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Athens Services: Pete 320 HX-450 ASL
Athens Services: Volvo WXLL Octo FL
NASA Services: Pete 320 HX-450 ASL
Credit to Luis.
Preserved former City of Birmingham Salvage Department DV4 4-ton electric refuse lorry 184 (EOA956) was built in 1938 by Electricars Ltd, Landor Street, Birmingham and was withdrawn from service in 1972. It was one of a fleet of seventy-two similar vehicles bought between 1938 and 1948. It was photographed at the Birmingham Museums Collections Centre, Dollman Street, Birmingham on 28 May 2007.
Original Caption: Scott's Run, West Virginia. Miner's child - This boy was digging coal from mine refuse on the road side. The picture was taken December 23, 1936 on a cold day; Scott's Run was buried in snow. The child was barefoot and seemed to be used to it. He was a quarter mile from his home, 1936
U.S. National Archives’ Local Identifier: 69-RP-81
Photographer: Hine, Lewis
Subjects:
The New Deal
Tennessee Valley Authority
Works Progress Administration
Work Portraits
The Great Depression
Persistent URL: research.archives.gov/description/518366
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
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This photo is a result of watching too much Charmed I'm on series 4 at the moment. After Buffy the Vampire ending years ago I refused to replace it but eventually I've given in Charmed isn't as good but it's got a chick flick appeal and Paige's lovely retro makeup that's keeping me hooked. I made this photo for a photography theme which was 'pain' I find when doing self portraits a lot of the time it's therapeutic as I got to take out some frustration that I didn't know I had bottled up. Setup: I used an off camera flash above my head pointing at me.
Flickr why have you changed your layout again??? My photos look so small now :(
This sunflower stood out from the crowd this week, seemingly running from the sun and from the field of uniformity.
Bethesda Terrace Arcade, Central Park, Manhattan, New York.
Canon EF 135mm f/2L USM
©2012 Patrick J Bayens
Most Western toy makers tend to make their own models for their own brands but things can be a whole lot different in the Far East where a manufacturer is more than happy to either share their molds or more commonly let their products be sold under an almost endless list of brand names to whoever puts in a big order to their factory. Win Star are one such company who's products can be found the World over even in South Korea where the Mica toy company use their products for a range of very charming domestically aimed products which can't be found anywhere else. A recent purchase of a ten vehicle set yielded a few different types of trucks all using this same unlicensed Mercedes-Benz SK cab design including this Refuse Truck. Well finished, nicely painted and includes a fully tilting rear body. Mint and boxed.
This overtly Russian Kamaz truck can strangely be found in this overtly Chinese livery and sold under the Chinese ETI brand. Its actually normally seen sold under the Russian Technopark for their domestic market and indeed this Refuse Truck does still have the Technopark name on the baseplate but through whatever agreement they have with the Chinese toy factory who makes them they have been offered to other companies to sell as their own product. I'm 99.9% certain its made by the same factory who make the unlicensed 1/64 models you find here in the U.K. imported by HTI and usually sold under the Teamsterz or Wilko Roadsters brands. I actually emailed HTI recently asking them to tell me the name of this toy manufacturer but were unwilling to divulge that information! Anyway, its a nicely cast model with crisp detailing and well finished. Bought directly from China and is part of a four vehicle set. Mint and boxed.
Oh the MGB, the last great British Sports car?
A motor that refused to die even though British Leyland simply couldn't stop messing around with it. The MGB is an example of a car that went from one of the most loved and lovable cars in British motoring, to what many describe as an empty husk broken and bent for legislation purposes. But the MGB would have its way in the end!
The story behind the MGB begins in 1962, when the car was designed to incorporate an innovative, modern style utilizing a monocoque structure instead of the traditional body-on-frame construction used on both the MGA and MG T-types and the MGB's rival, the Triumph TR series. However components such as brakes and suspension were developments of the earlier 1955 MGA with the B-Series engine having its origins in 1947. The lightweight design reduced manufacturing costs while adding to overall vehicle strength. Wind-up windows were standard, and a comfortable driver's compartment offered plenty of legroom. A parcel shelf was fitted behind the seats.
The car was powered by a BMC B-Series engine, producing 95hp and giving the car a 0-60 of 11 seconds, perhaps not the briskest acceleration, but of course this car was more a comfy little cruiser, ambling about the countryside in sedate fashion admiring the views. The MGB was also one of the first cars to feature controlled crumple zones designed to protect the driver and passenger in a 30 mph impact with an immovable barrier (200 ton).
The roadster was the first of the MGB range to be produced. The body was a pure two-seater but a small rear seat was a rare option at one point. By making better use of space the MGB was able to offer more passenger and luggage accommodation than the earlier MGA while 3 inches shorter overall. The suspension was also softer, giving a smoother ride, and the larger engine gave a slightly higher top speed. The four-speed gearbox was an uprated version of the one used in the MGA with an optional (electrically activated) overdrive transmission. Wheel diameter dropped from 15 to 14 inches.
Upon its launch the MGB was given almost unanimous acclaim, largely due to its advanced and innovative design combined with its beautifully and sleek styling. Previous sports cars of the same calibre had always been levied with a reputation for their ropey nature, with a majority of previous models being simply remodelled versions of the MG's and Triumphs that dated back to the end of and in some cases even before World War II. But the MG was different, and if I'm honest, a large part of its appeal is due to its small, low body, and it's poky round headlights that make it look rather cute. It's the kind of car you could give a name, preferably a girl's one. Either way, the MGB sold in hundreds, disappearing off to all corners of the globe, touring the South of France, storming across the deserts of Southern California on Route 66, or dodging its way through the bustling Indian traffic, these things were adored.
However, the only version available was a soft-top roadster, which didn't appeal to everyone, so in 1965 MG took the B to Italy, and the great styling firm known as Pininfarina, and asked them to pop a roof on their windy little sports car. What resulted was a roof fixture that blended its way perfectly into the rest of the body, a smooth greenhouse cabin that was spacious but still maintained the styling that enthusiasts had come to know so well, going on to be dubbed "The poor man's Aston Martin."
Although acceleration of the GT was slightly slower than that of the roadster, due to its increased weight, top speed improved by 5 mph to 105 mph due to better aerodynamics.
However, tweaks were starting to be made to the MGB formula to try and give it a wider ranging market. Intended to replace the Austin Healey Sprite, the MG MGC was launched in 1967 as a reworked version of the classic MGB, but featuring a 2.9L BMC C-Series engine to up the power.
The problem was that the revised design of the car to incorporate the engine was nothing short of lazy. Instead of redesigning the whole car, MG chose to simply create a huge bulbous lump in the bonnet. The heavier engine also required modifications to the suspension which spoiled the handling. As well as that, the engines were quite poorly built, and later tuning by enthusiasts has proven that the car has the ability to run with 30% more power by carrying out simple modifications to head, exhaust and cam release.
However, the MGC did find some love, in the Royal Family of all places, as in 1967, HRH Prince Charles took delivery of an MGC GT (SGY 766F), which he passed down to Prince William 30 years later. At least one car had a happy ending!
But soon problems came roaring over the horizon like the four horsemen of the apocalypse. A whirlwind of legislation, corporate incompetence and plain old lazy design came right out of nowhere and would soon engulf and attempt to destroy the MGB, but not before stripping the poor thing of its dignity and its good name.
The first disaster to befall this plucky little car, British Leyland, which was formed in 1968 by merging all of Britain's major automotive firms including Rover, BMC (Austin/Morris) and Triumph (which was part of the Leyland Group). To save on costs the lavish chrome grille of the earlier models and spoked wheels were the first to go, but the B could survive without them.
Next up, fitting the car with a Rover V8 that had been developed from a series of Buick Pickup Truck engines. Although this could have been a good thing, this wasn't British Leyland's idea, but in fact belong to professional engine tuner Ken Costello, who, although had been commissioned by British Leyland to create a prototype, had already created a series of MGB's with V8's placed under the hood. British Leyland half-inched this idea and started fitting their own V8's, but went about it all wrong. The powerful 180bhp engine used by Costello for his conversions was replaced for production by MG with a more modestly tuned version producing only 137bhp. Although the car's 193lb-ft of torque meant it could reach 0-60 in 7.7 seconds and go on to a reasonable 125mph top speed, it was a thirsty beast, with only 20mpg. A bit of a territorial hazard admittedly, but it's not a good idea to develop such a gas guzzling car when it was about to smack headlong into the Oil Crisis of 1973. Barely anyone went out and bought it, and the money simply disappeared down the nearest drain.
But so far, the car's lovable external dimensions had yet to be compromised, but we haven't got to the legislation yet, one of those many apocalyptic horsemen I was mentioning earlier. Throughout the 1960's the death of James Dean had resulted in a gradual increase in safety legislation on US Highways, and in order to have a market there, cars had to conform. The height of the headlights, the bumpers, the smoke emissions, the recess of the switches, all of these things were scrutinised and had to be taken into account by car builders.
