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Aberdeen, Washington, has a reputation as something of a pit of misery, and surely the town has really been through the wringer with its major traditional economies in freefall for decades. But it was really a wise decision by whomever first platted the city to tilt the east/west streets down and to the left as you face the sunset. The north-facing walls downtown start catching the flow of the sunset only a few short weeks after the planet starts tilting back from the winter solstice. On a sunny mid-winter day, perhaps no place in Washington seems as springlike already.
"No, nothing good starts in a getaway car
It was the best of times, the worst of crimes
I struck a match and blew your mind
But I didn't mean it and you didn’t see it
The ties were black, the lies were white
In shades of gray in candlelight
I wanted to leave him, I needed a reason
"X" marks the spot where we fell apart
He poisoned the well, I was lyin' to myself
I knew it from the first Old Fashioned, we were cursed
We never had a shotgun shot in the dark (Oh!)
You were drivin' the getaway car
We were flyin’, but we'd never get far
Don't pretend it's such a mystery
Think about the place where you first met me
Ridin' in a getaway car
There were sirens in the beat of your heart
Should've known I'd be the first to leave
Think about the place where you first met me
In a getaway car, oh-oh-oh
No, they never get far, oh-oh-ah
No, nothing good starts in a getaway car
It was the great escape, the prison break
The light of freedom on my face
But you weren't thinkin’ and I was just drinkin’
While he was runnin' after us, I was screamin’, "Go, go, go!"
But with three of us, honey, it's a sideshow
And a circus ain't a love story and now we're both sorry
(We’re both sorry)
"X" marks the spot where we fell apart
He poisoned the well, every man for himself
I knew it from the first Old Fashioned, we were cursed
It hit you like a shotgun shot to the heart (Oh!)
You were drivin' the getaway car
We were flyin', but we'd never get far
Don't pretend it's such a mystery
Think about the place where you first met me
Ridin' in a getaway car
There were sirens in the beat of your heart
Should've known I'd be the first to leave
Think about the place where you first met me
In a getaway car, oh-oh-oh
No, they never get far, oh-oh-ah
No, nothing good starts in a getaway car
We were jet-set, Bonnie and Clyde (Oh-oh)
Until I switched to the other side, to the other side
It's no surprise I turned you in (Oh-oh)
'Cause us traitors never win
I'm in a getaway car
I left you in a motel bar
Put the money in a bag and I stole the keys
That was the last time you ever saw me (Oh!)
Drivin' the getaway car
We were flyin', but we'd never get far (Don't pretend)
Don't pretend it's such a mystery
Think about the place where you first met me
Ridin' in a getaway car
There were sirens in the beat of your heart (Should've known)
Should've known I'd be the first to leave
Think about the place where you first met me
In a getaway car, oh-oh-oh
No, they never get far, oh-oh-ah
No, nothing good starts in a getaway car
I was ridin' in a getaway car
I was cryin' in a getaway car
I was dyin' in a getaway car
Said goodbye in a getaway car
Ridin' in a getaway car
I was cryin' in a getaway car
I was dyin' in a getaway car
Said goodbye in a getaway car"
Swifties: It's such a pity that "Getaway Car" never had a music video, this song is SO underrated... :'(
Me: Say no more! ;)
Well, honestly I think it's one of her best songs. Taylor Swift is a genius, she always very attentive to details, and she puts easter eggs everywhere. I think she's a pure example of creativity every creative person should aspire to, and her way of writing her emotions in the songs, basing them on certain situations and people in her life, is something that is very close to me (I'm actually doing the same for a couple of years already, just in the pictures, not in the songs). I already did a tribute to her when I was angry because of certain people, and I trolled them with it. It was awesome. :D
I would really like to see what her music video for this song would be, because the lyrics are truly cinematographic, and her videos are very thoughtfully made. I just recently seen the music video for "Blank Space", and wow, she's so incredibly hilarious when she starts to abuse the guy, I can watch the sequence again and again on repeat, because it's sooo good. Can we please see gangster Swift now? :D Well, I hope when she will re-release "reputation" as Taylor Version album (now that she's own the label and rights) like she did with other albums we'll finally get to ride in a getaway car as a single song with music video. ;)
I'm also equally amazed by her fanbase, so dedicated to search for every easter egg, so imaginational in creating theories based on tiny bits of facts like real detectives! Someone said, if you're lost, ask a Swiftie to find a way, but I say, that I would rather like to play a Mafia game with them, because I swear they would be a nightmare dressed like a daydream. ;)
Hey, Swifties! I tried to put in my picture as much easter eggs (lyric-specific or Taylor-specific, and something is Lego-specific, but connected to the song or it's writing history) as I could. Can you find them all? ;)
Ah, and by the way, this is the real place on Google maps (except no buildings are there, but it was hard to find a suitable spot without trucks on horizon), I can even provide the coordinates. If you're from USA, maybe you can guess the state, or even the road? *whispers* It's hard to miss on a map!
You can listen the song here:
Taylor Swift - Getaway Car (from reputation)
I have some promises I'll make to you
If you will do what I want you to
The more that you consume of me
The more then will your losses be
Here are the promises to you I make
And I promise, the promises to never break
I promise to take your money, your home
And all you can get in the way of a loan
I'll take your character, your reputation, too
Your good name I'll take from you
Your friends I'll take from you one day
Your family from you I'll turn away
I'll take your car, I'll take your wealth
I'll take your job, I'll take your health
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AF-S 50mm f/1.4G
AF-S 58mm f1.4G
Z 50mm f1.8S
+ and as a bonus Voigtländer Nokton 58mm f1.4 (not in the photo)
----
Nikkor AF-S 50mm f1.4G: This lens has a bit of a bad reputation for being slow to focus and delivering a soft look to images when shooting wide open. I have made lots of images with this lens and I can agree with those comments. Soft at f1.4 but can create excellent images when stopped down a bit. I still think this is a fine lens but 50mm f1.8 G is probably a better compact 50mm to buy at about half the price. 50mm f1.4G shows clearly heavier vignetting shooting wide open compared to 58mm. LR can fix it automatically, so I am not too concerned about this factor of the lens. After a few testing sessions, I couldn't see any major sharpness differences compared to 58mm, even when stopping down to the f2.8-f4 range. Bokeh looks good to me but it is not as good as what 58mm can produce. 50mm f1.4G is the smallest and lightest lens from this group, weighing only 280g. This is a still good lens when you want to travel light and want a fast 50mm prime.
Nikkor AF-S 58mm f1.4 G: When shooting at the closest focusing distance with an aperture of f1.4, the lens displays notable softness, akin to that of the 50mm f1.4 G, and high-contrast scenes can lead to a significant amount of irreparable chromatic aberration (CA). If you are not super critical of these imperfections, I would say results shooting wide open are usable in good light or when you can be a bit away from the subject and get the focus right. I have tried some AF fine-tuning and testing different focus modes on Z6ii, but I would say this is not a great lens by modern standards when shooting wide-open in low-light situations (like in a studio). Just hard to nail the focus right when taking photos between the f1.4-f2 range. Stopped down f2.8 lens is great, the focus is there where it should be, but why get an expensive f1.4 prime if it does not deliver constant results when used wide open? The AF speed of the lens is similar to 50mm f1.4G, which is slower than with most AF-S primes or zooms but interestingly in low light situations lens was better to focus than 24-70mm which kept on hunting to find focus on low contrast objects. Out-of-focus area rendering is great as could be expected. Stopping down to f2.8 improves the sharpness & contrast. Corners are never catching the sharpness of the new Z mount 50mm. Uneven sharpness could come from the field curvature. Sample variations could be also taken into account. Maybe I had a bad copy? Just don't stare at the corners at 100% zoom or even the center of the frame at f1.4 as they are very soft. Weight is 385 g, which does not feel heavy at all (but with FTZ is more than 50mm S). Other Nikon f1.4 primes have a bit better build feel of their heavier weight & construction. Z-lenses are so much better that I ended up trading this away. Kind of nice lens to have, but just too valuable if not your main tool.
Voigtländer Nokton 58mm f1.4. Manual focus lens with solid good metal build. The weight of the lens is 320 g. The lens is sharp delivering good bokeh but maybe a bit less contrasty wide open compared to other options. This is a great option if you are ok with an MF lens.
Nikkor Z 50mm f1.8 S: this lens is wide open better than AF-S 50mm & 58mm at f4 or so. Not even funny how good these new Z S series optics can be. Faster and very silent AF, clearly better for video work compared to AF-S F mount lenses. Bokeh from Z 50mm looks good by my standards. The weight of this lens is 415g and it feels heavier and also more durable than the F versions. If you add 135g for the FTZ adapter when using F-mount lenses on a Z camera, the size and weight are about the same as with this lens. Z 50mm lens might be later in heavy use for my studio photography work. Update: indeed! Overall great optics and focusing with this one, the lens just keeps on delivering images. If you need one 50mm lens for Z, this would be my choice. Or the Z 50mm f1.2S if you can justify the bigger price & weight.
TL;DR
Z 50mm f1.8 S is surprisingly sharp (also from corners) wide open compared to older F-mount Nikon lenses with fast and silent focus. On the other hand, 58mm was not designed to be excelling in sharpness. It has good coma correction and extremely smooth bokeh (partially caused by the longer focal length and how the lens is designed). If you want great optical performance and a workhorse, go for Z. If you want a lens with "character" and a bit better transition from sharp to OOF area, 58mm (Nikon & Voigtländer) could be the way to go.
Some image examples are in the comments. Text updated 8/2024
I seem to have acquired the reputation of being a sunset photographer (and have even been derogatorily called the sunset queen!) so I thought I should try to uphold that reputation!
Although I love a good sunset photo, I'm not really sure yet what kind of photographer I am. I know that portraits and macros are not my style, but I don't feel as though I have found my niche. However, I'm having a lot of fun figuring out what I want to be when I grow up!
Another version can be found in comments.
Iznik Lake, Iznik, Turkey
God on the Other Side of a Shipwreck
by Jonathon Martin, from How to Survive a Shipwreck
Meet Jonathon Martin
Your faith will not fail you
You’re Still Here
The first things overboard when your ship wrecked were all the reasons you ever had for sailing. And when the life you knew is a life you know no longer, and the ship that took you on a thousand adventures before can no longer even keep you afloat, you are right to wonder if there is anything left worth having.
There used to be so many things that we could not live without! How could you live without this person? How could you live without this job? How could you live without this relationship? How could you live without this house? How could you live without your dignity? How could you live without your good reputation? And then death came to someone you loved, or you lost the job, or you sabotaged the relationship or felt your love sabotaged you, or you suffered public humiliation, or you lost your all-important sense of honor. And you thought you really would die.
