Relates to Leeds TOTW: Simplicity (18 Jan 2009)

Here my friend's garden takes on a contemporary artistic look with simplistic ready-made artefacts. These two items appear nicely placed together somehow!

You need to feel connected to other people, is as vital to human survival as food, water and shelter... share time withe people who care about you and vice versa.... this is what happiness meant...

Cuando ví a estos señores en un Parque de Tequisquiapan.... pensé en lo importante que son las relaciones entre los humanos, el compartir con la gente que nos quiere, como los amigos, la familia... el "dar y recibir"... y eso es sin duda es parte de ser feliz...

Documents from the early 1990s relating to blood plasma transfusion by Henan provincial government and military blood plasma collection stations that led to the spread of HIV to many people who sold blood. The blood collection stations were closed in the mid 1990s though some continued this very profitable business underground.

HIV Blood Transfusion Disaster Documents For more information see: en.wikipedia.org/wiki/Plasma_Economy The Wound by He Aifang on the history of blood disaster museums.cnd.org/CND-Global/CND-Global.01-01-25.html

Links to US Embassy website mentioned at the end of the report above are archived on the Internet Archive web.archive.org/web/20010809150226fw_/http://www.usembass...

See also article Dr. Gao Yaojie Human Rights China at www.hrichina.org/content/4754

Interesting article relating to a failed planning application for this site ( www.thisisbradford.co.uk/bradford__district/archive/2001/... ):

First published on Thursday 12 July 2001:

Planners reject the renovation of 17th century former Cromwell stopover

PLANS to renovate an historic farm where Oliver Cromwell once stayed overnight in the 17th century have been rejected.

Proposals would have seen Low Hall Farm in Low Hall Road, Horsforth converted into three houses and offices. Councillors welcomed the restoration of the farm house, but said that building an extra 11 houses elsewhere on the site, which is in the Green Belt, were unacceptable.

Councillor Brian Cleasby (Lib Dem, Horsforth) said: "We are certainly not unhappy with changing the use and restoring the existing building but we have difficulty with the new buildings. There is enough profit for the developer in the existing properties without adding more houses. There are no exceptional circumstances to warrant this." Coun Clive Fox (Con, Otley and Wharfedale) agreed and added: "This development is over the top."

The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.

The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.

General characteristics

•Crew: Two

•Length: 18 ft 9 in (5.71 m)

•Wingspan: 20 ft 0 in (6.10 m)

•Height: 6 ft 7⅓ in (2.02 m)

•Wing area: 125 ft² (11.6 m²)

•Empty weight: 1,150 lb (521 kg)

•Max takeoff weight: 1,625 lb (737 kg)

•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)

Performance

•Never exceed speed: 182 knots (210 mph, 338 km/h)

•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)

•Stall speed: 52 knots (60 mph, 97 km/h)

•Range: 277 NM (319 mi, 513 km)

•Service ceiling: 21,000 ft (6,400 m)

•Rate of climb: 2,700 ft/min (13.7 m/s)

•Wing loading: 13.0 lb/ft² (63.6 kg/m²)

•Power/mass: 0.16 hp/lb (0.26 kW/kg)

Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.

youtu.be/9rDd-yfZbQ0?t=1s

Title: It! The Terror From Beyond Space

Year Of Release: 1958

Running Time: 69 minutes

DVD Released By: MGM Home Entertainment

Directed By: Edward L. Cahn

Writing Credits: Jerome Bixby

Starring: Marshall Thompson, Shawn Smith, Kim Spalding, Ann Doran, Dabbs Greer, Paul Langton, Robert Bice

Taglines:

1. It breathes, it hunts…It Kills!

2. IT!...Reaches through space!...Scoops up men and women!...Gorges on blood!

3. The revelation shocker of things to come!

Alternate Titles:

It! The Vampire from Beyond Space (1958)

The Terror from Beyond Space (1958).

Review Date: 12.12.04 (updated 1.1.10)

The film opens with a thundering musical theme and a title that threatens to bust out of the screen and into our third spatial dimension. After the credits end, we get a view of the Martian surface. In the distance we see the wreckage of a crashed rocket ship. A voice belonging to Colonel Edward Carruthers begins to narrate, relating how the ship he commanded cracked up on landing six months previously and how he is now the only survivor from that doomed expedition, the crew encountering some strange force on the Red planet they came to know only as death. The camera slowly pans over the landscape and a second rocket ship is revealed, albeit intact and standing erect. Carruthers says that he will now be going back to face his superiors on Earth and possibly another kind of death.

Now we see the capitol building in Washington D.C., which quickly fades to a door marked, “Science advisory committee. Division of interplanetary exploration.” No doubt down the hall are the offices for the division on Radiation-Enlarged Insects and Lizards. Inside this room a government official is conducting a press conference and releasing information on the second rocket ship sent to Mars. He talks about how Colonel Carruthers has been found alive, but is the only survivor from the initial expedition. The Colonel will be returned to Earth to face trial for the murders of the rest of the first ship’s crew.

Back on Mars, we see the Challenge-142 preparing to lift off. Before they can depart, Van Heusen notices an open compartment. It seems Lt. Calder was dumping some crates (littering) and forgot to close it. The open hatch is closed remotely, but as it slides shut, an ominous shadow moving about nearby alerts us to the fact that something has managed to get aboard while it was open. We hear a few growls and even get a close up of IT’s feet as it moves about. I gotta say, this guy needs some serious corrective footwear. Talk about a slewfoot! What is even more hilarious is that the shadow we see on the wall seems to be made by the actor in the monster suit, but not the monster mask. His facial features seem pretty clear in silhouette.

After a name check, Van Heusen begins the launch countdown at ten, while strapped into what appears to be a lawn chair! Where was the budget blown for this ship? No trash recycling systems and cheap chairs! The contractor must have spent it somewhere, but it obviously wasn’t on this ship!

Once in space and safely on the way home, Van Heusen (who will henceforth be referred to simply as Van – some of the characters did it, why not me) begins acting like an asshole, ridiculing Carruther’s story of a monster. He tells Carruthers (seemingly with great delight) that they have enough evidence to put him in front of a firing squad. They head up one level and Van shows him a human skull they found on the surface of Mars. Dental records revealed it to be a Frank Kenner, one of Carruther’s crew. The skull has an obvious bullet hole in it and Van says, “There’s only one kind of a monster that uses bullets.” There is an ominous musical cue. Carruthers walks away and the film fades out.

Sometime later the crew is cleaning up after a meal. Correction: the women are cleaning up after a meal. Yes, in this futuristic year of 1973, women – despite being doctors and presumably vital members of the crew – are still assigned the laborious task of cleaning up after meals and making sure all the lazy, fat-ass males have fresh, hot coffee in their cups and are supplied with cigarettes. I wonder if these guys made them cook the meal as well.

So this group has finished a meal and are relaxing. The usual light banter is exchanged before the topic of Colonel Carruthers and his monster comes up. Royce (the other Royce will always be referred to as Doctor Royce for purposes of this review) says that he doesn’t disbelieve or believe the story. Along about that time Carruthers arrives and is greeted with a smart-ass comment from Van. He gets some coffee from Ann and retreats back up one level. Van then states that before they reach Earth, he will have Carruthers’ confession on tape. What is he going to do, beat it out of him?

Some more time passes and Ann brings Carruthers a plate of food. She admits that she has only heard the story of what happened to the crew of the Challenge-141 from Van and would like to hear it straight from Carruthers. He relates to her how they landed, went out exploring and then got caught in a sandstorm. Something in the storm began taking the crew and in the confusion shots were fired, one apparently killing Kenner by mistake. Carruthers was the only one who made it back to the ship. Subsequent searches turned up no signs of his crew or the thing that took them.

Van continues to act like a dick. Ann - with whom he seems to have some sort of relationship beyond work - tells him that he owes it to Carruthers to treat him like a fellow officer and not an animal, and that it is not his place to decide whether he is guilty.

More time passes. Royce and Carruthers are playing chess while Van looks on, smoking a cigarette. Calder is nearby scribbling in a notebook – probably “I won’t leave outer hatches open before lift-off” a hundred times, enforced by Van for his lamebrain mistake. Elsewhere, Keinholz is sitting alone at a desk, looking bored. He hears their stowaway bumbling around the cargo hold. He goes to investigate and is killed, the attack shown as shadows on a wall. The monster lifts Keinholz over his head and brings him smashing to the floor, where he proceeds to pelt the unfortunate crewmen with a barrage of blows…or in this case, cartwheeling its arms and bitch-slapping the guy to death.

Above, Carruthers has heard the commotion and wonders what is going on. No one else seems to have heard anything. He still insists on performing a head count and when Keinholz comes up missing, everyone begins searching the ship for him. While everyone is split up, Gino Finelli is captured by the beast when he stops to pilfer some cigarettes from a storage locker.

Everyone convenes again and Van is in disbelief as there just isn’t a place on the ship a man could hide. Carruthers asks where Gino is and Bob says that he was right behind him. He looks back down the ladder to the deck below and calls out to Gino, but all is silent below. He, Van and Carruthers all go back down where they find Gino’s unused cigarette on the floor, but no Gino. Now everyone is calling out for Gino in addition to Keinholz. Soon after, Keinholz’s body is located in an air duct.

Everyone comes running and arrives as Keinholz is removed from the duct. Bob wonders if Gino is inside the duct, but Carruthers looks and sees nothing. Major Purdue volunteers to go in to look for Gino as he claims to know the layout. He crawls on in, but doesn’t see anything at first. Then he re-orients himself and sees Gino at the end of the passage. Gino is looking pretty bad, like he was in a fight with an Avon lady who applied her make-up samples to him. Purdue yells out that he found Gino and begins to crawl toward him. He shakes Gino, trying to rouse him but Gino just shakes his head limply. Then there is a shadowy movement nearby and IT arrives on the scene, no doubt pissed to find someone playing with his food. IT growls and claws at Purdue, who screams before pulling out a revolver and squeezing off a few shots. This makes the monster roar and outside in the storage room, Carruther’s face is one of dread – he knows that roar all too well, it seems.

Purdue comes barreling out of the duct and Carruthers sneaks a glance inside before he and Van replace the cover over the entrance. Bob, naturally has a fit, upset that his brother is being left behind. He is removed by Royce and Carruthers yells to the cowering women to run and get a head start. A head start for where? You’re on a spaceship, not the open plains of Iowa. Carruthers then spots a crate of grenades and suggests that they wire them up to the hatches, thus blowing IT up if it decides to leave the duct. So Van, Carruthers and Calder wire up these grenades, then gather up Keinholz’s body (which seemed to magically aid them in picking itself off the floor) and retreat to one of the upper levels.

Next we see a table loaded with guns, rifles and ammunition. It looks like a NRA convention! It is at this point that I must point out the sheer stupidity of these people. They are on a spaceship, which is traveling through the vacuum of space. Rupturing the hull of the ship in any way would be extraordinarily bad. I’d imagine that great pains would be taken to minimize the chances that such an event ever took place. Yet these fools insist on firing projectile weapons within the confines of the ship. Not only that, but they have grenades ready to detonate below. Now, what kind of tests did these people have to pass in order to be selected for this mission? Cuz smarts don’t seem to be a requisite. Not once does any one of them stop to consider the chances that such an explosion might actually harm the bloody ship! No, they just fire away. Either these people are colossal idiots, or they are confident in the construction and engineering of the ship – but given the lawn chairs adorning the place, I would not exactly be willing to bet my life on the latter possibility.

So the men are taking stock of the weapons while the ladies apply the most idiotic looking bandage to Purdue’s head. Royce tries to console Bob by telling him there was nothing they could have done for Gino, but Bob is pissed that they didn’t even try to rescue his brother.

Meanwhile, Van is asking Carruthers if he knows what IT is. This must have just galled the guy to no end. Here he was all ready to break Carruthers and get a confession, and now he must admit that the other man was right all along. Time passes and the gang is pacing up and down, waiting for IT to leave the ducts and trip the grenade trap. They all gather around the intercom and listen as IT busts through the grate covering the duct and sets off the grenades. All those grenades detonate and we are treated to an explosion that looks like it was made by a box of firecrackers.

