View allAll Photos Tagged URL
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Persistent URL: floridamemory.com/items/show/136307
Local call number: MS25966
Title: Halloween party for the troops in Miami, Florida
Date: October 25, 1943
Physical descrip: 1 photonegative - b&w - 4 x 5 in.
Series Title: MOSAIC Collection
Repository: State Library and Archives of Florida
500 S. Bronough St., Tallahassee, FL, 32399-0250 USA, Contact: 850.245.6700, Archives@dos.myflorida.com
Persistent URL: digital.lib.muohio.edu/u?/tradecards,2624
Subject (TGM): Flowers; Roses; Children; Girls; Perfumes; Drugstores; Pharmacists; Patent medicines; Dry goods stores; Dressing & grooming equipment; Brooms & brushes;
URL Permanente: ufdc.ufl.edu/WOLF004044/00001
Material de Información
Título: Obreros atados y fusilados por los rojos poco antes del abandono de Porcuna (Frente Sud)
Descripción Física: 1 leaflet, 1 p. : ill. ; 14 x 18 cm.
Editor: s.n.
Fecha Publicada: 1937?
Los Sujetos
Subjects / Keywords: Spanish Civil War, 1936-1939 ( lcsh )
History -- Civil War, 1936-1939 -- Propaganda -- Spain ( lcsh )
History -- Civil War, 1936-1939 -- Atrocities -- Spain ( lcsh )
Género: catalog ( marcgt )
Leaflets ( gmgpc )
Notas
Nota General: Propaganda leaflet dropped from an aircraft during the Spanish Civil War.
Nota General: Spanish.
Registro de Información
Institución De la Fuente: The Wolfsonian-Florida International University
Local de Almacén: The Wolfsonian FIU Library Collection ( SPAW )
Derechos: All rights reserved by the source institution and holding location.
Indentificador de Recursos: accession number - XB1994.301
dti - WOLFO 10204
System ID: WOLF004044:00001
¡¡“Obreros atados y fusilados por los rojos … de Porcuna”, de fotografía de propaganda a testimonio gráfico de la represión marxista setenta años después!!.
Hace ya unos meses nos encontramos en la red, en uno de esos portales donde se vende y se compra de todo, una colección de imágenes de propaganda sobre las “atrocidades cometidas por los rojos” durante nuestra última contienda. Entre las fotografías que nos ofertaban desde Buenos Aires (Argentina), a través del sitio todocoleccion.net, había (y hay) una fotografía referente a Porcuna, o por lo menos así reza su pie de foto.
En ella aparecen tres cadáveres con signos evidentes de violencia, presumiblemente con un disparo en la cara a quemarropa, cayendo de espaldas sobre la tierra de labor. Dos de los tres fallecidos se encuentran atados el uno al otro, y una de las víctimas por el ropaje, los rasgos y el pelo, parece tratarse de una mujer y joven. En el pie de foto se lee: “Obreros atados y fusilados por los rojos poco antes del abandono de Porcuna (Frente Sud)”. El resto de la colección en venta se componía de otras imágenes de similares características “ubicadas” en Toledo, Marbella, Teruel, …
Al principio no le dimos más importancia que la que tenía. Nos pusimos en contacto con el vendedor, pero éste desconocía el origen de las mismas, por lo que desistimos en el intento (vendía la colección a 90 €!!) , ya que considerábamos que era uno de esos pasquines de propaganda lanzados por los aviones de uno u otro bando en litigio, con la finalidad de provocar el pánico en las líneas enemigas ante el avance de uno de los contendientes; aunque en este caso estaba claro que provenía del lado africanista. Sin duda, estábamos en los albores de la guerra psicológica y de propaganda; amén de los prolegónemos del “photoshop”, como en aquella instantánea manipulada y trucada de la entrevista de Franco y Hitler en Hendaya en 1940.