Indeed America can be owed with introducing many safety features and pieces of legislation we take for granted in modern motoring, but the British manufacturers almost seemed to go out of their way to redesign the cars completely and 100% wrong. In 1974 the glistening chrome was replaced by a gigantic bulbous rubber bumper that protruded from the front of the car like someone's bottom lip!
Other signs of their poor design included the removal of leather seats for something much more mundane, the use of dials and switches from other products such as Austin Allegros and Maxis, as well as door handles that came straight from the Morris Marina.
Internally, British Leyland had botched it with their laziness, choosing not to redesign the car like everyone else so that the headlights were at the required height, but instead placing solid blocks under the suspension to raise the lights to the desired level, but at the same time making the car look like it was going permanently downhill as well as making the handling so light it would slide constantly at speed. The engines were tuned down for emission regulations which made them woefully underpowered and thus they, to use a contemporary phrase, 'couldn't pull the skin off a Rice Pudding!'
Numbers dropped, but British Leyland went to that old trick in the book by using product placement to get by, putting one of their new MGB's in the New Avengers to be driven by Joanna Lumley's character Purdey. As far as I recall though, low slung sports cars aren't the best things to drive if you're in a miniskirt, because getting in and out of them can be quite revealing!
But this wasn't enough to save the MGB's deteriorating sales, in America cars would languish in stockyards and storage warehouses for months on end waiting to be sold, but to no avail. For this, the MG division was making losses of up to £400,000 per week, a clear sign that the ailing MGB had to go the way of all good cars, out of production. On October 21st, 1980, the last MGB rolled off the production line after 18 years, no pomp, no circumstance, just quietly slipping away into history.
After this, the MG brand was lost from its own original cars such as the Midget and the MGB that dated back to the 60's, instead being placed on tuned and slightly modified versions of British Leyland's family cars, including the MG Montego, the MG Maestro and, to the everlasting horror of MG purists although I personally don't think it's that bad, the MG Metro. The factory in Abingdon-on-Thames, where the MGB had been built, closed its gates immediately afterwards as part of the company's rationalisation, striking a blow to the economy of the region and the esteem of those who had been proud to build cars with those two simple letters, MG.
But all was not lost for the MGB, as soon afterwards the cars became fashionably retro, especially in the 1980's and 90's, when 60's examples were bought up largely by foreign markets due to their quintessentially British nature and their synonymous relationship with our country and way of life. Japan especially was a hotspot for old MG products, with Midgets and MGB's being shipped out there by the dozen. So popular were these that Rover Group, the descendants of British Leyland, went on to create a limited edition retelling of the MGB in the form of the MG RV8, constructed in 1993 with 2,000 examples built, the first original MG car to be built since the original MGB ended production in 1980.
Here in the UK, the MG craze kicked off with enthusiasts taking scrapyard shells and run down models and turning them into their own little put-together projects. The MGB has now become one of the most popular little retro sports cars of the modern era, and despite all its faults, even the rubber-bumper British Leyland models make some fantastic kit cars if you want good, wholesome sport fun on a budget!
Owned by: Republic Waste Services of Lakeland, FL
Chassis: Mack MRU TerraPro
Body manufacturer: Heil Formula 7000 (new version)
Type of truck: Automated side load garbage truck
Additional notes: This is a Compressed Natural Gas (CNG) truck. The tanks are mounted on top of the packer body. This is one of 41 new ASL's that are being put into service in Polk County, FL. These are environmentally friendly trucks! Great job Republic Services!
Location of photo: Polk County, FL
Note:
This photo may be copied, used, or reposted as long as the website watermark (www.flickr.com/formerwmdriver) is visible if available AND credit is given to FormerWMDriver for capturing this photo. As a courtesy, please let me know where it's been used, (I'd like to see it too). Thank you!
Copyright 2010 - Alan B.
Fotos del concierto de Refused en La Riviera para REVOLVER
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My second stay at this hotel. Anxious for my third. As I left, I was given a paper explaining the 522 year history of the hotel. I scanned it and corrected most typos. Here it is:
522 years of the Radisson SAS Schwarzer Bock Hotel
Martin Luther, the Christian reformist, was only three years old and America had not even been discovered by Christopher Columbus when the "Hotel Schwarzer Bock" (black goat hotel) in Wiesbaden was founded in the year 1486. The hotel is the oldest business in the city of Wiesbaden.
1800 years ago the Romans had their settlement, Aquae Mattiacorum, in the quarter where the health springs are located, stretching along the Langgasse from the Kranzplatz to the Mauritiusplatz. The Langgasse and the Kirchgasse are ancient Roman roads and the historical Roman bath system is still concealed under the Kranzplatz. Nowadays the curators of monuments regret that a lot of modern buildings have been constructed over these elegant baths.
Roman gravestones and bricks were also discovered during construction work in the cellar of the Hotel Schwarzer Bock. Ruins of a Hypocaustum, a Roman floor heating system, were unearthed as well.
The Romans were wise enough to make use of the hot springs, but in the times that followed during the conflicts between the Alemannic and the Frankish tribes in the 3rd century A.D., much was destroyed and partly forgotten. The luxurious bathing customs of the Romans cannot be compared to those of the Middle Ages. Life in the Roman baths took place on an entirely different level, while over 1000 years later landlords prepared hot baths from the spring water for their guests in order to earn a small extra income.
In those days, all the tiny houses around the Kranzplatz were probably very similar to each other in their appearance: One storey high and half-timbered, with gables, a yard, livestock,and gardens. The figure 1486, the earliest date the "Hotel Schwarzer Bock" is mentioned, is inscribed in the door of the bar in today's Radisson SAS Schwarzer Bock Hotel. Wiesbaden's bathhouses however were mentioned already in the 14th century.
And how did the "Schwarzer Bock Hotel" get its name?
We want to avoid being too scientific, since the ingenious vernacular of the common people is usually correct in such cases: The first proprietor of the bathhouse was the mayor Phillip zu Bock. Because he had black hair, his house was referred to as the "Schwarzer Bock". In 1486, the year of its founding, Wiesbaden had a population of 36 citizens.
It was customary at that time to name the houses after their owners. Only since 1450 the landlords used so-called inn-signs carrying the appropriate emblem. Thus the "Schwarzer Bock" had a sign hanging over the street showing the head of a black goat.
Other bathhouses had eagles, stags, swans, lions, and the like on their signboards. Otherwise little is known of the bathhouses in Wiesbaden in those days.
Chronological point of-reference: At this time the Turks besieged Vienna.
In the 16th century the small town of Wiesbaden suffered great damage by fires which also destroyed the "Hotel Schwarzer Bock". It is mentioned in historical documents that Hermann Burg rebuilt the house in 1578. Then the Thirty Years' War came; during that time imperial troops as well as Swedes, French, and Spaniards passed through Wiesbaden and the officers were accommodated in the bathhouses. The "Schwarzer Bock Hotel" was a special favourite for the billeting of soldiers. Plundering, murder and incendiarism were the order of the day.
At the end of the war there were no more than 51 citizens in the small town of Wiesbaden. It is hard to imagine the poverty in those days.
For a long time thereafter, the surviving inhabitants were unable to recover from the terrors of the war. The properties lay vacant, bathhouses were no longer required; who of the 51 people should be interested in bathing? And foreigners were no longer coming to visit anyway. Not until Count Johann restored the "Schwarzer Bock Hotel" along with other houses. But it was not until the year 1662 that we learn of the "Schwarzer Bock Hotel" being in operation once again: It had even been provided with two baths for the public.
Chronological point of reference: At this time the English were buying New Amsterdam from the Dutch and renaming it New York.
Ten years later Wiesbaden had once again to suffer, this time under the movements of the French troops of Louis XIV. Because of this, Count Johannes was constantly concerned about the welfare of his possessions. The town was fortified with trenches, towers, and gates. When he died in 1677 the worst ravages of the Thirty Years War had been set to rights, and the Hotel Schwarzer Bock is found in the list of bathhouses.
The Hotel Schwarzer Bock was redecorated in 1712 and in the same year it was enlarged by the acquisition of a pub named Rindsfuss (cattle foot), next door facing the Spiegelgasse. The "Hotel Schwarzer Bock" flourished and in 1736 got awarded for the designation "Bathhouse of the first order." The hot spring supplied water for 8 houses. This also meant that the proprietors had to reach an agreement in all questions of organisation. This was mainly attended by the landlord of the "Hotel Rose" and the "Hotel Schwarzer Bock", Johann Phillip Schramm. The 8 bath house owners who had the rights to use the water began in 1726 to elect two masters of the spring who were in charge of the supervision, repair and cleaning of the hot spring.