They still hear the monster growling, so they know that the plan has failed. Without a word, they hoist their firearms, open the central stair hatch and head down to investigate further…well, all the guys do. The women stay up above, no doubt prepping coffee. The guys gather around the door to C and open it up. A lot of smoke passes through the doorway, obscuring their vision. Calder, who is carrying the biggest gun, goes in first. Well, actually Van was in the lead, but when he couldn’t get the lights activated, he motions for Calder to go first. Chickenshit bastard. Calder barely gets through the door when IT lunges out of the smoke, grabs his rifle and bends it, Superman-style, over its head. Calder, Royce and Bob then run like hell up the stairs while Van and Carruthers fire their pistols at the beast. They retreat up the stairs, firing all the way, while IT tears the door to C compartment open wide enough to get through. Once safely up the stairs, the crew closes the central stair hatch.

Next gas grenades are used in an attempt to kill the beast. This fails to work as well and Van comes out of the engagement with an injured foot, scraped up something bad when the monster grabbed him.

Dr. Royce has completed the autopsy on Keinholz, discovering that “there is not a molecule of oxygen or a drop of water” left in his body. Blood, bone marrow, glandular secretions – everything, is gone. She theorizes that since there are no puncture marks on the body, that this was accomplished through some type of osmosis process. Keep in mind that the Human body is sixty to seventy percent water. Now, we got a pretty good view of the dead Keinholz earlier. Sure, his body was shriveled, but if all the moisture in his body had been removed, then would not he have looked more like a dried up prune, and been the size of a cabbage patch doll? Van Heusen hasn’t joined the cadaver club yet, though his wound is infected and nothing Dr. Royce can do helps it any.

They open the central hatch and peer down. IT is two levels down, but they can see it breaking through the center hatch onto the level directly below them, which will grant it access to the next level. They realize that if IT can get through the center hatches, they are royally SCREWED. Ann approaches Carruthers and tells him that he was right and they were all wrong. They hold hands and share a Kodak moment.

Royce pipes in about now with an idea he and Bob have worked out. He proposes that two men exit through the control room airlock and then space walk down the side of the ship and re-enter through the airlock on the motor level – below the current location of the creature. This would enable them to surprise the monster, but they aren’t sure what to surprise it with. Carruthers says he’s been thinking and has an idea, so he and Calder suit up and make their way down the hull to the bottom of the ship. They reach the airlock on the motor level and the others above begin talking loud at the proper time, distracting the monster from what is occurring below it. Carruthers and Calder sneak out onto the motor level and set an electrical trap on the stairs that lead to the upper level where IT is located.

The two then take cover behind some induction pumps and open the center hatch, which is noticed by the creature. It begins to descend the stairs and when it gets to the appropriate spot – ZAP. Nothing. The monster is not affected. Carruthers is able to make it safely to the airlock, but Calder takes a blow to the head that tears his vinyl “helmet” and stumbles back, his foot getting caught and the fall breaking his leg. He fires up an acetylene torch and uses it to fend off the monster every time it gets to close to his hiding spot.

Carruthers returns to the others where they try and think of a way to rescue Calder, who can be heard over the radio. Meanwhile the Doctor approaches Royce and tells him that the alien bacteria are attacking bone marrow, resulting in a leukemia-type condition. The drugs she has been using are working too slowly and she needs fresh blood to keep Van and Purdue alive – but there is no more on this level. They will need to descend to the cargo level and retrieve some more.

Royce is preparing to make a run for the blood and Bob decides that it his “turn” now to go. What is this, a ride? I suppose he feels the need to do something in helping kill the monster that murdered his brother. Carruthers decides to accompany them. Calder promises to keep them apprised of the creature’s movements via the intercom. A shadow on the wall tells us that IT is still dragging dead Gino around, and has wandered into the reactor room. After Calder reports this, it gives Carruthers an idea. He remotely closes the reactor room door and asks Calder what the monster does. When no odd behavior is reported, the three men make their descent in search of the blood supply.

Meanwhile Van has awoken again and is trying to get up from his cot. The women try to restrain him but he yells and pushes past them. He has an idea – by unsealing the reactor, the radiation will kill the monster. He flips some controls while the ladies still try and talk sense into him. In the reactor room, the creature is banging on the door to get out when the reactor is unsealed and it gets a face full of radiation. The women call down to warn the men what has happened, inciting Carruthers and Royce to speed things up. Below, Bob is helping Calder up the stairs when IT breaks out of the reactor room. Calder dives back into his hiding spot and Bob fires off his pistol at the beast. He then tries to run up the stairs, but IT is too fast. The monster reaches up and grabs him, pulling him down to the floor and bitch-slapping him to death. Royce and Carruthers haul ass back up the stairs with the blood, having to leave Bob behind. They get back to the laboratory level and then everyone heads on up to the topmost level – the control room.

Everyone is now huddled on the highest level. For some IDIOTIC reason, Carruthers is carrying a bazooka. A bazooka! They pile some heavy crates over the hatch in the floor, hoping to keep IT from busting up through the opening. Nearby Ann and Van are talking and the ever more disconcerted Colonel is remarking on Ann is now “with” Carruthers and how it happened out of the blue. She tries to dismiss it and wants to talk about it later, but he insists that there may be no later considering how their situation is degenerating rapidly. She walks off to help Carruthers and Van continues to mutter to Dr. Royce.

They contact Calder down below, who is still alive. He can see the monster still bumbling around on the motor level. About now IT has decided to find out where everyone else has gone. IT ascends the stairs to the first storage level and begins banging around. Calder warns Carruthers that IT is on its way up. The gang up top makes ready, turning the lights off and preparing for the last fight. Carruthers tells Calder to make his way to the airlock now that IT is no longer nearby and hide there. Then Carruthers picks up the bazooka again and aims it at the hatch.

While waiting, Carruthers happens to glance at a dial on a nearby instrument panel and notices that the oxygen consumption on the ship is far in excess of what it should be. He points this out to Royce and the two theorize that it is due to the monster. With the thin air on Mars it would need a gigantic lung capacity and has thus been hogging all the oxygen on the ship with its Darth Vader breathing style. Carruthers suggest letting all the air out of the ship to kill it. Royce agrees, saying they can build it back up for themselves later.

A mad rush is on now, everyone trying to get into his or her space suit. The monster tears his way up onto the laboratory level, doesn’t even hesitate and then heads up the latter to the top level. IT bangs on the hatch, causing all the boxes sitting atop it to topple over, and then IT peels back the metal of the hatch like wrapping paper and pokes up through the opening like a jack-in-the-box. Everyone has their spacesuits on now, but Carruthers cannot reach the controls to release the air because the monster is in the way. He calls to Royce, who is now holding the bazooka, to drive it back down so he can make his way to the proper control panel. Royce fires the bazooka, but the rocket just bounces off the monster before bouncing around the floor some. No detonation at all! It must have been a dud. Carruthers is trying to reach the controls, but the monster is preventing him from getting too close. Van then jumps up, runs to the controls and hits the correct button. The airlock doors open and the air begins rushing out. The monster has grabbed Van and no doubt given him the squish treatment, as when next we see Van, he is stretched out on the floor.

The ship begins diving. Well, not really…but given that the emergency klaxon blaring away to warn everyone of decompression and air loss sounds just like the diving bell in some old WWII movie, and one can see why it seems like the ship is diving. Everyone hangs on for dear life. Papers start flying around the room, but very few actually get blown out the airlock. The monster growls, writhes around and finally stops moving as the last of the air is removed. Carruthers checks on both IT and Van, but both are still and quiet. I have to wonder how Van didn’t get blown out. Everyone was hanging on, but Van was out cold (or dead). It seems the monster is finally dead. Everyone seems relieved, and the camera zooms in on Ann and Carruthers as they hold hands before fading out…

…Into ANOTHER freakin’ shot of the ship flying through space (number nine). This fades into the room in Washington D.C. that we saw at the very beginning of the film. The same government official is conducting another press release. He has more information to add to the story he gave to the reporters the previous evening. He reads a message from the Challenge-142 received less than an hour ago:

“This is Eric Royce talking. Of the nineteen men and women who have set foot upon the planet Mars, six will return.”

Six? Let’s see…Carruthers, Ann, Royce, Dr. Royce, Purdue and…Calder, I suppose. Calder was hiding in the airlock on the motor level while Van Heusen got beat up by the monster and was laying there pretty still at the end, so I guess he was the one who died. The message continues:

“There is no longer a question of murder, but of an alien and elemental lifeforce. A planet so cruel, so hostile, that man may have to find it necessary to bypass it in his endeavor to explore and understand the universe.”

Well, at least Carruthers has been cleared, but Royce makes out like the planet Mars is so damn dangerous. Excuse me, but were not you guys all safe until you got back on the ship? The planet seemed pretty harmless. It is the native life that proved to be so deadly. Big difference. The message (and the movie) concludes:

“Another name for Mars…is death.”

Fade out. The End.

Structurally, this movie is most similar to The Thing From Another World in that it deals with a small group of people trapped struggling to prevail against a deadly organism from another planet bound and determined to make a snack of them all. Aside from the opening and closing segments set on Earth (which most people conclude were added in order to stretch out the film’s running time) the movie never leaves the crew of the Challenge-142. Once things get rolling, the movie rarely lets up and moves along at a brisk pace, rapidly pushing its characters through one bad situation and into another. While not as intense as later films would be, the approach taken works very well and the viewer begins to detect the sense of danger and desperation that builds as the film progresses.

Sadly, the character development that was so well executed in the Howard Hawk’s The Thing From Another World, is sorely and quite obviously lacking here. We are quickly introduced to a number of people, who for the most part, will be expanded upon very little and examined only long enough to form the vaguest of impressions. With the exception of Carruthers and Van Heusen, who these people are and what motivates them was just not important to the producers. Those two are plainly set up to be at odds with each other, though the conflict is really all on the part of Van Heusen, who is resolute in his belief of Carruther’s guilt. Yet, the film sets up this adversarial dynamic and goes no where with it. Early on during the monster’s rampage, Van Heusen takes a hit and is restricted to bed for the rest of the film, offering up only smartass remarks and a failed attempt at killing the creature thereafter. I suppose one could say that Van Heusen was shown to be in error when it came to the veracity of Carruthers’ story, and that he was pushed aside to make room for latter to take the lead and redeem himself. There could not be two leaders, so one was removed.

While the characters might not be the most fleshed out in film history, they certainly make up for it with their actions. After viewing this movie, one has to wonder what kind of idiots these people truly were. How they ever graduated from some type of training program and granted a position on a ship to Mars is beyond me. In fact, the entire organization seems lacking. There is just so much that betrays them as morons. Like smoking. These people are nicotine fiends who are lighting up non-stop. Someone missing? Have a smoke. The monster kills someone? Have a smoke. Time running out and death looking certain? Have a freaking smoke! I must say that the Challenge-142 must have one HELL of an air recycling system. These folks have the oxygen scrubbers working overtime with all the smoke they exhale.

On top of that, these guys are gun toting, trigger-happy morons who make the Montana militia groups look like the boy scouts. They start squeezing off rounds at the drop of a hat, no worries about ricocheting bullets or friendly fire. I guess the ship, on top of having a first rate air recycling system, also has the sturdiest hull ever manufactured by mankind. It must have, as these guys don’t give a single thought to accidentally rupturing the hull. And they don’t stop with guns! They haul out grenades by the dozen and detonate them and then move on up to firing a bazooka in their ship’s control room!

As far as visual FX are concerned, this film doesn’t have too many. What we do see is adequately done by the standards of the day. The most ambitious shot is the view of Carruthers and Calder walking down the side of the ship as it traverses the stars. Back then it might have looked awesome, but now it is very easy to notice that the actors don’t seem to be covering any ground, despite taking numerous steps as well as the obvious signs of matting them into the footage of the rocket. I’d venture to say that the best looking thing we see, though it is just for a few seconds at the film’s beginning, is the painting that represents the surface of Mars. Sure, it looks nothing like what Mars really looks like, but it is still executed pretty darn well.

Now we come to the one aspect that is both one of the best as well as one of the worst things about the movie: The monster. The monster costume is a glaring source of both potential embarrassment and possible fun. The costume is a rather bulky, rubber affair that bends in all the wrong places, heightening the “cheese” factor and lending a certain air of ridiculousness to the film. The way it lumbers, stumbles and plods around the ship is laughable considering the dire circumstances and danger it supposedly represents. The face is static, except for the tongue that is often protruding from the sizable mouth. This effect was produced by the actor’s chin pushing the “tongue” through the creature’s maw.

