View allAll Photos Tagged Versatile
chaos freeform
seamless
tunica dress
asymetric silhouette
intuitive knitting
speed crochet
multi versatile
wearable underwater sculpture
upside-down
flipped
inside-out
asymetric sleeve
serving as a collar
or hood as well
for the playful insane
who enjoy to surprise themselves
borderless
ignoring all limitations
& conventions
The 'Most Versatile' challenge is set by the Compositionally Challenged Group. Thanks very much Sharon for this months super themes.
In this month's challenge, 11 members entered 94 photos, and 8 members completed all 10 themes. These members, in play order were: Ms J, Dave, Robin, Maria, Linda, Sandi, Sharon, Andy.
This montage features at least one photo per person, and at least one photo per theme. To view the complete challenge and entries, click Here.
Class……………………………V-class Destroyer
Builder………………………..R & W Hawthorn, Leslie & Co, Hebburn
Yard number……………….494
Laid down..………………….31 Jan 1917
Launched….…………………31 Oct 1917
Completed.………………….11 Feb 1918
Propulsion.…………………..2 shafts : 2 sets of Brown-Curtis SR geared Steam Turbines : 3 Yarrow oil fired boilers.
Speed..…………………………34 knots (max)
Range…………………………..3500 / 1800 / 900 nm at 15 / 18 / 32 knots (as built)
History
.1943: Jan: Taken in hand at Grangemouth for conversion into a Long Range Escort. 1 boiler was removed, fuel stowage rose up to 445t, engine power decreased to 15 000hp, maximal speed was 25kts.
1945: Reduced to reserve.
1947: Placed on disposal list.
1948: Sold to BISCO and towed to breakers yard at Granton
The vessel was allocated the following pennant numbers.
F29……………..1917
G10…………….1918 to 1919
D32…………….1921 to 1940
I32………………1940 to 1948
Versatile room divider, can be reversed, rotatated, and used either as a room divider or shelving unit.
DADA kamikaze freeform
multi versatile
top wrap tunic shawl tunic
for self-aware individuals
who love to express
who they truly are
intuitive
knitting & crochet fusion
with integrated 3-ply Navajo knitting
using colorful recycled cone material
from flea-markets
Ex-one, displaced due to double deckers arriving on the route
Numberplate: KX13AUR
Fleet Number: 4249
Type: Optare Versa
Company: Arriva Essex
Route: 9
Destination: Shoeburyness, East Beach
Location: Shoeburyness, East Beach
German postcard. Photochemie, No. K.1819. Photo: Alex Binder, Berlin.
Käthe Haack (1897-1986) was an extremely versatile German actress. Between 1915 and 1980 she appeared in some 230 films and television productions.
Käte Lisbeth Minna Sophie Isolde Haack was born in Berlin, Germany, in 1897. She was the daughter of cloth merchant Karl Wilhelm Paul Haack and his wife Sophie Margaret, née Jahn. After attending a private lyceum in Berlin-Charlottenburg, she took acting lessons with Seraphine Détschy and Hans Kaufmann. In 1914 she received her first engagement at the Stadttheater Göttingen (City Theater Goettingen). From 1915 on she played most of the time in Berlin. There she performed for the theatre of Victor Barnowsky, but also at the Theater am Kurfürstendamm, Schiffbauerdamm Theater, Hebbel-Theater, Theater in the Hradec Street, Volksbühne Berlin and the Deutsches Theater. Her roles included Johanna in Der einsame Weg (The Lonely Way), Anni in Ferenc Molnár's Spiel im Schloss (Play in the Castle), Clara in the premiere of Der fröhliche Weinberg (The Merry Weinberg) in 1925 and Mayor Gülstorff in the premiere of Der Hauptmann von Köpenick (The Captain from Köpenick) at the Deutsches Theater in 1931, directed by Heinz Hilpert. 1935 to 1944 she worked at the Preußischen Staatstheater Berlin (Prussian State Theater in Berlin) under Gustaf Gründgens.
Already in 1915 Käthe Haack also completed her first film appearance. She played her first role in the short film Pension Lampel (1915, Max Mack) opposite Hanni Weisse. After a highly praised performance in Mack's Der Katzensteg/The Cat Walk (1915, Max Mack), Haack further pursued her film career. During the 1910’s she portrayed a wide range from good-natured to vicious characters in such films as Das Tagebuch des Dr. Hart/The Diary of Dr. Hart (1916, Paul Leni) opposite her later husband Heinrich Schroth, Die Hochzeit im Excentricclub/Marriage at the Excentricclub (1917, Joe May) written by Fritz Lang, Das Spiel vom Tode/The Game of Death (1917, Alwin Neuss), Sein bester Freund/His Best Friend (1918, Uwe Jens Krafft) opposite Max Landa, and in the title role of the detective film Die Ratte/The Rat (1918, Harry Piel, Joe May) opposite Heinrich Schroth as Joe Deebs. In the 1920’s, she was more or less reduced to parts of dull bourgeois women or amiable housewives in such successful productions as Der tote Gast/The Dead Guest (1921, Karl Freund), Jugend/Youth (1922, Fred Sauer), Wilhelm Tell (1923, Rudolf Dworsky, Rudolf Walther-Fein), Hedda Gabler (1924, Franz Eckstein) starring Asta Nielsen, and Der alte Fritz/The Old Fritz (1927, Gerhard Lamprecht) with Otto Gebühr. As an extremely versatile actress, she received numerous role offers and could continue her career after the end of the silent era. At the same time, she changed her image from a ‘young and street-smart girl’ to a wife and mother. During the 1930s, Haack was one of the most successful and popular actresses and appeared in box office hits like Berlin - Alexanderplatz (1931, Phil Jutzi) starring Heinrich George, Emil und die Detektive/Emil and the Detectives (1931, Gerhard Lamprecht) as Emil’s mother, Der Hauptmann von Köpenick/The Captain from Köpenick (1931, Richard Oswald), Quick (1932, Robert Siodmak) with Hans Albers, Pygmalion (1935, Erich Engel) starring Jenny Jugo, and Fridericus (1936, Johannes Meyer). In the 1940s, she starred in elaborate large-scale productions like the biography Bismarck (1940, Wolfgang Liebeneiner) and the monumental Münchhausen/The Adventures of Baron Munchhausen (1943, Josef von Báky) starring Hans Albers.
After World War II, Käte Haack remained one of best-known and most successful actresses of the German cinema and played in films ranging from melodramas like Herz der Welt/The Alfred Nobel Story (1952, Harald Braun) to crime movies like Dynamit in grüner Seide/Death and Diamonds (1968, Harald Reinl) starring George Nader, and comedies like Der letzte Fußgänger/The Last Pedestrian (1961, Wilhelm Thiele) with Heinz Erhardt. Furthermore, she received rave reviews for her roles as distinguished ‘Grande Dame’ in such films as Der Lord von Barmbeck/The Lord of Barmbeck (1973, Ottokar Runze) and Grete Minde – Der Wald ist voller Wölfe/Grete Minde - The forest is full of wolves (1977, Heide Genée) – a type of role she often portrayed at the end of her career. She remained successful as a theater actress in Berlin. Important post-war stage roles were Mrs. Antrobus in Wir sind noch einmal davongekommen (We got away once more, 1946, Hebbel-Theater), Gina Ekdal in Die Wildente (The Wild Duck, 1948, Renaissance Theater ), Mrs. Higgins in My Fair Lady (1963, a tour with 1500 performances) and Louise Mask in Carl Sternheim's Der Snob (The Snob, 1966, Renaissance Theater). In 1967 she was appointed ‘Berlin State Actress’ and in 1973 was awarded the Filmband in Gold for her long and outstanding achievements in the German film industry. In 1971 she published her memoirs under the title In Berlin und Anderswo (In Berlin and elsewhere). Käthe Haack was married to the actor Heinrich Schroth. Her daughter, Hannelore Schroth and her stepson, Carl-Heinz Schroth, were also well-known actors. Käthe Haack died in 1986 in her hometown Berlin.
Sources: Stephanie D’heil (Steffi-line), Thomas Staedeli (Cyranos), Filmportal.de, Wikipedia, and IMDb.
DADA style
tunic
with asymmetric sleeve
kamikaze freeform
crochet
knitting
Navajo 3-ply technique
multi versatile
not only for orange lovers
British Real Photograph postcard, no. 86a. Photo: Warner Bros and Vitaphone Pictures.
American singer and actor Dick Powell (1904-1963) was also a film producer, film director, and studio head. Though he came to stardom as a juvenile lead in the Warner backstage musicals, Powell showed versatility and successfully transformed into a hardboiled leading man in Film Noirs. He was the first actor to portray the private detective Philip Marlowe on screen.
Richard Ewing Powell was born in Mountain View, the seat of Stone County in northern Arkansas. Powell was the son of Ewing Powell and Sallie Rowena Thompson. He was one of three brothers. His brothers were Luther and Howard Powell, who ended up as vice president of the Illinois Central Railroad. The family moved to Little Rock in 1914, where Powell sang in church choirs and with local orchestras and started his own band. Powell attended the former Little Rock College before he started his entertainment career as a singer and banjo player with the Royal Peacock Band. He then got a gig with the Charlie Davis band and toured with them throughout the mid-west, appearing at dance halls and picture theatres. In 1925, he married Mildred Maund, a model, but she found being married to an entertainer, not to her liking. After a final trip to Cuba together, Mildred moved to Hemphill, Texas, and the couple divorced in 1932. He recorded a number of records with Davis and on his own, for the Vocalion label in the late 1920s. Powell moved to Pittsburgh, where he found great local success as the Master of Ceremonies at the Enright Theater and the Stanley Theater. In April 1930, Warner Bros. bought Brunswick Records, which at that time owned Vocalion. Warner Bros. was sufficiently impressed by Dick Powell's singing and stage presence to offer him a film contract in 1932. He made his film debut as a singing bandleader in Blessed Event (Roy Del Ruth, 1932) with Lee Tracy and Mary Brian. He was borrowed by Fox to support Will Rogers in Too Busy to Work (John G. Blystone, 1932). He was a boyish crooner, the sort of role he specialised in for the next few years. Back at Warners, he supported George Arliss in The King's Vacation (John G. Adolfi, 1933). Then he was the love interest for Ruby Keeler in 42nd Street (Lloyd Bacon, 1933), which was a massive hit. Warner let him repeat the role in Gold Diggers of 1933 (Mervyn LeRoy, 1933), which was another big success. Looking rather younger than his actual years, Powell soon found himself typecast as clean-cut singing juveniles. Another hit was Footlight Parade (Lloyd Bacon, 1933), with Keeler, Joan Blondell, and James Cagney. Powell was upped to star for College Coach (William A. Wellman, 1933), then went back to more ensemble pieces including 42nd Street (Lloyd Bacon, 1933), Convention City (Archie Mayo, 1933), and Dames (Ray Enright, Busby Berkeley, 1934). He was top-billed in Gold Diggers of 1935 (Busby Berkeley, 1935), with Joan Blondell. He supported Marion Davies in Page Miss Glory (Mervyn LeRoy, 1935), made for Cosmopolitan Pictures, a production company financed by Davies' lover William Randolph Hearst who released through Warners. Warners gave Dick Powell a change of pace, casting him as Lysander in A Midsummer Night's Dream (William Dieterle, Max Reinhardt, 1935). He did two films with Blondell, Stage Struck (Busby Berkeley, 1936) and Gold Diggers of 1937 (Lloyd Bacon, 1937). Then 20th Century Fox borrowed him for On the Avenue (Roy Del Ruth, 1937) with Madeleine carroll. Back at Warners, he appeared in Hard to Get (Ray Enright, 1938) with Olivia de Havilland, and Naughty but Nice (Ray Enright, 1939), starring Ann Sheridan. Fed up with the repetitive nature of his roles, Powell left Warner Bros and went to work for Paramount.