El tiempo, como en cualquier investigación, seguía pasando y nuevos datos y documentos engrosan ya la pesada base de datos de la que disponemos. De esta forma, navegando de nuevo por la red, pero utilizando criterios lingüísticos de búsqueda diferentes (¡vamos!, que buscamos en inglés), de nuevo nos topamos con la imagen de propaganda, con una mejor resolución sin duda. En esta ocasión sí es cierto que le dimos alguna importancia, pues el lugar desde donde provenía era la University of Florida Digital Collections (USA), que dicen contar con más de 300 colecciones digitales, donde se incluyen un selecto grupo de fotografías históricas y documentos proveniente de la guerra civil española. En la ficha descriptiva de la fotografía que tratamos se dan algunos detalles sobre la misma, aunque por desgracia no se decía, o no se sabe, el lugar de procedencia. De la información facilitada nos llama la atención la fecha de la misma que entre signos de interrogación es datada en 1937. También nos llamó la atención una de sus notas, que viene a decir que fue arrojada desde el aire, presumiblemente desde una avión. Intentamos ponernos en contacto con la UFDC a través de su correo electrónico; pero hasta el momento no hemos obtenido ningún tipo de respuesta de la Universidad de Florida. Seguimos a la espera.
Ni que decir tiene, que no pensábamos publicar o dedicarle más tiempo del necesario a esta fotografía, que a todas luces no aportaba nada a nuestra investigación dada la particular manipulación de los hechos retratados y la finalidad de la misma. Pero aquí estamos, escribiendo sobre ella, porque hace unos días, visitando una librería, nos dimos de bruces con un libro de un conocido y polémico escritor sevillano, Nicolás Salas, titulado “La otra memoria histórica: 500 testimonios gráficos y documentales de la represión marxista en España (1931-1939)” (2006), que tan buena acogida ha tenido entre la derecha franquista de este país. Dicha publicación, escrita dentro de ese fenómeno revisionista conservador de la historia reciente vs franquista de España, es todo un alegato a las maldades y crueldades cometidas por los rojos durante nuestra guerra incivil, amén de una sórdida crítica a las medidas, escasas, impulsadas por el depuesto Zapatero. En concreto, en su página 188 y 189 se reproduce la fotografía y un pie de foto algo extraño, dando por cierto que los ejecutados de la instantánea lo fueron por los rojos tras el abandono de Porcuna (es decir, el 1 de enero de 1937). Tengo que reconocer que me quedé un poco frío al comprobar que a nuestro revisionista escritor no le tembló en ningún momento el pulso al calificar de atrocidades marxistas los asesinatos cometidos contra las personas que aparecen yacentes, inculpando a los rojos de Porcuna; cuando para nada, dicho sea de paso, cita la fuente de procedencia de la fotografía, y menos aún se cuestionaba su origen y (mal)uso. Lo creía verdaderamente más serio con las fuentes sobre las que fundamenta sus argumentos y las imágenes (miles) que reproduce.
Así, para aquellos que se interesen por la imagen citada, incluido el Sr. Salas, les podemos decir, con cierto margen de prudencia, que el fascismo triunfante de la guerra civil en Porcuna inmortalizó en mármoles, areniscas, iglesias, cruces de caminos y otros soportes más efímeros o perdurables, a todos y cada uno de sus muertos, represaliados por los rojos, o fallecidos en los frentes de batalla generados por ellos mismos. El número total de defunciones que presentó el ayuntamiento de entonces para la Causa General fueron de 52; y podemos decir alto y claro, que ninguna las víctimas era mujer, por lo que la imagen debemos por lo menos de cuestionarla, entrecomillarla, acorchetarla y cogerla con dos pinzas a la hora de hablar de ella. Ni que decir tiene que el Sr. Salas debería contrastar mejor sus fuentes de información y dejarse de prender la estopa del guerracivilismo que tanto le gusta a sus acólitos, porque quizás algún día podamos demostrar que los tres ejecutados de un tiro en la cara eran jornaleros de Porcuna asesinados por las fuerzas golpistas que tomaron el pueblo; y aquí sí tenemos mujeres.
Fuentes:
- CAUSA GENERAL DE JAÉN (CG). TÉRMINO MUNICIPAL DE PORCUNA. Pieza número 67. Archivo Histórico Nacional. Caja 1006. Expte. 11. (28 de febrero de 1941).
- Archivo Histórico Municipal de Porcuna.