Since the movie was filmed on a mere handful of sets, with a single set used to represent the various central chambers of the ship – just re-dressed for each one, director Cahn makes good use of the limited space he has. Thanks to the camera work and the set dressing, the ship comes across as being fairly good sized. Another thing he does rather well in conjunction with cinematographer Kenneth Peach is to hide the monster and utilize shadows to create an atmosphere of dread and creepiness. Whether this was done for artistic reasons or to help hide the often silly-looking monster suit is open for debate, but since the creature is shown quite well on several occasions, and the suit holds up pretty darn well to scrutiny, I personally believe it was the former. There are numerous occasions where all we see is the beast’s shadow on the wall, or a foot moving across the floor. More than one assault on a Human is shown as nothing more than shadows on a wall, which, while lessening the onscreen violence, only makes the attacks more horrifying. This method really helps in firing the imagination, as what the mind conjures up is almost always more frightening than what we ultimately see on screen.

Still, despite all the apparent flaws...indeed, perhaps because of those very flaws, this film has a sizable “fun” quotient. Taking it too seriously will only lessen the enjoyment derived from the proceedings. An enormous grain of salt, along with a large suspension of disbelief will come in handy here, and will help transform the film from an “old 50’s monster movie” into a “classic B-Movie experience.”

I don't know if Horlick relates to the malted drink popular in England.

立法會鐵路事宜小組委員會前往港鐵何東樓車廠視察東鐵線新列車

立法会铁路事宜小组委员会前往港铁何东楼车厂视察东铁线新列车

LegCo Subcommittee on Matters Relating to Railways visits the new East Rail Line train at MTR Ho Tung Lau Depot (2016.05.23)

Title: Roll call votes relating to the impeachment of President Andrew Johnson on Articles II, III, and XI., 05/26/1868

Production Date: May 26, 1868

Creator(s): U.S. Senate. (03/04/1789 - )

Roll call votes relating to the impeachment of President Andrew Johnson on Articles II, III, and XI., 05/26/1868 ; Senate Papers Pertaining to the Impeachment of Andrew Johnson, ca. 1867 - ca. 1869; Records of the U.S. Senate, 1789 - 2005; Record Group 46; National Archives.

The first Senate vote in the impeachment of President Andrew Johnson was taken on May 16, 1868. Article XI was called the “omnibus article” because it combined all of the charges against the President. As a result of 19 voting “Not Guilty” and 35 voting “Guilty” the Senate fell 1 vote short of the two-thirds majority required for removal. After a 10-day recess, the Senate reconvened and voted on Articles II and III. In each case, the result was identical: Johnson was not guilty by a single vote. The Senate then voted to end the trial.

Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=306275

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

this photo relates to the ‘hitting the streets’ assignment because i captured it while in an arts market in florence. while trying to take a photo of the cow sculpture by itself, an older man came along and pet the tip of its nose, creating this perfect photo.

Track and Field archives

The National Athletics Archive is held at the Cadbury Research Library, University of Birmingham, and comprises an extensive volume of archival materials. These papers primarily relate to the history and development of athletics in the United Kingdom throughout the 1800s and 1900s. In addition to organisational collections, such as the papers of the Amateur Athletics Association, the National Athletics Archive includes various discrete collections of individual athletes. These include papers relating to Sydney Wooderson MBE, 1914-2006. Wooderson was an English athlete who was dubbed ‘The Mighty Atom’. His athletics career peaked in the 1930s and 1940s and he set the world mile record of 04:06:40 at London’s Motspur Park on 28 August 1937. This record stood for nearly five years.

The collection also includes ephemeral and grey literature relating to various athletics clubs, meetings and events. Papers relating to major athletics championships include material generated during the 1958 British Empire and Commonwealth Games held in Cardiff. These Games introduced the ‘Queen’s Baton Relay’ which has been conducted as a prelude to every British Empire and Commonwealth Games since.

Programmes and manuscript results compiled by the athlete and coach, Dennis Cullum, 1913-1985.

Reference: ATH/DC/2/1

Press cuttings relating to Sadler's Wells Ballet becoming The Royal Ballet, January 1957

Girls are always more attached to their Dads, That is not a mystery. We are always in sync with our dads no matter where we are staying and what we are doing. It is a bond that is not easy to understand and is very special. We have a bittersweet connection with our dearest Papa.

It won’t...

blog.cogxio.com/10-things-you-will-relate-to-if-you-are-y...

El Comisionado Rodrigo Escobar Gil, Relator de la CIDH sobre los Derechos de las Personas Privadas de Libertad, junto al Presidente de Honduras, Porfirio Lobo, en la residencia del mandatario. En dicha reunión, el Relator y el Presidente discutieron las conclusiones y recomendaciones del Informe sobre la Situación de los Derechos de las Personas Privadas de Libertad en Honduras, que fue entregado en mano al Presidente Lobo. 2 de agosto de 2013

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

PLC – characteristics of each stage as it relates to the 4 P’s and competition.

Dato’ (Dr.) Hj. Baharuddin Bin Abu Kassim

Principal/Director - Jurubena Bertiga International Partnership

The man behind the design of the uniquely Malaysian mosque.

Architect Datuk Baharuddin Abu Kassim relates that he was asked to design a mosque that was uniquely Malaysian, and not simply copy the domes of the Middle East. After all, “the first mosque of Prophet Mohammad was within date palms and walls, the dome was unknown then,” says Baharuddin.

To qualify as “Malaysian architecture” it had to suit the tropical climate and so Baharuddin came up with a modern cube version of the “cooling and comfortable” Malay house with the folded roof acting like an umbrella.

The designers envisioned the National Mosque as a showcase building deep inside KL’s Lake Gardens near Parliament. But (then) Prime Minister Tunku Abdul Rahman, who was more rakyat-centric, insisted it should be built within comfortable walking distance of the railway station. Baharuddin, known for progressive designs inspired by local heritage, was recognised for his contribution to the profession, the society, and outstanding achievements. His work includes some of the most recognisable landmarks and towers in Malaysia.

Sir Edward Burne-Jones (1833-98) - Azarias, 1870 (large study relating to designs for stained glass windows in Middleton Cheney (better known as Abednego - or Meshach?).

The information came from Sheepdog Rex, who has also produced a very extensive set at this gallery (check it out).

www.flickr.com/photos/sheepdog_rex/sets/72157624557407378...

Sewter classifies Shadrach, Meshach and Abednego in the fiery furnace as 'Three Holy Children' in his index. The story comes from the Book of Daniel, and I remember there is a catchy song written about it!* These cartoons BJ 271-3 were designed for the 1870 window at Middleton Cheney, but were also used at Farnworth St Luke in 1876.

I haven't been able to find any photos on flickr of the Farnworth, Widnes window.

en.wikipedia.org/wiki/St_Luke's_Church,_Farnworth

* Song: "Shadrack" (aka "Shadrach" or "Shadrach, Meshach and Abednego") is a popular song written by Robert MacGimsey in the 1930s and performed by Louis Armstrong and others.

www.youtube.com/watch?v=6r1baNdgImo

Pop, soul, Gospel and jazz recordings have been made by The Ames Brothers, The Golden Gate Quartet, The Fairfield Four, The Larks, Benny Goodman, Grant Green, Bill Holman, Sonny Rollins, Bobby Scott, Phil Harris, Kay Starr, Jack Teagarden, Louis Prima and several others (eg The Beastie Boys).

This album by Colin Durrant is of 1930s images and documents relates to British Fermentation's Yeast Factory in Ipswich. Colin has first-hand knowledge of the company that he served over many years. The Works were built on the site of the former Stoke Tide Mill, which, in succession became the Eastern Union Mills and later still Fisons. The premises were converted into the Yeast Factory – one of only two in the country – in 1933.

The operation closed around 1968 with the coming of the new factory at Felixstowe (run by NGSF of the Netherlands). The brand name was ‘Chieftain Yeast’. The yeast production at the Ipswich works was small-scale and the process very different from the process at Felixstowe.

Local companies often commissioned Ipswich photographers to carry out work for them; photographs of staff at work would have been posed to promote the company. The images in this album were probably used in promotional material with some others showing some of the firm’s maltings in London.

From: Barry Girling (September 2019)

Kinetic: Relating to, caused by, or producing motion.

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

To read more about Kinetic Photography click the Wikipedia link below:

en.wikipedia.org/wiki/Kinetic_photography

And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”

www.flickr.com/photos/motorpsiclist/sets/72157622224677487/

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Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

Audrey Brown and the Commonwealth Games

Audrey Brown, 1913-2005, a University of Birmingham alumna, won a silver medal at the 1936 Berlin Olympic Games. This was the same year as she was awarded a BA Honours degree in Social and Political Science. Her personal papers, held at the Cadbury Research Library, include medals relating to her sporting success at the ‘Jeux Universitaires Internationau’ in Paris in 1937, as well as badges, photographs and newspaper cuttings.

The Commonwealth Games, often referred to as the Friendly Games, were first held in 1930 when Audrey Brown was studying in Birmingham. The Games were known as the ‘British Empire Games’ from 1930 to 1950, the ‘British Empire and Commonwealth Games’ from 1954 to 1966, and the ‘British Commonwealth Games’ from 1970 to 1974. Athletes with disabilities are included as full members of their national teams, making the Commonwealth Games the first fully inclusive international multi-sport event.

The 1970 British Commonwealth Games were held in Edinburgh, the first time they had been held in Scotland. 42 teams were represented with Grenada, Guernsey, Malawi, Swaziland and The Gambia competing in the Games for the first time. Australia won the most gold medals – 36 – with England and Canada following with 27 and 18 respectively.

Map of the marathon route, with accompanying ephemera relating to the Games.

Reference: ATH/JJ/7/6/4

Relates to postcard few posts back.

In optics, particularly as it relates to film and photography, the depth of field (DOF) is the portion of a scene that appears acceptably sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on each side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.

In some cases, it may be desirable to have the entire image sharp, and a large DOF is appropriate. In other cases, a small DOF may be more effective, emphasizing the subject while de-emphasizing the foreground and background. In cinematography, a large DOF is often called deep focus, and a small DOF is often called shallow focus.

The DOF is determined by the camera-to-subject distance, the lens focal length, the lens f-number, and the format size or circle of confusion criterion.

For a given format size, at moderate subject distances, DOF is approximately determined by the subject magnification and the lens f-number. For a given f-number, increasing the magnification, either by moving closer to the subject or using a lens of greater focal length, decreases the DOF; decreasing magnification increases DOF. For a given subject magnification, increasing the f-number (decreasing the aperture diameter) increases the DOF; decreasing f-number decreases DOF.

When the “same picture” is taken in two different format sizes from the same distance at the same f-number with lenses that give the same angle of view, and the final images (e.g., in prints, or on a projection screen or electronic display) are the same size, the smaller format has greater DOF.

Many small-format digital SLR camera systems allow using many of the same lenses on both full-frame and “cropped format” cameras. If the subject distance is adjusted to provide the same field of view at the subject, at the same f-number and final-image size, the smaller format has greater DOF, as with the “same picture” comparison above. If pictures are taken from the same distance using the same f-number, and the final images are the same size, the smaller format has less DOF. If pictures taken from the same subject distance are given the same enlargement, both final images will have the same DOF. The final images will, of course, have different sizes.

Cropping an image and enlarging to the same size final image as an uncropped image taken under the same conditions is equivalent to using a smaller format under the same conditions, so the cropped image has less DOF.

When focus is set to the hyperfocal distance, the DOF extends from half the hyperfocal distance to infinity, and the DOF is the largest possible for a given f-number.

The advent of digital technology in photography has provided additional means of controlling the extent of image sharpness; some methods allow extended DOF that would be impossible with traditional techniques, and some allow the DOF to be determined after the image is made.

en.wikipedia.org/wiki/Depth_of_field

Krishna [1](/ˈkrɪʃnə/; Sanskrit: कृष्ण, Kṛṣṇa in IAST, pronounced [ˈkr̩ʂɳə] ( listen)) is considered the supreme deity, worshipped across many traditions of Hinduism in a variety of different perspectives. Krishna is recognized as the eighth incarnation (avatar) of Lord Vishnu, and one and the same as Lord Vishnu one of the trimurti and as the supreme god in his own right. Krishna is the principal protagonist with Arjuna in the Bhagavad Gita also known as the Song of God, which depicts the conversation between the Royal Prince Arjuna and Krishna during the great battle of Kurukshetra 5000 years ago where Arjuna discovers that Krishna is God and then comprehends his nature and will for him and for mankind. In present age Krishna is one of the most widely revered and most popular of all Indian divinities.[2]

Krishna is often described and portrayed as an infant eating butter, a young boy playing a flute as in the Bhagavata Purana,[3] or as an elder giving direction and guidance as in the Bhagavad Gita.[4] The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions.[5] They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero, and the Supreme Being.[6] The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana.

Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga (present age), which is dated to February 17/18, 3102 BCE.[7] Worship of the deity Krishna, either in the form of deity Krishna or in the form of Vasudeva, Bala Krishna or Gopala can be traced to as early as 4th century BC.[8][9] Worship of Krishna as Svayam Bhagavan, or the supreme being, known as Krishnaism, arose in the Middle Ages in the context of the Bhakti movement. From the 10th century AD, Krishna became a favourite subject in performing arts and regional traditions of devotion developed for forms of Krishna such as Jagannatha in Odisha, Vithoba in Maharashtra and Shrinathji in Rajasthan. Since the 1960s the worship of Krishna has also spread in the Western world, largely due to the International Society for Krishna Consciousness.[10]The name originates from the Sanskrit word Kṛṣṇa, which is primarily an adjective meaning "black", "dark" or "dark blue".[11] The waning moon is called Krishna Paksha in the Vedic tradition, relating to the adjective meaning "darkening".[12] Sometimes it is also translated as "all-attractive", according to members of the Hare Krishna movement.[13]

As a name of Vishnu, Krishna listed as the 57th name in the Vishnu Sahasranama. Based on his name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect his many associations and attributes. Among the most common names are Mohan "enchanter", Govinda, "Finder of the cows" or Gopala, "Protector of the cows", which refer to Krishna's childhood in Braj (in present day Uttar Pradesh).[14][15] Some of the distinct names may be regionally important; for instance, Jagannatha, a popular incarnation of Puri, Odisha in eastern India.[16]Krishna is easily recognized by his representations. Though his skin color may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with a blue skin. He is often shown wearing a silk dhoti and a peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristically relaxed pose, playing the flute.[17][18] In this form, he usually stands with one leg bent in front of the other with a flute raised to his lips, in the Tribhanga posture, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, defeating the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.

A steatite (soapstone) tablet unearthed from Mohenjo-daro, Larkana district, Sindh depicting a young boy uprooting two trees from which are emerging two human figures is an interesting archaeological find for fixing dates associated with Krishna. This image recalls the Yamalarjuna episode of Bhagavata and Harivamsa Purana. In this image, the young boy is Krishna, and the two human beings emerging from the trees are the two cursed gandharvas, identified as Nalakubara and Manigriva. Dr. E.J.H. Mackay, who did the excavation at Mohanjodaro, compares this image with the Yamalarjuna episode. Prof. V.S. Agrawal has also accepted this identification. Thus, it seems that the Indus valley people knew stories related to Krishna. This lone find may not establish Krishna as contemporary with Pre-Indus or Indus times, but, likewise, it cannot be ignored.[19][20]The scene on the battlefield of the epic Mahabharata, notably where he addresses Pandava prince Arjuna in the Bhagavad Gita, is another common subject for representation. In these depictions, he is shown as a man, often with supreme God characteristics of Hindu religious art, such as multiple arms or heads, denoting power, and with attributes of Vishnu, such as the chakra or in his two-armed form as a charioteer. Cave paintings dated to 800 BCE in Mirzapur, Mirzapur district, Uttar Pradesh, show raiding horse-charioteers, one of whom is about to hurl a wheel, and who could potentially be identified as Krishna.[21]

Representations in temples often show Krishna as a man standing in an upright, formal pose. He may be alone, or with associated figures:[22] his brother Balarama and sister Subhadra, or his main queens Rukmini and Satyabhama.

Often, Krishna is pictured with his gopi-consort Radha. Manipuri Vaishnavas do not worship Krishna alone, but as Radha Krishna,[23] a combined image of Krishna and Radha. This is also a characteristic of the schools Rudra[24] and Nimbarka sampradaya,[25] as well as that of Swaminarayan sect. The traditions celebrate Radha Ramana murti, who is viewed by Gaudiyas as a form of Radha Krishna.[26]

Krishna is also depicted and worshipped as a small child (Bala Krishna, Bāla Kṛṣṇa the child Krishna), crawling on his hands and knees or dancing, often with butter or Laddu in his hand being Laddu Gopal.[27][28] Regional variations in the iconography of Krishna are seen in his different forms, such as Jaganatha of Odisha, Vithoba of Maharashtra,[29] Venkateswara (also Srinivasa or Balaji) in Andhra Pradesh, and Shrinathji in Rajasthan.The earliest text to explicitly provide detailed descriptions of Krishna as a personality is the epic Mahabharata which depicts Krishna as an incarnation of Vishnu.[30] Krishna is central to many of the main stories of the epic. The eighteen chapters of the sixth book (Bhishma Parva) of the epic that constitute the Bhagavad Gita contain the advice of Krishna to the warrior-hero Arjuna, on the battlefield. Krishna is already an adult in the epic, although there are allusions to his earlier exploits. The Harivamsa, a later appendix to this epic, contains the earliest detailed version of Krishna's childhood and youth.

The Rig Veda 1.22.164 sukta 31 mentions a herdsman "who never stumbles".[31] Some Vaishnavite scholars, such as Bhaktivinoda Thakura, claim that this herdsman refers to Krishna.[32] Ramakrishna Gopal Bhandarkar also attempted to show that "the very same Krishna" made an appearance, e.g. as the drapsa ... krishna "black drop" of RV 8.96.13.[33] Some authors have also likened prehistoric depictions of deities to Krishna.

Chandogya Upanishad (3.17.6) composed around 900 BCE[34] mentions Vasudeva Krishna as the son of Devaki and the disciple of Ghora Angirasa, the seer who preached his disciple the philosophy of ‘Chhandogya.’ Having been influenced by the philosophy of ‘Chhandogya’ Krishna in the Bhagavadgita while delivering the discourse to Arjuna on the battlefield of Kurukshetra discussed about sacrifice, which can be compared to purusha or the individual.[35][36][37][38]

Yāska's Nirukta, an etymological dictionary around 6th century BC, contains a reference to the Shyamantaka jewel in the possession of Akrura, a motif from well known Puranic story about Krishna.[39] Shatapatha Brahmana and Aitareya-Aranyaka, associate Krishna with his Vrishni origins.[40]

Pāṇini, the ancient grammarian and author of Asthadhyayi (probably belonged to 5th century or 6th century BC) mentions a character called Vāsudeva, son of Vasudeva, and also mentions Kaurava and Arjuna which testifies to Vasudeva Krishna, Arjuna and Kauravas being contemporaries.[35][41][42]

Megasthenes (350 – 290 BC) a Greek ethnographer and an ambassador of Seleucus I to the court of Chandragupta Maurya made reference to Herakles in his famous work Indica. Many scholars have suggested that the deity identified as Herakles was Krishna. According to Arrian, Diodorus, and Strabo, Megasthenes described an Indian tribe called Sourasenoi, who especially worshipped Herakles in their land, and this land had two cities, Methora and Kleisobora, and a navigable river, the Jobares. As was common in the ancient period, the Greeks sometimes described foreign gods in terms of their own divinities, and there is a little doubt that the Sourasenoi refers to the Shurasenas, a branch of the Yadu dynasty to which Krishna belonged; Herakles to Krishna, or Hari-Krishna: Methora to Mathura, where Krishna was born; Kleisobora to Krishnapura, meaning "the city of Krishna"; and the Jobares to the Yamuna, the famous river in the Krishna story. Quintus Curtius also mentions that when Alexander the Great confronted Porus, Porus's soldiers were carrying an image of Herakles in their vanguard.[43]

The name Krishna occurs in Buddhist writings in the form Kānha, phonetically equivalent to Krishna.[44]

The Ghata-Jâtaka (No. 454) gives an account of Krishna's childhood and subsequent exploits which in many points corresponds with the Brahmanic legends of his life and contains several familiar incidents and names, such as Vâsudeva, Baladeva, Kaṃsa. Yet it presents many peculiarities and is either an independent version or a misrepresentation of a popular story that had wandered far from its home. Jain tradition also shows that these tales were popular and were worked up into different forms, for the Jains have an elaborate system of ancient patriarchs which includes Vâsudevas and Baladevas. Krishna is the ninth of the Black Vâsudevas and is connected with Dvâravatî or Dvârakâ. He will become the twelfth tîrthankara of the next world-period and a similar position will be attained by Devakî, Rohinî, Baladeva and Javakumâra, all members of his family. This is a striking proof of the popularity of the Krishna legend outside the Brahmanic religion.[45]

According to Arthasastra of Kautilya (4th century BCE) Vāsudeva was worshiped as supreme Deity in a strongly monotheistic format.[41]

Around 150 BC, Patanjali in his Mahabhashya quotes a verse: "May the might of Krishna accompanied by Samkarshana increase!" Other verses are mentioned. One verse speaks of "Janardhana with himself as fourth" (Krishna with three companions, the three possibly being Samkarshana, Pradyumna, and Aniruddha). Another verse mentions musical instruments being played at meetings in the temples of Rama (Balarama) and Kesava (Krishna). Patanjali also describes dramatic and mimetic performances (Krishna-Kamsopacharam) representing the killing of Kamsa by Vasudeva.[46][47]

In the 1st century BC, there seems to be evidence for a worship of five Vrishni heroes (Balarama, Krishna, Pradyumna, Aniruddha and Samba) for an inscription has been found at Mora near Mathura, which apparently mentions a son of the great satrap Rajuvula, probably the satrap Sodasa, and an image of Vrishni, "probably Vasudeva, and of the "Five Warriors".[48] Brahmi inscription on the Mora stone slab, now in the Mathura Museum.[49][50]

Many Puranas tell Krishna's life-story or some highlights from it. Two Puranas, the Bhagavata Purana and the Vishnu Purana, that contain the most elaborate telling of Krishna’s story and teachings are the most theologically venerated by the Vaishnava schools.[51] Roughly one quarter of the Bhagavata Purana is spent extolling his life and philosophy.

Life[edit]

This summary is based on details from the Mahābhārata, the Harivamsa, the Bhagavata Purana and the Vishnu Purana. The scenes from the narrative are set in north India mostly in the present states of Uttar Pradesh, Bihar, Haryana, Delhi and Gujarat.Based on scriptural details and astrological calculations, the date of Krishna's birth, known as Janmashtami,[52] is 18 July 3228 BCE.[53] He was born to Devaki and her husband, Vasudeva,[54][55] When Mother Earth became upset by the sin being committed on Earth, she thought of seeking help from Lord Vishnu. She went in the form of a cow to visit Lord Vishnu and ask for help. Lord Vishnu agreed to help her and promised her that he would be born on Earth. On Earth in the Yadava clan, he was yadav according to his birth, a prince named Kansa sent his father Ugrasena (King of Mathura) to prison and became the King himself. One day a loud voice from the sky (Akash Vani in Hindi) prophesied that the 8th son of Kansa's sister (Devaki) would kill Kansa. Out of affection for Devaki, Kansa did not kill her outright. He did, however, send his sister and her husband (Vasudeva) to prison. Lord Vishnu himself later appeared to Devaki and Vasudeva and told them that he himself would be their eighth son and kill Kansa and destroy sin in the world. In the story of Krishna the deity is the agent of conception and also the offspring.[citation needed] Because of his sympathy for the earth, the divine Vishnu himself descended into the womb of Devaki and was born as her son, Vaasudeva (i.e., Krishna).[citation needed] This is occasionally cited as evidence that "virgin birth" tales are fairly common in non-Christian religions around the world.[56][57][58] However, there is nothing in Hindu scriptures to suggest that it was a "virgin" birth. By the time of conception and birth of Krishna, Devaki was married to Vasudeva and had already borne 7 children.[59] Virgin birth in this case should be more accurately understood as divine conception. Kunti the mother of the Pandavas referenced contemporaneously with the story of Krishna in the Mahabharata also has divine conception and virgin birth of Prince Karna.