At Paramount, Dick Powell and his then-wife, Joan Blondell were in another musical, I Want a Divorce (Ralph Murphy, 1940). Then Powell got a chance to appear in a non-musical and starred opposite Ellen Drew in the sparkling Preston Sturges comedy Christmas in July (1940). I.S. Mowis at IMDb cites Powell saying: "I knew I wasn't the greatest singer in the world and I saw no reason why an actor should restrict himself to any one particular phase of the business". Universal borrowed him to support Abbott and Costello in In the Navy (Arthur Lubin, 1941), one of the most popular films of 1941. He was in a fantasy comedy directed by René Clair, It Happened Tomorrow (1944) then went over to MGM to appear opposite Lucille Ball in Meet the People (Charles Reisner, 1944), which was a box office flop. During this period, Powell starred in the musical program Campana Serenade, which was broadcast on NBC radio (1942–1943) and CBS radio (1943–1944). I.S. Mowis at IMDb: "Few actors ever managed a complete image transition as thoroughly as did Dick Powell: in his case, from the boyish, wavy-haired crooner in musicals to rugged crime fighters in films noir." By 1944, Powell felt he was too old to play romantic leading men anymore. Still dissatisfied with lightweight roles, Powell lobbied hard to get the lead in Double Indemnity. He lost out to Fred MacMurray, another Hollywood nice guy. MacMurray's success, however, fueled Powell's resolve to pursue projects with greater range. Instead, he was slotted into more of the same fare, refused to comply and was suspended. Powell tried his luck at RKO and at last, managed to secure a lucrative role: that of hard-boiled private eye Philip Marlowe in Raymond Chandler's Murder, My Sweet (Edward Dmytryk, 1944). He was the first actor to play Marlowe – by name – in motion pictures. Hollywood had previously adapted some Marlowe novels, but with the lead character changed. Later, Powell was the first actor to play Marlowe on radio, in 1944 and 1945, and on television, in an episode of Climax! (1954). Murder My Sweet was a big hit. Bosley Crowther in the New York Times: " ...and while he may lack the steely coldness and cynicism of a Humphrey Bogart, Mr. Powell need not offer any apologies. He has definitely stepped out of the song-and-dance, pretty-boy league with this performance". Powell had successfully reinvented himself as a dramatic actor. His career changed dramatically: he was cast in a series of Films Noirs. On the radio, Powell played detective Richard Rogue in the series Rogue's Gallery beginning in 1945. On-screen, Dmytryk and Powell reteamed to make the film Cornered (Edward Dmytryk, 1945), a gripping, post-World War II thriller that helped define the Film Noir style. For Columbia, he played a detective in Johnny O'Clock (Robert Rossen, 1947) and made To the Ends of the Earth (Robert Stevenson, 1948) with Signe Hasso. In 1948, he stepped out of the brutish type when he starred in Pitfall (André De Toth, 1948), a Film Noir in which a bored insurance company worker falls for an innocent but dangerous woman, played by Lizabeth Scott. He broadened his range appearing in a Western, Station West (Sidney Lanfield, 1948), and a French Foreign Legion tale, Rogues' Regiment (Robert Florey, 1949) with Marta Toren. He was a Mountie in Mrs. Mike (Louis King, 1950). From 1949 to 1953, Powell played the lead role in the NBC radio theater production Richard Diamond, Private Detective. His character in the 30-minute weekly was a likable private detective with a quick wit. Many episodes were written by Blake Edwards and many ended with Detective Diamond having an excuse to sing a little song to his date.
Dick Powell took a break from tough-guy roles in The Reformer and the Redhead (Melvin Frank, Norman Panama, 1950), opposite his new wife June Allyson. Then it was back to tougher movies: Cry Danger (Robert Parrish, 1951), as an ex-con; and The Tall Target (Anthony Mann, 1951), as a detective who tries to prevent the assassination of Abraham Lincoln. He returned to comedy with You Never Can Tell (Lou Breslow, 1951). He had a good role as best-selling novelist James Lee Bartlow in the popular melodrama, The Bad and the Beautiful (Vincente Minnelli, 1952). His final film performance was in a romantic comedy Susan Slept Here (1954) for director Frank Tashlin. Even when he appeared in lighter fare such as Susan Slept Here (Frank Tashlin, 1954), he never sang in his later roles. It was his final onscreen appearance in a feature film and included a dance number with co-star Debbie Reynolds. By this stage, Powell had turned director. His feature debut was Split Second (1953) with Stephen McNally and Alexis Smith. He followed it with The Conqueror (1956), coproduced by Howard Hughes starring John Wayne as Genghis Khan. The exterior scenes were filmed in St. George, Utah, downwind of U.S. above-ground atomic tests. The cast and crew totaled 220, and of that number, 91 had developed some form of cancer by 1981, and 46 had died of cancer by then, including Powell and Wayne. He directed Allyson opposite Jack Lemmon in You Can't Run Away from It (1956). Powell then made two war films at Fox with Robert Mitchum, The Enemy Below (1957) and The Hunters (1958). In the 1950s, Powell was one of the founders of Four Star Television, along with Charles Boyer, David Niven, and Ida Lupino. He appeared in and supervised several shows for that company. Powell played the role of Willie Dante in episodes of Four Star Playhouse, and guest-starred in numerous Four Star programs. Shortly before his death, Powell sang on camera for the final time in a guest-star appearance on Four Star's Ensign O'Toole, singing 'The Song of the Marines', which he first sang in his film The Singing Marine (Ray Enright, 1937). He hosted and occasionally starred in his Dick Powell's Zane Grey Theater on CBS from 1956–1961, and his final anthology series, The Dick Powell Show on NBC from 1961 through 1963; after his death, the series continued through the end of its second season (as The Dick Powell Theater), with guest hosts. He married three times: Mildred Evelyn Maund (1925-1932), Joan Blondell (1936-1944) and June Allyson ( 1945, until his death in 1963). He adopted Joan Blondell's son from a previous marriage, Norman Powell, who later became a television producer; the couple also had one child together, Ellen Powell. He had two children with Allyson, Pamela (adopted) and Richard 'Dick' Powell, Jr. Powell's ranch-style house was used for exterior filming on the ABC TV series, Hart to Hart. Powell was a friend of Hart to Hart actor Robert Wagner and producer Aaron Spelling. In 1962, Powell acknowledged rumors that he was undergoing treatment for cancer. The disease was originally diagnosed as an allergy, with Powell first experiencing symptoms while traveling East to promote his program. Upon his return to California, Powell's personal physician conducted tests and found malignant tumors on his neck and chest. Powell died at the age of 58 in 1963. His body was cremated and his remains were interred in the Columbarium of Honor at Forest Lawn Memorial Park in Glendale, California. In The Day of the Locust (1975), Powell was portrayed by his son Dick Powell Jr.
Sources: I.S. Mowis (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
British postcard by Art Photo, no. 62.
American singer and actor Dick Powell (1904-1963) was also a film producer, film director, and studio head. Though he came to stardom as a juvenile lead in the Warner backstage musicals, Powell showed versatility and successfully transformed into a hardboiled leading man in Film Noirs. He was the first actor to portray the private detective Philip Marlowe on screen.
Richard Ewing Powell was born in Mountain View, the seat of Stone County in northern Arkansas. Powell was the son of Ewing Powell and Sallie Rowena Thompson. He was one of three brothers. His brothers were Luther and Howard Powell, who ended up as vice president of the Illinois Central Railroad. The family moved to Little Rock in 1914, where Powell sang in church choirs and with local orchestras and started his own band. Powell attended the former Little Rock College before he started his entertainment career as a singer and banjo player with the Royal Peacock Band. He then got a gig with the Charlie Davis band and toured with them throughout the mid-west, appearing at dance halls and picture theatres. In 1925, he married Mildred Maund, a model, but she found being married to an entertainer, not to her liking. After a final trip to Cuba together, Mildred moved to Hemphill, Texas, and the couple divorced in 1932. He recorded a number of records with Davis and on his own, for the Vocalion label in the late 1920s. Powell moved to Pittsburgh, where he found great local success as the Master of Ceremonies at the Enright Theater and the Stanley Theater. In April 1930, Warner Bros. bought Brunswick Records, which at that time owned Vocalion. Warner Bros. was sufficiently impressed by Dick Powell's singing and stage presence to offer him a film contract in 1932. He made his film debut as a singing bandleader in Blessed Event (Roy Del Ruth, 1932) with Lee Tracy and Mary Brian. He was borrowed by Fox to support Will Rogers in Too Busy to Work (John G. Blystone, 1932). He was a boyish crooner, the sort of role he specialised in for the next few years. Back at Warners, he supported George Arliss in The King's Vacation (John G. Adolfi, 1933). Then he was the love interest for Ruby Keeler in 42nd Street (Lloyd Bacon, 1933), which was a massive hit. Warner let him repeat the role in Gold Diggers of 1933 (Mervyn LeRoy, 1933), which was another big success. Looking rather younger than his actual years, Powell soon found himself typecast as clean-cut singing juveniles. Another hit was Footlight Parade (Lloyd Bacon, 1933), with Keeler, Joan Blondell, and James Cagney. Powell was upped to star for College Coach (William A. Wellman, 1933), then went back to more ensemble pieces including 42nd Street (Lloyd Bacon, 1933), Convention City (Archie Mayo, 1933), and Dames (Ray Enright, Busby Berkeley, 1934). He was top-billed in Gold Diggers of 1935 (Busby Berkeley, 1935), with Joan Blondell. He supported Marion Davies in Page Miss Glory (Mervyn LeRoy, 1935), made for Cosmopolitan Pictures, a production company financed by Davies' lover William Randolph Hearst who released through Warners. Warners gave Dick Powell a change of pace, casting him as Lysander in A Midsummer Night's Dream (William Dieterle, Max Reinhardt, 1935). He did two films with Blondell, Stage Struck (Busby Berkeley, 1936) and Gold Diggers of 1937 (Lloyd Bacon, 1937). Then 20th Century Fox borrowed him for On the Avenue (Roy Del Ruth, 1937) with Madeleine Carroll. Back at Warners, he appeared in Hard to Get (Ray Enright, 1938) with Olivia de Havilland, and Naughty but Nice (Ray Enright, 1939), starring Ann Sheridan. Fed up with the repetitive nature of his roles, Powell left Warner Bros and went to work for Paramount.