The spring water was not only used for supplying water to the baths, but was also very often sold off to Mainz, Frankfurt and other cities. The hot spring water (149°F/65°C) was filled into double walled barrels, sent off in the afternoon on wagons, and arrived the next morning at its destination at the right temperature.
Johann Phillip Schramm, the owner of the Hotel Schwarzer Bock installed a bath for horses to make his house profitable. This was an attraction for the small town.
Here it becomes necessary to mention that in 1730 Reverend Hellmund wanted to connect his paupers’ bath to the hot spring. The 8 bath house proprietors refused him, whereupon he lodged a bitter complaint, because the thermal spring was used for horses.
After Schramm had died in 1749 the Hotel Schwarzer Bock passed into the hands of the surgeon and hospital supervisor Johann Daniel Freinsheim. His widow continued running the bath house until 1779. As a result of the following division of the inheritance house and inventory were rated of the town councillor, and this list gives exactly information concerning the furnishings and facilities of the bathhouse.
At the same time elsewhere in the world: Czar Peter the Great was ruling Russia, the French Revolution, USA gained independence. Birth of Napoleon. Wiesbaden was now one of the most elegant tourist attractions of Europe.
In writing up their marriage contracts, ladies of Frankfurt reserved the rights to take the water at Wiesbaden once a year - without their husbands, of course.
The Freinsheims do not appear to have managed the house for a very long time, for it was taken over at the end of the century by the owner of the bathhouse Spiegel (mirror), Ferdinand Daniel Bergmann. He closed down the horse bath and expanded his property and procured additional income through the sale of colonial products, wine, and the profits of a company employing a horse drawn carriage.
Each bath house proprietor retained his individual economic resources. Not only that there was fowl fluttering around the large yard, there were also pigs, cows, and horses in the stables. Only gradually the custom of bathing became important. And for a long time there were complaints that the baths were not up to the standards of the time.
Proprietor Bergmann passed away in 1818, after having achieved a dignified level of prosperity. His widow continued to run the enterprise for further 4 years and then relinquished it to her son-in-Iaw Christian Bauer. In addition to the bathhouse, Bauer also maintained the post office and a wine tavern. Here we see that the sale of wine always played an important part, which is not surprising considering the proximity of the Rhine wine growing district. Following the advice of the government of Nassau he rebuilt the horse bath with room for 2 horses.
At the same time elsewhere in the world: At this time the emperor Napoleon was
conducting wars in an attempt to gain power over Europe.
In 1834 the "Hotel Schwarzer Bock" was sold to the Rudolphs, a married couple, who passed the bath house to their daughters in 1860/61. In the meantime the house had grown to 47 rooms and was capable of providing 50 baths daily. The guests in the bathhouse were supplied only with lodging and baths. They were responsible for their own victuals and had to cook their meals on the stoves in their rooms.
At the same time elsewhere in the world: Japan decided to open itself to the west, the term socialism appeared for the first time. In 1840 the first railway connected Frankfurt and Wiesbaden.
Johann Wolfgang von Goethe was one of the most famous guests in the "Schwarzer Bock Hotel" who composed the following lines: "The primary duty of every bather - is not to sit and think but rather - to bend to a higher purpose his wit/and make a merry life of it". The popular writer Dostojewski wrote his novel 'The gambler"- the casino is right around the corner.
In 1865 the ownership of the "Hotel Schwarzer Bock" was transferred to the merchant Theodor August Schäfer, who had presumably married one of Rudolph's daughters. The address book of the year shows Rudolph as the owner and Schäfer as the landlord of the baths.
In 1899 Schäfer acquired in addition the pub "Zur goldenen Kette" (golden chain) next door in the Langgasse.
All the bathhouses grouped around the Kranzplatz were of considerable age and were hardly able to meet the demands. Schäfer, too, was aware of this. So the bathhouses got replaced with a modern new building just before the First World War.
Once the "Zur goldenen Kette" had merged with the "Hotel Schwarzer Bock", the grounds of the "Schwarzer Bock bathhouse" were discovered to contain all the hot springs, and the owners considered about them being unified into a single spring and redefining it. This way they wanted to simplify the prevailing terms of possession and shares, and to effect an improvement in the hygienic conditions.
A proposal relating to this was approved by the town council. The city built the facilities and the cost was divided proportionally among the owners of the bathhouses. The new joint spring received the name "Drei Lilien Quelle" (spring of the three lilies) based on the three lilies found in the Wiesbaden coat of arms.
The new facilities were completed in 1906.
Untouched by world history, Wiesbaden was now a city of European format and an internationally cure city. The "Hotel Schwarzer Bock" now had baths with electric light, lifts, and 220 beds-room rate: 5 Mark (2,50 Euro). The Schäfer family continued to improve the house in the following years. In 1911/12 the roof was enlarged.
In 1927 the emblem of the black goat appeared for the first time on the letterhead of the hotel stationery. In 1929 the Hotel Schwarzer Bock had 260 rooms, all with running water and still for the price of only 5 Mark (2,50 Euro). Baths on the upper floors were built in addition to those on the ground floor.
Then the Second World War came along with bombs and occupation. In 1951 Karl Heinz Schäfer's damaged hotel was returned back to him. Bombs had destroyed the upper floors. The façade remained largely intact, but certain alterations were carried out which now give the house a much more sober look. The projections around the windows disappeared, as well as many other pretty decorations. The roof was completely restructured. On two floors in the Langgasse we can still see the magnificent old facades.
After the end of the Second World War the Americans occupied the hotel for another 12 years and left it in a sad state of repair. And once again it was necessary to make plans. In the autumn of 1957 the renovation work was completed and the family Schäfer was able to present a new, modern "Hotel Schwarzer Bock".
Nowadays you can still find old parts of the Roman foundations from the 3rd century in the cellar and the historical cellar door with the date 1486 inscribed, is today the entry to our Bar 1486.
In 1987 the family Schäfer sold the hotel. New proprietor was Winfried D.E. Völcker. He introduced the "Hotel Schwarzer Bock" as the first German hotel in the Association of Distinguished Hotels of the World, whose most famous member is the Oriental Hotel in Bangkok. Völcker had tried to preserve the European and German traditions in spite of all its undeniable risks. But Wiesbaden had been a well-known city within Europe since 1834 and became "Weltkurstadt" ("World Destination for Treatments and Cure") in 1852.
In 1995 Radisson SAS Hotels & Resorts (now Rezidor SAS Hospitality) with headquarters in Brussels took over the management of the hotel and many issues have been solved since then. The oldest hotel in Germany that has received a certificate of the German Hotel Association, rating the hotel officially as a five star hotel, had been renovated for more than 20 million Deutsche Mark (approx. 10,2 million Euro). All 142 guest rooms offer air conditioning, ISDN telephones, modem connections, free WiFi, and marble bathrooms. The traditional bath house is still an attraction for young and elder people, seeking relaxation and well-being. The restaurant "Capricorne" spoils the guests with regional and international dishes, served in an exceptional atmosphere. Tradition blends with modern arts. The flair of the "Ingelheimer Zimmer" - the event room for special occasions - is created by precious wooden carvings from the 16th century.
More information to be obtained from:
Radisson SAS Schwarzer Bock Hotel, Wiesbaden
Mr. Christian Hoffmann - Director of Sales & Marketing
Phone: +49 611 155 3610
E-Mail: christian.hoffmann@radissonsas.com
Nicolette Martin refuses to let the ball hit the sand as she dives outside the court boundaries to get to the ball.
Yuri Alekseyevich Gagarin [nb 1] (9 March 1934 – 27 March 1968) was a Soviet Air Forces pilot and cosmonaut who became the first human to journey into outer space, achieving a major milestone in the Space Race; his capsule Vostok 1 completed one orbit of Earth on 12 April 1961. Gagarin became an international celebrity and was awarded many medals and titles, including Hero of the Soviet Union, his nation's highest honour.
Vostok 1 was Gagarin's only spaceflight but he served as the backup crew to the Soyuz 1 mission, which ended in a fatal crash, killing his friend and fellow cosmonaut Vladimir Komarov. Gagarin later served as the deputy training director of the Cosmonaut Training Centre, which was subsequently named after him. He was elected as a deputy to the Soviet of the Union in 1962 and then to the Soviet of Nationalities, respectively the lower and upper chambers of the Supreme Soviet of the Soviet Union. Gagarin died in 1968 when the MiG-15 training jet he was piloting with his flight instructor Vladimir Seryogin crashed near the town of Kirzhach.