There was a part of you, maybe even a really large part of you, that really did. There are some losses that in their way mark you forever, and some things you never get over. And because you loved this person or this life and career you built, or valued your dignity, when the bow broke, everything in you screamed. While the sails were ripping and the boards splitting, you heard the sound of your spirit dying. The life you had was over. But to your own shame, you were not over, as much as you may have wanted to be.
Maybe like a proud samurai, it seemed the best thing you could do on the other side of the shipwreck was to fall on your own sword and stage a protest against anything you once found beautiful. Because you were so sad. Because you were so guilty. Because you were so scared that in the loss of something outside yourself, you lost your own heart to the sea’s black rage.
And then came what might be the worst discovery: You didn’t die — not really. You walked away from the accident, whether or not you think you or God or the devil or the fates are somehow responsible for it. You just knew you would die, and at times it felt like something in you did.
But not you. Not all of you, anyway.
The ship may have gone down, but miracle of miracles, you’re still here.
Can you remember the first time after the funeral, after you could not bear to eat or drink, that the pangs of hunger overwhelmed you? Did you feel incredulous at yourself, at the animal part of you that still wanted food after such a thing? What about when there was a particular taste you wanted, because it was a taste that on some level you actually desired? However much fog, however much sorrow, however much grief — the experience of loss may have altered your taste buds forever. But it hardly killed them.
You watched dreams you cradled in your arms with the strength of all your tenderness descend into the sea. All that animated you, all that moved you before, could move you forward in the world no longer. The water filled your mouth and your nostrils, and you choked at the taste of it. But when the grief or the guilt or the loss recedes into the night and your soul sets sail again, you still dream — despite yourself. There is still a kind of music you will hear that stirs within you an unspeakable longing. There is still an ache, not just for all you lost, but to see and know and be seen and known still, to explore and imagine and create.
However much the longing for the past may assault your senses, it is not the only longing that remains. There is still a part of you that wants to make love, to feel yourself somehow connected. There is still a part of you that yearns for something outside yourself. You felt yourself out to sea, and yet some kind of desire, for something or another, bears you along, and you find yourself still somehow here — almost against your own wishes. And even in the moments when anything that felt like conscious desire went out with the tide, there is still some kind of near-morbid curiosity of how your life and story are going to turn out — even if you are lost enough to only behold what’s left of your life as a kind of bystander.
Somewhere between your body’s animal refusal to go down quietly, your mind’s refusal to stop imagining, and your heart’s refusal to stop dreaming, in the tangled mess of synapses and memories and impulses, there lies God.
In whatever remains in you that wants to create, to make, to birth something new, in whatever corner that longs for some kind of resurrection on the other side of death, something divine quietly snaps, fires, clicks, flickers. This is the Spirit of God, lurking in your own broken spirit.
You may find that your grief and sense of loss over the world you once knew seem endless. And yet there are possibilities and potentialities within you that are more endless still.
What is this unseen force that carries you forward despite yourself? Why can you not seem to choke, always and forever, your own irrational yearning, this buried but still breathing hope for more?
This ache is God’s fingerprint.
The stirring to create, to love, to live, to give of yourself when there is no self left to give — this comes from the Spirit.
You were created in the image of God. Before you knew anyone or did anything, everything was in you necessary to live at home in divine love. However buried that image of God is within you, that part of you that knows what it is to be perfectly loved, held, and known — it is still very much there. There is a part of you that does not need anything else, or anyone else in particular, to be alive. There is a part of you that knows this — part of you that has always known this — but has long since forgotten.
The God who sustains all created things with love sustains you. The God who created the world not to be exploited, dominated, or needed, but to love and to enjoy without clinging, is awake in your belly. And so in you is the capacity to love and to live without needing the world to work out a certain way in order for you to be okay. Your life, your existence, is contingent on that Spirit. But it is not contingent on anyone else, or anything else.
This is the liberating, terrifying discovery of life on the other side of the shipwreck. That while you are a creature — humble, dependent, small, in need of love and food and Shelter — you didn’t need anything else as much as you thought you did. That the things you knew would kill you don’t actually kill you. That the fire in you the sea should have drowned out, burns within you yet, if you do not let yourself smother it (and maybe even if you do). So much of the world you have known is no more. But if there is any truth in any of this at all, the shipwreck that threatened to destroy you utterly may be the thing that saves you yet. It may not drown you; it may transfigure you.
And if there is something truthful, something larger, about this irrational lust for life that is forged in the fires of death, it says something too about the people you lost. For if there is a God who not only creates but sustains and resurrects, then there can yet be life on the other side of death for all things. Then there is hope, not only for the yearning in you to drive you into union with God, but to be realized in union with those others. If death is not the final word, and chaos produces creation rather than destroys it, then many of the stories of the life you thought were long over are far from over yet.
Believing this won’t mean you won’t still feel the weight of deep, sharp, piercing grief, or that you should feel guilty when you do. On the contrary, people who don’t experience deep pain have not experienced deep love and are not to be envied. That doesn’t mean they are shallow — all of our souls surely have something of the same depths — they just may not be aware of their own yet. That day will come for them. But when you feel your own deep capacity for passion, compassion, mourning, even rage, you are glimpsing something of your soul’s own infinite capacity to know, to feel, and to become. Within the depths of all you feel the most deeply, something of the Spirit’s own immortal depths is reflected in you.
We have a capacity for love and hope and beauty seemingly too big for our heads and hearts, because we are created in the image of God.
Excerpted from How to Survive a Shipwreck by Jonathan Martin, copyright Jonathan Martin.
Much needed investment....
Under previous owners, National Express, the Xplore Dundee fleet had a reputation as a bit of a Cinderella fleet and tended to have to make do with hand me downs from the parent West Midlands fleet. However over the past few years it’s received some new vehicles painted in a lighter green version of the company’s new livery, which the company has christened as ‘emerald’. This is 8915 (SK68LZX) which is branded for the 22 service. Although National Express has now sold the company McGill’s, propelling that company to one of the largest independent operators in the United Kingdom, the newer buses still passed to McGill’s rather than be spirited away down south, giving the company a modern image.
Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.
Belgian postcard, no. 5229.
Puerto Rican actress Rita Moreno (1931) is one of the very few performers to win the Oscar in 1962, the Grammy in 1972, the Tony in 1975 and her first of two Emmys in 1977. Moreno is best known for her role as Anita, the girl of the leader of the Puerto Rican street gang the Sharks in the classic musical West Side Story (1961). She was the first Hispanic woman to win an Oscar when received the Academy Award for best female supporting actor for this film.
Rita Moreno was born Rosita Dolores Alverío in 1931 in a hospital in Humacao, Puerto Rico. She was raised in nearby, smaller Juncos, which had no hospital. Her parents were seamstress Rosa María (Marcano) and farmer Francisco José "Paco" Alverío. Her mother moved to New York City in 1937, taking Rita with her while leaving her reportedly unfaithful husband and Rita's younger brother behind. Rita's professional career began early. From the age of nine, she performed as a professional dancer in New York nightclubs. At age 11, she landed her first film experience, dubbing Spanish-language versions of US films. In 1945, the 13-year-old made her Broadway debut in the play 'Skydrift' at the Belasco Theatre, costarring with Arthur Keegan and a young Eli Wallach. Although she would not appear again on Broadway for almost two decades, Rita Moreno, as she was billed in the play, had arrived professionally. In 1950, she was signed by MGM, but the studio dropped her option after just one year. She was often cast as a Hispanic pepper pot or as another 'exotic' such as in the TV series Father Knows Best (1954) as an exchange student from India. The young Puerto Rican actress/entertainer was featured on the cover of the 1 March 1954, edition of 'Life Magazine' with the provocative title "Rita Moreno: An Actresses' Catalog of Sex and Innocence". The sexpot stereotype would plague her throughout the decade and Moreno had to play roles in films that she considered degrading. Among the better pictures, she appeared in were the classics Singin' in the Rain (Stanley Donen, Gene Kelly, 1952) and The King and I (Walter Lang, 1956) starring Yul Brynner and Deborah Kerr.
Rita Moreno was finally cast by director Robert Wise in West Side Story (Jerome Robbins, Robert Wise, 1961), the film version of the smash 1957 Broadway musical. West Side Story is a retelling of William Shakespeare's 'Romeo & Juliet', with the warring Venetian clans, the Montagues and Capulets, re-envisioned as Irish/Polish and Puerto Rican adolescent street gangs, the Jets and the Sharks. Moreno was cast as Anita, the Puerto Rican girlfriend of Sharks' leader Bernardo (George Chakiris), whose sister Maria (Natalie Wood) is the piece's Juliet. She played this role with great emotion and the song 'America' became a highlight because of her. However, despite her talent, interesting roles were not forthcoming in the 1960s. Jon C. Hopwood at IMDb: "The following decade would prove kinder, possibly because the beautiful Moreno had aged gracefully and could now be seen by filmmakers, TV producers and casting directors as something other than the spitfire/sexpot that Hispanic women were supposed to conform to."
Rita Moreno played a $100 hooker in Mike Nichols' brilliant Carnal Knowledge (1971), based on Jules Feiffer's acerbic look at male sexuality. Another role that signalled a career renaissance was Milly the Helper in the children's TV show The Electric Company (1971). Moreno won a 1972 Grammy Award for her contribution to The Electric Company's soundtrack album. Three years later, she won a Tony Award as Best Featured Actress in a Musical for 'The Ritz'. She would reprise the role in the film version, The Ritz (Richard Lester, 1976). She also won Emmy Awards for her TV roles in The Rockford Files (1974) and The Muppet Show (1976). Moreno continued to work steadily on screen (both large and small) and on stage. From July 1997 to February 2003, she played 56 episodes in the TV series Oz as Sister Peter Marie Reimondo where she was a psychiatrist for the inmates. Since 2017, she has played the role of Lydia Alvarez in the TV series One Day at a Time. She returned in the remake of West Side Story (Steven Spielberg, 2021). She played the elderly shopkeeper Valentina. Her reputation as a national treasure was officially ratified with the award of the Presidential Medal of Freedom by President George W. Bush in 2004. Rita Moreno was married to Dr. Leonard Isadore Gordon, an internist and cardiologist, from 1965 till his death in 2010. They had a daughter, Fernanda Gordon. A successful jewellery designer, Fernanda founded Nandiz Design. She is married to David Fisher and they have two sons, Justin (2002) and Cameron (2004).
Sources: Jon C. Hopwood (IMDb), Wikipedia (Dutch) and IMDb.
And, please check out our blog European Film Star Postcards.