At Paramount, Dick Powell and his then-wife, Joan Blondell were in another musical, I Want a Divorce (Ralph Murphy, 1940). Then Powell got a chance to appear in a non-musical and starred opposite Ellen Drew in the sparkling Preston Sturges comedy Christmas in July (1940). I.S. Mowis at IMDb cites Powell saying: "I knew I wasn't the greatest singer in the world and I saw no reason why an actor should restrict himself to any one particular phase of the business". Universal borrowed him to support Abbott and Costello in In the Navy (Arthur Lubin, 1941), one of the most popular films of 1941. He was in a fantasy comedy directed by René Clair, It Happened Tomorrow (1944) then went over to MGM to appear opposite Lucille Ball in Meet the People (Charles Reisner, 1944), which was a box office flop. During this period, Powell starred in the musical program Campana Serenade, which was broadcast on NBC radio (1942–1943) and CBS radio (1943–1944). I.S. Mowis at IMDb: "Few actors ever managed a complete image transition as thoroughly as did Dick Powell: in his case, from the boyish, wavy-haired crooner in musicals to rugged crime fighters in films noir." By 1944, Powell felt he was too old to play romantic leading men anymore. Still dissatisfied with lightweight roles, Powell lobbied hard to get the lead in Double Indemnity. He lost out to Fred MacMurray, another Hollywood nice guy. MacMurray's success, however, fueled Powell's resolve to pursue projects with greater range. Instead, he was slotted into more of the same fare, refused to comply and was suspended. Powell tried his luck at RKO and at last, managed to secure a lucrative role: that of hard-boiled private eye Philip Marlowe in Raymond Chandler's Murder, My Sweet (Edward Dmytryk, 1944). He was the first actor to play Marlowe – by name – in motion pictures. Hollywood had previously adapted some Marlowe novels, but with the lead character changed. Later, Powell was the first actor to play Marlowe on radio, in 1944 and 1945, and on television, in an episode of Climax! (1954). Murder My Sweet was a big hit. Bosley Crowther in the New York Times: " ...and while he may lack the steely coldness and cynicism of a Humphrey Bogart, Mr. Powell need not offer any apologies. He has definitely stepped out of the song-and-dance, pretty-boy league with this performance". Powell had successfully reinvented himself as a dramatic actor. His career changed dramatically: he was cast in a series of Films Noirs. On the radio, Powell played detective Richard Rogue in the series Rogue's Gallery beginning in 1945. On-screen, Dmytryk, and Powell reteamed to make the film Cornered (Edward Dmytryk, 1945), a gripping, post-World War II thriller that helped define the Film Noir style. For Columbia, he played a detective in Johnny O'Clock (Robert Rossen, 1947) and made To the Ends of the Earth (Robert Stevenson, 1948) with Signe Hasso. In 1948, he stepped out of the brutish type when he starred in Pitfall (André De Toth, 1948), a Film Noir in which a bored insurance company worker falls for an innocent but dangerous woman, played by Lizabeth Scott. He broadened his range appearing in a Western, Station West (Sidney Lanfield, 1948), and a French Foreign Legion tale, Rogues' Regiment (Robert Florey, 1949) with Marta Toren. He was a Mountie in Mrs. Mike (Louis King, 1950). From 1949 to 1953, Powell played the lead role in the NBC radio theater production Richard Diamond, Private Detective. His character in the 30-minute weekly was a likable private detective with a quick wit. Many episodes were written by Blake Edwards and many ended with Detective Diamond having an excuse to sing a little song to his date.
Dick Powell took a break from tough-guy roles in The Reformer and the Redhead (Melvin Frank, Norman Panama, 1950), opposite his new wife June Allyson. Then it was back to tougher movies: Cry Danger (Robert Parrish, 1951), as an ex-con; and The Tall Target (Anthony Mann, 1951), as a detective who tries to prevent the assassination of Abraham Lincoln. He returned to comedy with You Never Can Tell (Lou Breslow, 1951). He had a good role as best-selling novelist James Lee Bartlow in the popular melodrama, The Bad and the Beautiful (Vincente Minnelli, 1952). His final film performance was in a romantic comedy Susan Slept Here (1954) for director Frank Tashlin. Even when he appeared in lighter fare such as Susan Slept Here (Frank Tashlin, 1954), he never sang in his later roles. It was his final onscreen appearance in a feature film and included a dance number with co-star Debbie Reynolds. By this stage, Powell had turned director. His feature debut was Split Second (1953) with Stephen McNally and Alexis Smith. He followed it with The Conqueror (1956), coproduced by Howard Hughes starring John Wayne as Genghis Khan. The exterior scenes were filmed in St. George, Utah, downwind of U.S. above-ground atomic tests. The cast and crew totaled 220, and of that number, 91 had developed some form of cancer by 1981, and 46 had died of cancer by then, including Powell and Wayne. He directed Allyson opposite Jack Lemmon in You Can't Run Away from It (1956). Powell then made two war films at Fox with Robert Mitchum, The Enemy Below (1957) and The Hunters (1958). In the 1950s, Powell was one of the founders of Four Star Television, along with Charles Boyer, David Niven, and Ida Lupino. He appeared in and supervised several shows for that company. Powell played the role of Willie Dante in episodes of Four Star Playhouse, and guest-starred in numerous Four Star programs. Shortly before his death, Powell sang on camera for the final time in a guest-star appearance on Four Star's Ensign O'Toole, singing 'The Song of the Marines', which he first sang in his film The Singing Marine (Ray Enright, 1937). He hosted and occasionally starred in his Dick Powell's Zane Grey Theater on CBS from 1956–1961, and his final anthology series, The Dick Powell Show on NBC from 1961 through 1963; after his death, the series continued through the end of its second season (as The Dick Powell Theater), with guest hosts. He married three times: Mildred Evelyn Maund (1925-1932), Joan Blondell (1936-1944) and June Allyson ( 1945, until his death in 1963). He adopted Joan Blondell's son from a previous marriage, Norman Powell, who later became a television producer; the couple also had one child together, Ellen Powell. He had two children with Allyson, Pamela (adopted) and Richard 'Dick' Powell, Jr. Powell's ranch-style house was used for exterior filming on the ABC TV series, Hart to Hart. Powell was a friend of Hart to Hart actor Robert Wagner and producer Aaron Spelling. In 1962, Powell acknowledged rumors that he was undergoing treatment for cancer. The disease was originally diagnosed as an allergy, with Powell first experiencing symptoms while traveling East to promote his program. Upon his return to California, Powell's personal physician conducted tests and found malignant tumors on his neck and chest. Powell died at the age of 58 in 1963. His body was cremated and his remains were interred in the Columbarium of Honor at Forest Lawn Memorial Park in Glendale, California. In The Day of the Locust (1975), Powell was portrayed by his son Dick Powell Jr.
Sources: I.S. Mowis (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by Universum-Film Aktiengesellschaft (Ufa), Berlin-Tempelhof, nr. CK-36.
Versatile German actress Marianne Koch (1931) played in more than 65 films between 1950 and 1971. Internationally she is best known as the tormented Marisol, who is saved by Clint Eastwood in the legendary spaghetti-western A Fistful of Dollars (1964, Sergio Leone).
Marianne Koch was born in Munich, Germany, in 1931. She was the daughter of a businessman and a pianist. As a 10-year old she already played theatre and she was a guest student at the opera school. In 1949 she started a medical studies at the university of Munich. As a student she made her film debut next to Rudolf Forster and Olga Tschechowa in the drama Der Mann, der zweimal leben wollte/The Man Who Wanted to Live Twice (1950, Viktor Tourjansky). The following year she made a spontaneous appearance in Dr. Holl/Affairs of Dr. Holl (1951, Rolf Hansen) with Maria Schell and Dieter Borsche, and Mein Freund, der Dieb/My Friend, the Thief (1951, Helmut Weiss) with Hans Söhnker and Hardy Krüger. She broke off her studies to become an actress full-time. She played her first leading role in the melodrama Wetterleuchten am Dachstein/Storm Clouds over Dachstein (1953, Anton Kutter). In the American cold war drama Night People (1954, Nunnally Johnson) she played a supporting part alongside Gregory Peck. She stayed in Germany and appeared with O. W. Fischer in Ludwig II: Glanz und Ende eines Königs/ Mad Emperor: Ludwig II (1955, Helmut Käutner). For her portrayal of Diddo Geiss in Des Teufels General/The Devil's General (1955, Helmut Käutner), she received the Filmband in Silber (Film Strip in Silver) for the Best Supporting Actress of 1955. As Marianne Cookhe she appeared in the Hollywood productions Four Girls in Town (1957, Jack Sher) opposite George Nader, and Interlude (1957, Douglas Sirk) with June Allyson and Rossano Brazzi. In Germany she appeared in the comedy Salzburger Geschichten/Salzburg Stories (1957, Kurt Hoffmann) based on a book by Erich Kästner, and in the war films Der Stern von Afrika/The Star of Africa (1957, Alfred Weidenmann) with Joachim Hansen, and Der Fuchs von Paris/The Paris Fox (1957, Paul May) with Hardy Krüger. In the comedy Vater sein dagegen/To Be A Father On the Contrary (1957, Kurt Meisel) she appeared as the bride of the almost 30 years older Heinz Rühmann. She also had success as a patent country doctor in Die Landärztin vom Tegernsee/The Country Doctor of Tegernsee (1958, Paul May). In Italy she appeared in the comedy Gli italiani sono matti/The Italians They Are Crazy (1958, Duilio Coletti, Luis María Delgado) starring Hollywood veteran Victor McLaglen.
In the early 1960’s the decline of the German cinema increased and Marianne Koch worked more often abroad. In France she appeared in the thriller Pleins feux sur l'assassin/Spotlight on a Murderer (1961, Georges Franju) based on a screenplay by Pierre Boileau and Thomas Narcejac (the writers of Vertigo and Diabolique). Another French production was the drama Napoléon II, l'aiglon/Napoleon II, the Eaglet (1961, Claude Boissol) with Bernard Verley and Jean Marais. In the German-British-Irish spy thriller The Devil's Agent (1962, John Paddy Carstairs) she appeared opposite Peter van Eyck and Christopher Lee. In 1963 Marianne Koch played the female lead in the popular TV mini-series Tim Frazer (1963, Hans Quest) written by Francis Durbridge. Then, Sergio Leone's classic spaghetti western Per un pugno di dollari/A Fistful of Dollars (1964, Sergio Leone) showcased her alongside Clint Eastwood as Marisol, a woman tormented by ruthless local gangsters, torn between her husband and child and the villains. After this career highlight followed many mediocre Edgar Wallace crime films and spaghetti westerns. One of the more interesting ones was the German-Israeli action film Einer spielt falsch/Trunk to Cairo (1966, Menahem Golan, Raphael Nussbaum), which recycled Hollywood hero Audie Murphy as a James Bond-type action hero assigned to destroy a Neo-Nazi weapons factory headed by nemesis George Sanders.
In Germany Marianne Koch was probably best-loved for her many years of participation in the highly popular TV game show Was bin ich? (What Am I?) which ran from the 1950’s until 1988 and achieved ratings of up to 75% at its peak. On television she also played a journalist in the popular TV series Die Journalistin/The Journalist (1970-1971) with Bruce Low. By then her film career was clearly over. In 1971, she resumed her medical studies which she had broken off in 1953 to become a full-time actress. She earned her doctorate in 1978 and practiced as an internist in Munich until 1997. In the meantime, she hosted television shows and had a medical advice program on the radio. In 1976, she was one of the initial hosts of Germany's pioneering talk show 3 nach 9/Three After Nine, for which she was awarded one of the most prestigious awards of the German television industry, the Grimme Preis. Since 1997 she is the president of the Deutschen Schmerzliga (German pain liga). She has published medical books as Mein Gesundheitsbuch (My health book) (1999) and Die Gesundheit unserer Kinder (The health of our children) (2007). In 2002, Koch was honoured for her life's work with the Bundesverdienstkreuz (Germany‘s Cross of Merit award). In 1953, she had married the physician Gerhard Freund, with whom she has two sons. The marriage ended in 1973 after Freund began an affair with Miss World 1956, Petra Schürmann, whom he later wed. Marianne Koch is in a relationship with the publicist Peter Hamm since the mid 1980’s. They live in Tutzing, Germany.
Sources: Stephanie d’Heil (Steffi-line), Wikipedia, and IMDb.
DADA kamikaze freeform
multi versatile
top wrap tunic shawl tunic
for self-aware individuals
who love to express
who they truly are
intuitive
knitting & crochet fusion
with integrated 3-ply Navajo knitting
using colorful recycled cone material
from flea-markets
A small versatile mech with 4 built in hard-points on it's shoulders and hips for various weapon/gear load-outs plus standard low-slung manipulators and sensor array to complete the package.
I reworked my Vermit XS mech, www.flickr.com/photos/53458657@N04/13334547405/ which I was not all that happy about, into this and like the look much more. It's like Mechwarrior with arms. Gave it a little recycled pieces scene. Still fits a fig.
