your kicks." Sal realizes she is right — Dean is the "HOLY GOOF" — but also defends him, as "he's got the secret that we're all busting to find out." After a night of jazz and drinking in Little Harlem on Folsom Street, they depart. On the way to Sacramento they meet a "fag," who propositions them. Dean tries to hustle some money out of this but is turned down. During this part of the trip Sal and Dean have ecstatic discussions having found "IT" and "TIME." In Denver a brief argument shows the growing rift between the two, when Dean reminds Sal of his age, Sal being the older of the two. They get a '47 Cadillac from the travel bureau that needs to be brought to Chicago. Dean drives most of the way, crazy, careless, often speeding over 100 miles per hour, bringing it in a disheveled state. By bus they move on to Detroit and spend a night on Skid Row, Dean hoping to find his homeless father. From Detroit they share a ride to New York and arrive at Sal's aunt's new flat in Long Island. They go on partying in New York, where Dean meets Inez and gets her pregnant while his wife is expecting their second child.
After seeing how he treats Camille and Marylou, Sal finally begins to realize the nature of his relationship with Dean. While he cares greatly about him, several times discussing future plans to live on the same street, he recognizes that the feeling may not be mutual. The situations are beginning to change, though, as Sal has received some money from his recently published book and can begin to support himself and also Dean when he comes to New York. Sal is taking a more active role in his freedom as opposed to just following Dean.
Part Four[edit]
In the spring of 1950, Sal gets the itch to travel again while Dean is working as a parking lot attendant in Manhattan, living with his girlfriend Inez. Sal notices that he has been reduced to simple pleasures — listening to basketball games and looking at erotic playing cards. By bus Sal takes to the road again, passing Washington, Ashland, Cincinnati, St. Louis, and eventually reaching Denver. There he meets Stan Shephard, and the two plan to go to Mexico City when they learn that Dean had bought a car and is on the way to join them. In a rickety '37 Ford sedan the three set off across Texas to Laredo, where they cross the border. They are ecstatic, having left "everything behind us and entering a new and unknown phase of things." Their money buys more (10 cents for a beer), police are laid back, cannabis is readily available, and people are curious and friendly. The landscape is magnificent. In Gregoria, they meet Victor, a local kid, who leads them to a bordello where they have their last grand party, dancing to mambo, drinking, and having fun with prostitutes. In Mexico City Sal becomes ill from dysentery and is "delirious and unconscious." Dean leaves him, and Sal later reflects that "when I got better I realized what a rat he was, but then I had to understand the impossible complexity of his life, how he had to leave me there, sick, to get on with his wives and woes."
In this section we see Dean's selfishness finally extend to Sal, as he leaves Sal abandoned in Mexico City. Sal has sunk to the bottom of his reality having seen Victor put his family obligations over the freedom of the road and Dean was not ready to do the same thing. This is the moment where the paths diverge and Sal realizes that he has more to live for than just constantly moving.
Part Five[edit]
Dean, having obtained divorce papers in Mexico, had first returned to New York to marry Inez, only to leave her and go back to Camille. After his recovery from dysentery in Mexico, Sal returns to New York in the fall. He finds a girl, Laura, and plans to move with her to San Francisco. Sal writes to Dean about his plan to move to San Francisco. Dean writes back saying that he's willing to come and accompany Laura and Sal. Dean arrives over five weeks early but Sal is out taking a late-night walk alone. Sal returns home to Laura and sees a copy of Proust and knows that it is Dean's. Sal realizes that his friend has arrived, but at a time when Sal doesn't have the money to relocate to San Francisco. On hearing this Dean makes the decision to head back to Camille and Sal's friend Remi Boncoeur denies Sal's request to give Dean a short lift to 40th Street on their way to a Duke Ellington concert at the Metropolitan Opera House. Sal's girlfriend Laura realises that this is a painful moment for Sal and prompts him for a response as the party drives off without Dean; to which he replies "He'll be alright". Sal later reflects as he sits on a river pier under a New Jersey night sky about the roads and lands of America that he has travelled and states ". . . I think of Dean Moriarty, I even think of Old Dean Moriarty the father we never found, I think of Dean Moriarty."