- Universidad de Florida, ufdc.ufl.edu/WOLF004044/00001
- www.todocoleccion.net/propaganda-guerra-civil-teruel-tole...
- Relación de represaliados de derechas muertos de forma violenta en Porcuna (Jaén) durante la Guerra Civil.
Todos los Nombres de Porcuna
Apartado de correos nº 47-23790. Porcuna (Jaén)
nombresporcuna@gmail.com
Rogamos la máxima difusión entre vuestros contactos
flickr.com/photos/nombresporcuna
twitter.com/#!/NombresPorcuna
Regala un libro para escribir otro.
ufdc.ufl.edu/WOLF004044/00001/citation
Dicha imagen aparece también el portal todocoleccion.net, concretamente en www.todocoleccion.net/propaganda-guerra-civil-teruel-tole...
Persistent URL: digital.lib.miamioh.edu/cdm/ref/collection/postcards/id/2502
Subject (TGM): Ships; Piers wharves; Sugar plantations; Oceans; Hawaii--Maui
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Persistent URL: digital.lib.muohio.edu/u?/tradecards,1904
Subject (TGM): Men; Ethnic groups; Patterns (Design elements); Bamboo; Fans; Pharmacists; Drugstores; Patent medicines
www.youtube.com/watch?v=-CJPtWa7MCg
Listen to his wonderful voice by going to the URL above. What a golden smooth voice he had.
Birth: 08-20-1923 - Death: 07-31-1964 | Birthplace: Panola County, Texas
Inducted: 1967
Jim Reeves stands as one of the most distinctive singers in the history of country music. His smooth, warm baritone was a major component of the sophisticated, pop-influenced Nashville Sound that emerged during the late 1950s and early 1960s and boosted country music to new commercial heights while strengthening Nashville’s role as a music center.
James Travis Reeves was the youngest of nine children, and his older brothers were forced to leave school to help support the family after their father died, when Jim was still a baby. Even as a boy, he became fascinated by music; by the time he was twelve he was singing and playing guitar at local dances and playing with a band on Shreveport, Louisiana, radio station KRMD.
After high school in Carthage, Reeves won a baseball scholarship to the University of Texas at Austin, quit to volunteer for military service in World War II, and became a welder after failing his physical. He continued to play baseball in minor leagues in several states while working as a salesman between seasons. By 1947, however, a leg injury ended his baseball career, so he landed announcer’s jobs on several East Texas radio stations, slots that allowed him to advertise personal appearances in the area.
In about 1949 Reeves first recorded for the Macy’s label in Houston, but his recording career began in earnest when he signed with Abbott Records in 1952. Early success with “Mexican Joe” helped him move up to the 50,000-watt KWKH in Shreveport, where he worked as announcer and performer on the Louisiana Hayride. From there he graduated to the Grand Ole Opry, joining in October 1955 on the strength of early hits on RCA, for whom he began recording the previous May.
At first Reeves generally took a hard country approach to his recordings, but “Four Walls,” a #1 country and #11 pop hit, marked his transition to pop-tinged love ballads sung in an intimate, low register, close to the microphone. In so doing, he continued a pattern set by Eddy Arnold and Red Foley and helped make crossover success a trend for country singers of the day. Between 1957 and 1958, he fronted his own pop radio show, fed from WSM to the ABC network. About this time, Reeves began to reshape his image as well, shifting from cowboy outfits to sport coats and slacks and even tuxedos on occasion.
A demanding perfectionist in the recording studio, Reeves worked closely with RCA producer Chet Atkins in choosing material, and their efforts paid off. Hits like “Blue Boy,” “Billy Bayou,” “Home,” and “Am I Losing You” solidified his stardom while demonstrating his versatility. In 1959–60 he scored his biggest hit, “He’ll Have to Go,” which topped the country charts and went to #2 pop in the bargain. As the Country Music Association (CMA) began to push country-pop sounds in converting radio stations to country formats, Reeves became a natural with stations that followed the new Nashville Sound trend. Soon he became an international star to boot, making a 1962 tour to South Africa as well as later trips to England, Ireland, and Europe. Even if fans couldn’t understand the lyrics, one journalist wrote, “the resonant purr from the honeyed larynx of Jim Reeves has an almost hypnotic effect.”