Little different thermal image cartoon type editing applied to the shot. Just becuase I'm away from the bricks with nothing better to do.
versatile rail motor car АМ140 was used as the base for the АМ-140-01 ПК (АМ140ПК), new rail motor car of higher comfort www.flickr.com/photos/cetus13/54475933087/in/dateposted/
Both rail motor cars of АМ140 family are produced by Sinara-Transport Machines Holding (part of the Sinara Group) on the Sverdlovsk Track Repair and Mechanical Plant (ОАО "Свердловский путевой ремонтно-механический завод "Ремпутьмаш", код 1598).
Speed, 140 km/h
Twin diesel generator 540kW,
electric transmission
Number of drive/brake axles 4/4
1991 Ford Versatile 9030 4WD bi-directional loader tractor.
An import from the USA registered in April 1992.
Cheffins vintage and classic auction, Sutton -
"1991 FORD VERSATILE 9030 Bi-Directional diesel TRACTOR Reg. No. J110 JHG Serial No. D470150 Reported by the vendor to be a one owner tractor with 6,011 hours showing."
Unsold.
Lovely Bob Hair Style Ideas ... Bob hairstyles are highly versatile and offer a timeless elegance combined with an incredible ...
Nothing like a nice jig!! In my opinion, this dance from Sync'd Motion is very versatile and it can go with almost any upbeat rhythm! Wanna know where you can find this dance?? Head to TMD and get this dance pack! This event is currently open and tomorrow is the last day so don't miss out! Will be at the mainstore soon!
ᴛᴍᴅ ᴍᴇɴꜱ ᴅᴇᴘᴀʀᴛᴍᴇɴᴛ
maps.secondlife.com/secondlife/TMD/125/169/22
ɪɴᴡᴏʀʟᴅ ꜱᴛᴏʀᴇ
maps.secondlife.com/.../SyncD%20Motion.../129/207/29
ᴍᴀʀᴋᴇᴛᴘʟᴀᴄᴇ
marketplace.secondlife.com/stores/179829
ꜰᴀᴄᴇʙᴏᴏᴋ
www.facebook.com/syncdmocapanimation/
ɪɴꜱᴛᴀɢʀᴀᴍ
www.instagram.com/syncd_mocap_animations/
ꜰʟɪᴄᴋʀ
www.flickr.com/photos/syncdanimations/
ꜰʟɪᴄᴋʀ ɢʀᴏᴜᴘ
www.flickr.com/groups/syncdmotion/
ᴛʜᴇ ᴏʀɪɢɪɴᴀʟ "ᴡʜᴀᴛ'ꜱ ɴᴇxᴛ" ᴅᴀɴᴄᴇ ᴠɪᴅᴇᴏhttps://vimeo.com/674003276/85a736b6cf
: Lethal Productions 2.0
Thank you bro Qsobaby Kage for joining the vibe with me....the #UniSonzWay Uni-SonZ
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Westland Whirlwind was a British heavy fighter developed by Westland Aircraft. It was the Royal Air Force's first single-seat, twin-engine, cannon-armed fighter, and a contemporary of the Supermarine Spitfire and Hawker Hurricane.
A problem for designers in the 1930s was that most agile combat aircraft were generally small. These aircraft had limited fuel storage and only enough flying range for defensive operations, and their armament was relatively light, too. A multi-engine fighter appeared to be the best solution to the problem of range, but a fighter large enough to carry an increased fuel load might be too unwieldy to engage successfully in close combat. Germany and the United States pressed ahead with their design programs, resulting in the Messerschmitt Bf 110 and the Lockheed P-38 Lightning.
The Westland Whirlwind was one of the British answers to more range and firepower, and the first Whirlwind prototype (L6844) flew on 11 October 1938. Construction had been delayed chiefly due to some new features and also to the late delivery of the original Peregrine engines. The Whirlwind was of all-metal construction, with flush riveting, and featuring magnesium skinning on the rear fuselage. The control surface arrangement was conventional, with large one-piece Fowler flaps inboard and an aileron outboard on each wing, with the rear end of the engine nacelles hinging with the flaps; elevators; and a two-piece rudder, split to permit movement above and below the tail plane. Slats had been fitted on the outer wings at the outset as a stall protection measure, but they were soon locked down, having been implicated in an accident.
Service trials were carried out at Martlesham Heath, where the new type exhibited excellent handling and was very easy to fly at all speeds. It was one of the fastest aircraft in service when it flew in the late 1930s, and was much more heavily armed than any other fighter, toting four 20mm cannons.
However, protracted development problems with its Rolls-Royce Peregrine engines delayed the entire project. The combat radius also turned out to be rather short (only 300 miles), and the landing speed was relatively high, which hampered the type's utility. The major role for the Whirlwinds, however, became low-level attack, flying cross-channel "Rhubarb" sweeps against ground targets and "Roadstead" attacks against shipping.
Time went by and worked against the Whirlwind, though: By 1940, the Supermarine Spitfire was mounting 20 mm cannons as well, so the "cannon-armed" requirement was already met by lighter and simpler aircraft. Furthermore, the role of an escort fighter was becoming less important by this time, as RAF Bomber Command turned to night bomber missions.
The main qualities the RAF was looking for now in a twin-engine fighter were range and carrying capacity, e .g. to allow the large radar apparatus of the time to be carried as a night fighter. Concerning these requirements, the bigger Bristol Beaufighter and the fast De Havilland Mosquito could perform just as well as or even better than the Whirlwind.
Anyway, the Whirlwind's potential had not been fully exploited yet, and it was decided to adapt it to new roles and specialized duties, which would exploit its good low altitude handling. Such an opportunity arose when Allied Forces prepared for Operation Torch (initially called Operation Gymnast) in 1942, the British-United States invasion of French North Africa: the somewhat outdated aircraft was retrofitted for a new task as a dedicated tank hunter.
Background was the experience with the Hawker Hurricane Mk. IID, which had become operational at that time. The Mk IIDs were dedicated to ground support, where it was quickly learned that destroying German tanks was difficult; the Hurricanes’ standard 20mm cannons (the same the Whirlwind fighter originally carried) did not have the performance to punch through Gerrnan tanks’ armor, and bombing small tank target successfully was almost impossible.
The solution was to equip aircraft with 2 pounder (40 mm) cannon in a pod under each wing, reducing the other armament to a single Browning in each wing loaded with tracers for aiming purposes.
This equipment was originally tested on a converted Mk IIB in late 1941, and proved to be successful. A new-build Hurricane version of what was known as the Mk IID started in 1942, which, beyond the modified armament, also included additional armor for the pilot, radiator and engine. The aircraft were initially supplied with a pair of Rolls-Royce 'BF' ('Belt-Fed') guns and carried 12 rounds, but this was soon changed to the 40 mm (1.57 in) Vickers S gun with 15 rounds. The weight of the guns and armor protection had a detrimental effect on the aircraft's performance, though, and for the African environment it was feared that the liquid-cooled Merlin engine was too complicated and would hardly cope with the higher ambient temperatures.
A fallback option was needed, and the Whirlwind appeared to be a sound basis – even though the troublesome Peregrine engines were rejected. In a hurry, a Whirlwind Mk. I (P7102) was modified to carry a pair of 40 mm guns, but this time in the lower nose. Compared with the Hurricane’s wing-mounted pods the Whirlwind could carry a slightly bigger load of ammunition (20 RPG). For aiming purposes and against soft targets, a pair of 0.303" (7.7 mm) Browning machine guns with tracer ammunition was mounted above them.
In order to make the aircraft more resilient to the North-African temperatures and against damage, the Whirlwind's touchy Peregrines were replaced by a pair of Bristol Taurus radial engines under relatively narrow cowlings. The engine nacelles had to be widened accordingly, and the Peregrines’ former radiator intakes and installations in the wing roots were removed and simply faired over. Similar to the Hurricane Mk. IID, additional armor plating was added around the cockpit and the engines, raising overall weight.
Flight and weapon tests were conducted in early 1942. While the radial-powered Whirlwind was not as nimble and fast as the original, Peregrine-powered fighter anymore, the aircraft proved to be a stable weapon platform and fully suitable for the ground attack role. Due to its characteristic new nose with the two protruding gun barrels and their separate fairings, the machine was quickly nicknamed “Walrus” and “Buck teeth Whirlwind”.
For operation Torch and as a field test, a total of eleven Whirlwind Mk. Is were converted to Mk. Ic standard. The machines received new serials and were allocated to RAF No. 73 Squadron, which was preparing for deployment to Northern Africa and the Middle East after having been engaged in the Battle of Britain.
The squadron's Whirlwinds and Hurricanes (including some cannon-armed Mk. IIDs, too) were shipped to Takoradi on the Gold Coast onboard HMS Furious, and were then flown in stages across Africa to Egypt.
No. 73 Squadron took part in the series of campaigns in the Western Desert and Tunisia, helping cover the supply routes to Tobruk and taking part in various ground-attack operations.
Both types undertook an anti-tank role in limited numbers during the North African campaign where, provided enemy flak and fighters were absent, they proved accurate and highly effective, not only against armored vehicles but all kinds of motorized transport.
The converted Whirlwinds proved, thanks to their robust engines, to be very reliable and had a better operational status than the Hurricanes. The second engine boosted the pilots' confidence. In direct comparison, the cannon-armed Whirlwind proved to be a better weapon platform than the Hurricane – mainly because the heavy guns were mounted closer to the aircraft’s longitudinal axis. Both aiming and accuracy were better than the Hurricanes’ wing-mounted weapons.
Nevertheless, there were several drawbacks: the Whirlwind’s two engines meant that more service hours had to be spent on them for maintenance, binding ground crew capacities. This was very inconvenient during the highly mobile Northern Africa campaign. Additionally, the Whirlwind's higher fuel consumption and the limited fuel provisions in the Northern African theatre of operations with dispersed and improvised airfields eventually meant that, despite positive results, no further machines were converted. The high landing speed also persisted, so that operations were hazardous.
Eventually the Hurricane Mk IID was adopted for the tank hunter role, with ensuing series production, since it was regarded as the more versatile and also more common type.
The radial-powered Whirlwind Mk. Ic remained operational with No. 73 Squadron until June 1943, when the squadron converted to the Spitfire and moved from Northern Africa to Italy in October. Until then, only six Whirlwinds had remained airworthy.
General characteristics:
Crew: One pilot
Length: 31 ft 7 1/4 in (9,65 m)
Wingspan: 45 ft 0 in (13.72 m)
Height: 11 ft 0 in (3.35 m)
Wing area: 250 ft² (23.2 m²)
Airfoil: NACA 23017-08
Empty weight: 9,400 lb (4,267 kg)
Loaded weight: 12,158 lb (5,520 kg)
Max. take-off weight: 13,120 lb (5,946 kg)
Powerplant:
2× Bristol Taurus II 14-Cylinder sleeve valve radial engines, 1,015 hp (760 kW) each
Performance:
Maximum speed: 400 mph (644 km/h) at 15.000 ft (4.570 m)
Stall speed: 95 mph (83 knots, 153 km/h) with flaps down
Range: 800 mi (696 nmi, 1.288 km)
Service ceiling: 33.500 ft (10.970 m)
Armament:
2x belt-fed two pounder (1.57 in/40 mm) Vickers S cannon, 20 RPG each
2x 0.303 in (7.7 mm) Browning machine guns, 500 RPG (typically armed with tracer rounds)
Option for 2x 250 lbs (115 kg) or 500 lbs (230 kg) bombs under the outer wings
The kit and its assembly
My third whiffed Westland Whirlwind - I must say that this rather obscure aircraft type has some serious potential for mods and fictional uses. The inspiration for this radial-powered variant originally came from a profile drawing of fellow modeler and illustrator FrancLab at flickr.com, who had drawn more than twenty(!) fictional Whirlwinds (check this: www.flickr.com/photos/franclab/16724098644/in/faves-14802...), including one with radial engines and in RAF Tropical Scheme colors.