Character key[edit]
Kerouac often based his fictional characters on friends and family.[19][20]
"Because of the objections of my early publishers I was not allowed to use the same person's name in each work."[21]
Real-life personCharacter name
Jack KerouacSal Paradise
Gabrielle KerouacSal's Aunt
Alan AnsenRollo Greb
William S. BurroughsOld Bull Lee
Joan VollmerJane
Lucien CarrDamion
Neal CassadyDean Moriarty
Carolyn CassadyCamille
Hal ChaseChad King
Henri CruRemi Boncoeur
Bea Franco (Beatrice Kozera)Terry
Allen GinsbergCarlo Marx
Diana HansenInez
Alan HarringtonHal Hingham
Joan HavertyLaura
Luanne HendersonMarylou
Al HinkleEd Dunkel
Helen HinkleGalatea Dunkel
Jim HolmesTom Snark
John Clellon HolmesIan MacArthur
Ed StringhamTom Saybrook
Herbert HunckeElmer Hassel
Frank JeffriesStan Shephard
Gene PippinGene Dexter
Allan TemkoRoland Major
Bill TomsonRoy Johnson
Helen TomsonDorothy Johnson
Ed UhlEd Wall
Helen GullionRita Betancourt
Major themes[edit]
The main ideas of the Beat Generation, the longing for belief and meaning in life, are reflected in On the Road. While interest in the book initially revolved more around Kerouac's personal life rather than the literary nature of the text, critical attention has burgeoned in recent years. Although the book can be viewed through many lenses, several major themes rise up from a deeper study.
Kerouac has admitted that the biggest of these themes is religion. In a letter to a student in 1961, he wrote:
"Dean and I were embarked on a journey through post-Whitman America to FIND that America and to FIND the inherent goodness in American man. It was really a story about 2 Catholic buddies roaming the country in search of God. And we found him."
[22]
This idea of an inward adventure is illustrated in all of the experimentation. The Beats had a more liberal definition of God and spirituality closely related to personal experience.
All of the travel and personal interaction in the book permit an examination of the ideas of masculinity and mobility in the 1950s. While these concepts may seem unrelated, Kerouac weaves them together to provide another form of rebellion against the social norm of conformity. Mary Pannicia Carden examines this and proposes that traveling was a way for the characters to assert their independence. "[Sal and Dean] attempt to replace the model of manhood dominant in capitalist America with a model rooted in foundational American ideals of conquest and self-discovery."[23] Travel is a very symbolic act both in history and in literature of coming of age and self-realization, especially for males. But not only do they see conformity as restricting, but in many senses, they view women this way as well. "Reassigning disempowering elements of patriarchy to female keeping, they attempt to substitute male brotherhood for the nuclear family and to replace the ladder of success with the freedom of the road as primary measures of male identity."[23] The interactions of the book come down to balances of power and gains and losses of masculinity. Even though they seek to defy its traditional markers, Dean and Sal also rely on this masculinity in their self-definition. In the end, their divergence to different paths reflects Sal's understanding of the limitations of complete freedom that is sought on the road in so far as it pertains to relations to culture and identity.
In a broader sense, On the Road's major lesson is about the proper way of growing up. Unlike Holden Caulfield, Sal Paradise is struggling with getting through adolescence and maturity rather than delaying it. We see this contrasted with Dean Moriarty who is portrayed as the depiction of a child, always on the move. Sal's struggle is how to balance these opposing forces. We saw these exact issues in Holmes's definition of the Beat Generation as a whole, of which Sal Paradise becomes the metaphorical face.