Even if she was under care, Mason Gardner's failure to guarantee the safety of his sister sent him on a downward spiral further. Plus his family wasn’t enough to be trusted, when most of them only cared about money and luxurious lifestyles. But Yvette mattered to him no matter what, she was his anchor, and so was him to hers. The sibling bond remained strong, to say the least.
He had multiple issues with the agency his mentor worked for—-and recently started hitting him hard. With the occurring attacks, Gardner couldn’t stop thinking how the public would question him. The combined weight of everything must have sped up his incurable condition, as so he thought, from the big stress.
It all started when a Paladin agent went out on a hunt, daringly, to take down the ES but got captured in the process. Nearly two weeks he endured torture and suffered most before finally breaking his spirit on the third. Then he spilled his guts and was eventually killed. Right in a slaughterhouse in Guatemala.
North eventually knew the secrets and used it to his own advantage. Blowing up bases....hitting the list....lots of actions causes dealt a big blow to the agency itself. The board was embarrassed and cut off all ties with many of their allies in case of whistleblowing and being doublecrossed. It would be a PR nightmare, risking their reputation going down a sinkhole.
Gardner feared it more every day the feeling came by.
***
As the agents silently conversed with one another, the more they went deeper into the compound. Wreckage contained tons of damaged electronics and the floor was muddy with water. Files were spread everywhere. It looked to them as if an abandoned asylum had come to life.
Jesse: “So that’s how it started. From that very moment a tip was passed....we should be lucky they never found us.”
Harry: “Nobody knows if there’s trackers around even with our tech. It’s surveillance we’re talking about.”
Gary: “Apparently so.....it killed a couple of my friends already. They did it.”
Jesse: “You tried to save them didn’t you?”
Gary: “Maybe.....maybe the chi could”
Harry: “But it doesn’t work every time.”
Gary: “It may not all the time, but at least it's under my control. Having these powers paved me a new life to improve after I started meditating.”
Jesse: “What if there’s corpses down here? Can you feel the aura throughout?”
Gary: “Maybe....more or less. I need to tap in and see.”
Even if flashlights could be used, it wouldn’t fare well in the deep darkness. Then Jesse decided to illuminate the environment up with a spark of electricity, enough to get them through securing the area long enough for Gary to meditate.
15 minutes passed as the walked further, and scans didn’t prove much evidence around. It was far beyond destroyed. Nothing but littered by a couple more dead, rotting bodies. Files proved useless.....until Harry discovered something.
Harry: “I think this is interesting. This corpse.....looks really familiar. Gary, do a retinal scan for real.”
Gary: “Hmm....I sense no heartbeat. Yet it’s somehow twitching. Unless they’ve got rodents lurking around somewhere.”
Jesse: “Hold on.....you’re telling me this is a reanimated corpse? At least it’s not the lower half.”
Harry: “Nah. Look closely. The uniform has a badge of the ES. I’ll send this to the team.”
Gary: “No. wait. Something’s wrong again. Get behind me. I’ll activate my field.”
The three rose their weapons in a defensive position as the ground began to rumble. Right in front it led them to a door. A small one, about the size of the entrapped submarine doors.
Harry: “It’s getting darker. Charge up your powers, gentlemen. I’m going to render my invisibility.”
Jesse: “Copy.”
Gary: “Do your thing. I can try opening it.....hmm.”
Harry: “Shh....”
Jesse: “Lowering frequency. Voices down. Team, you seeing this? I hope you do.”
Gary: “There we go....slowly....my dagger should be able to lock-pick it.”
And it opened. The sight of bleak darkness opened up to the three agents. They went in one by one, slowly and carefully. Unlike the surrounding outside, the room wasn’t filled with the stench and odours, yet it looked as filthy with grease and rusting machinery. It was a room filled with clean files and a few advanced computer. Harry was the first to dig in, scrapping through the documents while Jesse lightened up the room further as Gary kept his dagger and aura in tow.
It took them much time they needed as the images were continuously sent. Then suddenly a flash of a shadow passed by, which Gary witnessed, as his instinct told him to throw a dagger at the wall. The other two looked up in surprise as the unknown shadow started to fire.
Jesse: “Take cover! I’ll see if I can fry this bastard.”
Harry: “I got a clean shot. Not sure if the tables do any good cover but ok.”
Gary: “Use the chairs!”
Harry: *keeps firing*: Hold on....I recognise that mask somehow...I can see it. Isn’t that Knifenight?”
Knifenight: *appears* Yes. You guessed correctly. Knifenight is here. Knifenight is here and would be pleased to end you Ghostforge.”
Harry: “The hell is going on?! How’d you get in here?”
Knifenight: “Knifenight survived the onslaught. Knifenight almost drowned but he found a way.”
Jesse: “Ok, lower your weapons for now....you’re telling me you were in this compound? For how long?”
Knifenight: “Knifenight stayed for 3 weeks. Knifenight can survive on his own. Knifenight needs no food nor water.”
Gary: “Ok....I’ve heard about you as well....you might wanna elaborate on that further.”
The confused trio stared at their enemy as they waited for answers. He eventually started explaining, as he had gone on a mission to deal with some black market dealers in the currently abandoned base. And then it started flooding. People started drowning, including the Spectres, but Knifenight was the lucky one, managing to get out in time, hiding himself in an abandoned room. Despite limited contact to call his boss/hirer, it went to no avail, so he believed, may have intentionally been on purpose to send him to die, condemned without help. Yet he managed to survive on his own....
Jesse: “Ok, I don’t care about your third person act or shit, but I still don’t trust you. You could have laid a trap on us like back then in Tokyo or whatever.”
Harry: “The main question is, why. Did he leave you to die as a sacrificial pawn to get rid of you? Weren’t you always loyal?”
Gary: “The threads in this is too suspicious. You gotta spill because I can see that tongue lying.”
Knifenight: “Ok....ok....Knifenight knows. Knifenight let the cat out of the bag. Because....it was a deal. It went wrong. Knifenight saw them Spectres gun down the dealers. North probably asked them to. I for my life have not witnessed him like this....as brutal and ruthless as he was. And....here, this info might serve critical. Knifenight can only do so many.”
Harry: “Can we trust you with this?”
Knifenight: “Yes. Knifenight is sure. Knifenight isn’t lying. Read more and you’ll see....Knifenight is no longer a part of North’s cabal. So, bye for now.”
***
Jesse: “And then he runs away. Just like that. Seriously, disappearing again without a trace. Not because we let him go, but just quitting in the most ninja way as possible. However, given our shared history....I really doubt it.”
Harry: “But at what cost....is critical to matter?”
Gary: “Nobody knows, but it somehow proved I can sense the good in them. Their aura. No, I’m not joking. I really can. You should try it someday.”
Jesse: “Y’know what? I’m on the verge of my post breakup with the dude....I could tell you more over green tea. This meditation thing sounds like fun.”
Gary: “Mhmm I could tell you about my ex. He was a great guy as well....”
And with that, Harry decided to call his team. They were slowly getting ahead. Maybe a chance to fight back....just maybe.
Buses are big, complex machines and like any vehicle they need maintenance. Engines and mechanical components wear; the weather takes its toll on the bodywork, not to mention the wear and tear from several hundred passengers a day; and constant use, not to mention being so big, makes them prone to have bumps and dents.
At first sight, Greater Manchester Transport bus number 5060 seems to be having some fairly light work done. But look more closely at the upper part - there's virtually no upstairs saloon! We don't know what caused such a problem, as we'd expect a collision with a bridge or tree to damage the front end also. But whatever the problem was, it would keep 5060 off the road for a few weeks.
This bus was a 'Metrobus' made by MCW in Birmingham as a competitor to the British Leyland conglomerate. The Metrobus was quite successful, and Greater Manchester Transport ordered over 200 in the 1980s. But the deregulation of the bus industry - and a poor reputation for corrosion - finished off the Metrobus and indeed MCW before the decade was out.
There are several Metrobuses preserved today including two, 5083 and coach-finished 5208, on display at the Museum of Transport Greater Manchester. If you'd like to know more about the Museum of Transport and its collection of vintage buses, go to www.gmts.co.uk.
En 1923, pour asseoir encore plus sa réputation et stimuler la commercialisation de ses eaux, Spa Monopole lance un concours d’idées pour un logo qui personnaliserait ses bouteilles. Les établissements Vercasson de Paris, auteur des affiches des boissons alcoolisées La Bénédictine, Cinzano, Cognac Martell ou Sandeman’s, des stylos Waterman, de la ouate Thermogène y présentent un dessin de l’artiste français Jean d’Ylen, datant du début des années 20 et qu’ils n’avaient pas encore réussi à vendre, ni en France, ni à l’étranger : un Pierrot tentant de retenir une eau jaillissante avec les mains. Spa Monopole sera séduit et l’utilisera, dès 1924, dans ses campagnes de publicité. Avec succès. En 1923, la société spadoise, en pleine expansion, avait réalisé un bénéfice de 1068885 francs. Mais plus du double en 1924 (2,5 millions), malgré un mauvais été. Et de reconnaître officiellement la contribution du Pierrot au boom des ventes. Un Pierrot qui n’a jamais été retouché ou rajeuni. "Cela nous est interdit", précise Marc du Bois. "Mais le voudrait-on ? Ce logo profite en tous les cas d’une double reconnaissance spontanée : celle du Pierrot, qui a une vie propre en tant que tel, et celle des eaux de Spa."
In 1923, to further strengthen its reputation and boost the marketing of its waters, Spa Monopole launched a competition of ideas for a logo that would personalize its bottles. The Vercasson establishments in Paris, author of the alcoholic beverage posters La Bénédictine, Cinzano, Cognac Martell or Sandeman's, Waterman pens, and Thermogène wadding, present a drawing by the French artist Jean d'Ylen, dating back to the early 20s. and that they had not yet succeeded in selling, either in France or abroad: a Pierrot attempting to hold water gushing with his hands. Spa Monopole will be seduced and use it, as early as 1924, in its advertising campaigns. With success. In 1923, the spanish society, in full expansion, had made a profit of 1068885 francs. But more than double in 1924 (2.5 million), despite a bad summer. And to officially recognize Pierrot's contribution to the sales boom. A Pierrot who has never been retouched or rejuvenated. "This is forbidden to us," says Marc du Bois. "But would you like it?" In all cases, this logo benefits from a double spontaneous recognition: that of Pierrot, which has a life of its own, and that of Spa waters. "
Montepulciano Siena Toscana italia © 2015 All rights reserved
FotoSketcher lively
Nikon coolpix p 7100
Montepulciano
Montepulciano è un comune italiano di 14,234 abitanti della provincia di Siena in Toscana. Il paese si trova a 605 metri sul livello del mare, tra la Val di Chiana e la Val d'Orcia.