The kit is, again, the vintage Airfix offering. Modifications center around the engines and the nose section, the rest remained basically OOB.
I already had to learn with my first Whirlwind conversion that mounting bigger engines on this compact aircraft is not easy, and radials, with their bigger diameter and consequentially more voluminous nacelles, would be a challenge from the design perspective.
Figuring out a solution that would be feasible and not make the sleek Whirlwind look like Popeye was not easy. I considered the transplantation of complete engine nacelles from a Matchbox Bristol Beaufighter, but eventually refrained from this idea because everything would be at least one size too big... a mistake I had done before, with very mixed results.
After several trials, I settled on a compromise, because I could not find a satisfactory 'British' solution, at least in my spares vault: the implantation of "foreign" material in the form of cowlings and nacelles from an Airfix Mitsubishi Ki-46.
The transplantation started with the removal of the original Peregrine engine nacelles from the lower wing section and gluing these to the upper half, which remained intact. Then the Ki-46’s lower nacelle half, cut away from the model’s wing in a similar fashion, was grafted onto the Whirlwind’s lower wing, ensuring that the landing gear attachment points would match with the new openings. This stunt worked very well!
As a final step, the upper Ki-46 engine nacelle half was placed on top of the Whirlwind wings’ upper side, and the radial engines were used as a ruler for the overall fit. In the end, the modified nacelles sit perfectly in place, and the original distance between the propellers as well as the landing gear’s track width could be maintained, so that the change is rather subtle.
Propellers and spinners were taken from the Airfix Whirlwind, and in order to mount them into the deep and "hollow" Ki-46 cowlings I inserted a styrene tube as a simple adapter, which would also hold the added metal axis' behind the propellers. The parts fit snuggly together.
Details like the exhaust pipes and the carburetor intakes were scratched from sprue material. The landing gear is OOB, but I had to re-create the covers from sheet material since I could only find a single pair of doors from the Ki-46 kit. On the other side, this had the benefit that the material is much thinner.
The original radiator intake slits were closed with putty and blended into the wing’s leading edge.The respective outlets on the trailing edge were sanded away.
For the guns in the nose I added two long, shallow fairings (actually drop tank halves from an Airfix G.91) and re-located the original oils cooler and gun camera fairings under the wing roots.
The original gun mounts were covered with putty, and new openings for the modified armament drilled into the re-sculpted nose section. The 2-pounders' and machine gun barrels are hollow steel needles of different diameters.
Painting and markings:
Staying somewhat true to FrancLab's profile and the North Africa theatre of operations, the paint scheme was more or less pre-defined. The Tropical scheme is a rather unusual look on this sleek aircraft, but works very well!
The standard RAF camouflage pattern for the Whirlwind was retained, but the European colors replaced with Dark Earth (Humbrol 29) and Middle Stone (ModelMaster 2052, the best representation of the tone I could find so far). The undersides were painted with ModelMaster 2055 (US Navy Blue Grey) as an alternative to RAF Azure and Mediterranean Blue.
Interior surfaces were painted with Cockpit Green (Humbrol 78) and slightly dry-brushed with light grey.
The red spinners are typical Desert Force markings, and I added yellow ID markings to the outer wings’ leading edges (created from generic decal sheet). Not certain how authentic this is for Northern Africa, since the Hurricanes did not carry these markings – but the Spitfires did, as well as the few leftover Whirlwinds over Continental Europe? At least, it’s a colorful detail.
Even though many Hurricanes of 73 Squadron in Northern Africa carried the squadron’s colorful pre-war marking on the flanks instead of a two-letter code, I eventually rejected this option. IMHO it might have been simply too much for this whiffy aircraft?
Roundels and markings were puzzled together from the scrap box, the code letters are single digits from Xtradecal aftermarket sheets. I mixed medium sea grey and dull red letters – a practice frequently seen on Northern Africa aircraft (which also frequently did not carry squadron codes at all) in order to improve readability. The serial was puzzled together, too, using a free serial slot according to ukserials.com.
As another individual touch I added a small nose art motif under the cockpit: a Bugs Bunny cartoon toting a shotgun (actually from a P-51 from the late war Pacific TO), as an interpretation of the “Buck teeth” nickname for the aircraft.
Finally, the model was weathered, esp. on the upper surfaces in order to mimic sun bleaching, and some soot stains were added around the guns and the exhaust outlets. The cooling flaps were emphasized through a treatment with Tamiya “Smoke”, which is perfect for oil stains. Finally, the kit was sealed with matt acrylic varnish and finishing touches like the wire antenna and position lights applied.
Another subtle whif, the desert paint scheme is probably distracting enough that, at a casual glance, the radials and the modified nose are not obvious at all. Actually, the Japanese engines look pretty British after some cosmetics, and they are small enough to keep overall proportions in reasonable limits – the sleek Whirlwind quickly turns head-heavy and unbalanced with bigger engines grafted to the airframe! Actually, the converted aircraft looks now, when looked at it head-on, almost like a baby Beaufighter!
THE VERSATILITY OF THIS ESCAPE ARTIST, MAGICIAN, ILLUSIONIST, FORMER U.S.M.C. DRILL INSTRUCTOR 2X, RECRUITER FOR U.S.M.C., UNICYCLIST, JUGGLER, GYMNAST, MARATHON RUNNER, COMBAT INSTRUCTOR FOR NAVY SEALS, MARTIAL ARTS EXPERT IN A NUMBER OF ARTS, SURFER, DAREDEVIL, HANDGLIDER, FATHER OF FIVE CHILDREN, 6X WORLD RECORD HOLDER IN ESCAPOLOGY AND 46 MPH HANDSTAND ON SKATEBOARD TIED TO A MOTORCYCLE, TEACHER IN GYMNASTICS, MARTIAL ARTS, CIRCUS PERFORMER HIGH WIRE, PARACHUTIST, SPECIAL FORCES IN MARINES, FASTEST JAIL BREAK IN 22 SECONDS, FASTEST STRAITJACKET ESCAPE LESS THAN 7 SECONDS...IS UNMEASURABLE TO ANY OTHER ESCAPE ARTIST IN THE WORLD AND PERHAPS IN HISTORY. I HAVE SUPPLIED BUT A FEW PHOTOS THAT ARE LEFT FROM HOUDENNY'S EX-WIFE TAKING THEM AND PREVIOUS REPORTERS MISPLACING THEM DURING INTERVIEWS, WHICH IS A SHAME HAVING SO MANY YEARS LOST OF THIS MAN' TALENT.
www.ibmring362.org/WEAR2007.html
www.motiono.com/HOUDENNY/albums/177/
www.motiono.com/HOUDENNY/albums/
www.flickr.com/photos/12421016@N03/?saved=1
URL: myspace.com/houdenny
Beautiful Fine Art Ballerina Dancer in Pointe Shoes & Leotard! Golden Ratio Composition Ballet, Ballerina, & Dancer Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
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Regarding the award-winning physicist Dr. Elliot McGucken at Princeton University, the late John Archibald Wheeler stated, "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student. . . Originality, powerful motivation, and a can-do spirit make me think that McGucken is a top bet."
Dr. E would go on to heal the blind with his NSF-funded, award-winning Ph.D. dissertation which also laid down the foundations of Light Time Dimension Theory. Over the years, LTD Theory added foundational *physical* postulates, principles, and equations en route to becoming numerous books, with this one forming the simple, illustrated introduction. My fine art photography (writing with light) graces the books!
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"This green jelly blob is a eukaryotic single-celled ciliate, a member of the Protoctista kingdom (protos, very first; ktistos, to establish). It is not a plant, not a fungus, not an animal, but a single-celled organism that forms the green jelly blob you see here.
This particular protoctista is the Ophrydium versatile. The gelatinous colony formed by the ciliate is found floating freely or attached to aquatic plants in acidic bogs where light is available. We have yet to find a good answer as to why these colonies are formed. " naturenotes.outdoors.org/
Whether it was the Tomahawk, Warhawk, or Kittyhawk, the Curtiss P-40 was a successful and versatile fighter aircraft during the first half of World War II. The shark-mouthed Tomahawks that General Claire Chennault led against the Japanese remain among the most popular airplanes of the war. In the Phillipines, Lt. Boyd D. Wagner became the first American ace of World War II while flying a P-40E when he shot down six Japanese aircraft during mid-December 1941. P-40s were first-line Army Air Corps fighters at the start of the war but they soon gave way to more advanced designs such as the Republic P-47 Thunderbolt and the Lockheed P-38 Lightning (see NASM collection for both aircraft). The P-40 is not ranked among the best overall fighters of the war but it was a rugged, effective design available in large numbers early in the war when America and her allies urgently required them. The P-40 remained in production from 1939 to the end of 1944 and a total of 13, 737 were built.
Design engineer Dr. Donovan R. Berlin layed the foundation for the P-40 in 1935 when he designed the agile, but lightly-armed, P-36 fighter equipped with a radial, air-cooled engine. The Curtiss-Wright Corporation won a production contract for 210 P-36 airplanes in 1937-the largest Army airplane contract awarded since World War I. Worldwide, fighter aircraft designs matured rapidly during the late 1930s and it was soon obvious that the P-36 was no match for newer European designs. High altitude performance in particular became a priceless commodity. Berlin attempted to improve the P-36 by redesigning it in to accommodate a turbo-supercharged Allison V-1710-11 inline, liquid-cooled engine. The new aircraft was designated the XP-37 but proved unpopular with pilots. The turbo-supercharger was not reliable and Berlin had placed the cockpit too far back on the fuselage, restricting the view to the front of the fighter. Nonetheless, when the engine was not giving trouble, the more-streamlined XP-37 was much faster than the P-36.
Curtiss tried again in 1938. Berlin had modified another P-36 with a new Allison V-1710-19 engine. It was designated the XP-40 and first flew on October 14, 1938. The XP-40 looked promising and Curtiss offered it to Army Air Corps leaders who evaluated the airplane at Wright Field, Ohio, in 1939, along with several other fighter proposals. The P-40 won the competition, after some modifications, and Curtiss received an order for 540. At this time, the armament package consisted of two .50 caliber machine guns in the fuselage and four .30 caliber machine guns in the wings.
After production began in March 1940, France ordered 140 P-40s but the British took delivery of these airplanes when Paris surrendered. The British named the aircraft Tomahawks but found they performed poorly in high-altitude combat over northern Europe and relegated them to low-altitude operations in North Africa. The Russians bought more than 2,000 P-40s but details of their operational history remain obscure.
When the United States declared war, P-40s equipped many of the Army Air Corps's front line fighter units. The plucky fighter eventually saw combat in almost every theater of operations being the most effective in the China-Burma-India (CBI) Theater. Of all the CBI groups that gained the most notoriety of the entire war, and remains to this day synonymous with the P-40, is the American Volunteer Group (AVG) or the Flying Tigers. The unit was organized after the Chinese gave former U. S. Army Air Corps Captain Claire Lee Chennault almost 9 million dollars in 1940 to buy aircraft and recruit pilots to fly against the Japanese. Chennault's most important support within the Chinese government came from Madam Chiang Kai-shek, a Lt. Colonel in the Chinese Air Force and for a time, the service's overall commander.