The Hindu Vishnu Purana relates: "Devaki bore in her womb the lotus-eyed deity...before the birth of Krishna, no one could bear to gaze upon Devaki, from the light that invested her, and those who contemplated her radiance felt their minds disturbed.” This reference to light is reminiscent of the Vedic hymn "To an Unknown Divine," which refers to a Golden Child. According to F. M. Müller, this term means "the golden gem of child" and is an attempt at naming the sun. According to the Vishnu Purana, Krishna is the total incarnation of Lord Vishnu. It clearly describes in the Vishnu Purana that Krishna was born on earth to destroy sin, especially Kansa.

Krishna belonged to the Vrishni clan of Yadavas from Mathura,[60] and was the eighth son born to the princess Devaki, and her husband Vasudeva.

Mathura (in present day Mathura district, Uttar Pradesh) was the capital of the Yadavas, to which Krishna's parents Vasudeva and Devaki belonged. King Kansa, Devaki's brother,[61] had ascended the throne by imprisoning his father, King Ugrasena. Afraid of a prophecy from a divine voice from the heavens that predicted his death at the hands of Devaki's eighth "garbha", Kansa had the couple locked in a prison cell. After Kansa killed the first six children, Devaki apparently had a miscarriage of the seventh. However, in reality, the womb was actually transferred to Rohini secretly. This was how Balarama, Krishna's elder brother, was born. Once again Devaki became pregnant. Now due to the miscarriage, Kansa was in a puzzle regarding 'The Eighth One', but his ministers advised that the divine voice from the heavens emphasised "the eight garbha" and so this is the one. That night Krishna was born in the Abhijit nakshatra and simultanously Ekanamsha was born as Yogamaya in Gokulam to Nanda and Yashoda.

Since Vasudeva knew Krishna's life was in danger, Krishna was secretly taken out of the prison cell to be raised by his foster parents, Yasoda[62] and Nanda, in Gokula (in present day Mathura district). Two of his other siblings also survived, Balarama (Devaki's seventh child, transferred to the womb of Rohini, Vasudeva's first wife) and Subhadra (daughter of Vasudeva and Rohini, born much later than Balarama and Krishna)Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder,[64] his mischievous pranks as Makhan Chor (butter thief) his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.

Krishna killed the demoness Putana, disguised as a wet nurse, and the tornado demon Trinavarta both sent by Kamsa for Krishna's life. He tamed the serpent Kāliyā, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kāliyā.

Krishna lifted the Govardhana hill and taught Indra, the king of the devas, a lesson to protect native people of Brindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Krishna advised the people of Brindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources.[65][66] In the view of some, the spiritual movement started by Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra.[67] In Bhagavat Purana, Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Krishna then lifted Govardhan and held it over the people like an umbrella.

The stories of his play with the gopis (milkmaids) of Brindavana, especially Radha (daughter of Vrishbhanu, one of the original residents of Brindavan) became known as the Rasa lila and were romanticised in the poetry of Jayadeva, author of the Gita Govinda. These became important as part of the development of the Krishna bhakti traditions worshiping Radha Krishna.[68]

Krishna’s childhood reinforces the Hindu concept of lila, playing for fun and enjoyment and not for sport or gain. His interaction with the gopis at the rasa dance or Rasa-lila is a great example of this. Krishna played his flute and the gopis came immediately from whatever they were doing, to the banks of the Yamuna River, and joined him in singing and dancing. Even those who could not physically be there joined him through meditation.[69] The story of Krishna’s battle with Kāliyā also supports this idea in the sense of him dancing on Kāliyā’s many hoods. Even though he is doing battle with the serpent, he is in no real danger and treats it like a game. He is a protector, but he only appears to be a young boy having fun.[70] This idea of having a playful god is very important in Hinduism. The playfulness of Krishna has inspired many celebrations like the Rasa-lila and the Janmashtami : where they make human pyramids to break open handis (clay pots) hung high in the air that spill buttermilk all over the group after being broken by the person at the top. This is meant to be a fun celebration and it gives the participants a sense of unity. Many believe that lila being connected with Krishna gives Hindus a deeper connection to him and thus a deeper connection to Vishnu also; seeing as Krishna is an incarnation of Vishnu. Theologists, like Kristin Johnston Largen, believe that Krishna’s childhood can even inspire other religions to look for lila in deities so that they have a chance to experience a part of their faith that they may not have previously seen.On his return to Mathura as a young man, Krishna overthrew and killed his maternal uncle, Kansa, after quelling several assassination attempts from Kansa's followers. He reinstated Kansa's father, Ugrasena, as the king of the Yadavas and became a leading prince at the court.[73] During this period, he became a friend of Arjuna and the other Pandava princes of the Kuru kingdom, who were his cousins. Later, he took his Yadava subjects to the city of Dwaraka (in modern Gujarat) and established his own kingdom there.[74]

Krishna married Rukmini, the Vidarbha princess, by abducting her, at her request, from her proposed wedding with Shishupala. He married eight queens—collectively called the Ashtabharya—including Rukmini, Satyabhama, Jambavati, Kalindi, Mitravinda, Nagnajiti, Bhadra and Lakshmana.[75][76] Krishna subsequently married 16,000 or 16,100 maidens who were held captive by the demon Narakasura, to save their honour.[77][78] Krishna killed the demon and released them all. According to social custom of the time, all of the captive women were degraded, and would be unable to marry, as they had been under the Narakasura's control. However Krishna married them to reinstate their status in the society. This symbolic wedding with 16,100 abandoned daughters was more of a mass rehabilitation.[79] In Vaishnava traditions, Krishna's wives are forms of the goddess Lakshmi— consort of Vishnu, or special souls who attained this qualification after many lifetimes of austerity, while his two queens, Rukmani and Satyabhama, are expansions of Lakshmi.[80]

When Yudhisthira was assuming the title of emperor, he had invited all the great kings to the ceremony and while paying his respects to them, he started with Krishna because he considered Krishna to be the greatest of them all. While it was a unanimous feeling amongst most present at the ceremony that Krishna should get the first honours, his cousin Shishupala felt otherwise and started berating Krishna. Due to a vow given to Shishupal's mother, Krishna forgave a hundred verbal abuses by Shishupal, and upon the one hundred and first, he assumed his Virat (universal) form and killed Shishupal with his Chakra. The blind king Dhritarashtra also obtained divine vision to be able to see this form of Krishna during the time when Duryodana tried to capture Krishna when he came as a peace bearer before the great Mahabharat War. Essentially, Shishupala and Dantavakra were both re-incarnations of Vishnu's gate-keepers Jaya and Vijaya, who were cursed to be born on Earth, to be delivered by the Vishnu back to Vaikuntha.Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.

Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.[82]Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly attempting to disrobe and disgracing Draupadi. Krishna further exhorted in his famous Bhagavad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverberation of its string."Krishna had a profound effect on the Mahabharata war and its consequences. He had considered the Kurukshetra war to be a last resort after voluntarily acting as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjuna for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel in order to use it as a weapon to challenge Bhishma. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons—which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation—an effort in which he was killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed

Ashwathama Hatahath, naro va Kunjaro va

i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.

When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to diamond, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to diamond. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.Krishna had eight princely wives, also known as Ashtabharya: Rukmini, Satyabhama, Jambavati, Nagnajiti, Kalindi, Mitravinda, Bhadra, Lakshmana) and the other 16,100 or 16,000 (number varies in scriptures), who were rescued from Narakasura. They had been forcibly kept in his palace and after Krishna had killed Narakasura, he rescued these women and freed them. Krishna married them all to save them from destruction and infamity. He gave them shelter in his new palace and a respectful place in society. The chief amongst them is Rohini.

The Bhagavata Purana, Vishnu Purana, Harivamsa list the children of Krishna from the Ashtabharya with some variation; while Rohini's sons are interpreted to represent the unnumbered children of his junior wives. Most well-known among his sons are Pradyumna, the eldest son of Krishna (and Rukmini) and Samba, the son of Jambavati, whose actions led to the destruction of Krishna's clan.According to Mahabharata, the Kurukshetra war resulted in the death of all the hundred sons of Gandhari. On the night before Duryodhana's death, Lord Krishna visited Gandhari to offer his condolences. Gandhari felt that Krishna knowingly did not put an end to the war, and in a fit of rage and sorrow, Gandhari cursed that Krishna, along with everyone else from the Yadu dynasty, would perish after 36 years. Krishna himself knew and wanted this to happen as he felt that the Yadavas had become very haughty and arrogant (adharmi), so he ended Gandhari's speech by saying "tathastu" (so be it).[83][84][85]

After 36 years passed, a fight broke out between the Yadavas, at a festival, who killed each other. His elder brother, Balarama, then gave up his body using Yoga. Krishna retired into the forest and started meditating under a tree. The Mahabharata also narrates the story of a hunter who becomes an instrument for Krishna's departure from the world. The hunter Jara, mistook Krishna's partly visible left foot for that of a deer, and shot an arrow, wounding him mortally. After he realised the mistake, While still bleeding, Krishna told Jara, "O Jara, you were Bali in your previous birth, killed by myself as Rama in Tretayuga. Here you had a chance to even it and since all acts in this world are done as desired by me, you need not worry for this". Then Krishna, with his physical body[86] ascended back to his eternal abode, Goloka vrindavan and this event marks departure of Krishna from the earth.[87][88][89] The news was conveyed to Hastinapur and Dwaraka by eyewitnesses to this event.[86] The place of this incident is believed to be Bhalka, near Somnath temple.[90][91]

According to Puranic sources,[92] Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga, which is dated to February 17/18, 3102 BCE.[7] Vaishnava teachers such as Ramanujacharya and Gaudiya Vaishnavas held the view that the body of Krishna is completely spiritual and never decays (Achyuta) as this appears to be the perspective of the Bhagavata Purana. Lord Sri Chaitanya Mahaprabhu (an incarnation of Lord Sri Krishna according to the Bhavishya Purana) exhorted, "Krishna Naama Sankirtan" i.e. the constant chanting of the Krishna's name is the supreme healer in Kali Yuga. It destroys sins and purifies the hearts through Bhakti ensures universal peace.

Krishna never appears to grow old or age at all in the historical depictions of the Puranas despite passing of several decades, but there are grounds for a debate whether this indicates that he has no material body, since battles and other descriptions of the Mahabhārata epic show clear indications that he seems to be subject to the limitations of nature.[93] While battles apparently seem to indicate limitations, Mahabharata also shows in many places where Krishna is not subject to any limitations as through episodes Duryodhana trying to arrest Krishna where his body burst into fire showing all creation within him.[94] Krishna is also explicitly described as without deterioration elsewhere.[95]The worship of Krishna is part of Vaishnavism, which regards Vishnu as the Supreme God and venerates His associated avatars, their consorts, and related saints and teachers. Krishna is especially looked upon as a full manifestation of Vishnu, and as one with Vishnu himself.[96] However the exact relationship between Krishna and Vishnu is complex and diverse,[97] where Krishna is sometimes considered an independent deity, supreme in his own right.[98] Out of many deities, Krishna is particularly important, and traditions of Vaishnava lines are generally centered either on Vishnu or on Krishna, as supreme. The term Krishnaism has been used to describe the sects of Krishna, reserving the term "Vaishnavism" for sects focusing on Vishnu in which Krishna is an avatar, rather than as a transcendent Supreme Being.[99]

All Vaishnava traditions recognise Krishna as an avatar of Vishnu; others identify Krishna with Vishnu; while traditions, such as Gaudiya Vaishnavism,[100][101] Vallabha Sampradaya and the Nimbarka Sampradaya, regard Krishna as the Svayam Bhagavan, original form of God.[102][103][104][105][106] Swaminarayan, the founder of the Swaminarayan Sampraday also worshipped Krishna as God himself. "Greater Krishnaism" corresponds to the second and dominant phase of Vaishnavism, revolving around the cults of the Vasudeva, Krishna, and Gopala of late Vedic period.[107] Today the faith has a significant following outside of India as well.[108]The deity Krishna-Vasudeva (kṛṣṇa vāsudeva "Krishna, the son of Vasudeva") is historically one of the earliest forms of worship in Krishnaism and Vaishnavism.[8][39] It is believed to be a significant tradition of the early history of the worship of Krishna in antiquity.[9][109] This tradition is considered as earliest to other traditions that led to amalgamation at a later stage of the historical development. Other traditions are Bhagavatism and the cult of Gopala, that along with the cult of Bala Krishna form the basis of current tradition of monotheistic religion of Krishna.[110][111] Some early scholars would equate it with Bhagavatism,[9] and the founder of this religious tradition is believed to be Krishna, who is the son of Vasudeva, thus his name is Vāsudeva; he is said to be historically part of the Satvata tribe, and according to them his followers called themselves Bhagavatas and this religion had formed by the 2nd century BC (the time of Patanjali), or as early as the 4th century BC according to evidence in Megasthenes and in the Arthasastra of Kautilya, when Vāsudeva was worshiped as supreme deity in a strongly monotheistic format, where the supreme being was perfect, eternal and full of grace.[9] In many sources outside of the cult, the devotee or bhakta is defined as Vāsudevaka.[112] The Harivamsa describes intricate relationships between Krishna Vasudeva, Sankarsana, Pradyumna and Aniruddha that would later form a Vaishnava concept of primary quadrupled expansion, or avatar.[113]

Bhakti tradition[edit]

Main article: Bhakti yoga

Bhakti, meaning devotion, is not confined to any one deity. However Krishna is an important and popular focus of the devotional and ecstatic aspects of Hindu religion, particularly among the Vaishnava sects.[100][114] Devotees of Krishna subscribe to the concept of lila, meaning 'divine play', as the central principle of the Universe. The lilas of Krishna, with their expressions of personal love that transcend the boundaries of formal reverence, serve as a counterpoint to the actions of another avatar of Vishnu: Rama, "He of the straight and narrow path of maryada, or rules and regulations."[101]

The bhakti movements devoted to Krishna became prominent in southern India in the 7th to 9th centuries AD. The earliest works included those of the Alvar saints of the Tamil country.[115] A major collection of their works is the Divya Prabandham. The Alvar Andal's popular collection of songs Tiruppavai, in which she conceives of herself as a gopi, is the most famous of the oldest works in this genre.[116][117] [118] Kulasekaraazhvaar's Mukundamala was another notable work of this early stage.