Contents
1 Early life and education
2 Soviet Air Force service
3 Soviet space program
3.1 Selection and training
3.2 Vostok 1
4 After the Vostok 1 flight
5 Personal life
6 Death
7 Awards and honours
7.1 Medals and orders of merit
7.2 Tributes
7.3 Statues and monuments
7.4 50th anniversary
8 See also
9 Notes
10 References
10.1 Sources
11 Further reading
12 External links
Early life and education
Yuri Gagarin was born 9 March 1934 in the village of Klushino,[1] near Gzhatsk (renamed Gagarin in 1968 after his death).[2] His parents worked on a collective farm:[3] Alexey Ivanovich Gagarin as a carpenter and Anna Timofeyevna Gagarina as a dairy farmer.[nb 2][4] Yuri was the third of four children: his siblings were brothers Valentin (1924) and Boris (1936), and sister Zoya (1927).[5][6]
Like millions of Soviet Union citizens, the Gagarin family suffered during the Nazi occupation of Russia during World War II. Klushino was occupied in November 1941 during the German advance on Moscow and a German officer took over the Gagarin residence. The family were allowed to build a mud hut approximately 3 by 3 metres (10 by 10 ft) inside on the land behind their house, where they spent twenty-one months until the end of the occupation.[7] His two older siblings were deported by the Germans to Poland for slave labour in 1943 and did not return until after the war in 1945.[5][8] In 1946, the family moved to Gzhatsk, where Gagarin continued his secondary education.[7]
In 1950, aged 16, Gagarin began an apprenticeship as a foundryman at the Lyubertsy steel plant near Moscow,[5][8] and enrolled at a local "young workers" school for seventh-grade evening classes.[9] After graduating in 1951 from both the seventh grade and the vocational school with honours in mouldmaking and foundry work,[9] he was selected for further training at the Saratov Industrial Technical School, where he studied tractors.[5][8][10] While in Saratov, Gagarin volunteered at a local flying club for weekend training as a Soviet air cadet, where he trained to fly a biplane, and later a Yak-18.[8][10] He earned extra money as a part-time dock labourer on the Volga River.[7]
Soviet Air Force service
In 1955, Gagarin was accepted to the 1st Chkalovsky Higher Air Force Pilots School, a flight school in Orenburg.[11][12] He initially began training on the Yak-18 already familiar to him and later graduated to training on the MiG-15 in February 1956.[11] Gagarin twice struggled to land the two-seater trainer aircraft, and risked dismissal from pilot training. However, the commander of the regiment decided to give him another chance at landing. Gagarin's flight instructor gave him a cushion to sit on, which improved his view from the cockpit, and he landed successfully. Having completed his evaluation in a trainer aircraft,[13] Gagarin began flying solo in 1957.[5]
On 5 November 1957, Gagarin was commissioned a lieutenant in the Soviet Air Forces having accumulated 166 hours and 47 minutes of flight time. He graduated from flight school the next day and was posted to the Luostari airbase close to the Norwegian border in Murmansk Oblast for a two-year assignment with the Northern Fleet.[14] On 7 July 1959, he was rated Military Pilot 3rd Class.[15] After expressing interest in space exploration following the launch of Luna 3 on 6 October 1959, his recommendation to the Soviet space program was endorsed and forward by Lieutenant Colonel Babushkin.[14][16] By this point, he had accumulated 265 hours of flight time.[14] Gagarin was promoted to the rank of senior lieutenant on 6 November 1959,[15] three weeks after he was interviewed by a medical commission for qualification to the space program.[14]
Soviet space program
Selection and training
See also: Vostok programme
Vostok I capsule on display at the RKK Energiya museum
Gagarin's selection for the Vostok programme was overseen by the Central Flight Medical Commission led by Major General Konstantin Fyodorovich Borodin of the Soviet Army Medical Service. He underwent physical and psychological testing conducted at Central Aviation Scientific-Research Hospital, in Moscow, commanded by Colonel A.S. Usanov, a member of the commission. The commission also included Colonel Yevgeniy Anatoliyevich Karpov, who later commanded the training centre, Colonel Vladimir Ivanovich Yazdovskiy, the head physician for Gagarin's flight, and Major-General Aleksandr Nikolayevich Babiychuk, a physician flag officer on the Soviet Air Force General Staff to the Commander in Chief of the Air Force.[17]
From a pool of 154 qualified pilots short-listed by their Air Force units, the military physicians chose 29 cosmonaut candidates, of which 20 were approved by the Credential Committee of the Soviet Government. The first twelve including Gagarin were approved on 7 March 1960 and eight more were added in a series of subsequent orders issued until June.[18] Gagarin began training at the Khodynka Airfield in downtown Moscow on 15 March 1960. The training regiment involved vigorous and repetitive physical exercises which Alexei Leonov, a member of the initial group of twelve, described as akin to training for the Olympics Games.[19] In April 1960, they began parachute training in Saratov Oblast and each completed about 40 to 50 jumps from both low and high altitude, and over land and water.[20]
Gagarin was a candidate favoured by his peers. When they were asked to vote anonymously for a candidate besides themselves they would like to be the first to fly, all but three chose Gagarin.[21] One of these candidates, Yevgeny Khrunov, believed that Gagarin was very focused and was demanding of himself and others when necessary.[22] On 30 May 1960, Gagarin was further selected for an accelerated training group, known as the Vanguard Six or Sochi Six,[23][nb 3] from which the first cosmonauts of the Vostok programme would be chosen. The other members of the group were Anatoliy Kartashov, Andriyan Nikolayev, Pavel Popovich, German Titov, and Valentin Varlamov. However, Kartashov and Varlamov were injured and replaced by Khrunov and Grigoriy Nelyubov.[25]
As several of the candidates selected for the program including Gagarin did not have higher education degrees, they were enrolled into a correspondence course program at Zhukovsky Air Force Engineering Academy. Gagarin enrolled in the program in September 1960 and did not earn his specialist diploma until early 1968.[26][27] Gagarin was also subjected to experiments that were designed to test physical and psychological endurance including oxygen starvation tests in which the cosmonauts were locked in an isolation chamber and the air slowly pumped out. He also trained for the upcoming flight by experiencing g-forces in a centrifuge.[28][25] Psychological tests included placing the candidates in an anechoic chamber in complete isolation; Gagarin was in the chamber on July 26 – August 5.[29][20] In August 1960, a Soviet Air Force doctor evaluated his personality as follows:
Modest; embarrasses when his humor gets a little too racy; high degree of intellectual development evident in Yuriy; fantastic memory; distinguishes himself from his colleagues by his sharp and far-ranging sense of attention to his surroundings; a well-developed imagination; quick reactions; persevering, prepares himself painstakingly for his activities and training exercises, handles celestial mechanics and mathematical formulae with ease as well as excels in higher mathematics; does not feel constrained when he has to defend his point of view if he considers himself right; appears that he understands life better than a lot of his friends.[21]
The Vanguard Six were given the title of pilot-cosmonaut in January 1961[25] and entered a two-day examination conducted by a special interdepartmental commission led Lieutenant-General Nikolai Kamanin, tasked with ranking of the candidates based on their mission readiness for the first human Vostok mission. On 17 January 1961, they were tested in a simulator at the M. M. Gromov Flight-Research Institute on a full-size mockup of the Vostok capsule. Gagarin, Nikolayev, Popovich, and Titov all received excellent marks on the first day of testing in which they were required to describe the various phases of the mission followed by questions from commission.[22] On the second day, they were given a written examination following which the special commission ranked Gagarin as the best candidate the first mission. He and the next two highest-ranked cosmonauts, Titov and Nelyubov, were sent to Tyuratam for final preparations.[22] Gagarin and Titov were selected to train in the flight-ready spacecraft on 7 April 1961. Historian Asif Siddiqi writes of the final selection:[30]
In the end, at the State Commission meeting on April 8, Kamanin stood up and formally nominated Gagarin as the primary pilot and Titov as his backup. Without much discussion, the commission approved the proposal and moved on to other last-minute logistical issues. It was assumed that in the event Gagarin developed health problems prior to liftoff, Titov would take his place, with Nelyubov acting as his backup.
Vostok 1
Main article: Vostok 1
Poyekhali!
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Gagarin's voice
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On 12 April 1961, 6:07 am UTC, the Vostok 3KA-3 (Vostok 1) spacecraft was launched from Baikonur Cosmodrome. Aboard was Gagarin, the first human to travel into space, using the call sign Kedr (Russian: Кедр, Siberian pine or Cedar).[31] The radio communication between the launch control room and Gagarin included the following dialogue at the moment of rocket launch:
Korolev: Preliminary stage ... intermediate... main... LIFT-OFF! We wish you a good flight. Everything's all right.
Gagarin: Off we go! Goodbye, until [we meet] soon, dear friends.[32][33]
Gagarin's farewell to Korolev using the informal phrase Poyekhali! (Russian: Поехали!)[nb 4] later became a popular expression in the Eastern Bloc that was used to refer to the beginning of the Space Age.[35][36] The five first-stage engines fired until the first separation event, when the four side-boosters fell away, leaving the core engine. The core stage then separated while the rocket was in a suborbital trajectory, and the upper stage carried it to orbit. Once the upper stage finished firing, it separated from the spacecraft, which orbited for 108 minutes before returning to Earth in Kazakhstan.[37] Gagarin became the first to orbit the Earth.[31]
File:1961-04-19 First Pictures-Yuri Gagarin-selection.ogvPlay media
An April 1961 newsreel of Gagarin arriving in Moscow to be greeted by First Secretary Nikita Khrushchev.