The money from China diverted an order placed by the British Royal Air Force for 100 Curtiss-Wright P-40B Tomahawks but buying airplanes was only one important step in creating a fighting air unit. Trained pilots were needed, and quickly, as tensions across the Pacific escalated. On April 15, 1941, President Franklin D. Roosevelt quietly signed an Executive Order permitting Chennault to recruit directly from the ranks of American military reserve pilots. Within a few months, 350 flyers joined from pursuit (fighter), bomber, and patrol squadrons. In all, about half the pilots in the Flying Tigers came from the U. S. Navy and Marine Corps while the Army Air Corps supplied one-third. Factory test pilots at Bell, Consolidated, and other companies, and commercial airline pilots, filled the remaining slots.
The Flying Tigers flew their first mission on December 20. The unit's name was derived from the ferocious fangs and teeth painted on the nose of AVG P-40s at either side of the distinctive, large radiator air intake. The idea is said to originate from pictures in a magazine that showed Royal Air Force Tomahawks of No. 112 Squadron, operating in the western desert of North Africa, adorned with fangs and teeth painted around their air intakes. The Flying Tigers were the first real opposition the Japanese military encountered. In less than 7 months of action, AVG pilots destroyed about 115 Japanese aircraft and lost only 11 planes in air-to-air combat. The AVG disbanded on July 4, 1942, and its assets, including a few pilots, became a part of the U. S. Army Air Forces (AAF) 23rd Fighter Group in the newly activated 14th Air Force. Chennault, now a Brigadier General, assumed command of the 14th AF and by war's end, the 23rd was one of the highest-scoring Army fighter groups.
As wartime experience in the P-40 mounted, Curtiss made many modifications. Engineers added armor plate, better self-sealing fuel tanks, and more powerful engines. They modified the cockpit to improve visibility and changed the armament package to six, wing-mounted, .50 caliber machine guns. The P-40E Kittyhawk was the first model with this gun package and it entered service in time to serve in the AVG. The last model produced in quantity was the P-40N, the lightest P-40 built in quantity, and much faster than previous models. Curtiss built a single P-40Q. It was the fastest P-40 to fly (679 kph/422 mph) but it could not match the performance of the P-47 Thunderbolt and the P-51 Mustang so Curtiss ended development of the P-40 series with this model. In addition to the AAF, many Allied nations bought and flew P-40s including England, France, China, Russia, Australia, New Zealand, Canada, South Africa, and Turkey.
The Smithsonian P-40E did not serve in the U. S. military. Curtiss-Wright built it in Buffalo, New York, as Model 87-A3 and delivered it to Canada as a Kittyhawk IA on March 11, 1941. It served in No. 111 Squadron, Royal Canadian Air Force (RCAF). When the Japanese navy moved to attack Midway, they sent a diversionary battle group to menace the Aleutian Islands. Canada moved No. 111 Squadron to Alaska to help defend the region. After the Japanese threat diminished, the unit returned to Canada and eventually transferred to England without its P-40s. The RCAF declared the NASM Kittyhawk IA surplus on July 27, 1946, and the aircraft eventually returned to the United States. It had several owners before ending up with the Explorer Scouts youth group in Meridian, Mississippi. During the early 1960s, the Smithsonian began searching for a P-40 with a documented history of service in the AVG but found none. In 1964, the Exchange Club in Meridian donated the Kittyhawk IA to the National Aeronautical Collection, in memory of Mr. Kellis Forbes, a local man devoted to Boys Club activities. A U. S. Air Force Reserve crew airlifted the fighter to Andrews Air Force Base, Maryland, on March 13, 1964. Andrews personnel restored the airplane in 1975 and painted it to represent an aircraft of the 75th Fighter Squadron, 23rd Fighter Group, 14th Air Force.
Denim mini skirts are very versatile in that you feel you can wear them any time during the year. I particularly like the fit and length of this one.
11 members took part, (a new record) entering 79 photos, with 6 members playing a full house of images. In order of play, these aces were Simone, Sharon, Cheryl, Dave, Andy, and Linda.
Robin, Maria and Michelle had health problems and only played one pic each - with Robin it was the health of her camera.
This montage is a representative selection of the ten themes, containing at least one image per theme and at least one image per member. I had wondered what I would do when we got more than ten players, and I was thinking the person with the least pics would miss out. Because of the health problems above, and because I have three lines of pics, I extended the canvas and put them in a column of their own on the right.
To view the complete challenge entries, click Here.
Thanks Sharon for this fab challenge within the Compositionally Challenged Group.
The coconut tree (Cocos nucifera) is a member of the family Arecaceae (palm family).
It is the only accepted species in the genus Cocos. The term coconut can refer to the entire coconut palm, the seed, or the fruit, which, botanically, is a drupe, not a nut. The spelling cocoanut is an archaic form of the word. The term is derived from the 16th-century Portuguese and Spanish word coco meaning "head" or "skull", from the three indentations on the coconut shell that resemble facial features.
The coconut is known for its great versatility as seen in the many uses of its different parts and found throughout the tropics and subtropics. Coconuts are part of the daily diets of many people. Coconuts are different from any other fruits because they contain a large quantity of "water" and when immature they are known as tender-nuts or jelly-nuts and may be harvested for drinking. When mature, they still contain some water and can be used as seednuts or processed to give oil from the kernel, charcoal from the hard shell and coir from the fibrous husk. The endosperm is initially in its nuclear phase suspended within the coconut water. As development continues, cellular layers of endosperm deposit along the walls of the coconut, becoming the edible coconut "flesh". When dried, the coconut flesh is called copra. The oil and milk derived from it are commonly used in cooking and frying; coconut oil is also widely used in soaps and cosmetics. The clear liquid coconut water within is potable. The husks and leaves can be used as material to make a variety of products for furnishing and decorating. The coconut also has cultural and religious significance in many societies that use it.
DESCRIPTION
PLANT
Cocos nucifera is a large palm, growing up to 30 m tall, with pinnate leaves 4–6 m long, and pinnae 60–90 cm long; old leaves break away cleanly, leaving the trunk smooth. Coconuts are generally classified into two general types: tall and dwarf. On fertile soil, a tall coconut palm tree can yield up to 75 fruits per year, but more often yields less than 30, mainly due to poor cultural practices. Given proper care and growing conditions, coconut palms produce their first fruit in six to ten years, taking 15 – 20 years to reach peak production.
FRUIT
Botanically, the coconut fruit is a drupe, not a true nut. Like other fruits, it has three layers: the exocarp, mesocarp, and endocarp. The exocarp and mesocarp make up the "husk" of the coconut. Coconuts sold in the shops of nontropical countries often have had the exocarp (outermost layer) removed. The mesocarp is composed of a fiber, called coir, which has many traditional and commercial uses. The shell has three germination pores (stoma) or "eyes" that are clearly visible on its outside surface once the husk is removed.
A full-sized coconut weighs about 1.44 kg. It takes around 6,000 full-grown coconuts to produce a tonne of copra.
ROOTS
Unlike some other plants, the palm tree has neither a tap root nor root hairs, but has a fibrous root system.
The coconut palm root system consists of an abundance of thin roots that grow outward from the plant near the surface. Only a few of the roots penetrate deep into the soil for stability. The type of root system is known as fibrous or adventitious, and is a characteristic of grass species. Other types of large trees produce a single downward-growing tap root with a number of feeder roots growing from it.
Coconut palms continue to produce roots from the base of the stem throughout its life. The number of roots produced depends on the age of the tree and the environment, with more than 3,600 roots possible on a tree that's 60 to 70 years old.
Roots are usually less than about 3 inches in diameter and uniformly thick from the tree trunk to the root tip.
Inflorescence
The palm produces both the female and male flowers on the same inflorescence; thus, the palm is monoecious. Other sources use the term polygamomonoecious. The female flower is much larger than the male flower. Flowering occurs continuously. Coconut palms are believed to be largely cross-pollinated, although some dwarf varieties are self-pollinating.
ETYMOLOGY
One of the earliest mentions of the coconut dates back to the One Thousand and One Nights story of Sinbad the Sailor; he is known to have bought and sold coconuts during his fifth voyage. Tenga, its Malayalam and Tamil name, was used in the detailed description of coconut found in Itinerario by Ludovico di Varthema published in 1510 and also in the later Hortus Indicus Malabaricus. Even earlier, it was called nux indica, a name used by Marco Polo in 1280 while in Sumatra, taken from the Arabs who called it جوز هندي jawz hindī. Both names translate to "Indian nut". In the earliest description of the coconut palm known, given by Cosmos of Alexandria in his Topographia Christiana written about 545 AD, there is a reference to the argell tree and its drupe.
Historical evidence favors the European origin of the name "coconut", for no name is similar in any of the languages of India, where the Portuguese first found the fruit; and indeed Barbosa, Barros, and Garcia, in mentioning the Tamil/Malayalam name tenga, and Canarese narle, expressly say, "we call these fruits quoquos", "our people have given it the name of coco", and "that which we call coco, and the Malabars temga".
The OED states: "Portuguese and Spanish authors of the 16th c. agree in identifying the word with Portuguese and Spanish coco "grinning face, grin, grimace", also "bugbear, scarecrow", cognate with cocar "to grin, make a grimace"; the name being said to refer to the face-like appearance of the base of the shell, with its three holes. According to Losada, the name came from Portuguese explorers, the sailors of Vasco da Gama in India, who first brought them to Europe. The coconut shell reminded them of a ghost or witch in Portuguese folklore called coco (also côca). The first known recorded usage of the term is 1555.
The specific name nucifera is Latin for "nut-bearing".
Origin, domestication, and dispersal
ORIGIN
The origin of the plant is the subject of debate. O.F. Cook was one of the earliest modern researchers to draw conclusions about the location of origin of Cocos nucifera based on its current-day worldwide distribution. He hypothesized that the coconut originated in the Americas, based on his belief that American coconut populations predated European contact and because he considered pan-tropical distribution by ocean currents improbable. Thor Heyerdahl later used this hypothesis of the American origin of the coconut to support his theory that the Pacific Islanders originated in South America. However, more evidence exists for an Indo-Pacific origin either around Melanesia and Malesia or the Indian Ocean. The oldest fossils known of the modern coconut dating from the Eocene period from around 37 to 55 million years ago were found in Australia and India. However, older palm fossils such as some of nipa fruit have been found in the Americas. Since 1978, the work on tracing the probable origin and dispersal of Cocos nucifera has only recently been augmented by a publication on the germination rate of the coconut seednut and another on the importance of the coral atoll ecosystem. Briefly, the coconut originated in the coral atoll ecosystem — without human intervention — and required a thick husk and slow germination to survive and disperse.
DOMESTICATION
Coconuts could not reach inland locations without human intervention (to carry seednuts, plant seedlings, etc.) and it was early germination on the palm (vivipary) that was important, rather than increasing the number or size of the edible parts of a fruit that was already large enough. Human cultivation of the coconut selected, not for larger size, but for thinner husks and increased volume of endosperm, the solid “meat” or liquid “water” that provides the fruit its food value. Although these modifications for domestication would reduce the fruit’s ability to float, this ability would be irrelevant to a cultivated population.
Among modern C. nucifera, two major types or variants: a thick-husked, angular fruit and a thin-husked, spherical fruit with a higher proportion of endosperm reflect a trend of cultivation in C. nucifera: the first coconuts were of the niu kafa type, with thick husks to protect the seed, an angular, highly ridged shape to promote buoyancy during ocean dispersal, and a pointed base that allowed fruits to dig into the sand, preventing them from being washed away during germination on a new island. As early human communities began to harvest coconuts for eating and planting, they (perhaps unintentionally) selected for a larger endosperm to husk ratio and a broader, spherical base, which rendered the fruit useful as a cup or bowl, thus creating the niu vai type. The decreased buoyancy and increased fragility of this spherical, thin-husked fruit would not matter for a species that had started to be dispersed by humans and grown in plantations. Harries’ adoption of the Polynesian terms niu kafa and niu vai has now passed into general scientific discourse, and his hypothesis is generally accepted.