Although Reeves was killed in a plane crash in 1964, his recordings have continued to sell long after his death. Posthumous hits helped him win election to the Country Music Hall of Fame in 1967, and he charted regularly into the early 1970s. - John Rumble
- Adapted from the Country Music Hall of Fame® and Museum’s Encyclopedia of Country Music, published by Oxford University Press.
Persistent URL: digital.lib.muohio.edu/u?/tradecards,4115
Subject (TGM): Coffee industry; Statehood; History; Historical events; Indians of North America; Explorers; Soldiers; Military officers;
Persistent URL: digital.lib.miamioh.edu/cdm/compoundobject/collection/pos...
Subject: Schools; Public schools; Education; Ohio--Canton; miami digital collections; bowden postcard collection
BEASLEY Talks MURDA MOOK vs HOLLOW DA DON & URL vs KOTD battledomination.com/beasley-talks-murda-mook-vs-hollow-d...
URL: User Requirements with Lego, a methodology to elicit user requirements for online communication applications.
Developped at Università della Svizzera italiana.
Based on Lego Serious Play.
Further details at www.webatelier.net/url
Chuyến hành trình nào cũng dài như vô tận, trên bất kỳ chặng đường nào cũng cần sự nỗ lực rất cao.
Em đã sẵn sàng chưa để mất đi phần nhiều tự do em vốn có, để cùng anh bước tiếp những chặng đường dài?...
Em đã đủ yêu anh chưa?
Em đã đủ yêu anh chưa để chia sẻ hết những vui buồn?
Em đã đủ yêu anh chưa để là chính em khi anh bên cạnh?
Em đã đủ yêu anh chưa...?
***
Em đã đủ yêu anh chưa để cùng anh bước về phía trước, sống cùng anh trong một ngôi nhà, cùng anh nằm trên một chiếc giường hẹp, cùng anh lo chuyện tiền nong?
Em đã đủ yêu anh chưa để yêu cả những người thân bên cạnh, để gọi bố mẹ anh là "bố mẹ" một cách tự nhiên, để cáu gắt giận hờn và trách móc như những đôi vợ chồng thỉnh thoảng lại cãi nhau?
Em đã đủ yêu anh chưa để em bắt đầu khôn lớn, trách nhiệm hơn và yêu cả những điều cứ tưởng chẳng thể yêu, để biết vun vén và lo lắng, sống cho nhiều hơn bản thân em?
Em vẫn thích tìm đến một chỗ yên lành nào đó thút thít khóc và sẽ kể cho anh nghe khi đã nín rồi.
****
Nhỉn lại , chợt phát hiện nhiều điều và bỏ lỡ cũng nhiều điều.
Nhìn lại , để rồi mỉm cười với những dì đã qua. Và rùng mình vì nhữg dì sắp đến. :)
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Sợ 1 ai đó nói yêu thưn tuôi và sợ thứ dì là of tuôi.
Đơn dản chỉ là vì tuôi k muốg thứ dì of mình pị mấc. :)
Persistent URL: www.floridamemory.com/items/show/25515
Local call number: RC01616
Title: Hunter group portrait
Date: 1929
Physical descrip: 1 photoprint - b&w - 10 x 8 in.
Series Title: Reference Collection
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.myflorida.com
Persistent URL: www.floridamemory.com/items/show/25515
Local call number: RC01616
Title: Hunter group portrait
Date: 1929
Physical descrip: 1 photoprint - b&w - 10 x 8 in.
Series Title: Reference Collection
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.myflorida.com
OUN-P TALKS UPCOMING ALBUM, POTENTIALLY BATTLING ON URL IN 2016 & MORE @ #SINCERECYPHERZ battledomination.com/oun-p-talks-upcoming-album-potential...
www.palais.mc/en/museum-and-visits/the-cars-collection-of...
The Cars Collection of H.S.H. the Prince of Monaco
At the end of the 1950s, the car enthusiast Prince Rainier III began collecting old cars. His collection gradually grew over the years as he acquired more and more models, and the garage at the Prince's Palace soon emerged as too small to contain this collection of around a hundred stunning streamlined and sporty cars, from majestic body work to gleaming hoods and regal radiator grills!