"The feeling of weightlessness was somewhat unfamiliar compared with Earth conditions. Here, you feel as if you were hanging in a horizontal position in straps. You feel as if you are suspended", Gagarin wrote in his post-flight report.[38] He also wrote in his autobiography released the same year that he sang the tune "The Motherland Hears, The Motherland Knows" (Russian: "Родина слышит, Родина знает") during re-entry.[39] Gagarin was qualified a Military Pilot 1st Class and promoted to the rank of major in a special order given during his flight.[15][39]
At about 23,000 feet (7,000 m), Gagarin ejected from the descending capsule as planned and landed using a parachute. There were concerns Gagarin's spaceflight record would not be certified by the Fédération Aéronautique Internationale (FAI), the world governing body for setting standards and keeping records in the field, which at the time required that the pilot land with the craft.[40] Gagarin and Soviet officials initially refused to admit that he had not landed with his spacecraft,[41] an omission which became apparent after Titov's subsequent flight on Vostok 2 four months later. Gagarin's spaceflight records were nonetheless certified and again reaffirmed by the FAI, which revised it rules, and acknowledge that the crucial steps of the safe launch, orbit, and return of the pilot had been accomplished. Gagarin continues to be internationally recognised as the first human in space and first to orbit the Earth.[42]
After the Vostok 1 flight
Gagarin in Warsaw, 1961
Gagarin's flight was a triumph for the Soviet space program and he became a national hero of the Soviet Union and Eastern Bloc, as well as a worldwide celebrity. Newspapers around the globe published his biography and details of his flight. He was escorted in a long motorcade of high-ranking officials through the streets of Moscow to the Kremlin where, in a lavish ceremony, Nikita Khrushchev awarded him the title Hero of the Soviet Union. Other cities in the Soviet Union also held mass demonstrations, the scale of which were second only to World War II Victory Parades.[43]
Gagarin and Valentina Tereshkova (seated to his right) sign autographs in 1964
Gagarin gained a reputation as an adept public figure and was noted for his charismatic smile.[44][45][46] On 15 April 1961, accompanied by official from the Soviet Academy of Sciences, he answered questions at a press conference in Moscow reportedly attended by 1,000 reporters.[47] Gagarin visited the United Kingdom three months after the Vostok 1 mission, going to London and Manchester.[48][44] While in Manchester, despite heavy rain, he refused an umbrella, insisted that the roof of the convertible car he was riding in remain open, and stood so the cheering crowds could see him.[44][49] Gagarin toured widely abroad, accepting the invitation of about 30 countries.[50] In just the first four months, he also went to Brazil, Bulgaria, Canada, Cuba, Czechoslovakia, Finland, Hungary, and Iceland.[51]
In 1962, Gagarin began serving as a deputy to the Soviet of the Union,[52] and was elected to the Central Committee of the Young Communist League. He later returned to Star City, the cosmonaut facility, where he spent several years working on designs for a reusable spacecraft. He became a lieutenant colonel of the Soviet Air Forces on 12 June 1962, and received the rank of colonel on 6 November 1963.[15] On 20 December 1963, Gagarin became Deputy Training Director of the Star City cosmonaut training base.[53] Soviet officials, including cosmonaut overseerer Nikolai Kamanin, tried to keep Gagarin away from any flights, being worried about losing their hero in an accident noting that he was "too dear to mankind to risk his life for the sake of an ordinary space flight".[54] Kamanin was also concerned by Gagarin's drinking and believed the sudden rise to fame had taken its toll on the cosmonaut. While acquaintances say Gagarin had been a "sensible drinker", his touring schedule placed him in social situations in which he was increasingly expected to drink alcohol.[5][10]
Gagarin with U.S. Vice President Hubert Humphrey, French Prime Minister Georges Pompidou and the Gemini 4 astronauts at the 1965 Paris Air Show
Two years later, he was re-elected as a deputy of the Soviet Union but this time to the Soviet of Nationalities, the upper chamber of legislature.[52] The following year, he began to re-qualify as a fighter pilot[55] and was backup pilot for his friend Vladimir Komarov on the Soyuz 1 flight after five years without piloting duty. Kamanin had opposed Gagarin's reassignment to cosmonaut training; he had gained weight and his flying skills had deteriorated. Despite this, he remained a strong contender for Soyuz 1 until he was replaced by Komarov in April 1966 and reassigned to Soyuz 3.[56]
The Soyuz 1 launch was rushed due to implicit political pressures[57] and despite Gagarin's protests that additional safety precautions were necessary.[58] Gagarin accompanied Komarov to the rocket before launch and relayed instructions to Komarov from ground control following multiple system failures aboard the spacecraft.[59] Despite their best efforts, Soyuz 1 crash landed after its parachutes failed to open, killing Komarov instantly.[60] After the Soyuz 1 crash, Gagarin was permanently banned from training for and participating in further spaceflights.[61] He was also grounded from flying aircraft solo, a demotion he worked hard to lift. He was temporarily relieved of duties to focus on academics with the promise that he would be able to resume flight training.[62] On 17 February 1968, Gagarin successfully defended his aerospace engineering thesis on the subject of spaceplane aerodynamic configuration and graduated cum laude from Zhukovsky Air Force Engineering Academy.[27][63][62]
Personal life
Gagarin and his wife Valentina clapping at a concert in Moscow in 1964.
Gagarin and his wife Valentina at a concert in Moscow in 1964.
Gagarin was a keen sportsman and fond of ice hockey as a goal keeper.[64] He was also a basketball fan and coached the Saratov Industrial Technical School team, as well as being a referee.[65]
In 1957, while a cadet in flight school, Gagarin met Valentina Goryacheva at the May Day celebrations at the Red Square in Moscow.[66] She was a medical technician who graduated from Orenburg Medical School.[8][10] They were married on 7 November 1957,[8] the same day Gagarin graduated from Orenburg, and they had two daughters.[67][68] Yelena Yurievna Gagarina, born 1959,[68] is an art historian who has worked as the director-general of the Moscow Kremlin Museums since 2001;[69][70] and Galina Yurievna Gagarina, born 1961,[68] is a professor of economics and the department chair at Plekhanov Russian University of Economics in Moscow.[69][71] Following his rise to fame, at a Black Sea resort in September 1961, he was reportedly caught by his wife during a liaison with a nurse who had aided him after a boating incident. He attempted to escape through a window and jumped off a second floor balcony. The resulting injury left a permanent scar above his left eyebrow.[5][10]
Death
Plaque on a brick wall with inscription: Юрий Алексеевич Гагарин, 1934-03-09–1968-03-27
Plaque indicating Gagarin's interment in the Kremlin Wall
On 27 March 1968, while on a routine training flight from Chkalovsky Air Base, Gagarin and flight instructor Vladimir Seryogin died when their MiG-15UTI crashed near the town of Kirzhach. The bodies of Gagarin and Seryogin were cremated and their ashes were buried in the walls of the Kremlin.[72] Wrapped in secrecy, the cause of the crash that killed Gagarin is uncertain and became the subject of several theories.[73][74] At least three investigations into the crash were conducted separately by the Air Force, official government commissions, and the KGB.[75][76] According to a biography of Gagarin by Jamie Doran and Piers Bizony, Starman: The Truth Behind the Legend of Yuri Gagarin, the KGB worked "not just alongside the Air Force and the official commission members but against them."[75]
The KGB's report declassified in March 2003 dismissed various conspiracy theories and instead indicated the actions of airbase personnel contributed to the crash. The report states that an air-traffic controller provided Gagarin with outdated weather information and that by the time of his flight, conditions had deteriorated significantly. Ground crew also left external fuel tanks attached to the aircraft. Gagarin's planned flight activities needed clear weather and no outboard tanks. The investigation concluded Gagarin's aircraft entered a spin, either due to a bird strike or because of a sudden move to avoid another aircraft. Because of the out-of-date weather report, the crew believed their altitude was higher than it was and could not react properly to bring the MiG-15 out of its spin.[76] Another theory, advanced in 2005 by the original crash investigator, hypothesizes that a cabin air vent was accidentally left open by the crew or the previous pilot, leading to oxygen deprivation and leaving the crew incapable of controlling the aircraft.[73] A similar theory, published in Air & Space magazine, is that the crew detected the open vent and followed procedure by executing a rapid dive to a lower altitude. This dive caused them to lose consciousness and crash.[74]
On 12 April 2007, the Kremlin vetoed a new investigation into the death of Gagarin. Government officials said they saw no reason to begin a new investigation.[77] In April 2011, documents from a 1968 commission set up by the Central Committee of the Communist Party to investigate the accident were declassified. The documents revealed that the commission's original conclusion was that Gagarin or Seryogin had manoeuvered sharply, either to avoid a weather balloon or to avoid "entry into the upper limit of the first layer of cloud cover", leading the jet into a "super-critical flight regime and to its stalling in complex meteorological conditions".[78]
A Russian MiG-15UTI, the same type as Gagarin was flying
Cosmonaut Alexei Leonov, a member of a state commission established to investigate Gagarin's death, was conducting parachute training sessions that day and heard "two loud booms in the distance". He believes that a Sukhoi Su-15 was flying below its minimum altitude and, "without realizing it because of the terrible weather conditions, he passed within 10 or 20 meters of Yuri and Seregin's plane while breaking the sound barrier". The resulting turbulence would have sent the MiG-15UTI into an uncontrolled spin. Leonov said the first boom he heard was that of the jet breaking the sound barrier and the second was Gagarin's plane crashing.[79] In a June 2013 interview with Russian television network RT, Leonov said a report on the incident confirmed the presence of a second, "unauthorized" Su-15 flying in the area. However, as a condition of being allowed to discuss the declassified report, Leonov was barred from disclosing the name of the Su-15 pilot who was 80 years old and in poor health as of 2013.[80]
Awards and honours
Medals and orders of merit
Jânio Quadros, President of Brazil, decorated Gagarin in 1961.