Variants of C. nucifera are also categorized as Tall (var. typica) or Dwarf (var. nana). The two groups are genetically distinct, with the Dwarf variety showing a greater degree of artificial selection for ornamental traits and for early germination and fruiting. The Tall variety is outcrossing while Dwarf palms are incrossing, which has led to a much greater degree of genetic diversity within the Tall group. It is believed that the Dwarf subgroup mutated from the Tall group under human selection pressure.
DISPERSAL
It is often stated that coconuts can travel 110 days, or 4,800 km, by sea and still be able to germinate. This figure has been questioned based on the extremely small sample size that forms the basis of the paper that makes this claim. Thor Heyerdahl provides an alternative, and much shorter, estimate based on his first-hand experience crossing the Pacific Ocean on the raft Kon-Tiki: "The nuts we had in baskets on deck remained edible and capable of germinating the whole way to Polynesia. But we had laid about half among the special provisions below deck, with the waves washing around them. Every single one of these was ruined by the sea water. And no coconut can float over the sea faster than a balsa raft moves with the wind behind it." He also notes that several of the nuts began to germinate by the time they had been ten weeks at sea, precluding an unassisted journey of 100 days or more. However, it is more than likely that the coconut variety Heyerdahl chose for his long sea voyage was of the large, fleshy, spherical niu vai type, which Harries observed to have a significantly shorter germination type and worse buoyancy than the uncultivated niu kafa type. Therefore, Heyerdahl’s observations cannot be considered conclusive when it comes to determining the independent dispersal ability of the uncultivated coconut.
Drift models based on wind and ocean currents have shown that coconuts could not have drifted across the Pacific unaided. This provides some circumstantial evidence that Austronesian peoples carried coconuts across the ocean and that they could not have dispersed worldwide without human agency. More recently, genomic analysis of cultivated coconut (Cocos nucifera L.) has shed light on the movements of Austronesian peoples. By examining 10 microsatellite loci, researchers found two genetically distinct subpopulations of coconut - one originating in the Indian Ocean, the other in the Pacific Ocean. However, admixture, the transfer of genetic material, evidently occurred between the two populations. Given that coconuts are ideally suited for ocean dispersal, individuals from one population possibly could have floated to the other. However, the locations of the admixture events are limited to Madagascar and coastal east Africa, and exclude the Seychelles. This pattern coincides with the known trade routes of Austronesian sailors. Additionally, a genetically distinct subpopulation of coconut on the Pacific coast of Latin America has undergone a genetic bottleneck resulting from a founder effect; however, its ancestral population is the Pacific coconut. This, together with their use of the South American sweet potato, suggests that Austronesian peoples may have sailed as far east as the Americas.
DISTRIBUTION
The coconut has spread across much of the tropics, probably aided in many cases by seafaring people. Coconut fruit in the wild are light, buoyant and highly water resistant, and evolved to disperse significant distances via marine currents. Specimens have been collected from the sea as far north as Norway. In the Hawaiian Islands, the coconut is regarded as a Polynesian introduction, first brought to the islands by early Polynesian voyagers from their homelands in Oceania. They have been found in the Caribbean and the Atlantic coasts of Africa and South America for less than 500 years, but evidence of their presence on the Pacific coast of South America predates Christopher Columbus's arrival in the Americas. They are now almost ubiquitous between 26°N and 26°S except for the interiors of Africa and South America.
NATURAL HABITAT
The coconut palm thrives on sandy soils and is highly tolerant of salinity. It prefers areas with abundant sunlight and regular rainfall (1500 mm to 2500 mm annually), which makes colonizing shorelines of the tropics relatively straightforward. Coconuts also need high humidity (70–80%+) for optimum growth, which is why they are rarely seen in areas with low humidity. However, they can be found in humid areas with low annual precipitation such as in Karachi, Pakistan, which receives only about 250 mm of rainfall per year, but is consistently warm and humid.
Coconut palms require warm conditions for successful growth, and are intolerant of cold weather. Some seasonal variation is tolerated, with good growth where mean summer temperatures are between 28 and 37 °C, and survival as long as winter temperatures are above 4–12 °C; they will survive brief drops to 0 °C. Severe frost is usually fatal, although they have been known to recover from temperatures of −4 °C. They may grow but not fruit properly in areas with insufficient warmth, such as Bermuda.
The conditions required for coconut trees to grow without any care are:
- Mean daily temperature above 12–13 °C every day of the year
- Mean annual rainfall above 1000 mm
- No or very little overhead canopy, since even small trees require direct sun
The main limiting factor for most locations which satisfy the rainfall and temperature requirements is canopy growth, except those locations near coastlines, where the sandy soil and salt spray limit the growth of most other trees.
DISEASES
Coconuts are susceptible to the phytoplasma disease lethal yellowing. One recently selected cultivar, the Maypan, has been bred for resistance to this disease.
PESTS
The coconut palm is damaged by the larvae of many Lepidoptera (butterfly and moth) species which feed on it, including Batrachedra spp.: B. arenosella, B. atriloqua (feeds exclusively on C. nucifera), B. mathesoni (feeds exclusively on C. nucifera), and B. nuciferae.
Brontispa longissima (coconut leaf beetle) feeds on young leaves, and damages both seedlings and mature coconut palms. In 2007, the Philippines imposed a quarantine in Metro Manila and 26 provinces to stop the spread of the pest and protect the $800 million Philippine coconut industry.
The fruit may also be damaged by eriophyid coconut mites (Eriophyes guerreronis). This mite infests coconut plantations, and is devastating: it can destroy up to 90% of coconut production. The immature seeds are infested and desapped by larvae staying in the portion covered by the perianth of the immature seed; the seeds then drop off or survive deformed. Spraying with wettable sulfur 0.4% or with neem-based pesticides can give some relief, but is cumbersome and labor-intensive.
In Kerala (India), the main coconut pests are the coconut mite, the rhinoceros beetle, the red palm weevil and the coconut leaf caterpillar. Research into countermeasures to these pests has as of 2009 yielded no results; researchers from the Kerala Agricultural University and the Central Plantation Crop Research Institute, Kasaragode continue to work on countermeasures. The Krishi Vigyan Kendra, Kannur under Kerala Agricultural University has developed an innovative extension approach called the compact area group approach (CAGA) to combat coconut mites.
PRODUCTION AND CULTIVATION
Coconut palms are grown in more than 90 countries of the world, with a total production of 62 million tonnes per year (table). Most of the world production is in tropical Asia, with Indonesia, the Philippines and India accounting collectively for 73% of the world total (table).
CULTIVATION
Coconut trees are hard to establish in dry climates, and cannot grow there without frequent irrigation; in drought conditions, the new leaves do not open well, and older leaves may become desiccated; fruit also tends to be shed.
The extent of cultivation in the tropics is threatening a number of habitats, such as mangroves; an example of such damage to an ecoregion is in the Petenes mangroves of the Yucatán.
HARVESTING
In some parts of the world (Thailand and Malaysia), trained pig-tailed macaques are used to harvest coconuts. Training schools for pig-tailed macaques still exist both in southern Thailand and in the Malaysian state of Kelantan. Competitions are held each year to find the fastest harvester.
INDIA
Traditional areas of coconut cultivation in India are the states of Kerala, Tamil Nadu, Karnataka, Puducherry, Andhra Pradesh, Goa, Maharashtra, Odisha, West Bengal and the islands of Lakshadweep and Andaman and Nicobar. As per 2013-14 statistics from Coconut Development Board of Government of India, four southern states combined account for almost 92% of the total production in the country: Tamil Nadu (31.93%), Kerala (27.54%), Karnataka (23.26%), and Andhra Pradesh (8.43%). Other states, such as Goa, Maharashtra, Odisha, West Bengal, and those in the northeast (Tripura and Assam) account for the remaining productions. Though Kerala has the largest number of coconut trees, in terms of production per hectare, Tamil Nadu leads all other states. In Tamil Nadu, Coimbatore and Tirupur regions top the production list.
Various terms, such as copra and coir, are derived from the native Malayalam language. In Kerala, the coconut tree is called "Thengu" also termed as kalpa vriksham, which essentially means all parts of a coconut tree is useful some way or other. In Tamil Nadu, a coconut tree is called as "Thennai maram" and tender coconut is called as "Ilaneer" in the native language.
MALDIVES
The coconut is the national tree of the Maldives and is considered the most important plant in the country. A coconut tree is also included in the country's national emblem or coat of arms. Coconut trees are grown on all the islands. Before modern construction methods were introduced, coconut leaves were used as roofing material for many houses in the islands, while coconut timber was used to build houses and boats.
MIDDLE EAST
The main coconut-producing area in the Middle East is the Dhofar region of Oman, but they can be grown all along the Persian Gulf, Arabian Sea and Red Sea coasts, because these seas are tropical and provide enough humidity (through seawater evaporation) for coconut trees to grow. The young coconut plants need to be nursed and irrigated with drip pipes until they are old enough (stem bulb development) to be irrigated with brackish water or seawater alone, after which they can be replanted on the beaches. In particular, the area around Salalah maintains large coconut plantations similar to those found across the Arabian Sea in Kerala. The reasons why coconut are cultivated only in Yemen's Al Mahrah and Hadramaut governorates and in the Sultanate of Oman, but not in other suitable areas in the Arabian Peninsula, may originate from the fact that Oman and Hadramaut had long dhow trade relations with Burma, Malaysia, Indonesia, East Africa and Zanzibar, as well as southern India and China. Omani people needed the coir rope from the coconut fiber to stitch together their traditional high seas-going dhow vessels in which nails were never used. The 'know how' of coconut cultivation and necessary soil fixation and irrigation may have found its way into Omani, Hadrami and Al-Mahra culture by people who returned from those overseas areas.
The coconut cultivars grown in Oman are generally of the drought-resistant Indian "West Coast tall" (WC Tall) variety. Unlike the UAE, which grows mostly non-native dwarf or hybrid coconut cultivars imported from Florida for ornamental purposes, the slender, tall Omani coconut cultivars are relatively well-adapted to the Middle East's hot dry seasons, but need longer to reach maturity. The Middle East's hot, dry climate favors the development of coconut mites, which cause immature seed dropping and may cause brownish-gray discoloration on the coconut's outer green fiber.
The ancient coconut groves of Dhofar were mentioned by the medieval Moroccan traveller Ibn Battuta in his writings, known as Al Rihla.[52] The annual rainy season known locally as Khareef or monsoon makes coconut cultivation easy on the Arabian east coast.
Coconut trees also are increasingly grown for decorative purposes along the coasts of the UAE and Saudi Arabia with the help of irrigation. The UAE has, however, imposed strict laws on mature coconut tree imports from other countries to reduce the spread of pests to other native palm trees, as the mixing of date and coconut trees poses a risk of cross-species palm pests, such as rhinoceros beetles and red palm weevils. The artificial landscaping adopted in Florida may have been the cause for lethal yellowing, a viral coconut palm disease that leads to the death of the tree. It is spread by host insects, that thrive on heavy turf grasses. Therefore, heavy turf grass environments (beach resorts and golf courses) also pose a major threat to local coconut trees. Traditionally, dessert banana plants and local wild beach flora such as Scaevola taccada and Ipomoea pes-caprae were used as humidity-supplying green undergrowth for coconut trees, mixed with sea almond and sea hibiscus. Due to growing sedentary life styles and heavy-handed landscaping, there has been a decline in these traditional farming and soil-fixing techniques.
SRI LANKA
An early mention of the planting of coconuts is found in the Mahavamsa during the reign of Agrabodhi II around 589 AD. Coconuts are common in the Sri Lankan diet and the main source of dietary fat.
UNITED STATES
In the United States coconut palms can be grown and reproduced outdoors without irrigation in Hawaii, southern and central Florida, and the territories of Puerto Rico, Guam, American Samoa, the U.S. Virgin Islands, and the Commonwealth of the Northern Mariana Islands.