In 1993, Prince Rainier III therefore decided to open his precious collection to the public.
Located on the Terrasses de Fontvieille, the exhibition spans 5 000 m2 and is unique in the world, bringing together around a hundred-odd different cars, from a 1903 DE DION BOUTON to the 2013 LOTUS F1 via HISPANO SUIZA, ROLLS ROYCE, LINCOLN, FACEL VEGA, DELAGE, DELAHAYE, PACKARD, HUMBER, NAPIER, FERRARI, MASERATI, LAMBORGHINI, ALFA ROMEO, the LEXUS used for the royal wedding in 2011, and without forgetting the racing cars seen at the Monte Carlo Rally and the Formula 1s from the Monaco Grand Prix.
The Car Collection of H.S.H. the Prince of Monaco will host a unique exhibition of Ferrari vehicles from 3 December 2018 to 15 March 2019.
Founded by Enzo Ferrari in 1947, in Maranello in Italy, the cars with the prancing horse have left their mark on automobile history on road and circuit. Manufacturer of race and sports cars, Ferrari quickly became an automobile benchmark, both technically and aesthetically.
At this exhibition, unique, around 50 of competition and sport cars, the most iconic of the brand, which built the Ferrari legend and which millions of fans dream about, will be brought together in the Principality for four months.
For more information, please consult the Website of the Cars Collection of H.S.H. the Prince of Monaco: www.mtcc.mc
Reactor Project by Assaf Allouche
The Reactor is an interactive 3D Hexagram.
It is built from recycled pieces of the previous burn’s Art piece, laid out in a different way, yet creating the same scared shape from the bird’s eye view.
It is a visible milestone, meant to walk-thru or bike-thru, take shelter from the sun or dust storms, play on its swings, and enjoy the light scheme at night.
URL: www.thereactorproject.com/
Contact: info@thereactorproject.com
Persistent URL: digital.lib.miamioh.edu/cdm/ref/collection/postcards/id/3904
Subject (TGM): Parks; Lakes ponds; Ohio--Buckeye Lake
URL: User Requirements with Lego, a methodology to elicit user requirements for online communication applications.
Developped at Università della Svizzera italiana.
Based on Lego Serious Play.
Further details at www.webatelier.net/url
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I'm Gonna Knock On Your Door - Eddie Hodges
Intro Sounds: knocking on door, ringing on bell, tapping on window
I'm gonna knock on your door
Ring on your bell
Tap on your window, too
If you don't come out tonight, when the moon is bright
I'm gonna knock and ring and tap until you do
I'm gonna knock on your door (how-how)
Call out your name (how-how)
Wake up the town, you'll see (how-how)
I'm gonna hoo-hoot and howl like the lovesick owl
Until you say you're gonna come out with me
Hey little girl (how-how) this ain't no time to sleep
Let's count kisses 'stead of countin' sheep
How (how-how) how can I hold ya near
With you up there and me down here?
I'm gonna knock on your door
Ring on your bell, tap on your window, too
If you don't come out tonight when the moon is bright
I'm gonna knock and ring and tap until you do
(Instrumental and guitar & piano)
Hey little girl (hey little girl)
This ain't no time to sleep (how-how)
Let's count kisses 'stead of countin' sheep (how-how)
How (how-how) how can I hold ya near (how-how)
With you up there and me down here?
I'm gonna knock on your door
Ring on your bell, tap on your window, too
If you don't come out tonight, when the moon is bright
I'm gonna knock and ring and tap until you do
I'm gonna knock and ring and tap
And knock and ring and tap
And knock and ring and tap
And knock and ring until you do.
Dizaster Says “KOTD VS URL NEEDS TO HAPPEN” And Settling Diffrences With Math Hoffa battledomination.com/dizaster-says-kotd-vs-url-needs-to-h...
Persistent URL: digital.lib.muohio.edu/u?/snyder,1797
Subject (TGM): Libraries; Libraries (Rooms); Interiors; Books; Bookcases; Reading; Reading rooms; Studying; Students; Universities and colleges;