On 14 April 1961, Gagarin was honoured with a 12-mile (19 km) parade attended by millions of people that concluded at the Red Square. After a short speech, he was bestowed the Hero of the Soviet Union,[81][82] Order of Lenin,[81] Merited Master of Sports of the Soviet Union[83] and the first Pilot-Cosmonaut of the USSR.[82] On 15 April, the Soviet Academy of Sciences awarded him with the Konstantin Tsiolkovsky Gold Medal, named after the Russian pioneer of space aeronautics.[84] Gagarin had also been awarded four Soviet commemorative medals over the course of his career.[15]
He was honoured as a Hero of Socialist Labor (Czechoslovakia) on 29 April 1961,[85][86] and Hero of Socialist Labor (Bulgaria, including the Order of Georgi Dimitrov) on 24 May.[15][chronology citation needed] On the eighth anniversary of the beginning of Cuban Revolution (26 July), President Osvaldo Dorticos of Cuba presented him with the first Commander of the Order of Playa Girón, a newly created medal.[87]
Gagarin was also awarded the 1960 Gold Air Medal and the 1961 De la Vaulx Medal from the Fédération Aéronautique Internationale in Switzerland.[88] He received numerous awards from other nations that year, including the Star of the Republic of Indonesia (2nd Class), the Order of the Cross of Grunwald (1st Degree) in Poland, the Order of the Flag of the Republic of Hungary, the Hero of Labor award from Democratic Republic of Vietnam,[15] the Italian Columbus Day Medal,[89] and a Gold Medal from the British Interplanetary Society.[90][91] President Jânio Quadros of Brazil decorated Gagarin on 2 August 1961 with the Order of Aeronautical Merit, Commander grade.[92] During a tour of Egypt in late January 1962, Gagarin received the Order of the Nile[93] and the golden keys to the gates of Cairo.[50] On 22 October 1963, Gagarin and Valentina Tereshkova were honoured with the Order of Karl Marx from the German Democratic Republic.[94]
Tributes
The date of Gagarin's space flight, 12 April, has been commemorated. Since 1962, it has been celebrated in the USSR and most of its former territories as Cosmonautics Day.[95] Since 2000, Yuri's Night, an international celebration, is held annually to commemorate milestones in space exploration.[96] In 2011, it was declared the International Day of Human Space Flight by the United Nations.[97]
Yuri Gagarin statue at the Royal Greenwich Observatory in London
A number of buildings and locations have been named for Gagarin. The Yuri Gagarin Cosmonaut Training Center in Star City, Russia, was named on 30 April 1968.[98] The launch pad at Baikonur Cosmodrome from which Sputnik 1 and Vostok 1 were launched is now known as Gagarin's Start. Gagarin Raion in Sevastopol, Ukraine, was named after him during the period of the Soviet Union. The Russian Air Force Academy was renamed Gagarin Air Force Academy in 1968.[99] A street in Warsaw, Poland, is called Yuri Gagarin Street.[100] The town of Gagarin, Armenia was renamed in his honour in 1961.[101]
Gagarin has been honoured on the Moon by astronauts and astronomers. During the American space program's Apollo 11 mission in 1969, astronauts Neil Armstrong and Buzz Aldrin left a memorial satchel containing medals commemorating Gagarin and fellow cosmonaut Vladimir Komarov on the Moon's surface.[102][103] In 1971, Apollo 15 astronauts David Scott and James Irwin left the small Fallen Astronaut sculpture at their landing site as a memorial to the American astronauts and Soviet cosmonauts who died in the Space Race; the names on its plaque included Yuri Gagarin and 14 others.[104][105] In 1970, a 262 km (163 mi)-wide crater on the far side after him.[106] Gagarin was inducted as a member of the 1976 inaugural class of the International Space Hall of Fame in New Mexico.[107]
Gagarin is memorialised in music; a cycle of Soviet patriotic songs titled The Constellation Gagarin (Russian: Созвездье Гагарина, tr. Sozvezdie Gagarina) was written by Aleksandra Pakhmutova and Nikolai Dobronravov in 1970–1971.[108] The most famous of these songs refers to Gagarin's poyekhali!: in the lyrics, "He said 'let's go!' He waved his hand".[35][108] He was the inspiration for the pieces "Hey Gagarin" by Jean-Michel Jarre on Métamorphoses, "Gagarin" by Public Service Broadcasting, and "Gagarin, I loved you" by Undervud.[109]
Russian ten-ruble commemorating Gagarin in 2001
Vessels have been named for Gagarin; Soviet tracking ship Kosmonavt Yuri Gagarin was built in 1971[110] and the Armenian airline Armavia named their first Sukhoi Superjet 100 in his honour in 2011.[111]
Two commemorative coins were issued in the Soviet Union to honour the 20th and 30th anniversaries of his flight: a one-ruble coin in copper-nickel (1981) and a three-ruble coin in silver (1991). In 2001, to commemorate the 40th anniversary of Gagarin's flight, a series of four coins bearing his likeness was issued in Russia; it consisted of a two-ruble coin in copper-nickel, a three-ruble coin in silver, a ten-ruble coin in brass-copper and nickel, and a 100-ruble coin in silver.[112] In 2011, Russia issued a 1,000-ruble coin in gold and a three-ruble coin in silver to mark the 50th anniversary of his flight.[113]
In 2008, the Kontinental Hockey League named their championship trophy the Gagarin Cup.[114] In a 2010 Space Foundation survey, Gagarin was ranked as the sixth-most-popular space hero, tied with Star Trek's fictional James T. Kirk.[115] A Russian docudrama titled Gagarin: First in Space was released in 2013. Previous attempts at portraying Gagarin were disallowed; his family took legal action over his portrayal in a fictional drama and vetoed a musical.[116]
Statues and monuments
There are statues of Gagarin and monuments to him located in Gagarin (Smolensk Oblast), Orenburg, Cheboksary, Irkutsk, Izhevsk, Komsomolsk-on-Amur, and Yoshkar-Ola in Russia, as well as in Nicosia, Cyprus, Druzhkivka, Ukraine, Karaganda, Kazakhstan, and Tiraspol, Moldova. On 4 June 1980, Monument to Yuri Gagarin in Gagarin Square, Leninsky Avenue, Moscow, was opened.[117] The monument is mounted to a 38 m (125 ft) tall pedestal and is constructed of titanium. Beside the column is a replica of the descent module used during his spaceflight.[118]
Bust of Gagarin at Birla Planetarium in Kolkata, India
In 2011, a statue of Gagarin was unveiled at Admiralty Arch in The Mall in London, opposite the permanent sculpture of James Cook. It is a copy of the statue outside Gagarin's former school in Lyubertsy.[119] In 2013, the statue was moved to a permanent location outside the Royal Observatory, Greenwich.[120]
In 2012, a statue was unveiled at the site of NASA's original spaceflight headquarters on South Wayside Drive in Houston. The sculpture was completed in 2011 by artist and cosmonaut Alexei Leonov and was a gift to Houston by various Russian organisations. Houston Mayor Annise Parker, NASA Administrator Charles Bolden, and Russian Ambassador Sergey Kislyak were present for the dedication.[121][122] The Russian Federation presented a bust of Gagarin to several cities in India including one that was unveiled at the Birla Planetarium in Kolkata in February 2012.[123]
In April 2018, a bust of Gagarin erected on the street in Belgrade, Serbia, that bears his name was removed, after less than week. A new work was commissioned following the outcry over the disproportionately small size of its head which locals said was an "insult" to Gagarin.[124][125] Belgrade City Manager Goran Vesic stated that neither the city, the Serbian Ministry of Culture, nor the foundation that financed it had prior knowledge of the design.[126]
50th anniversary
50th anniversary stamp of Ukraine
The 50th anniversary of Gagarin's journey into space was marked in 2011 by tributes around the world. A film titled First Orbit was shot from the International Space Station, combining sound recordings from the original flight with footage of the route taken by Gagarin.[127] The Russian, American, and Italian crew of Expedition 27 aboard the ISS sent a special video message to wish the people of the world a "Happy Yuri's Night", wearing shirts with an image of Gagarin.[128]
The Central Bank of the Russian Federation released gold and silver coins to commemorate the anniversary.[129] The Soyuz TMA-21 spacecraft was named Gagarin with the launch in April 2011 to coincide with the 50th anniversary of the first manned space mission.