In Florida, Coconut palms will grow from coastal Pinellas County and St. Petersburg southwards on Florida's west coast, and Melbourne southwards on Florida's east coast. The occasional coconut palm is seen north of these areas in favoured microclimates in Tampa and Clearwater, as well as around Cape Canaveral and Daytona Beach on the east coast. They reach fruiting maturity, but can be damaged or killed by the occasional winter freezes in these areas. In South Texas they may also be grown in favoured microclimates around the Rio Grande Valley near Brownsville, and as far north as Corpus Christi , however more severe cold snaps keep them from producing viable fruit.
AUSTRALIA
Coconuts are commonly grown around the northern coast of Australia, and in some warmer parts of New South Wales.
BERMUDA
Most of the tall mature coconut trees found in Bermuda were shipped to the island as seedlings on the decks of ships. In more recent years, the importation of coconuts was prohibited, therefore, a large proportion of the younger trees have been propagated from locally grown coconuts.
In the winter months, the growth rate of coconut trees declines due to cooler temperatures and people have commonly attributed this to the reduced yield of coconuts in comparison to tropical regions. However, whilst cooler winter temperatures may be a factor in reducing fruit production, the primary reason for the reduced yield is a lack of water. Bermuda's soil is generally very shallow (1.5 to 3 feet) and much of a coconut tree's root mass is found in the porous limestone underneath the soil. Due to the porosity of the limestone, Bermuda's coconut trees do not generally have a sufficient supply of water with which they are able to support a large number of fruit as rain water quickly drains down through the limestone layer to the water table which is far too deep for a coconut's roots to reach. This typically leads to a reduction in fruit yield (sometimes as little as one or two mature fruits) as well as a reduced milk content inside the coconut that often causes the fruit to be infertile.
Conversely, trees growing in close proximity to the sea almost universally yield a much greater volume of fruit as they are able to tap directly into the sea water which permeates the limestone in such areas. Not only do these trees produce a significantly higher yield, but also the fruit itself tends to be far more fertile due to the higher milk content. Trees found growing in Bermuda's marshy inland areas enjoy a similar degree of success as they are also able to tap directly into a constant supply of water.
EUROPE
As a tropical plant, coconut is not native to Europe, but grows in tropical territories of European countries, such as Martinique and Guadeloupe (France), the Canary Islands (Spain) and Madeira (Portugal).
COOLER CLIMATES
In cooler climates (but not less than USDA Zone 9), a similar palm, the queen palm (Syagrus romanzoffiana), is used in landscaping. Its fruits are very similar to the coconut, but much smaller. The queen palm was originally classified in the genus Cocos along with the coconut, but was later reclassified in Syagrus. A recently discovered palm, Beccariophoenix alfredii from Madagascar, is nearly identical to the coconut, more so than the queen palm and can also be grown in slightly cooler climates than the coconut palm. Coconuts can only be grown in temperatures above 18 °C and need a daily temperature above 22 °C to produce fruit.
USES
The coconut palm is grown throughout the tropics for decoration, as well as for its many culinary and nonculinary uses; virtually every part of the coconut palm can be used by humans in some manner and has significant economic value. Coconuts' versatility is sometimes noted in its naming. In Sanskrit, it is kalpa vriksha ("the tree which provides all the necessities of life"). In the Malay language, it is pokok seribu guna ("the tree of a thousand uses"). In the Philippines, the coconut is commonly called the "tree of life".
COOKING
The various parts of the coconut have a number of culinary uses. The seed provides oil for frying, cooking, and making margarine. The white, fleshy part of the seed, the coconut meat, is used fresh or dried in cooking, especially in confections and desserts such as macaroons. Desiccated coconut or coconut milk made from it is frequently added to curries and other savory dishes. Coconut flour has also been developed for use in baking, to combat malnutrition. Coconut chips have been sold in the tourist regions of Hawaii and the Caribbean. Coconut butter is often used to describe solidified coconut oil, but has also been adopted as a name by certain specialty products made of coconut milk solids or puréed coconut meat and oil. Dried coconut is also used as the filling for many chocolate bars. Some dried coconut is purely coconut but others are manufactured with other ingredients, such as sugar, propylene glycol, salt, and sodium metabisulfite. Some countries in South East Asia use special coconut mutant called Kopyor (in Indonesian) or macapuno (in Philippines) as a dessert drinks.
NUTRITION
Per 100 gram serving with 354 calories, raw coconut meat supplies a high amount of total fat (33 grams), especially saturated fat (89% of total fat) and carbohydrates (24 grams) (table). Micronutrients in significant content include the dietary minerals, manganese, iron, phosphorus and zinc (table).
COCONUT WATER
Coconut water serves as a suspension for the endosperm of the coconut during its nuclear phase of development. Later, the endosperm matures and deposits onto the coconut rind during the cellular phase. It is consumed throughout the humid tropics, and has been introduced into the retail market as a processed sports drink. Mature fruits have significantly less liquid than young, immature coconuts, barring spoilage. Coconut water can be fermented to produce coconut vinegar.
Per 100 gram (100 ml) serving, coconut water contains 19 calories and no significant content of essential nutrients.
COCONUT MILK
Coconut milk, not to be confused with coconut water, is obtained primarily by extracting juice by pressing the grated coconut white kernel or by passing hot water or milk through grated coconut, which extracts the oil and aromatic compounds. It has a total fat content of 24%, most of which (89%) is saturated fat, with lauric acid as a major fatty acid. When refrigerated and left to set, coconut cream will rise to the top and separate from the milk. The milk can be used to produce virgin coconut oil by controlled heating and removal of the oil fraction.
A protein-rich powder can be processed from coconut milk following centrifugation, separation and spray drying.
COCONUT OIL
Another byproduct of the coconut is coconut oil. It is commonly used in cooking, especially for frying. It can be used in liquid form as would other vegetable oils, or in solid form as would butter or lard.
TODDY AND NECTAR
The sap derived from incising the flower clusters of the coconut is drunk as neera, also known as toddy or tuba (Philippines), tuak (Indonesia and Malaysia) or karewe (fresh and not fermented, collected twice a day, for breakfast and dinner) in Kiribati. When left to ferment on its own, it becomes palm wine. Palm wine is distilled to produce arrack. In the Philippines, this alcoholic drink is called lambanog or "coconut vodka".
The sap can be reduced by boiling to create a sweet syrup or candy such as te kamamai in Kiribati or dhiyaa hakuru and addu bondi in the Maldives. It can be reduced further to yield coconut sugar also referred to as palm sugar or jaggery. A young, well-maintained tree can produce around 300 liters of toddy per year, while a 40-year-old tree may yield around 400 liters.
HEART OF PALM AND COCONUT SPROUT
Apical buds of adult plants are edible, and are known as "palm cabbage" or heart of palm. They are considered a rare delicacy, as harvesting the buds kills the palms. Hearts of palm are eaten in salads, sometimes called "millionaire's salad". Newly germinated coconuts contain an edible fluff of marshmallow-like consistency called coconut sprout, produced as the endosperm nourishes the developing embryo.
INDONESIA
Coconut is an indispensable ingredient in Indonesian cooking. Coconut meat, coconut milk and coconut water are often used in main courses, desserts and soups throughout the archipelago. In the island of Sumatra, the famous Rendang, the traditional beef stew from West Sumatra, chunks of beef are cooked in coconut milk along with other spices for hours until thickened. In Jakarta, "Soto Babat" or beef tripe soup also uses coconut milk. In the island of Java, the sweet and savoury "Tempe Bacem" is made by cooking tempeh with coconut water, coconut sugar and other spices until thickened. "Klapertart" is the famous Dutch-influenced dessert from Manado, North Celebes, that uses young coconut meat and coconut milk. In 2010, Indonesia increased its coconut production. It is now the world's second largest producer of coconuts. The gross production was 15 million tonnes. A sprouting coconut seed is the logo for Gerakan Pramuka Indonesia, the Indonesian Scouting organization. It can be seen on all the scouting paraphernalia that elementary (SMA) school children wear as well as on the scouting pins and flags.
PHILIPPINES
The Philippines is the world's largest producer of coconuts; the production of coconuts plays an important role in the economy. Coconuts in the Philippines are usually used in making main dishes, refreshments and desserts. Coconut juice is also a popular drink in the country. In the Philippines, particularly Cebu, rice is wrapped in coconut leaves for cooking and subsequent storage; these packets are called puso. Coconut milk, known as gata, and grated coconut flakes are used in the preparation of dishes such as laing, ginataan, bibingka, ube halaya, pitsi-pitsi, palitaw, buko and coconut pie. Coconut jam is made by mixing muscovado sugar with coconut milk. Coconut sport fruits are also harvested. One such variety of coconut is known as macapuno. Its meat is sweetened, cut into strands and sold in glass jars as coconut strings, sometimes labeled as "gelatinous mutant coconut". Coconut water can be fermented to make a different product - nata de coco (coconut gel).
VIETNAM
In Vietnam, coconut is grown abundantly across Central and Southern Vietnam, and especially in Bến Tre Province, often called the "land of the coconut". It is used to make coconut candy, caramel, and jelly. Coconut juice and coconut milk are used, especially in Vietnam's southern style of cooking, including kho, chè and curry (cà ri).
INDIA
In southern India, most common way of cooking vegetables is to add grated coconut and then steam them with spices fried in oil. People from southern India also make chutney, which involves grinding the coconut with salt, chillies, and whole spices. Uruttu chammanthi (granulated chutney) is eaten with rice or kanji (rice gruel). It is also invariably the main side dish served with idli, vadai, and dosai. Coconut ground with spices is also mixed in sambar and other various lunch dishes for extra taste. Dishes garnished with grated coconut are generally referred to as poduthol in North Malabar and thoran in rest of Kerala. Puttu is a culinary delicacy of Kerala and Tamil Nadu, in which layers of coconut alternate with layers of powdered rice, all of which fit into a bamboo stalk. Recently, this has been replaced with a steel or aluminium tube, which is then steamed over a pot. Coconut (Tamil: தேங்காய்) is regularly broken in the middle-class families in Tamil Nadu for food. Coconut meat can be eaten as a snack sweetened with jaggery or molasses. In Karnataka sweets are prepared using coconut and dry coconut "copra"., Like Kaie Obattu, Kobri mitai etc.
WIKIPEDIA
F2.8 and expired Kodak Max Versatility Plus (04/2006).
Cross processed for 1 hour in 1+100 Blazinal stand at 20°C.
Red velvet jacket, Cami. Lace overlay cami, George. Embellished hem skirt, Newport News. Brown boots, Nine West. Amber pendant, Ali’s Boutique. Beaded necklaces, Body Central.
This jacket has proven to be fairly versatile. I’ve paired it with brown, black, and red with good results. I think my favorite combo was with the leopard tank and peep-toes (middle picture). But my favorite photo is the one I took laying on the floor in the hallway.
Page 2 of the 1959 March Fashion Digest and Fabric News. The particular issue came from Wyman's Fabric Store in South Bend, Indiana.
progressive Dada-knitting
pattern crochet fusion
asymmetric
multi versatile
tunic
top
poncho
dress
lagenlook designer
wearable art
haute-couture knitwear
for self-expressing divas
and, who knows,
for brave divos as well
The 'Most Versatile' challenge is set by the Compositionally Challenged Group. Thanks so much Sharon for this months ace themes.
In this month's challenge, 12 members entered 104 photos, and 8 members completed all 10 themes. These members, in play order were: Maria, Pat, Sand, Linda, Dave, Ms J, Sharon, Andy.
This montage features at least one photo per person, and at least one photo per theme. To view the complete challenge and entries, click Here.