La città è a poca distanza della Val d'Orcia, ed è una delle città in collina tra le più belle della Toscana. E 'costruita su una cresta del Monte Poliziano .. Nel Medioevo era sotto il controllo di Firenze, ma fu conquistata da Siena nel 1260. La strada principale di Montepulciano si estende per 11,5 km dalla Porta al Prato a Piazza Grande in cima alla collina. La chiesa della Madonna di San Biagio è stato progettata da Antonio da Sangallo (1518-37). Montepulciano ha reputazione per la ricchezza di ottimi vigneti da cui si può ottenere il Vino Nobile di Montepulciano DOCG. La città ha le caratteristiche di un borgo medievale a forma di "S" ed è racchiuso entro tre cerchia di mura, tutti costruite nel XIV secolo
Montepulciano
Montepulciano is an Italian town of 14,234 inhabitants of the province of Siena in Tuscany. The town is located 605 meters above sea level, between the Val di Chiana and Val d'Orcia. The City that is located, within easy reach of the Val d'Orcia, is one of the towns in the hills of the most beautiful in Tuscany. It isbuilt on a ridge of Mount Poliziano.. In the Middle Ages it was under the control of Florence, but was conquered by Siena in 1260. The main street of Montepulciano stretches for 11.5 km from the Porta al Prato to the Piazza Grande at the top of the hill. The church of the Madonna di San Biagio was designed by Antonio da Sangallo (1518-37). Montepulciano has reputation for the wealth of excellent vineyards from which we can obtain the Vino Nobile di Montepulciano DOCG. The town has the characteristics of a medieval village in the shape of "S" and is enclosed within three rings of walls, all built to the fourteenth century.
Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.
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R8der was a young soulcaster who was noted for his outstanding qualities, both as a warrior and person. An incredible tactician one the battlefield who'd always keep his calm under any situation. Not to mention, his battle prowess was enourmous and as such R8der quickly developed a reputation of his own.
Born as a girl R8der had a troubled childhood where he'd always felt he was anything but the girl they all held him for and after searching information on the internet he confronted his parents. They were displeased and promptly kicked him out of their house.
Taking up his current name, R8der lived on the streets as a criminal. In an encounter with gangsters, he lost his right arm and it was here that he discovered his powers as a soulcaster.
Rather than beign scared R8der embraced his newfound powers and was soon discovered and taken in by Proctor Scorpio himself where he would train from that moment on for one mission only: Kill the most dangerous being in the world, slay the Jabberwock...
So, this moc was crafted with a different mindset entirely in mind. It's mostly non-custom, with it having uncustom legs, a metru body for a torso base and much more uncustom parts. That didn't make this build any less complicated however and it took a lot.
Thanks to SparkyTron for giving me the idea to use a metru torso in the first place.
I hope you enjoy looking at this moc as much as I put in effort making it. Feel free to leve C&C below. Cheers!
Igor has a reputation for sniffing things...
A novel about politics and the media...a reflection on a cartoonist's past and memories that haunt him....recommended...
“Reputation is what men and women think of us; character is what God and angels know of us.”
-Thomas Paine
This is the main hall of the hotel. Oh I just love the paintaings. You feel like there are countless angels watching over you..
They say your enemies define you.
The greater the monster you face, the greater a hero you are.
I never did like it when they called me that name. A hero. It’s not what I wanted to be known as, but it seems that people want heroes. That people need heroes. I’ve been gathering a reputation as a hero more and more over the recent years. It started ten years ago when I first met Clark, a year after I had taken on Dick as Robin. That should tell you how long ago that was. Back then we were somewhat civil with one another. How times change.
But one of the most defining moments is when I first encountered the man whose actions would force me to define myself. The monster that took so much from me. That has destroyed the lives of many Gothamites, all in the name of his mad quest. To make the people of Gotham smile. He’s done a bad job to say the least.
The moment I first learned of him is fresh in my mind. The day he paid a visit to Commissioner Loeb at the GCPD…..
Gotham City 5BJL
An unknown figure entered the GCPD offices and approached the help desk.
“Hello sir. How can we help you?”
“I’m hear to see Commissioner Loeb. I believe he’s expecting me.”
“Do you have an appointment to see the Commissioner?”
“I should do, yes.”
“Name?”
“Napier.”
“Mr. Jack Napier?”
“Last I checked.”
“It says you were due to meet the Commissioner fifteen minutes ago.”
“Well there were some complications. I had to lose the freak that I’m seeking protection from. I’m sure he won’t mind that I’m a few minutes late.”
“I’ll have to check with him. The problem with trying to get an appointment with the Commissioner is that he’s obviously a very busy man.”
“No worries my dear. I’m happy to wait.”
As if on cue Commissioner Loeb walks past the help desk closely followed by Lieutenant Jim Gordon, the pair seem to bickering between one another.
“For the last time Gordon. He’s a menace. He killed Marcus Wayne three years ago, and if he hadn’t then why the hell hasn’t he come forward and said as such?”
“Probably because he knows half the cops here are on the pay roll of Falcone, so he wouldn’t be safe to be held here just for some questions. Maybe if you chose to actually do job and deal with all these corrupt cops rather than simply standing by and taking a small percentage of their cash you wouldn’t be worrying about the possibility of Mayor West having you replaced.”
“Watch your tongue Gordon. I may be on my way out, but I’m still the Commissioner and I can quickly have you out of a job if you don’t pull your neck in now mind your own business and get back to work.”
Gordon, disgruntled complies and walks off back to his desk to deal with the paper work needed for the prosecution of the recently detained Julian Day. As if on cue as soon as Gordon walked off angry at the response he got, the unknown figure stood up to greet the Commissioner, his red biker helmet coming into the light as he approaches the Commissioner.
“Commissioner Loeb. So sorry that I’m late.”
“Sorry but who the hell are you?”
“Jack Napier, sir. He says his name his Jack Napier.”
“Thanks Sarah, alright then you’re in luck. I’ve managed to get a few minutes to spare before the Mayor is due in. Come on we’ll talk in my office.”
The man in the biker helmet walks behind the police commissioner into his office and locks the door. The commissioner takes a seat in his chair as he waits for the man who goes by the name of Jack Napier to take a seat. Instead the man seems to be looking out of the office, almost as if he’s inspecting certain things about the office. How many windows. How visible things in the office are to the outside world.
“Take a seat Mr. Napier.”
The red helmeted man takes a seat in one of the three chairs in front of Loeb’s desk and leans forward on the table.
“So tell me Mr. Napier. What is it you claim to have on Mr. Falcone that we could use to prosecute.”
“Nothing.”
“Excuse me?”
“I’ve got nothing on whoever this Falcone is, he sounds like an unpleasant guy though I bet he’s made a lot of people sad. I’m sure his death would make a lot of people smile.”
“You do know I can have you sent down for wasting my time. It’s a crime to waste police time.”
“Indeed, which is why I’ve come to you with the same charge.”
“Excuse me?”
“Oh don’t act so surprised Commissioner it’s no secret that you’re as corrupt as they come. We all know you’ve been responsible for having police dispatched to different parts of the city far out of the reach of a robbery that is being instigated by a certain Mr. Maroni or Falcone, which ever fills the pocket the most.”
“I don’t know what the hell you’re talking about.”
Commissioner Loeb reaches under the table to grab his silenced revolver he keeps taped to the bottom of his desk in case of emergencies. This man knew far too much and if he managed to talk to a wannabe good cop like Gordon, Loeb would be out of a job before he knew it.
“Really? Well you might not remember, but a lot of people who lost family members to those robberies remember.”
The man in the red helmet stood up and grabbed hold of the Commissioner, lifting him up and pinning him on the desk.
“And I’m sure those families would have a nice smile on their face if I were to kill the man responsible for all their pain.”
The man in the red helmet reaches into his jacket pocket and pulls out a vegetable peeler of all things. The Commissioner eyes quickly focus in on the odd choice of weaponry. What sort of man carries a vegetable peeler around in his pocket casually?
The commissioner tried to speak, but the man had his right arm pressed on the mans mouth, stopping him from calling for help. Desperately, Commissioner Loeb tried to shake himself free, but he was unable to move. Unfortunately for him, his assailant saw his struggles.
“Oh dear. It looks like someone spiked your coffee with a cheeky little neurotoxin meaning you can’t run away. You really should be careful with how makes your coffee Mr. Loeb.”
The man pulls a handkerchief from his other pocket and stuffs it into the Commissioners mouth, preventing him from crying out for help.
“Now before we have our little fun, I need to do a couple of things.”
The man reaches into his backpack and pulls out a variety of different parts for an unknown device. Most concerning for the Commissioner he pulls out a body bag as well. The helpless Commissioner notices this and gives off worried muffled sounds that brings a smile to the assailant, though the Commissioner cannot see it beneath the helmet.
“Don’t worry dear. The bag is for you. But you’re not joining those you wronged just yet. First I need to have my fun.”
The red helmeted assailant lifted the helpless Commissioner of the desk and into the body bag he had just unpacked. The Commissioner gave a terrified look but he was met by the blank response of his assailants helmet as the bag was zipped up. With his objective complete, the assailant prepared to have some fun. He took the Commissioners bullet proof jacket and his helmet, placing them both on himself before assembling the item he had removed from his rucksack.
He placed the finished weapon on the desk as a large smile erupted from his face.
Time for some fun.
With that he kicked down the door that led out of the Commissioners office, with his weapon in hand and a huge red grin on his face. His face was white, seemingly covered with makeup but that wasn’t the most concerning thing for the officers in the GCPD who saw him walk out of the office. What was the most worrying thing for them was the mini-gun that he held in his hands.
“Ladies and Gentlemen. You have all failed your duty as protectors of this city. The people hate you and wish to see you gone. I’ve chosen to oblige their request and put a big old smile on their face when the scum that is the Gotham City Police Department is no more. Now, if there any of you who actually try to do your job then please, smile for me baby! I’ll let you guys get a quick death!”
With that the assailant in white make up began laughing as the mini-gun roared into life unloading bullet after bullet into the main lobby of the GCPD. The police officers quickly ducked down to avoid all the fire whilst the assailant jumped on top of a desk overlooking the room. Laughing more and more as his mini-gun mowed down cop after cop….
The Hippodrome is a building on the corner of Cranbourn Street and Charing Cross Road in the City of Westminster, London. The name was used for many different theatres and music halls, of which the London Hippodrome is one of only a few survivors. Hippodrome is an archaic word referring to places that host horse races and other forms of equestrian entertainment.