Spread of the Krishna-bhakti movement[edit]

The movement, which started in the 6th-7th century A.D. in the Tamil-speaking region of South India, with twelve Alvar (one immersed in God) saint-poets, who wrote devotional songs. The religion of Alvar poets, which included a woman poet, Andal, was devotion to God through love (bhakti), and in the ecstasy of such devotions they sang hundreds of songs which embodied both depth of feeling and felicity of expressions. The movement originated in South India during the seventh-century CE, spreading northwards from Tamil Nadu through Karnataka and Maharashtra; by the fifteenth century, it was established in Bengal and northern India[119]While the learned sections of the society well versed in Sanskrit could enjoy works like Gita Govinda or Bilvamangala's Krishna-Karnamritam, the masses sang the songs of the devotee-poets, who composed in the regional languages of India. These songs expressing intense personal devotion were written by devotees from all walks of life. The songs of Meera and Surdas became epitomes of Krishna-devotion in north India.These devotee-poets, like the Alvars before them, were aligned to specific theological schools only loosely, if at all. But by the 11th century AD, Vaishnava Bhakti schools with elaborate theological frameworks around the worship of Krishna were established in north India. Nimbarka (11th century AD), Vallabhacharya (15th century AD) and (Lord Sri Chaitanya Mahaprabhu an incarnation of Lord Sri Krishna according to the Bhavishya Purana) (16th century AD) all inspired by the teachings of Madhvacharya (11th century AD) were the founders of the most influential schools. These schools, namely Nimbarka Sampradaya, Vallabha Sampradaya and Gaudiya Vaishnavism respectively, see Krishna as the supreme God, rather than an avatar, as generally seen.

In the Deccan, particularly in Maharashtra, saint poets of the Varkari sect such as Dnyaneshwar, Namdev, Janabai, Eknath and Tukaram promoted the worship of Vithoba,[29] a local form of Krishna, from the beginning of the 13th century until the late 18th century.[6] In southern India, Purandara Dasa and Kanakadasa of Karnataka composed songs devoted to the Krishna image of Udupi. Rupa Goswami of Gaudiya Vaishnavism, has compiled a comprehensive summary of bhakti named Bhakti-rasamrita-sindhu.[114]In 1965, the Krishna-bhakti movement had spread outside India when its founder, Bhaktivedanta Swami Prabhupada, (who was instructed by his guru, Bhaktisiddhanta Sarasvati Thakura) traveled from his homeland in West Bengal to New York City. A year later in 1966, after gaining many followers, he was able to form the International Society for Krishna Consciousness (ISKCON), popularly known as the Hare Krishna movement. The purpose of this movement was to write about Krishna in English and to share the Gaudiya Vaishnava philosophy with people in the Western world by spreading the teachings of the saint Chaitanya Mahaprabhu. In an effort to gain attention, followers chanted the names of God in public locations. This chanting was known as hari-nama sankirtana and helped spread the teaching. Additionally, the practice of distributing prasad or “sanctified food” worked as a catalyst in the dissemination of his works. In the Hare Krishna movement, Prasad was a vegetarian dish that would be first offered to Krishna. The food’s proximity to Krishna added a “spiritual effect,” and was seen to “counteract material contamination affecting the soul.” Sharing this sanctified food with the public, in turn, enabled the movement to gain new recruits and further spread these teachings.[10][120][121]In South India, Vaishnavas usually belong to the Sri Sampradaya[citation needed]. The acharyas of the Sri Sampradaya have written reverentially about Krishna in most of their works like the Thiruppavai by Andal[122] and Gopala Vimshati by Vedanta Desika.[123] In South India, devotion to Krishna, as an avatar of Vishnu, spread in the face of opposition to Buddhism, Shaktism, and Shaivism and ritualistic Vedic sacrifices. The acharyas of the Sri Sampradaya like Manavala Mamunigal, Vedanta Desika strongly advocated surrender to Vishnu as the aim of the Vedas. Out of 108 Divya Desams there are 97 Divya Desams in South India.While discussing the origin of Indian theatre, Horwitz talks about the mention of the Krishna story in Patanjali's Mahabhashya (c. 150 BC), where the episodes of slaying of Kamsa (Kamsa Vadha) and "Binding of the heaven storming titan" (Bali Bandha) are described.[124] Bhasa's Balacharitam and Dutavakyam (c. 400 BC) are the only Sanskrit plays centered on Krishna written by a major classical dramatist. The former dwells only on his childhood exploits and the latter is a one-act play based on a single episode from the Mahābhārata when Krishna tries to make peace between the warring cousins.[125]

From the 10th century AD, with the growing bhakti movement, Krishna became a favorite subject of the arts. The songs of the Gita Govinda became popular across India, and had many imitations. The songs composed by the Bhakti poets added to the repository of both folk and classical singing.

The classical Indian dances, especially Odissi and Manipuri, draw heavily on the story. The 'Rasa lila' dances performed in Vrindavan shares elements with Kathak, and the Krisnattam, with some cycles, such as Krishnattam, traditionally restricted to the Guruvayur temple, the precursor of Kathakali.[126]

The Sattriya dance, founded by the Assamese Vaishnava saint Sankardeva, extols the virtues of Krishna. Medieval Maharashtra gave birth to a form of storytelling known as the Hari-Katha, that told Vaishnava tales and teachings through music, dance, and narrative sequences, and the story of Krishna one of them. This tradition spread to Tamil Nadu and other southern states, and is now popular in many places throughout India.

Narayana Tirtha's (17th century AD) Krishna-Lila-Tarangini provided material for the musical plays of the Bhagavata-Mela by telling the tale of Krishna from birth until his marriage to Rukmini. Tyagaraja (18th century AD) wrote a similar piece about Krishna called Nauka-Charitam. The narratives of Krishna from the Puranas are performed in Yakshagana, a performance style native to Karnataka's coastal districts. Many movies in all Indian languages have been made based on these stories. These are of varying quality and usually add various songs, melodrama, and special effects.

In other religions[edit]

Jainism[edit]

Further information: Salakapurusa

The most exalted figures in Jainism are the twenty-four Tirthankaras. Krishna, when he was incorporated into the Jain list of heroic figures, presented a problem with his activities which are not pacifist. The concept of Baladeva, Vasudeva and Prati-Vasudeva was used to solve it.[neutrality is disputed] The Jain list of sixty-three Shalakapurshas or notable figures includes, amongst others, the twenty-four Tirthankaras and nine sets of this triad. One of these triads is Krishna as the Vasudeva, Balarama as the Baladeva and Jarasandha as the Prati-Vasudeva. He was a cousin of the twenty-second Tirthankara, Neminatha. The stories of these triads can be found in the Harivamsha of Jinasena (not be confused with its namesake, the addendum to Mahābhārata) and the Trishashti-shalakapurusha-charita of Hemachandra.[127]

In each age of the Jain cyclic time is born a Vasudeva with an elder brother termed the Baladeva. The villain is the Prati-vasudeva. Baladeva is the upholder of the Jain principle of non-violence. However, Vasudeva has to forsake this principle to kill the Prati-Vasudeva and save the world. [128][129]The story of Krishna occurs in the Jataka tales in Buddhism,[130] in the Vaibhav Jataka as a prince and legendary conqueror and king of India.[131] In the Buddhist version, Krishna is called Vasudeva, Kanha and Keshava, and Balarama is his older brother, Baladeva. These details resemble that of the story given in the Bhagavata Purana. Vasudeva, along with his nine other brothers (each son a powerful wrestler) and one elder sister (Anjana) capture all of Jambudvipa (many consider this to be India) after beheading their evil uncle, King Kamsa, and later all other kings of Jambudvipa with his Sudarshana Chakra. Much of the story involving the defeat of Kamsa follows the story given in the Bhagavata Purana.[132]

As depicted in the Mahābhārata, all of the sons are eventually killed due to a curse of sage Kanhadipayana (Veda Vyasa, also known as Krishna Dwaipayana). Krishna himself is eventually speared by a hunter in the foot by mistake, leaving the sole survivor of their family being their sister, Anjanadevi of whom no further mention is made.[133]

Since Jataka tales are given from the perspective of Buddha's previous lives (as well as the previous lives of many of Buddha's followers), Krishna appears as the "Dhammasenapati" or "Chief General of the Dharma" and is usually shown being Buddha's "right-hand man" in Buddhist art and iconography.[134] The Bodhisattva, is born in this tale as one of his youngest brothers named Ghatapandita, and saves Krishna from the grief of losing his son.[131] The 'divine boy' Krishna as an embodiment of wisdom and endearing prankster forms a part of the pantheon of gods in Japanese Buddhism .[135]Bahá'ís believe that Krishna was a "Manifestation of God", or one in a line of prophets who have revealed the Word of God progressively for a gradually maturing humanity. In this way, Krishna shares an exalted station with Abraham, Moses, Zoroaster, Buddha, Muhammad, Jesus, the Báb, and the founder of the Bahá'í Faith, Bahá'u'lláh.[Members of the Ahmadiyya Community believe Krishna to be a great prophet of God as described by their founder, Mirza Ghulam Ahmad. This belief is maintained by the Qur'anic Principle that God has sent prophets and messengers to every nation of the world leaving no region without divine guidance (see for instance Quran 10:47 and Quran 16:36).

Ghulam Ahmad also claimed to be the likeness of Krishna as a latter day reviver of religion and morality whose mission was to reconcile man with God.[138] Ahmadis maintain that the Sanskrit term Avatar is synonymous with the term 'prophet' of the Middle Eastern religious tradition as God's intervention with man; as God appoints a man as his vicegerent upon earth. In Lecture Sialkot, Ghulam Ahmed wrote:

Let it be clear that Raja Krishna, according to what has been revealed to me, was such a truly great man that it is hard to find his like among the Rishis and Avatars of the Hindus. He was an Avatar—i.e., Prophet—of his time upon whom the Holy Spirit would descend from God. He was from God, victorious and prosperous. He cleansed the land of the Aryas from sin and was in fact the Prophet of his age whose teaching was later corrupted in numerous ways. He was full of love for God, a friend of virtue and an enemy of evil.[138]

Krishna is also called Murli Dhar. The flute of Krishna means the flute of revelation and not the physical flute. Krishna lived like humans and he was a prophet.[139][140]Krishna worship or reverence has been adopted by several new religious movements since the 19th century and he is sometimes a member of an eclectic pantheon in occult texts, along with Greek, Buddhist, biblical and even historical figures.[141] For instance, Édouard Schuré, an influential figure in perennial philosophy and occult movements, considered Krishna a Great Initiate; while Theosophists regard Krishna as an incarnation of Maitreya (one of the Masters of the Ancient Wisdom), the most important spiritual teacher for humanity along with Buddha

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The actual factor for males to discover much better hair development solution is to have desire to look young as well as recognizable once again. One that is losing hair on continuously would simply want to get healthy and balanced hair look. So here we will damage down the myths of hair loss or male pattern baldness. These both problems related to hair autumn are various in origins but follows very same pattern of baldness. For some males aging is the essential reason of grey hair or bald patches. Alopecia is a common loss of hair problem causes males to shed spot of hair normally. On the other hand there male pattern baldness is another problem for guys because of the result of too much use of shampoos, problems and shade structure. Modern men constantly intend to look stylish in life yet as a result winding up into a number of health issue. There are numerous hair issues which are causing serious conditions:

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Audrey Brown and the Commonwealth Games

Audrey Brown, 1913-2005, a University of Birmingham alumna, won a silver medal at the 1936 Berlin Olympic Games. This was the same year as she was awarded a BA Honours degree in Social and Political Science. Her personal papers, held at the Cadbury Research Library, include medals relating to her sporting success at the ‘Jeux Universitaires Internationau’ in Paris in 1937, as well as badges, photographs and newspaper cuttings.