Language[edit]
In addition to the themes and controversial topics addressed in On the Road, Kerouac's apparently erratic writing style garnered much attention for the novel. Some have said that On the Road was merely a transitional phase in between the traditional narrative structure of The Town and the City (1951) and the so-called "wild form" of Kerouac's later books like Visions of Cody (1972).[24]
Kerouac's own explanation of his style begins with the publication of "Essentials of Spontaneous Prose" (1953) in which he outlines the core features of his techniques. He likens his writing to Impressionist painters who sought to create art through direct observation. He endeavored to present a raw version of truth which did not lend itself to the traditional process of revision and rewriting but rather the emotionally charged practice of spontaneity he pursued.[25]
This spontaneity produced a book that was not only readable in 1957 but still captures the attention of audiences today. The personal nature of the text helps foster a direct link between Kerouac and the reader. Because he is writing about actual experiences, conveying appropriately the environment provided this connection. Kerouac chose to do this through his detailed descriptions, rarely pausing for a breath between sentences. His more casual diction and very relaxed syntax, although viewed as less than serious by some, was an intentional attempt to depict events as they happened and to convey all of the energy and emotion of the experiences.[25]
Reception[edit]
The book received a mixed reaction from the media in 1957. Some of the earlier reviews spoke highly of the book, but the backlash to these was swift and strong. Although this was discouraging to Kerouac, he still received great recognition and notoriety from the work. Since its publication, critical attention has focused on issues of both the context and the style, addressing the actions of the characters as well as the nature of Kerouac's prose.
Initial reaction[edit]
In his review for The New York Times, Gilbert Millstein wrote, "its publication is a historic occasion in so far as the exposure of an authentic work of art is of any great moment in an age in which the attention is fragmented and the sensibilities are blunted by the superlatives of fashion" and praised it as "a major novel."[1] Millstein was already sympathetic toward the Beat Generation and his promotion of the book in the Times did wonders for its recognition and acclaim. Not only did he like the themes, but also the style, which would come to be just as hotly contested in the reviews that followed. "There are sections of On the Road in which the writing is of a beauty almost breathtaking...there is some writing on jazz that has never been equaled in American fiction, either for insight, style, or technical virtuosity."[1] Kerouac and Joyce Johnson, a younger writer he was living with, read the review shortly after midnight at a newsstand at 69th Street and Broadway, near Joyce's apartment in the Upper West Side. They took their copy of the newspaper to a neighborhood bar and read the review over and over. "Jack kept shaking his head," Joyce remembered later in her memoir Minor Characters, "as if he couldn’t figure out why he wasn’t happier than he was." Finally, they returned to her apartment to go to sleep. As Joyce recalled: "Jack lay down obscure for the last time in his life. The ringing phone woke him the next morning, and he was famous.”[26]
The backlash began just a few days later in the same publication. David Dempsey published a review that contradicted most of what Millstein had promoted in the book. "As a portrait of a disjointed segment of society acting out of its own neurotic necessity, "On the Road", is a stunning achievement. But it is a road, as far as the characters are concerned, that leads to nowhere." While he did not discount the stylistic nature of the text (saying that it was written "with great relish"), he dismissed the content as a "passionate lark" rather than a novel."[27]
Other reviewers were also less than impressed. Phoebe Lou Adams in Atlantic Monthly wrote that it "disappoints because it constantly promises a revelation or a conclusion of real importance and general applicability, and cannot deliver any such conclusion because Dean is more convincing as an eccentric than as a representative of any segment of humanity."[28] While she liked the writing and found a good theme, her concern was repetition. "Everything Mr. Kerouac has to say about Dean has been told in the first third of the book, and what comes later is a series of variations on the same theme."[28]
The review from Time exhibited a similar sentiment. "The post-World War II generation—beat or beatific—has not found symbolic spokesmen with anywhere near the talents of Fitzgerald, Hemingway, or Nathaniel West. In this novel, talented Author Kerouac, 35, does not join that literary league, either, but at least suggests that his generation is not silent. With his barbaric yawp of a book, Kerouac commands attention as a kind of literary James Dean."[29] It considers the book partly a travel book and partly a collection of journal jottings. While Kerouac sees his characters as "mad to live...desirous of everything at the same time," the reviewer likens them to cases of "psychosis that is a variety of Ganser Syndrome" who "aren't really mad—they only seem to be."[29]
Current reactions[edit]
On the Road has been the object of much study since its publication. In celebration of the 50th anniversary of publication, several critics took a fresh look at the text in 2007. It is interesting to consider how the perception has evolved in the last half century.