Entry to the venue was through a bar, dressed as a ship's saloon. The performance space featured both a proscenium stage and an arena that sank into a 230 ft, 100,000 gallon water tank (about 400 tons, when full) for aquatic spectacles. The tank featured eight central fountains, and a circle of fountains around the side. Entrances at the side of the auditorium could also be flooded, and used for the entry of boats.[3] Shows included equestrian acts, elephants and polar bears, and acrobats would dive from a minstrels' gallery above a sliding roof, in the centre of the proscenium arch. The auditorium featured cantilevered galleries, removing the columns that often obstructed views in London theatres, the whole was covered by a painted glass retractable roof, that could be illuminated at night.[3] The building included the headquarters of Moss Empires.[4]
Theatre 1909–1951
In 1909, it was reconstructed by Matcham as a music-hall and variety theatre with 1340 seats in stalls, mezzanine, gallery and upper gallery levels. It was here that Tchaikovsky's Swan Lake received its English première by the Ballets Russes in 1910. The Albert de Courville revues were performed here from December 1912.
The Hippodrome hosted the first official jazz gig in the United Kingdom, by the Original Dixieland Jazz Band, in 1919.[5]
Its reputation was for revue and musical comedy, among them The Five O'Clock Girl, the West End production of Vincent Youmans' hit Broadway musical Hit The Deck (1928) and also Mr. Cinders, both in 1929; Ivor Novello's Perchance to Dream in 1945 with Margaret Rutherford; and the revue High Spirits in 1953 with Cyril Ritchard and Diana Churchill. Julie Andrews made her stage debut here at the age of 12. From 1949 to 1951 it was the London equivalent of the Folies Bergère.
The Talk of the Town
The original interior was demolished in 1958, and Bernard Delfont had the Hippodrome converted into the nightclub The Talk of the Town. It featured appearances by many of the popular artistes of the time,[6] including Diana Ross & The Supremes, Judy Garland,[7] Eartha Kitt, Shirley Bassey,[8] The Temptations,[9] Frank Sinatra, Mel Torme, Sammy Davis Jr., Lena Horne, Sergio Franchi, Sophie Tucker, Engelbert Humperdinck, Val Doonican, Lonnie Donegan, The Carpenters, John Denver, Ella Fitzgerald, Liza Minnelli, Tom Jones, The Jackson 5, Buddy Rich, Lulu, Danny La Rue, Cilla Black, Petula Clark, Paul Anka, Glen Campbell, Anne Murray, Sandie Shaw, Johnnie Ray, Matt Monro, The Andrews Sisters, Dolores Gray, Frankie Vaughan, Cliff Richard, The Shadows, Channing Pollock (magician), Dionne Warwick, Raphael, The Seekers, Stevie Wonder, Sacha Distel and Neil Sedaka. In February 1964, Ethel Merman made her only British appearance in a season of cabaret. Dusty Springfield recorded a TV special at the venue, broadcast 15 February 1968 on BBC2 Show of the Week: Live at the Talk of the Town.[10] The Seekers' final concert was recorded for the album The Seekers Live at The Talk of the Town in July 1968. Tony Bennett set his 1972 series for Thames Television, Tony Bennett at the Talk of the Town, there. This form of entertainment, in its turn, fell out of public favour, and the venue closed in 1982.
In 2009, the Hippodrome was named by the Brecon Jazz Festival as one of 12 venues which had made the most important contributions to jazz music in the United Kingdom.[5]
The musical drama End of the Rainbow, nominated for a number of Olivier Awards in 2011 during its London run and Tony Awards in 2012 while on Broadway, is set at the Talk of The Town during a Judy Garland engagement there near the end of her life.
wikipedia
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
BY STELLY RIESLING
Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.
DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.
There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.
Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.
People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.
Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)
Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.
GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.
What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.
Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.
If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.
Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.
Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.
The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?
Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.
I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.
Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…
So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.
I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.
Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…
DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.
Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.
Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.
Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….
Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!
To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!
FOR IMMEDIATE RELEASE
MANIFESTO GLEITZEIT 2015
PROLOGUE
Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).
When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.
And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by
craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.
EPILOGUE
Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,
He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.
Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):
"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"
With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.
Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)
GLOSSARY
IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.
This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.
Uber Aless @2015 NYC USA
NOTE Date's numbers and events can be slightly inaccurate.
#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,
Once again Chicago lives up to it's recent reputation of having a less than desirable weather for the weekend. Following a spectacular Friday of sun and warm temperatures, Saturday as fortune would have it ushered in clouds and colder temperatures. The forecasters are telling tales of a snowy future.
I still love the city though.
Anyway... This seems to be the shot that many go after to signify Spring's arrival. I'm guessing the waters will begin to flow again sometime in the next few weeks or so.
Here is my vector artwork of Hart's Bakery, Bristol. This little gem of a bakery can be found nestled in an old railway arch a stone's throw from Bristol Temple Meads railway station.
It has received glowing reviews from newspapers such as The Telegraph and The Guardian and it's fair to say that it has built a reputation as one of the UK's best bakeries.
I worked less than a kilometre away from this place for ten years, commuting between Weston-super-Mare and Bristol and never knew it was there! Oh, the lunches I could've had...
Tonight at 07.00 PM my daughter called me with a slightly excited voice. "Dad, you have to come without delay. There's a very cool car here at the car park'. 'Okay okay' I said, 'What is it?' She didn't know. Only that it had old blue plates and that it was a very cool car. She couldn't find any emblems.
Now you have to know that my daughter has developed a very good sense of what makes an old car so special. So I ran immediately to the train station which is only a 3 minutes walk from my home.
The eventual discovery of this Sunbeam exceeded all my expectations. And of course she didn't know this extremely rare car by name. Besides it's about 5 times her own age :-)
It proved to be a very rare unrestored seventy year old RHD pure British car. I bet this is even a rare appearance in the UK.
This Sunbeam-Talbot 90 Series was launched in July 1948. It had its technical origin in the pre-war Sunbeam-Talbot 2 Litre. The bodywork was based on the late 1930s Hillman.
This 90 saloon and the derived convertible had a good rallye reputation.
The 90 Saloon continued as Sunbeam MkIII in 1954 till 1957 (the addition 'Talbot' was dropped).
Confusingly the Dutch official motorcar registration authorities RDW consider this car as a Hatchback with a Diesel engine. As far as I know this combination never has existed.
Private import.
1944 cc L4 engine.
1370 kg.
Production Sunbeam-Talbot 90: 1948-1954.
Production Sunbeam-Talbot 90 MkII: 1950-1952.
Original first reg. number: Febr. 21, 1951.
New Dutch pseudo-historical reg. number: Febr. 25, 2019.
Same owner since then.
Halfweg, Houtrakkerweg, car park train station, Oct. 10, 2022.
© 2022 Sander Toonen, Halfweg | All Rights Reserved
♫ Joan Jett & the Blackhearts ~ Bad Reputation ♫
♫ Joan Jett & the Blackhearts ~ I Love Rock N Roll ♫
Strobist: AB1600 with gridded 60X30 softbox camera rightt. AB800 with Softlighter II camera left. Triggered by Cybersync.
A little bit older
A black leather jacket
A bad reputation
Insatiable habits
He was onto me, one look and I couldn't breathe
Yeah, I said, "If you kiss me
I might let it happen"
I swear on my life that I've been a good girl
Tonight, I don't wanna be her
They say he likes a good time
(My, oh my)
He comes alive at midnight
(Every night)
My mama doesn't trust him
(My, oh my)
He's only here for one thing (let's go)
But (so am I)
- My Oh My, Camila Cabello
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Eyes:
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- 4 Color Sets, 16 Color Fatpack
- Fits: Mesh Eyes (included), Lelutka, Omega, BOM
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Body - eBODY - Reborn Body
♰ Base & Extras ♰
Head - LeLutka
Ears - ^^Swallow^^
Hair - Foxy
Nose Rings - LeLutka
Lip/Dimple Piercings - Little Fish
Rings - RAWR!
Panties - Noir
Gloves - E.A.Studio
Boots - 718
Makeup - Hexumbra
Tattoos - Macabra
Shine/Eye Shine- This is Wrong
♰ Background/Studio/Decor ♰
Background - Foxcity - Send Nudes
Studio - Sunny's Photo Studio
The footpath between Fulling Mill Farm (in the distance) and Broughton Castle...and me doing a 'I am your friend...aren't you a pretty lady' one sided cow conversation all the way.
Luckily they were as docile as their reputation, but it was still a little nerve racking as they all started to walk towards me as I approached. This is a view looking back to about half the herd after I'd passed them when I felt it was safe to point a camera at them!
The last encounter was with a particularly large cow on its own behind the hedge at the edge of the field, bellowing at the top of its lungs. It wanted to join the rest of the herd and we both needed to use the same gap in the hedge in opposite directions...I waited until it lumbered through giving me irritated looks.
"HISTORY OF LILLESHALL ABBEY
Lilleshall Abbey was founded in about 1148 for a community of Augustinian canons. By the late 13th century, it had become a religious house of great reputation and prestige. In the 14th century, however, a financial crisis contributed to a gradual dwindling of the community. After the abbey was suppressed in 1538, it was converted into a private house. The buildings were severely damaged in the Civil War during a Parliamentarian siege, but the extensive sandstone remains still give am impression of its past magnificence.
ORIGINS
Lilleshall Abbey was founded in about 1148 for a group of Arrouasians from Dorchester Abbey in Oxfordshire, part of the wider congregation of Augustinian canons. The ‘black canons’, so called because of the colour of their habits, were communities of priests following a monastic rule but also preaching in churches and undertaking other parish work.
It is uncertain how many canons originally came to Lilleshall, but the founding community is likely to have been about 13.
PROSPERITY AND CRISIS
During the13th century, Lilleshall enjoyed great prestige. The abbey derived a respectable income from gifts and legacies, farmland, two watermills and investments in property, as well as tolls for the use of the Atcham Bridge over the river Severn. Henry III (r.1216–72) was entertained here twice in about 1240.
During the early 14th century, however, Lilleshall suffered financial problems. The abbot was accused of mismanagement, and finances were further undermined by the reckless selling of pensions to lay people. Although stability was eventually restored, the number of canons had fallen to 10 or 11 by 1400.
SUPPRESSION AND LATER HISTORY
The abbey was closed in 1538, as part of the Suppression of the Monasteries. At its closure the community had shrunk to nine canons and 43 servants, with one schoolmaster. In 1539 the abbey was granted to James Leveson of Wolverhampton, whose family lived in a house on the site until the mid-17th century.
During the Civil War (1642–51), Lilleshall was fortified for the king. In 1645 it was besieged by Parliamentarian troops. After several weeks, the troops forced entry and severely damaged the former abbey buildings.
Lilleshall was then abandoned and left to decay. During the 18th century a canal was cut through the abbey precinct. The remains were placed in state care in 1950, and later repaired and consolidated."