The Commonwealth Games, often referred to as the Friendly Games, were first held in 1930 when Audrey Brown was studying in Birmingham. The Games were known as the ‘British Empire Games’ from 1930 to 1950, the ‘British Empire and Commonwealth Games’ from 1954 to 1966, and the ‘British Commonwealth Games’ from 1970 to 1974. Athletes with disabilities are included as full members of their national teams, making the Commonwealth Games the first fully inclusive international multi-sport event.

The 1970 British Commonwealth Games were held in Edinburgh, the first time they had been held in Scotland. 42 teams were represented with Grenada, Guernsey, Malawi, Swaziland and The Gambia competing in the Games for the first time. Australia won the most gold medals – 36 – with England and Canada following with 27 and 18 respectively.

Map of the marathon route, with accompanying ephemera relating to the Games.

Reference: ATH/JJ/7/6/4

...

www.ourstyle.life/jennifer-lawrences-confession-about-anx...

Periodista, Relator deportivo, hombre de la cultura argentino-uruguaya. Nació en Uruguay y se ha consolidado como una persona de los medios en Argentina. Ver información en

es.wikipedia.org/wiki/Victor_hugo_morales

Esta foto la tomé en los estudios de Radio Continental en 1985 para Radio Continental.

Copyright © Susana Mulé- All rights reserved.

Do not use this photographs without my consent. If you are interested in this picture, please contact me. Thanks.

susanamul@yahoo.com.ar

Correspondence with the Chief Mechanical Engineer, Royal Arsenal, Woolwich, and various military establishments, relating mainly to the supply of lead piping and flanges.

Dated 21st May 1940

Cheshire Archives and Local Studies ZCR 245/19

立法會過渡性房屋及劏房事宜小組委員會視察劏房及過渡性房屋項目

立法会过渡性房屋及劏房事宜小组委员会视察劏房及过渡性房屋项目

LegCo Subcommittee on Issues Relating to Transitional Housing and Subdivided Units visits subdivided units and transitional housing projects (2021.05.20)

Came across this illustration while sorting my bike book collection today. Drawing by co-author Carol Ross, published in 1973,

I have ridden 91 miles of my 150 miles this month on a Blackburn Trakstand. Road along Skyline Blvd today, 20 miles in 1:20 with 1,242 feet of climbing

Correspondence with the Chief Mechanical Engineer, Royal Arsenal, Woolwich, and various military establishments, relating mainly to the supply of lead piping and flanges. Dated 3rd February 1941

Cheshire Archives and Local Studies ZCR 245/19

The word Endurance as an Adjective is defined as:

denoting or relating to a race or other sporting event that takes place over a long distance or otherwise demands great physical stamina.

However, I feel the best way to describe how this season has gone is to use the Noun definition of the word: the fact or power of enduring an unpleasant or difficult process or situation without giving way

The 3rd and final race of the 2016 season was held at the postponed Bang Saen Festival of Speed. The championship standings showed the #36 Toyota with such a commanding lead from the first two races that only a small miracle would see TR-Motorsport crowned as champions. However unlikely it may be the scenario was Thomas and the DC5 to finish in first while the Toyota failed to cross the line at all, being the slowest car on the grid - this was tall order!

As with all the endurance races this season the team was beset by mechanical issues.During the extended practice period, gearbox and clutch problems arose resulting in a complete change out of the gearbox. Luckily this rectified the problems and the team were ready for qualifying. Tony Percy, longtime friend of the team and co-driver took the reins of the Honda Integra DC5, with the previous issues still fresh in his mind Tony gently eased the car through qualifying and into a respectable 9th place, which is was an outstanding achievement considering that there were 61 other cars on the track at the same time all vying for a clean lap.

As with all endurance races the 6 hours is split between drivers, for the first stint, Tony pushed the Integra into 7th before the first changeover. The safety car period eventually became a red flagged race and all cars returned to the pits resulting in the team losing any advantage they had gained. Seven cars had been involved in the on-track pileup and although this meant fewer cars in the race and more space on track it took several hours to remove the cars and fix the damaged barriers.

At the restart, Thomas powered his way into 2nd place overall and was somehow setting faster times than the leading Toyota. He consolidated his position up until the next driver change however the gremlins were back playing with the clutch again causing the car to struggle to change gear. Eventually, all the gears except 4th had failed with Tony limping around the circuit. The decision was then made to pit early and see if the issue could be solved. No fix could be applied so it was 4th gear all the way to the chequered flag for the final 1 hour 24 minutes. Ironically the leading Toyota crashed several times and finished dead last but this was still enough to win the championship. TR-Motorsport finished 4th in class,later promoted to 3rd as another team had received a 30 lap penalty for a jump start behind the safety car.

TR-Motorsports final position in the Enduring Endurance Championship was 3rd in class, with just a little bit more luck who knows what might have been……

Super Production Class

Race One

An eventful weekend of racing greeted TR-Motorsport at the final rounds of the Thailand Super Series held at the picturesque Bang Saen Beach Street Circuit. The final event had been postponed from November ’16 to February ’17 due to the passing of the late King. With the postponement came a long gap giving us the perfect opportunity to concentrate on some R & D in the hope of closing the gap to Championship Victor Hideharu Kuroki. After some minor tweaks to the car, a major redesign of the front Air Intake was undertaken which provided very encouraging results after completing several simulations on the Dyno equipment.

Simulations are all well and good, however, it’s on the track where it counts and Thomas fully obliged with the fastest lap around the circuit in official practice. When qualifying began both Thomas and Hideharu were setting fastest lap after fastest lap, nip and tuck all the way. Eventually, Thomas managed to claim a fantastic Pole Position by just one-tenth of a second from Hideharu, being Pole on a tight and twisty circuit is always vital so the race to the first corner could possibly decide the race.

Due to our first gear ratio being longer and the race to the first corner uphill we knew wewould be at a disadvantage. Thomas got off the line perfectly and stormed up the hill defending his line to the left to try and outwit Hideharu who was virtually alongside the ‘Blue Blur’, paint was traded several times before Hideharu backed out and slotted in behind to mount another challenge. The final corner of lap 1 caused a gasp from the TR-Motorsport team and fans as Hideharu once again tried a move, this time on the inside but again showed professionalism by backing off at the right time.

By the middle of lap 2 Thomas had pulled out a small lead and held on for the remainder of the race even breaking the lap record on several occasions, Hideharu pushed Thomas all the way to the chequered flag and saw his 100% record gone as Thomas, 10 years after his first win at Bang Saen came home with the spoils and a much needed 20 points, cementing his second place position in the championship.

Race 2

After the elation of the previous victory had faded, the team of mechanics led by Sven Thummel got to work on the car to check everything over and prepare for Race 2. The team soon spotted an issue with the wishbones as the bushings were damaged and as a precautionary measure these were duly replaced. As with all previous rounds, the top 5 finishers from Race 1 started in reverse order meaning Thomas would start from 5th. As the cars assembled on the grid all looked good and a top 3 position looked more than possible.

As the car left for the warm lap Thomas felt an issue with the steering although not terminal, Thomas made the wisest choice to visit the pits to try and ascertain what the issue was. The team of mechanics could not find anything obvious so the car headed back out on track. People reading this familiar with the rules and regulations of motorsport, will of course know that our little visit to the pits would mean starting at the back of the grid, this was only compounded by the fact that due to a miscommunication with the stewards we forced to wait at the pit lane exit some 600 meters away from the back of the grid!

Regular readers will know that we have had similar issues before and still come out on top. However, today was not going to be one of those days! The first 3 laps of the race went perfectly with Thomas making his way through the field from a lowly 19th to a respectable 10th. The racing gods were smiling on us as a safety car deployment bunched the whole pack back up and with 9 laps to go top 3 was still an outside possibility. In came the safety car down went the throttle and that's where the problems began, a massive loss of power resulted in cars streaming past a limping Thomas. On the pit to car radio turning the electrics on and off to reset the car,was suggested - it worked! But by now Thomas was once again at the back of the grid. For the remaining laps, a valiant Thomas fought back to a very respectful 8th place and again set the fastest lap and broke the track record for the Super Production Class.

After the race, the car was checked over by the official Thailand Super Series scrutineers and as with all races we have competed in this year,they found nothing to report. Although dejected the team were still in good spirits after another great week of motorsport at Bang Saen Beach and look forward to returning in July to compete in the GTC Supercar Class with the new Porsche 911 (997).

In next month’s Pattaya Trader we will have a big update for your regarding the upcoming season, in the meantime you can follow us through our website Tr-Motorosport.com, our Facebook page Facebook.com/TRMotorsportThailand and our Instagram account tmotorsport_thailand

Northern Ireland's association with the USAAF predominately relates to the training of bomber aircrew and the delivery, repair and servicing of aircraft. Yet for a brief period during 1942 the airfields at Eglinton and Maydown became home to two American Fighter Groups.

On 24 June 1942 an air echelon from the 52nd Fighter Group consisting of 200 Enlisted Men, 87 pilots and 3 medical officers left Grenier Field for overseas deployment. Sailing from New York they arrived at Liverpool first, before proceeding to their new home via Larne and arriving at Eglinton on 14 July. The ground echelon followed later, departing New York on 9 August and arriving at Glasgow before boarding the SS Manhattan for Belfast; finishing their journey to Eglinton by train and rejoining the air echelon there on 19 August. Together the air and ground echelons had a total personnel strength of 196 officers and 1531 other ranks. Overall the 52nd comprised of three Fighter Squadrons (FS) with the Groups HQ and the 4th and 5th FS based at Eglinton while the 2nd FS were stationed at nearby Maydown. Principal senior personnel included Colonel Dixon M. Allison, Commanding Officer; Captain G.W West Executive Officer; 1st Lieutenant J.E. Coward, Operations Officer and 1st Lieutenant R.F Keys and 1st Lieutenant R. Levine, Commanders of No.2 and No.4 Fighter Squadrons respectively.

Previously having flown the Bell P-39 Airacobra, the 52nd was allocated Supermarine Spitfires from RAF sources. To assist the Americans in conversion to the type, one RAF Flight Lieutenant was assigned to the 52nd HQ and one Flying Officer was allocated to each Fighter Squadron to provide instruction in Spitfire handling. In addition dual control Miles Master III trainers were made available for conversion training. On the whole the American pilots were very pleased with their new aircraft which gave them a new range of altitude, manoeuvrability and reliability, all of which had already been proven in combat. Yet the period of operations at Eglinton was not without its hazards, and records show a small number of accidents. However, these were chiefly of a minor nature, an example occurring on the 28 July when two Spitfires were involved in a ground collision. Unfortunately one fatality did occur, when on 11 August a Spitfire crashed near Portrush killing the Pilot, Second Lieutenant Earl L. Sharpe serving with the 4th FS. (Incidentally and the previous day, another Spitfire had made an emergency landing on the East Strand due to and engine fire.)