David Brooks of the New York Times compiled several of these opinions and summarized them in an Op-Ed from October 2, 2007. Where as Millstein saw it as a story in which the heroes took pleasure in everything, George Mouratidis, an editor of a new edition, claimed "above all else, the story is about loss." "It's a book about death and the search for something meaningful to hold on to — the famous search for 'IT,' a truth larger than the self, which, of course, is never found," wrote Meghan O'Rourke in Slate. "Kerouac was this deep, lonely, melancholy man," Hilary Holladay of the University of Massachusetts Lowell told The Philadelphia Inquirer. "And if you read the book closely, you see that sense of loss and sorrow swelling on every page." "In truth, 'On the Road' is a book of broken dreams and failed plans," wrote Ted Gioia in The Weekly Standard.[30]
John Leland, author of Why Kerouac Matters: The Lessons of On the Road (They're Not What You Think), says "We're no longer shocked by the sex and drugs. The slang is passé and at times corny. Some of the racial sentimentality is appalling" but adds "the tale of passionate friendship and the search for revelation are timeless. These are as elusive and precious in our time as in Sal's, and will be when our grandchildren celebrate the book's hundredth anniversary."[31]
To Brooks, this characterization seems limited. "Reading through the anniversary commemorations, you feel the gravitational pull of the great Boomer Narcissus. All cultural artifacts have to be interpreted through whatever experiences the Baby Boomer generation is going through at that moment. So a book formerly known for its youthful exuberance now becomes a gloomy middle-aged disillusion."[30] He laments how the book's spirit seems to have been tamed by the professionalism of America today and how it has only survived in parts. The more reckless and youthful parts of the text that gave it its energy are the parts that have "run afoul of the new gentility, the rules laid down by the health experts, childcare experts, guidance counselors, safety advisers, admissions officers, virtuecrats and employers to regulate the lives of the young."[30] He claims that the "ethos" of the book has been lost.
Influence[edit]
On the Road has been a major influence on many poets, writers, actors and musicians, including Bob Dylan, Van Morrison, Jim Morrison, Hunter S. Thompson, and many more.
"It changed my life like it changed everyone else's," Dylan would say many years later. Tom Waits, too, acknowledged its influence, hymning Jack and Neal in a song and calling the Beats "father figures." At least two great American photographers were influenced by Kerouac: Robert Frank, who became his close friend — Kerouac wrote the introduction to Franks' book, The Americans — and Stephen Shore, who set out on an American road trip in the 1970s with Kerouac's book as a guide. It would be hard to imagine Hunter S. Thompson's road novel Fear and Loathing in Las Vegas had On the Road not laid down the template; likewise, films such as Easy Rider, Paris, Texas, and even Thelma and Louise.[32]
In his book Light My Fire: My Life with The Doors, Ray Manzarek (keyboard player of The Doors) wrote "I suppose if Jack Kerouac had never written On the Road, The Doors would never have existed."