Again for model year 1963 minor restyled details were executed by Brooks Stevens (1911-1995) like a renewed grille and dashboard. Stevens also used thinner upper door frames to improve the visibility. More striking was the elimination of the outdated semi-panoramic windshield. All these measures gave the Lark a more modern look.
Despite all affords and the good reputation and reliability of Studebaker, and the fact that the Lark was relatively cheap (special the V8 versions), sales went down year by year.
You can find a very interesting article about the history of the Lark here: www.indieauto.org/2021/04/16/1964-studebaker-brooks-steve...
4739 cc V8 engine (was shared with Hawk GT and Avanti).
C. 1350 kg.
Production Studebaker Lark series: 1959-1966.
Production Studebaker Lark 2nd generation: Autumn 1961-1963.
Production Studebaker Lark Six and Eight this version: Autumn 1962-1963.
Picture was taken from:
Cars of the Sizzling '60s, a Decade of Great Rides and Good Vibrations, by the Auto Editors of Consumer Guide, Publications International LTD, Lincolnwood, 1997.
Original photographer, place and date unknown.
Book collection Sander Toonen (1998).
Halfweg, July 10, 2024.
© 2024 Sander Toonen, Halfweg | All Rights Reserved
Sunspots was available at the 2007 Robert Tonner Convention in Orlando, Florida, and can now be found on the secondary market.
She is a "Tiny Betsy-body" doll and related to the Little Martians.
Mars may have a reputation for being a desolate world, but it is certainly not dead: its albeit thin atmosphere is still capable of whipping up a storm and, as this image reveals, send hundreds – maybe even thousands – of ‘dust devils’ scurrying across the surface.
These swirling columns of wind scour away the top layer of surface material and transport it elsewhere. Their course is plotted by the streaks they leave behind – the newly exposed surface material, which is coloured in blue/grey in this recent image from the CaSSIS camera onboard the ExoMars Trace Gas Orbiter.
Dust devils on Mars form in the same way as those on Earth: when the ground gets hotter than the air above it, rising plumes of hot air move through cooler denser air, creating an updraft, with the cooler air sinking and setting up a vertical circulation. If a horizontal gust of wind blows through, the dust devil is triggered. Once whirling fast enough, the spinning funnels can pick up dust and push it around the surface.
As seen in this image, not much can stand in the way of a dust devil: they sweep up the sides of mounds, and down across the floors of impact craters alike.
The image was taken on 4 January 2019, and shows a region northeast of Copernicus Crater, in the Cimmeria region of Mars. It captures an area measuring 7.2 x 31 km. North is towards the top left corner in this view. The image has been geometrically rectified and resampled to 4 m/pixel.
If you are at the EGU General Assembly this week, look out for this beautiful image printed at our ESA booth.
Credit: ESA/Roscosmos/CaSSIS, CC BY-SA 3.0 IGO
Before its reputation as Chicago's most crime-infested neighborhood, Englewood was once the main transportation hub on the South Side. Like Harlem in New York City, Englewood was the second stop for nine railroads departing the Windy City: the Pennsylvania, New York Central, Nickel Plate, Rock Island, Monon, Wabash, Erie, Chicago and Eastern Illinois, and Chicago and Western Indiana railroads.
The latter five stopped here at the "less famous" Little Englewood stop near 64th and Parnell, about half a mile west of Englewood Union Station. Until 1949, the South Side 'El, in the background, even had a connecting stop on Parnell on the east side of the flyover. I do not know the exact year that Little Englewood closed, but I would imagine that it shut down around the same time that Dearborn Station closed.
Miraculously, the platform canopies at this ancient station have survived and are, quite literally, falling apart. Decades of exposure to the elements have taken its toll on the station's former elegance, and the surrounding area has fallen victim to inner city decay.
Vintage card. Photo: Metro-Goldwyn-Mayer (M.G.M.).
Gene Kelly (1912-1996) was an American actor, dancer, singer, filmmaker, and choreographer. He was known for his energetic and athletic dancing style, his good looks, and the likable characters that he played on screen. He starred in, choreographed, or co-directed some of the most well-regarded musical films of the 1940s and 1950s until they fell out of fashion in the late 1950s. Kelly is best known today for his performances in films such as Anchors Aweigh (1945), On the Town (1949), which was his directorial debut, An American in Paris (1951), Singin' in the Rain (1952), Brigadoon (1954), and It's Always Fair Weather (1955).
Eugene Curran Kelly was born in 1912 in the East Liberty neighborhood of Pittsburgh. He was the third son of James Patrick Joseph Kelly, a phonograph salesman, and his wife, Harriet Catherine Curran. By the time he decided to dance, he was an accomplished sportsman and able to defend himself. He attended St. Raphael Elementary School in the Morningside neighborhood of Pittsburgh and graduated from Peabody High School at age 16. He entered Pennsylvania State College as a journalism major, but after the 1929 crash, he left school and found work in order to help his family financially. He created dance routines with his younger brother Fred to earn prize money in local talent contests. They also performed in local nightclubs. In 1931, Kelly enrolled at the University of Pittsburgh to study economics. His family opened a dance studio in the Squirrel Hill neighborhood of Pittsburgh. In 1932, they renamed it the Gene Kelly Studio of the Dance and opened a second location in Johnstown, Pennsylvania, in 1933. Kelly served as a teacher at the studio during his undergraduate and law-student years at Pitt. Kelly eventually decided to pursue a career as a dance teacher and full-time entertainer, so he dropped out of law school after two months. In 1937, having successfully managed and developed the family's dance-school business, he finally did move to New York City in search of work as a choreographer. His first Broadway assignment, in 1938, was as a dancer in Cole Porter's 'Leave It to Me!' Kelly's first big breakthrough was in the Pulitzer Prize-winning 'The Time of Your Life' (1939), in which, for the first time on Broadway, he danced to his own choreography. In 1940, he got the lead role in Rodgers and Hart's 'Pal Joey', choreographed by Robert Alton. This role propelled him to stardom. Offers from Hollywood began to arrive.
Metro-Goldwyn-Mayer was the largest and most powerful studio in Hollywood when Gene Kelly arrived in town in 1941. There he made his film debut with Judy Garland in For Me and My Gal (Busby Berkeley, 1942). The film was a production of the Arthur Freed unit at MGM and it was one of the big hits of the year. The talent pool at MGM was especially large during World War II, when Hollywood was a refuge for many musicians and others in the performing arts of Europe who were forced to flee the Nazis. Kelly's film debut was followed by Cole Porter's Du Barry Was a Lady (Roy Del Ruth, 1943) with Lucille Ball, the morale booster Thousands Cheer (George Sidney, 1943), Cover Girl (Charles Vidor, 1944) opposite Rita Harworth, and Anchors Aweigh (George Sidney, 1945) with Frank Sinatra. MGM gave him a free hand to devise a range of dance routines for the latter, including his duets with Sinatra and the celebrated animated dance with Jerry Mouse—the animation for which was supervised by William Hanna and Joseph Barbera. Anchors Aweigh became one of the most successful films of 1945 and Kelly was nominated for the Academy Award for Best Actor. In Ziegfeld Follies (1946), Kelly collaborated with Fred Astaire, for whom he had the greatest admiration, in 'The Babbitt and the Bromide' challenge dance routine. He co-starred with Judy Garland in The Pirate (1948) which gave full rein to Kelly's athleticism. It features Kelly's work with the Nicholas Brothers—the leading black dancers of their day—in a virtuoso dance routine. Now regarded as a classic, the film was ahead of its time but flopped at the box office. Kelly made his debut as a director with On the Town (1949), for Arthur Freed. Stanley Donen, brought to Hollywood by Kelly to be his assistant choreographer, received co-director credit for On the Town. A breakthrough in the musical film genre, it has been described as "the most inventive and effervescent musical thus far produced in Hollywood."
Two musicals secured Gene Kelly's reputation as a major figure in the American musical film. First, he directed and starred in An American in Paris (1951) with Leslie Caron. The highlight of the film is the seventeen-minute ballet sequence set to the title song written by George Gershwin and choreographed by Kelly. The sequence cost a half-million dollars (U.S.) to make in 1951 dollars. Kelly's many innovations transformed the Hollywood musical, and he is credited with almost single-handedly making the ballet form commercially acceptable to film audiences. In 1952, he received an Academy Honorary Award for his career achievements, the same year An American in Paris won six Academy Awards, including Best Picture. Probably the most admired of all film musicals is his next film, Singin' in the Rain (1952). As co-director, lead star, and choreographer, Kelly was the central driving force and unforgettable is Kelly's celebrated and much-imitated solo dance routine to the title song. Kelly continued his string of classic Hollywood musicals with Brigadoon (1954) with Cyd Charisse, and It's Always Fair Weather (1955), co-directed with Donen. The latter was a musical satire on television and advertising and includes his roller-skate dance routine to I Like Myself, and a dance trio with Michael Kidd and Dan Dailey that Kelly used to experiment with the widescreen possibilities of Cinemascope. Next followed Kelly's last musical film for MGM, Les Girls (1957), in which he partnered a trio of leading ladies, Mitzi Gaynor, Kay Kendall, and Taina Elg. It, too, sold few movie tickets. Dale O'Connor at IMDb: "Kelly was in the same league as Fred Astaire, but instead of a top hat and tails Kelly wore work clothes that went with his masculine, athletic dance style." He finally made for MGM The Happy Road (1957), set in his beloved France, his first foray in a new role as producer-director-actor. After leaving MGM, Kelly returned to stage work.
After musicals got out of fashion, Gene Kelly starred in two films outside the musical genre: Inherit the Wind (Stanley Kramer, 1960) with Spencer Tracey and Fredric March, and What a Way to Go! (1964). In 1967, he appeared in French musical comedy Les Demoiselles de Rochefort/The Young Girls of Rochefort (Jacques Demy, 1967) opposite Catherine Deneuve. It was a box-office success in France and nominated for Academy Awards for Best Music and Score of a Musical Picture. Kelly directed films without a collaborator, including the bedroom-farce comedy A Guide for the Married Man (1967) starring Walter Matthau, and the musical Hello, Dolly! (1969) starring Barbra Streisand and Matthau. The latter was nominated for the Academy Award for Best Picture. He appeared as one of many special narrators in the surprise hit That's Entertainment! (Jack Haley Jr., 1974). The compilation film was released by Metro-Goldwyn-Mayer to celebrate the studio's 50th anniversary. The film turned the spotlight on MGM's legacy of musical films from the 1920s through the 1950s. Kelly subsequently directed and co-starred with his friend Fred Astaire in the sequel That's Entertainment, Part II (Gene Kelly, 1976). It was a measure of his powers of persuasion that he managed to coax the 77-year-old Astaire—who had insisted that his contract rule out any dancing, having long since retired—into performing a series of song-and-dance duets, evoking a powerful nostalgia for the glory days of the American musical film. It was later followed by That's Dancing! (Jack Haley Jr., 1985), and That's Entertainment, Part III (Bud Friedgen, Michael J. Sheridan, 1994). Kelly received lifetime achievement awards in the Kennedy Center Honors (1982) and from the Screen Actors Guild and American Film Institute. In 1999, the American Film Institute also ranked him as the 15th greatest male screen legend of Classic Hollywood Cinema. Gene Kelly passed away in 1996 at the age of 83 in Beverly Hills, California, U.S. His final film project was the animated film Cats Don't Dance, not released until 1997, on which Kelly acted as an uncredited choreographic consultant. It was dedicated to his memory. Gene Kelly was married three times: yo actress Betsy Blair (1941-1957), Jeanne Coyne (1960- her death in 1973) , and Patricia Ward (1990- his death in 1996).