The 52nd Fighter Groups stay at Eglinton was relatively short lived, and by late August their onward move to three airfields in England had begun. Five C-47 transport aircraft arrived on the 24 August to collect equipment, while those aircraft assigned to the 2FS departed first, routing via Woodvale to RAF Biggin Hill. The next day 4FS left for RAF Kenley, while the administrative and support elements travelled to their new base at RAF Goxhill in Lincolnshire on the 26th, making the journey first by train to Larne, then by ferry to Stranraer, and concluding their journey again by train. Before its aircraft departed the squadron spent 10 days undergoing gunnery training at Ballyhalbert then leaving Eglinton for Goxhill with the remaining aircraft: the Fighter Groups total complement of 66 Spitfires and 4 Miles Masters having all now departed. However, before the end of the year Eglinton would host another Americans Fighter Group, the 82nd. This time flying the Lockheed P-38 Lightning.

IWM.

(FRE 11167)

Original Source: www.iwm.org.uk/collections/item/object/205371206

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.

The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.

General characteristics

•Crew: Two

•Length: 18 ft 9 in (5.71 m)

•Wingspan: 20 ft 0 in (6.10 m)

•Height: 6 ft 7⅓ in (2.02 m)

•Wing area: 125 ft² (11.6 m²)

•Empty weight: 1,150 lb (521 kg)

•Max takeoff weight: 1,625 lb (737 kg)

•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)

Performance

•Never exceed speed: 182 knots (210 mph, 338 km/h)

•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)

•Stall speed: 52 knots (60 mph, 97 km/h)

•Range: 277 NM (319 mi, 513 km)

•Service ceiling: 21,000 ft (6,400 m)

•Rate of climb: 2,700 ft/min (13.7 m/s)

•Wing loading: 13.0 lb/ft² (63.6 kg/m²)

•Power/mass: 0.16 hp/lb (0.26 kW/kg)

Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.

This image possibly relates to the United States Navy visit to Sydney on 23 July 1925. This image was possibly taken on Hickson Road in Walsh Bay and the banner on the car reads: 'Welcome...Australia's...Commonwealth Band...'

The fleet departed for New Zealand on 6 August. The fleet included USS CALIFORNIA (V), USS COLORADO (III), USS TENNESSEE (III), USS MARYLAND (III), USS WEST VIRGINIA (II), USS NEW MEXICO (I), USS MISSISSIPPI (III) and USS IDAHO (IV).

This photo is part of the Australian National Maritime Museum’s Samuel J. Hood Studio collection. Sam Hood (1872-1953) was a Sydney photographer with a passion for ships. His 60-year career spanned the romantic age of sail and two world wars. The photos in the collection were taken mainly in Sydney and Newcastle during the first half of the 20th century.

The ANMM undertakes research and accepts public comments that enhance the information we hold about images in our collection. This record has been updated accordingly.

Photographer: Samuel J. Hood Studio Collection

Object no. 00034728

House Bill 980, relating to “Highway Safety” (aka Distracted Driving Bill) – This measure is effective July 1, 2013. While all counties have some form of a distracted driving ordinance in place, this measure establishes a state law that creates consistent requirements across all counties for the use of mobile electronic devices while driving and will simplify enforcement. Crash data from the DOT shows that during 2007, 32 percent (2,871 of the 8,770 collisions) were attributed to inattention to driving.

Senate Bill 4, relating to “Motor Vehicles” (aka Universal Seatbelt Bill) – This measure requires all front seat and back seat occupants to buckle up, effective immediately. Adults and children must use their seat belts and child restraints at all times. Unrestrained back seat passengers were more than three times as likely to have injuries that were fatal or required hospitalization compared to restrained back seat passengers, based on DOH’s analysis of Emergency Medical Services (EMS) records. Additionally, among back seat passengers who were treated for injuries by EMS, average medical charges were nearly tripled among those who did not use seat belts ($11,043), compared to restrained passengers ($3,817).

The bill signings were done in conjunction with the DOT’s launch of the annual “Click It or Ticket” enforcement campaign, held in partnership between the state and counties with federal funding. During the national Click It or Ticket mobilization from May 20 to June 2 and throughout the year, police statewide will be continuing strict enforcement of the state seat belt and child passenger restraint laws.

Kinetic: Relating to, caused by, or producing motion.

These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.

Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!

None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.

Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.

Albeit supremely risky this is one of my favorite ways to produce abstract photographs.

If you'd like to see more please check out my set, "Vertigo:"

www.flickr.com/photos/motorpsiclist/sets/72157630591282642/

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To read more about Kinetic Photography click the Wikipedia link below:

en.wikipedia.org/wiki/Kinetic_photography

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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.

This image relates to the departure of the Kangaroos rugby team onboard AWATEA, July 1937. The photo was taken at Sydney Cricket Ground before the team left for the Australia Rugby League Tour 1937-1938. Pictured from left to right, back row: I. Ward, B. Williams, E.Collins, J.Gibb, C. Hazleton, A. Norval, D. Mclean, P. Farrall. Second row: P. Griffiths, R. Mckinnon, G. Maclennan, l. Heidke, S. Pearce, F. Curran, H. Robison, H. Pierce, R. Stehr. Third row: l. Dawson, G. Whittle, J. Reardon, R. Savage ( joint manager), W. Prigg (captain), H. Sunderland (joint manager), E. Lewis, P. Nolan, J. Beaton. Infront: P. Gilbert, R. Thompson, B. Norman, P. Williams.

The Australian National Maritime Museum undertakes research and accepts public comments that enhance the information we hold about images in our collection. If you can identify a person, vessel or landmark, write the details in the Comments box below.

Thank you for helping caption this important historical image.

Photographer: Samuel J Hood

Object number 00022598

Relates to an album,possibly Warwickshire.I originally thought Nayland as the architecture is similar but doesn't quite match.Any suggestions welcome.

House Bill 980, relating to “Highway Safety” (aka Distracted Driving Bill) – This measure is effective July 1, 2013. While all counties have some form of a distracted driving ordinance in place, this measure establishes a state law that creates consistent requirements across all counties for the use of mobile electronic devices while driving and will simplify enforcement. Crash data from the DOT shows that during 2007, 32 percent (2,871 of the 8,770 collisions) were attributed to inattention to driving.

Senate Bill 4, relating to “Motor Vehicles” (aka Universal Seatbelt Bill) – This measure requires all front seat and back seat occupants to buckle up, effective immediately. Adults and children must use their seat belts and child restraints at all times. Unrestrained back seat passengers were more than three times as likely to have injuries that were fatal or required hospitalization compared to restrained back seat passengers, based on DOH’s analysis of Emergency Medical Services (EMS) records. Additionally, among back seat passengers who were treated for injuries by EMS, average medical charges were nearly tripled among those who did not use seat belts ($11,043), compared to restrained passengers ($3,817).

The bill signings were done in conjunction with the DOT’s launch of the annual “Click It or Ticket” enforcement campaign, held in partnership between the state and counties with federal funding. During the national Click It or Ticket mobilization from May 20 to June 2 and throughout the year, police statewide will be continuing strict enforcement of the state seat belt and child passenger restraint laws.

(Numbers on this photo relate to numbered notes in the text below)

A friend has a long thin garden behind his terraced home. The garden is 16 feet by 50 feet. He wants an area for an 8 feet by 6 feet shed and he would prefer this to be screened from view.

I've come up with this basic design and given him lots of options for how the design can be modified to either give a grass less garden / make it feel more/less informal and ways to reduce the cost of achieving it.

Many of the terraces in my area have gardens twice as long as this one. For those with children who like to play football etc half the garden could be attractive and well planted and the other half basically plain grass where the children can play.

There are numbers on the photo which correspond to the numbers below:_I hope you find the information useful

1. This area is for a shed and general storage. It is screened from the rest of the garden by a fence(no 4) which can be screened by climbing plants

2 Entrance area to the hidden shed/storage area

3 A mirror is positioned on the rear border of the garden. It reflects the garden and makes it appear as though the garden continues much further. The mirror if large enough could be surrounded by an arch structure.

4. This is a screen of some sort to hide the shed/storage area. It could be a brick,stone,concrete wall or a wooden fence. Climbers growing against it will soften the lines.

5.The S shaped path breaks up the lines of the long thin garden. The surface can be grass,gravel,bark,paving.brick-weave depending on your desires/budget The path allows wide and thin borders to each side which can be left as simple borders or circles can be added as in the photo above. Bigger borders give much more room for interesting layered planting

6 and 7 these circular areas are optional. They offer a wide range of possibilities. They could be grass with a brick border around them or one could be a pond . the other could be a sitting area the surface being slabbed,gravelled,decking or brick-weave paving

8. In the photo the path leads to a patio but it could lead straight to a house door.

I wanted to attach links to other relevant photos/information about gardening in this section but Flickr have stopped that facility too so I've put them in the first comment below this section.

I’ll relate to y’all, my beautiful readers, a simple tale of an ordinary average Central Texas Trumpet Case Bear. It was 95 degrees F (35 C) out of doors. Little Texas Aggie Trumpet Case Bear was about to go into heat exhaustion (symptom before heat stroke).

Alamo Basement Fightin’ Texas Aggie Ring whispered to me, “We need to get frozen Margaritas into the little bear immediately before he goes into a coma and dies. Have you looked at the price of black market bears lately?” I pulled out the large container for the Ninja and fired it up.

After about quatro or cinco Margaritas necesitas, Little Texas Aggie Osa (bear) was starting to feel much, much better. At this point, there was a spilt Margarita. It’s not important who spilt the Margarita, but it did totally soak Little Texas Aggie Bear.

I for one, am not about to allow a trumpet case bear who smells of tequila and is all sticky, near my 1947 Rudy Mück jazz trumpet. I had two options — Take him out to the woods and shoot him or — give him a bath in the kitchen sink.

Bears know how to swim. In fact, they love water. In some states, they will come into your backyard and take the waters in your swimming pool or jacuzzi. There are videos on YouTube.

I sanitized the sink and prepared a nice, warm bubble bath for Little Texas Aggie Bear. He hesitantly lowered himself into the sink. He let out a “bear sigh” of pleasure. When I took out the camera, Little Texas Aggie Bear started to cry. “What’s wrong?” asked Alamo Basement Aggie Ring.

“It’s the bubble bath.” sobbed the little bear. “If anyone in the Trumpet Case Bear Union sees those photos, I’ll loose my certification and be forced to become the worst sort of bear ever — a tuba/Sousaphone case bear.”

I assured the little bear that no one would ever see any of these photos and think that he’s some sort of “Barbie Dream House” bear. This seemed to put him at ease and please him.

After I rinsed him a couple of times, Aggie Ring and I realized we had a very, very wet bear to deal with. “If you don’t get him dry soon. He’ll start to smell like wet dog!” said Aggie Ring.

My first thought was, “Well… the ceiling fan will get him dry! I’ll just hang him up by the neck to it.” Sadly, when I turned on the fan, Aggie Bear went flying across the room and onto the hard floor like a child who wasn’t strapped in properly in a Disney World wild ride.

[More to follow]

Dundalk overwhelm Bangor in All Ireland Final

by Roger Corbett

Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.

Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.

The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.

Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.

Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.

The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.

By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.

As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.

From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.

As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.

From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.

Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.

Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan

Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson

Bangor scores: D Charles (1T)

Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie

Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.

Bangor Scorers: David Charles 1 try.

In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.

Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.

Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.

Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.

Copy of last will and testament of Charles Bird relating to Ellen. Nee Bird, Amos, her sister Elizabeth inheritance, USA, Devon, Kent ,England 1937

Copy of last will and testament of Charles Bird 26 January 1937 Rochester, NY naming his wife Lele Best Bird also names sister Ellen Amos of Dawlish, England who was to receive $10,000.

Charles Bird born circa 1864, North Molton, Devon was the son of William Bird and Mary Jane Thorne. His sister Ellen Winifred Bird was born 28th August 1864, North Molton, Devon She married Albert Alfred Amos a Draper, born 1866, Plumstead.

This was the beginning of an attempt lasting almost 30 years, first involving Ellen’s husband Albert A Amos and then his son Maurice Giles Amos who was born 1892 to obtain the inheritance due to Ellen.

Maurice Giles Amos first married Winifred Bickley in 1924 at Topsham. She died 28th October 1932 at Topsham. He then married Marjorie Quested, born 1900, Cheriton, Kent, the daughter of Charles Robert Quested and Alice Morton in 1933 at Folkestone, Kent

This home is across the road and was owned by a hard-working farming family. He had a special love for horses and she for her vegetable garden. They passed away a few years ago. The house belongs to the family now.

ANSH

Something relating to my neighbor