I believe this to be a 1968 (early ) dumpster still in use today. On wheels and garaged. Lids apparently changed recently.Numbered UW 244. The 1st 150 dumpsters were purchased in 1967 from Truck and Equipment of Lakeland. This would have been bought just after that.
Chassis: Mack MR
Body: Leach 2RIII
Hauler: Rubatino Refuse Removal
Location: Everett, WA
Date: April 2018
See More Trashy Photos & Videos At: The Thrash 'N' Trash Website
©Bryn Erdman. All Rights Reserved.
One of Silver Lake's largest estates at 11,743 square feet on a lot of 82,764 square feet. This huge residence has a storied history, culminating in the development of the Hathaway Estates, a planned subdivision within Silver Lake. The house was built in 1923 and has a commanding 360 Degree View atop one of Silver Lake's highest hills. The house is built entirely of reinforced concrete; there is not one stick of wood in its structure. Mr. Hathaway apparently had a great fear of fire, and did not want his house burning down! It was recently (September 2004) on the market for $3,250,000. The house is located at 1809 Apex Avenue in Silver Lake. It is currently owned by Dov Charney, founder and CEO of American Apparel, known for his success as an entrepreneur and passion for simple clothing. His leadership style has drawn extensive praise and criticism. He has earned recognition in the media for management decisions to pay a fair wage and refusing to outsource manufacturing. The Los Angeles Times named him as one of the Top 100 powerful people in Southern California and in 2009, he was nominated as a Time 100 finalist by Time magazine.
If any of our readers know about the development of Hathaway Estates, details about the original owner, architect or builder, please feel free to contact the editor of this column.
NOTES: I recently received an e-mail from Michele Martin informing me that 'the Estate belonged to a Charles Hathaway, a director/studio head from the silent screen era. His great granddaughter, Robin Clarke, was my best friend and neighbor when I lived at 2400 Micheltorena Street.'
Michele Martin
Greenwich Library
SLN Subscriber Ken Puchlik writes: 'From 1950 to 1965 I lived on Redesdale Ave. on the west side of the valley looking east at the Hathaway house on top of the hill. It was always vacant and never a light on. One night, the mansion was ablaze with light and everyone came out to wonder what was going on. It was simply the moon rising behind the home and the light was passing through the windows and out the other side. Obviously, it was devoid of furniture or curtains.
I also remember that there was another large building or home next to it; people said it was another mansion. It apparently was demolished during the construction of the 'tract' homes that I believe were a poor use of the viewscape. Having half the number of lots with higher end-well designed homes, taking better advantage of the pre-existing topography, would have been better use of the land. The developer should have used the axiom of 'less is more' and probably realized more investment return by developing premium lots on what was a rare piece of land. Paradise lost.
Mr. Hathaway had good reason to fear fire. In the early 50's a grass fire at the end of summer burnt up to the edge of the estate. Every local fire unit was on the scene. Dry summer grass was prevalent with all the vacant lots at the time. After that, the fire department started controlled burns of the lots every summer.
Before the hum of the freeways diminished the neighborhood's ambient sound, you could hear the trains switching in the yards off Fletcher Dr. late at night. The greatest chili dogs in the world were sold out of the old Signal Gas station at Effie and Silver Lake Blvd. Across the street, the 7/11 was a Union Oil Gas station with the friendliest guys who took good care of you at 20 cents a gallon of gas. And a kid could walk the 0.75 mile to catch the PE and go to the Ramona and see a 25 cent movie without any concern for safety, even at night.
Craig Collins writes 'When I moved here in 1982, the subdivision was just being built. The land had been bought by CalTrans for continuation of the Glendale Freeway, which was to connect with the Hollywood Freeway (near Vermont...where there's that very wide median), then on to Beverly Hills, which was to be the name of the freeway. As a result of that unfortunate choice of name and alignment, one of the very first successful opposition to a California freeway project was mounted, and the freeway ended at Glendale Boulevard. After many years, CalTrans began selling off the property, and you can pretty much trace the path by much of the newer construction, especially on the south side of Sunset.
I had heard about an effort to create a park on the Hathaway hill, but know nothing further about it. How spectacular that would have been!
Anyway, Peggy Stevenson was City Councilperson at the time, was a fervent supporter of the development community, and she evidently got quick approval of the housing project. After the development was completed, it mysteriously became a gated community. It's worth noting that Stevenson was defeated in a reelection bid by Michael Woo, who shepherded many of the pro-planning and more progressive changes in the city (such as getting a moratorium on the explosive development of mini-malls that was then in full swing). Upon her defeat, Stevenson systematically destroyed all the district constituent and project files in her office, forcing Woo to begin his office with nothing to aid projects and constituent concerns. That was the good old days in the LA City Council!
Well, that's what I know, subject to verification by others who may have a better historical perspective.
Veteran Silver Lake activist Maryann Kuk writes 'My recollection about Hathaway is that it had nothing to do with the #2 freeway. It was before I participated in any community stuff. The Hathaway estate (they are old money LA Athletic club, Riviera Country club, CA yacht club) sold it to a developer who wanted to build 100's of condos. SLRA got heavily involved opposing along with the immediate 'hood and the developer backed down to the 40+ or so [ugly, tract, crappy] houses. He promised to leave all of the mature tress, but the day after he got his permit he cut them all down. The Hathaway family had been collectors of specimens and I'm told it was beautiful.'
The Silver Lake News thanks our readers for their generous contributions of history and insights of Silver Lake!
Update: Without editing the content, I found some new "wrinkles" to our ongoing story, as reported in the popular real estate blog, "Take Sunset", March 28th, 2011:
"The Garbutt House actually has a very interesting history. It’s one of Silver Lake’s largest estates at 11,743 square feet of interior space, 3-stories tall with 20 rooms. It was built by Frank A. Garbutt, a movie pioneer, inventor, industrialist, and “one of the most prominent citizens of Los Angeles in the late 19th and early 20th Century” according to the Los Angeles Times. In 1923, Garbutt acquired the 37-acre hilltop site overlooking the Silver Lake Reservoir with views of the Pacific Ocean, the Santa Monica and Verdugo Mountains, and the downtown skyline. He built three houses on the site, which came to be known as the Garbutt-Hathaway Estate. (Garbutt’s son-in-law was Charles F. Hathaway, a shipbuilder and real estate developer.) The structures were built primarily of concrete, and were designed to withstand earthquakes, floods, and fire, which Garbutt was particularly afraid of. (There were also no fireplaces in the home.) He did allow some design touches, however. There were bronze window frames, hand carved teak and marble floors, and the first floor was entirely travertine.
Garbutt lived in the mansion until his death in 1947. In his spare time, he experimented with new inventions, built race cars, invented a soap-less detergent, and worked on a superior chewing gum.
Garbutt’s three children and their families lived on the estate after his death in 1947. The estate was eventually sold by his daughter in 1960. The houses sat dormant for several years as owners battled with the city and preservationists over plans to raze the three houses and build condominiums or a large housing development on the site. In 1978, two of the houses were torn down to make room for a 100-home development, but the Garbutt House was spared. In 1987, the Garbutt House was listed in the National Register of Historic Places. It’s now part of the gated community Hathaway Hill Estates, and it most recently sold in 2004 for $3,250,000".
New notes submitted 10/31/2019: Frank A. Garbutt owned all 3 homes. His daughter Melodile Garbutt married a Hathaway. Frank A Garbutt was fearful of fires and that is why his home was like a fortress. My mother is Frank E. Garbutts daughter. I hate to tell you this because you seem like a good writer but you have a lot of false info here. Frank A and Frank E were involved in the studios. Robin is my cousin, her Mother is Frank A’s daughter. Please corrects these errors. Thank you, Melodile Adams
The Garbutt House is listed in the National Register of Historic Resources. Please do not use this image in any media without my permission. © All rights reserved.