Sources: Dale O'Connor (IMDb), Wikipedia, and IMDb.
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Extract from 'A Day on the Road' article from the Commercial Motor Magazine October 21st 1909.
A Motor-transport Contractor's Leyland Steam Wagon on Greasy Stone Setts in Lancashire.
Recounted by a Member of the Editorial Staff.
" It is twenty minutes past three, Sir!" announced the night porter, at the Park Hotel, Preston, one recent Monday morning, after he had already alarmed me by vigorously knocking on the door of my bedroom. I conveyed to him, with as much grace as I could muster at that early hour, an intimation that I was no longer asleep, and that there was no need to awaken
every other visitor in the hotel. I had arrived at Preston not more than four hours previously, after a most tiresome journey, by train and taxicab, from York, and, if my manner was rather short, I sincerely hope that the obliging official who aroused me on that morning has not since been consumed with grief on account of my hastily-spoken words. When I readied the coffee-room, and discovered that he had prepared a tempting breakfast for me, 1 felt more kindly disposed towards him. Having done full justice to the meal. I left the hotel in order to keep an appointment, at the running-shed of H. Viney and Co., Ltd., Motor-transport Engineers, of Strand Road, Preston, whence I was to start with a Levland " steamer " on its usual Monday's round. The Preston Town Council had evidently neglected to settle the previous quarter's account for street lighting, and, as the streets were absolutely deserted at that early hour, I gave up the attempt, unguided, to reach the running shed, and awaited the arrival of the wagon in Fishergate, along which thoroughfare the machine was bound to pass, on its way to Burnley.
This five-ton wagon and trailer are loaded up each Saturday, and the start is made not later than 4 a.m. on the Monday morning following for the places named, where over 200 cases of Whitbread's bottled stout and beer are delivered during 22 calls. This " round " forms part of a large contract, which is to extend over many years, with Whitbread and Co., Ltd. The total distance for this run is about 50 miles, and the total imposed load on the wagon and its trailer is nearly eight tons. When the wagon put in an appearance, in Fishergate, shortly after four o'clock, I made myself as comfortable as possible among the cases of bottled goods, and by 6.15 we had reached Blackburn, and the wagon was climbing the long stonesett-armoured hill on the road to
Burnley. The greasy state of the surface caused the wheels to skid very badly, and, had not the vehicle been skilfully handled by the men in charge, there might have been a serious accident; as it was, we ultimately surmounted the hill after the use of sacks. grit and—nausele. When nearing Church, at 7 a.m., we made our first halt for water, and again, just before entering Burnley, we took in a further supply, not because it was immediately needed, but so that we might be enabled to complete the delivery of the bulk of our cargo in Burnley and Brierfield without making further stops for watering. The first delivery, consisting of 20 cases of bottled stout and ale, was made at Burnley at 8.20 a.m., and at several other places in this town were further deliveries made.
Burnley's streets have an unenviable reputation among drivers of heavy commercial vehicles; many a wagon is forced, by the electric tramcars, on to the excessive side-fall of the roads, and, once its wheels slide into the gutter of a Burnley street, a steel-tired machine is only " pinched" out again with great difficulty. We made the last local delivery in the Burnley district at 10.30, at a point less than eight miles from the boundary line which separates Lancashire from Yorkshire. Brierfield was our next place of call ; here we left over 100 eases of bottled goods, and received the same number of " empties." I took a. photograph of the wagon when in the position to which it was backed, along a narrow lane some 30 yds. long, for unloading, and this view shows how little room there was to spare between the two walls and the sides of the vehicle; a slight error of judgment on the part of the driver, and he would have had the not too-substantially-built walls falling in on his wagon. In addition to this man, " Joe " Ridgley, and the stoker, a. loader accompanies this wagon, and his duties are particularly responsible; lie must not only "do his little bit " so far as the handling of the load is concerned, but he must also, in many cases, collect the aeccents for the goods delivered, and make due allowances for " returned empties," etc. These three men formed a. N cry cheery " crowd," and I was pleased to note that they showed genuine interest in their work, and, when not occupied in the handling of the load, each would find some little duty to perform in connection with the wagon or its trailer-duties which were discharged automatically, and without a grumble; in fact, the stoker's " chuckle" was something to remember for many a day. I was informed that he is an ex-army man who had been through the South-African campaign. I can imagine that such a nature as is habitually displayed by him would make him a very popular man amongst the Tommies after a hard da3's work. Having witnessed the completion of the exchange of full bottles for empty ones, I left the men to partake of their mid-day meal, and sought. out • a satisfying, if not too-appetising, meal for myself at a neighbouring hotel. We were all on the road again by 12.45, and, before leaving Brierfield, we took up more water, from a stone trough at the side of the road. This trough receives its supply from a spring in the side of a neighbouring bill, and, consequently, is " free " water to all comers. Notwithstanding this, the local authorities have posted a notice to the effect that the taking of water is prohibited. How much regard we paid to this notice may be judged by those readers who choose to examine the accompanying illustration of the notice and the tank in question. The " snaky" object at the lower right-hand corner is our suction hose. I may add that a
Yorkshire " was standing near by, also waiting to take in water, and a " limb of the law " was not many yards away. Legal proceedings, I am told, can only be taken if the watering steamer causes any obstruction to the electric trams, the tracks for which take up the greater part of the road. We collected the last of the empties, in Burnley, at three p.m., and made for Preston, via Padtham, Read, Whalley and Mellowbrook, then along the Blackburn road, and through Sandesbury, to Preston. A very large part of the road taken on the return journey is macadam, and, consequently, good time was made.
We arrived at Strand Road, Preston, about 6.30 p.m., and I was there
met by Mr. C. be M. Gosselin, the managing director of H. Viney and Co., Ltd., who very kindly showed me his trading books for the past year, and permitted MB to make certain extracts relating to the cost of running for his Leyland wagons. The vehicle which I accompanied is " No. 6 " of a fleet of similar machines operated by this company over an area bounded by Blackburn, Burnley, Oldham, Manchester and Wigan, a map of which district was reproduced on page 490 of our issue of the 19th August last. " No. 6 " was purchased two years ago, its condition at that time being little better than scrap iron. A considerable sum was expended on repairs, and the replacement of broken and worn-out parts, and thus a good and serviceable machine was created out of the old wreck. The cost of this initial overhaul was, of course, charged to capital account. Since it was put into service, the wagon, which usually draws a loaded trailer behind it, has maintained a weekly average of 161:1 miles, whilst the average weekly mileage for the whole of the company's vehicles of the fleet is 15611
'the total cost per mile run for " No. 6 " is is. 10. per mile, whereas the average for all the vehicles of the fleet is is. 24d. per mile. The latter amount is made up as follows :— This total cast per mile is higher than many of the figures which we have given, from time to time, for wagons in ordinary employment, but it must be noted that, for work of this class, three men are generally needed -hence, the high charge for wages.
Depreciation, too, is necessarily placed at a higher rate by a contractor working in such a district OS Lancashire than would be necessary in the ease of a private owner situated in a district where work is less strenuous. Viney and Co., Ltd., intends to build up a motor-haulage business on sound commercial lines, and the excellent relationship which exists between the management and the men clearly indicates the determination, of both sides, to attain success. It may, therefore, safely be assumed that
the figures we have given are on the liberal side, and take into account every possible charge and contingency against the vehicles. I may add that this company pays the following price for its stores: gear oil, is. per gallon ; cylinder oil, le. 6d_ per gallon ; paraffin for lamps, 5d. per gallon ; and coke, 70. per cwt., or 15s. per ton. The tare weight of " No. 6 " is 4 tons 19 cwt. ; its trailer weighs 1 ton 7 cwt.; and the gross weight to be moved, when both wagon and trailer are loaded, is 15 tons 6 cwt.
Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.
Saint Magnus, Earl Magnus Erlendsson of Orkney, sometimes known as Magnus the Martyr, was Earl of Orkney from 1106[1] to about 1115. His story is told in two sagas, Magnus' saga (the shorter and longer one) and one legend, Legenda de sancto Magno.
Magnus's grandparents, Earl Thorfinn and his wife Ingibiorg Finnsdottir, had two sons, Erlend and Paul, who were twins. Through Ingibiorg's father Finn Arnesson and his wife, the family was related to the Norwegian Kings Olav II and Harald II.
Born in 1075, Magnus was the son of Erlend Thorfinnsson, Earl of Orkney, and he first served Magnus III of Norway as skutilsvein (approx. Chamberlain), who took possession of the islands in 1098, deposing Erlend and his brother, Paul. Paul's son, Haakon Paulsson, then became regent on behalf of the Norwegian prince, Sigurd, who made Haakon earl in 1105.
According to the Orkneyinga Saga, Magnus had a reputation for piety and gentleness, and was rejected by the Norwegians, refusing to fight in a Viking raid in Anglesey, Wales, because of his religious convictions, instead staying on board his ships during the Battle of Anglesey Sound, singing psalms. He was obliged to take refuge in Scotland, but returned to Orkney in 1105 and disputed the succession with his cousin Haakon.
Having failed to reach an agreement, he sought help from King Eystein I of Norway, who granted him the earldom of Orkney and he ruled jointly and amicably with Haakon until 1114.
Their followers fell out, and the two sides met at the Thing (assembly) on the Orkney mainland, ready to do battle. Peace was negotiated and the Earls arranged to meet each other on the island of Egilsay, each bringing only two ships. Magnus arrived with his two ships, but then Haakon treacherously turned up with eight ships.
Magnus took refuge in the island's church overnight, but the following day he was captured and offered to go into exile or prison, but an assembly of chieftains insisted that one earl must die. Haakon's standard bearer, Ofeigr, refused to execute Magnus, and an angry Haakon made his cook Lifolf kill Magnus by striking him on the head with an axe. It was said that Magnus first prayed for the souls of his executioners.