Since the mobile lifestyle popularized by "On The Road" had a strong influence on the large market segment of baby boomers who joined the hippie movement the death of Jack Kerouac was of interest to the readers of the pioneering new journalism publication Rolling Stone. As a result, editor and publisher of the tabloid, Jann Wenner, printed a detailed account of the funeral of the "On The Road" author by writers Stephen Davis and Eric Ehrmann. According to the Rolling Stone article, Jack Kerouac's open casket viewing at the Archambault Funeral Home and subsequent burial funeral at the Edson Cemetery in Lowell, Massachusetts were attended by few of his "On The Road" era friends. Neal Cassady (Dean Moriarty in the book) had died the year before in 1968. San Francisco poet Lawrence Ferlinghetti chose not to come east to attend. Allen Ginsberg (Carlo Marx in the book) showed up with Peter Orlovsky and Gregory Corso was there filming the event. Author Terry Southern sent a floral arrangement that was on display near the bier. One writer in attendance not associated with the "On The Road" group or Beatnik crowd was New York Daily News columnist Jimmy Breslin, who, like Kerouac, came from a working-class background. Breslin, who had been inspired by "On The Road" in his youth, journeyed up to Lowell to pay his respects, his feelings about Kerouac's appearing as part of the Rolling Stone coverage. Many writers, actors and artists including Ann Charters and Hettie Jones, inter alia, would later share their feelings about how they were influenced by "On The Road" and the Beat culture in the Rolling Stone Book of The Beats edited by Holly George Warren published by Hyperion in 1999.
The St Arnaud Mercury was a newspaper first published on 13 February 1864 by the proprietors, Evans and Somerton, who also owned the Maryborough Advertiser.
It was purchased in 1868 by mining entrepreneur Ferris Charles Lewis (1828-1900). He bound yearly volumes and donated them to the Borough Council of St Arnaud, the Shire of Kara Kara and the Mechanics' Institute. The Lewis family owned the paper for 61 years with his two sons, Charles Ferris and Thomas George, continued the Mercury until 1929. [Ref:Wikipedia]
This building was constructed in 1914 to celebrate the diamond jubilee of the St. Arnaud Mercury newspaper that had been established in 1864 by Evans and Somerton. The building replaced an earlier structure that had also been occupied by the Mercury newspaper. Today, the building is no longer occupied by the St. Arnaud Mercury and is used for other commercial enterprises. [Ref: Victorian Heritage Database]
Fine Art Ballet Photography: Nikon D810 Elliot McGucken Fine Art Beautiful Ballerina Dancer Dancing Ballet in Pointe Shoes!
Dancing for Dynamic Dimensions Theory dx4/dt=ic: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c!
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Nikon D810 Epic Fine Art Ballerina Goddess Dancing Ballet! Dr. Elliot McGucken Fine Art Ballet!
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A pretty goddess straight out of Homer's Iliad & Odyssey!
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The 45EPIC landscapes and goddesses are straight out of Homer's Iliad & Odyssey!
I'm currently updating a translation with the Greek names for the gods and goddesses--will publish soon! :)
"RAGE--Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Zeus fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. " --Homer's Iliad capturing the rage of the 45EPIC landscapes and seascapes! :)
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I was challenged by a friend to post a Sepia toned photo.
I just happened to be working on this shot I took earlier this month walking around the Rocks. It is a perfect candidate!
I was lucky enough been selected by PhotoPlus UK to published my work on the October 2008, Issue 14. Original Shot
Thanks to all your continuous feedback and support. Hope i can do better next time.
Published on the number of November 2008 of the Italian magazine "Fotografare".
Pubblicata sul numero di novembre della rivista "Fotografare".
Best viewed large. All rights reserved. Much to my surprise this image was just published in the Rocky Mountain Elk Foundation's Bugle Magazine (Mar-Apr 2014), 1/2 page in the "SAY CHESE" color section on page 85. I liked the image but never thought it would be published...I am very fortunate and honored! I think this image adds considerable humor to this section. This image was captured near Wimer, Oregon.
My photo of Travis McCoy of Gym Class Heroes at Warped Tour 2008 (Englishtown, NJ).
Published in the October 2008 issue of Alternative Press Magazine (full page)
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