City of Lyndhurst, Oh Service Department Mack LE refuse packer truck with Labrie automated packer body.
Amateur photographer of the year 2012 runner up.Shortlisted landscape photographer of the year 2013.And I still refuse to read the manual.
Freightliner Class 66, 66511 heads north through Acton Bridge with the 6F35 19:07 Northenden Refuse Transfer Station Freightliner Heavy Haul to Runcorn Folly Lane 'binliner'.
The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.
GODDESS KALI
Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.
ETYMOLOGY
Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".
Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.
Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.
ORIGINS
Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.
According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.
WORSHIP AND MANTRA
Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is
Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥
ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तुते ॥
(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.
Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stutē.)
YANTRA
Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.
BENGALI TRADITION
Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.
The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:
Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]
Were she not merciless, would she kick the breast of her lord?
Men call you merciful, but there is no trace of mercy in you, Mother.
You have cut off the heads of the children of others, and these you wear as a garland around your neck.
It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.
To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.
A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.
In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.
In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).
LEGENDS
SLAYER AND RAKTABIJA
In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:
Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.
Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.
DAKSHINA KALI
In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.
The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot
on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.
If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.
One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.
SMASHAN KALI
If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.
MATERNAL KALI
At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.
MAHAKALI
Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.
Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.
ICONOGRAPHY
Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.
In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.
The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.
In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"
According to Ramakrishna, darkness is the Ultimate Mother, or Kali:
My Mother is the principle of consciousness. She is Akhanda Satchidananda;
indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.
The waters of the ocean depths are the same; The infinite is always mysteriously dark.
This inebriating darkness is my beloved Kali.
—Sri Ramakrishna
This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.
POPULAR FORM
Classic depictions of Kali share several features, as follows:
Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.
Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.
She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.
She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.
Kali as the Symbol of Creation , Freedom , Preservation and Destruction
The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.
Kali as the Symbol of Mother Nature
The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.
SHIVA IN KALI ICONOGRAPHY
In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:
Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.
The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:
Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.
This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.
The Tantric interpretation of Kali standing on top of her husband is as follows:
The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.
While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.
To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.
From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.
Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.
Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.
DEVELOPMENT
In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.
The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.
Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.
Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.
Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.
A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.
Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.
KALI IN NEOPAGAN AND NEW AGE PRACTICE
An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:
A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.
INCARNATIONS OF KALI
Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.
WIKIPEDIA
Updates, Friday December 7th, floods of Egyptians took the streets walked in marches from different places all over Egypt and in Cairo toward the Presidential Palace and Tahrir square condemning the constitutional referendum that will be held on Dec 15th. Protesters have set up barricades in Marghani St., gates in Heliopolis district in preparation for a sit-in in front of the Presidential Palace. A few hours later, rumors about attacks from Morsi supporters keep circulating, on the other hand some anti-Morsi protesters formed groups to protect the sit-in at the presidential palace against the possible attacks. Meanwhile, the CSF vehicles had spread in Salah Salem St., in attempts to prevent Morsi supporters from attacking the sit-in.
Thursday December 6th, President Mohamed Morsi delivers a statement to the nation, inviting the oppositions to dialogue and he stressed that Dec 15th constitutional referendum will be conducted according to the results of the national dialogue. The first reaction of the protesters was hanging their shoes to the cameras as a sign of refusing the statement.
Wednesday December 5th, after pro-revolution protesters started their sit-in in front of the presidential palace yesterday, pro-Mors protesters came to their sit-in in a march and dispersed it violently at midday. They broke all the tents, stole the food and water they had, and attacked many. Later, after they took over the streets around the palace, the MB militias turned Merghany street and Roxy square into a war-zone and attacked the pro-revolution protesters with rocks, bird shots, and teargas. The ongoing bloody clashes that continued to early Thursday Dec 6th, had left 6 martyrs and more than 290 wounded.
Tuesday Dec 4th, Floods of Egyptians surrounded the presidential palace in Heliopolis, chanting against President Morsi & Muslim Brotherhood. Protesters gathered in front of El-Etehadeya palace to condemn the constitutional declaration issued by President Morsi, the Draft Constitution and Constituent Assembly. The protest was met with tear gas by "CSF" in an attempt to disperse the protesters after attempts to breakthrough the barbed wire, a few minutes later "CSF" withdrawn to the presidential palace, then the protesters gathered again in front of the palace and contined their chants against Morsi. On the other hand protests erupted in different cities all over Egypt "Alexandria, Mahalla, Hurghada, Assiut, Luxor, Minya and Ismailia" demanding the toppling of the constitutional declaration and dissolving the constitutional assembly.
Saturday Dec 1st, Pro-Morsi protesters gathered in Nahdit Misr square in front of Cairo Uni to support the constitutional declaration issued by President Mohamed Morsi, and to demand for the implementation of Islamic Sharia law. Protesters came in MB and Salafi buses from different cities in Egypt. On the other hand, Tahrir sit-in continues continues with the demand of toppling the same constitutional declaration.
Friday Nov 30th, floods of protesters marched today in different cities all over Egypt and in Cairo towards Tahrir square where the sit-in continues. For the second week protesters demand the toppling of the constitutional declaration and dissolving the constitutional assembly. Chants reverberated in the streets of Egypt against President Mohamed Morsi, Mohamed Badee and the Muslim Brotherhood. Revolutionaries were joined by the so-called "Sofa Party" who have recently started protesting against the MB's dictatorship. Along with Egyptians from all walks of life, marched popular faces from both political and artistic backgrounds. By sunset Tahrir Square was filled with demonstrators, they were joined by Mohamed El Baradei and Hamdeen Sabahy who gave speeches in the square.
Thursday Nov 29th, hundreds of protesters continue their sit-in in Cairo's Tahrir square until toppling the new constitutional declaration issued by President Mohamed Morsy. On the other hand, US Embassy was shut due to the ongoing clashes in Simon Bolivar st., where CSF built two concrete blocks to stop clashes.
Tuesday Nov 27th, floods of Egyptians took the streets walked in marches from different places all over the country, condemning the new constitutional declaration issued by President Mohamed Morsy last Thursday. Egyptians chanted against the Muslim Brotherhood's monopolizing of power. On the other hand, Judges' Club started an open sit-in to denounce recent constitutional decrees and to condemn the new constitutional declaration.
Monday Nov 26th, Egypt bids farewell two new martyrs in two painful funerals; Gaber on Mohamed Mahmoud St. and Eslam in Damanhour - Photo from Gaber's consolation.
Sunday Nov 25th, the ongoing clashes took place in the vicinity on US Embassy between protesters and CSF, where both sides switched the battlefield from Kasr Al-Ainy St. to Simone Bolivar square.
Saturday Nov 24th, Judges' Club holds extraordinary general assembly to denounce recent constitutional decrees and to condemn the new constitutional declaration issued by President Mohamed Morsi. On the other hand, clashes continued in the vicinity of Mohamed Mahmoud St. and Kasr Aliny St., between protesters and CSF.
Friday Nov 23rd, floods of Egyptians took the streets walked in marches from different places all over the country condemning the new constitutional declaration issued by President Mohamed Morsy yesterday. Among the protesters were Dr. Mohamed El Baradei, Mr. Hamdeen Sabahy and Mr. Amr Moussa who called for nation-wide protests after last night's declaration. Meanwhile clashes continued in the vicinity of Mohamed Mahmoud street between protesters and central security forces.
Wednesday Nov 21st, clashes continued for the third day in the vicinity of Mohamed Mahmoud st. between protesters and Central Security Forces. CSF advanced towards Tahrir sq. throwing a very large amount of tear gas at the protesters, injuring and arresting many of them.
Tuesday Nov 20th, clashes continued in the vicinity of Mohamed Mahmoud St. along with Kasr Al-Ainy St. between the Central Security Forces "CSF" and protesters.
Monday Nov 19th, thousands of protesters gathered in Mohamed Mahmoud St., Down Town - Cairo, commemorating the first anniversary of Mohamed Mahmoud battle that took several lives a year ago.
Clashes erupted in the vicinity of Mohamed Mahmoud St. between the Central Security Forces "CSF" and protesters, when the protesters tried to tear down the concrete blocks that was built by the SCAF. A few minutes later both parties exchanged throwing rocks/ stones at one another. The "CSF" also used tear gas in an attempt to disperse the protesters.
REFUSE FASCISM demonstrators at Freedom Plaza on 13th at E Street, NW, Washington DC on Saturday morning, 21 September 2019 by Elvert Barnes Protest Photography
Follow REFUSE FASCISM at www.facebook.com/RefuseFascism/
Follow WE THE PEOPLE MARCH DC event page at www.facebook.com/events/461490171371500
En route to WE THE PEOPLE MARCH Gathering Rally
Elvert Barnes Saturday, 21 September 2019 WE THE PEOPLE MARCH / DC docu-project at elvertbarnes.com/WTPM2019.html