According to the sagas, the martyrdom took place after Easter, on April 16 . The year is often given as 1115, but this is impossible: 16 April fell before Easter that year.
Magnus was first buried on the spot where he died. According to his legend, the rocky area around his grave miraculously became a green field. Later Thora, Magnus' mother asked Haakon allow her to bury him in a Church. Haakon gave his permission and Magnus was then buried at Christchurch at Birsay.
There were numerous reports of miraculous happenings and healings. William the Old, Bishop of Orkney, warned that it was "heresy to go about with such tales" and was then struck blind at his church but subsequently had his sight restored after praying at the grave of Magnus, not long after visiting Norway (and perhaps meeting Earl Rognvald Kolsson).
Magnus's nephew, Rognvald Kali Kolsson, laid claim to the Earldom of Orkney, and was advised by his father Kol to promise the islanders to "build a stone minster at Kirkwall" in memory of his uncle the Holy Earl, and this became St Magnus Cathedral, Kirkwall. When the cathedral begun in 1137 was ready for consecration the relics of St Magnus were transferred, and in 1917 a hidden cavity was found in a column, containing a box with bones including a damaged skull. These are held without (much) doubt to be the relics of St Magnus.
In the Faroes, the St Magnus Cathedral, Kirkjubøur was built around 1300 A.D., at the time of Bishop Erlendur. It is quite sure that the church was used for services (though it never was finished, or has been destroyed later), for estimated relics of Saint Magnus were found here in 1905. Kirkjubøur is one of the most important Faroese historical sites and expected to become a World Heritage Site. In total there are 21 churches in Europe dedicated to St Magnus.
There are two Icelandic sagas of St Magnus's life, Magnus' saga the shorter and longer as well as the account in the Orkneyinga Saga. In addition to this there are several devotional works in Gaelic and Latin about St Magnus, including a legend, Legenda de sancto Magno. Saint Magnus is the subject of the novel Magnus by Orcadian author George Mackay Brown, which was published in 1973, and St Magnus, Earl of Orkney by John Mooney. In 1977 Peter Maxwell Davies wrote a one-act opera, The Martyrdom of St Magnus, based on Mackay Brown's novel.
en.wikipedia.org/wiki/Magnus_Erlendsson,_Earl_of_Orkney
The first church lost to the Great Fire was St. Margaret New Fish Street; it was not rebuilt, the parish being united with St. Magnus and the site given to The Monument, which stands there yet, 202 feet tall and 202 feet to the east of the spot where the fire began.
The church is first mentioned in the last decade of the 12th century and must have been well known to the many pilgrims and others who crossed over the nearby London Bridge. A fish market was set up in the street in the same century while a City Ordinance of the 14th century required lampreys from France to he sold 'from under the walls of the church'. A further Ordinance of 1379 mentions the conduit, 'hard by the church', as one of the two places where fresh fish could be sold. In the Guildhall Library can be seen the Book of St. Margaret, New Fish Street in which are listed an extraordinary collection of saintly relics. Among the relics claimed were portions of the crib of Christ at Bethlehem, Moses's rod with which he divided the Red Sea, and the 'usual' pieces of clothing for early saints of the church.
During the Middle Ages the parish had two rectors of note. In 1461 John Alcock was appointed rector. He stayed until 1471 when he was made Bishop of Rochester, to be followed by Worcester, and in 1486 he succeeded John Morton at Ely when he became the Archbishop of Canterbury. Alcock was twice Chancellor of England, Master of the Rolls, President of Wales and the founder of Jesus College Cambridge. The other was Geoffrey Wren 1512-1527 when during his stay at St. Margaret's he became a Canon of Windsor. He lies buried under the sixth arch of the North aisle of the Royal Chapel of St. George at Windsor.
John Stow in his 'survay' describes the church as being 'a proper church, but monuments hath it none'. From that we assume that he meant it was a building of some size in good repair. In a survey, 'Valor Ecclesiasticus' during the reign of Henry VIII the rectory was valued at £31 11s. 8d. In 1636 the annual income was shown as £150 which is, presumably, the stipend of Thomas Brooks, a Puritan preacher here during the commonwealth. He was ejected at the time of the Restoration of the Monarch in 1660 when Robert Porey, the legal tenant of the rectory became a prebendary and canon residentary of St. Paul's. At which time George Smalwood became rector of St. Margaret's. The church was the first to perish in the Great Fire of 1666 and was not rebuilt. The monument stands on the site today and a City plaque commemorates the church on a nearby office building.
www.stmagnusmartyr.org.uk/history/st-margaret-new-fish-st
St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]
St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]
St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]
Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.
The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).
he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921
A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.
Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]
The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]
In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.
Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.
Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.
The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.
In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".
An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.
In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]
Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]
Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.
n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]
St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]
In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]
Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.
Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.
Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]
The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]
The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]
On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.
St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.
Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]
Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]
During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"
Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]
The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.
The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]
The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.
Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).
Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]
The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]
The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.
Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]
A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.
As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"
Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]
By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]
The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]
In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.
In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.
Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.
Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.
By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]
The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.
A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]
St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.
During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]
In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]
The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]
In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.
Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".
A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]
The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.
The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]
Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."
In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]
Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.
At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.
St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]
In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"
A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.
Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.
Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]
Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.
In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.
The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]
David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]
In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]
The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.
Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.
The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]
On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.
The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]
The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]
The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.
In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.
Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]
A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.
The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.
A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.
The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pag
It is always a pleasure to see Singapore Airlines, regarded as one of the best airlines in the world and a reputation that is widely recognised... The carrier, another that was also heavily impacted during COVID-19 as Singapore saw some of the strictest restrictions which now sees the country allowing fully vaccinated travellers to visit without getting tested.
During COVID-19, London Heathrow saw Singapore Airlines utilising Airbus A350-900s rather than the standard allocation of Airbus A380s and Boeing 777-300ERs; they have since returned with thrice daily flights for the S22 schedule. The current schedule sees SQ322/317 utilising Airbus A380s, whilst SQ306/305 and SQ308/319 utilise Boeing 777-300ERs.
For Singapore Airlines, the carrier now utilises just Boeing 777-300ERs; the carrier has retired all remaining Boeing 777-200ERs (one is listed as parked but unlikely to return to service) and regional Boeing 777-300s. The carrier have also retired their first Boeing 777-300ER, with 2 more expected to be retired. Having said that, Singapore Airlines will be operating 5 Boeing 777Fs on behalf of DHL in the future.
Currently, Singapore Airlines operates 26 Boeing 777s, all of which are Boeing 777-300ERs.
Sierra Whiskey Victor is one of 26 Boeing 777-300ERs operated by Singapore Airlines, delivered new to the flag-carrier on 26th September 2013 and she is powered by 2 General Electric GE90-115B engines.
Boeing 777-312/ER 9V-SWV on final approach into Runway 27L at London Heathrow (LHR) on SQ306 from Singapore-Changi (SIN).
New York City has so many attractions, and our time was so limited there, the renown MoMA was the only museum we visited. It lived up to its reputation, with masterpieces of all kinds around every corner. Their Terrace Cafe was a delightful spot to pause and strengthen up. On the way back to the hotel to get our bags and make our way to the airport, we poked our heads into St Patrick's Cathedral, and some other interesting buildings as well. International flying is not much fun these days, and I'll relate the challenges of our return on a later post.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Further enhancing the Cadillac Motor Car Company's reputation for engineering leadership, the introduction of the innovative new eight-cylinder Model 51 marked Cadillac's first application of the V8 in standard production, mass-produced vehicle. Since that debut, the V8 engine has continued to remain as Cadillac's standard powerplant since, for an ‘unbroken span of more than 65 years'.
Cadillac chose to replace its outdated four-cylinder Model 30 with the 1915 V-8 Type 51. The model 30 had been running for four years and it was considered by some to be outdated, though it had an outstanding reputation for both durability and reliability. In 1914 sales for Cadillac plummeted, possibly due to other luxury makers were running with sixes. The Model 51 V8 was introduced by Cadillac founder Henry M. Leyland and featured an amazing 70 hp and a water-cooled V8 engine.
As the Edwardian Era was coming to a close, the elegance and innocence of that time was manufactured into the 'Landaulette' model. The stylish transformable coupe made the Model 51 a legend as it featured sophistication and style. Cadillac advertised the Model 51 as 'The Penalty of Leadership' in an ad campaign that wowed consumers. The Model 51 was produced in significant numbers and became a Cadillac trademark for decades.
For years Leyland had been experimenting with a variety of engine types, and as a result of all of his hard research, he came to the conclusion that V8 would be much more popular than a six. The compact nature of the v-type design also appealed to Leyland and in some instance the long crankshaft that characterized the inline sixes had a tendency to ‘whip at high rpm'. At the time, most luxury models had moved on to much more powerful six-cylinder engines, but Cadillac continued to sport its mundane four cylinder engine. The Model 51 was then debuted by the luxury department, powered by eight cylinders that wowed the public.
The V8 was a strange and unique design for those days, and many people hadn't even seen such an engine. Two French manufacturers had developed V8's more than a decade previously and had utilized them to power racing machines. In America, as early as 1906 Howard Marmon had demonstrated an air-cooled V8. In 1910 the French firm of DeDion had marketed a production V8. The Cadillac Model 51 offered the first commercially available V8 engine in 1914.
The Model 30 was the original vehicle that included an all-new Delco system and an electric start. No more were drivers concerned with jamming a thumb or breaking a limb when cranking their cars. Unfortunately, though the Model 51 was impressive, but it paled deeply when placed alongside the 1912 Cadillac Model 30. This top-of-the-line Cadillac was the most expensive vehicle that GM produced, and at 1921, the Model 51 was priced at $5,190.
During the 1915 model year alone, Cadillac produced more than 13,000 units of the Model 51, which was a very impressive number for the first year on the market. The Cadillac Roadster, the four-passenger Cadillac Salon, the five-passenger touring car, and the Cadillac Seven-Passenger vehicle were all priced at $1,975, while the Cadillac Coupe was priced at $2,500, the Sedan for five-passengers at $2,800, the standard Cadillac Limousine was priced at $3,450 and the top-line vehicle, the formal 'Berlin Limousine' was sold at $3,600.
[Text taken from Conceptcarz.com]
www.conceptcarz.com/vehicle/z16349/Cadillac-Model-51.aspx
This Lego miniland-scale 1915 Cadillac Type 51 Tourer has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. Or for a vehicle which achieves a notable first. In the case of the Cadillac Type 51 - this model was the first production car V8 engine.
everyone is hoping to get some roast meat back home for the festive dinner
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check out more Hong Kong Streets & Candid shots here:
Taking the Streets in Hong Kong
Explore the Chinese Cultures:
if you like the colorful markets:
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