JACK KIRBY

 

Fantastic Four 55

JACK KIRBY

Birth nameJacob Kurtzberg

BornAugust 28, 1917

New York City. New York

Died February 6, 1994 (aged 76)

Thousand Oaks, California

 

NationalityAmerican

Area(s)Penciller, Inker, Writer, Editor

Pseudonym(s)The King

Notable worksMarvel Comics

AwardsAlley Award

 

*Best Pencil Artist (1967), plus many awards for individual stories

 

Shazam Award

 

*Special Achievement by an Individual (1971)

 

Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.

 

He was inducted into comic books' Shazam Awards Hall of Fame in 1975.

 

The Jack Kirby Award for achievement in comic books was named in his honor.

 

Early life

 

Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]

 

Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.

 

The Golden Age of Comics

 

Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).

 

Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."

 

Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.

 

Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.

 

Simon & Kirby

 

During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:

“

 

I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...

and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.

 

After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.

 

Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.

 

Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.

 

As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.

 

After Simon

 

Sky Masters comic strip by Kirby & Wally Wood.

 

The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.

 

For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.

 

Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.

 

Stan Lee and Marvel Comics

 

Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.

 

For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.

 

In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.

 

Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.

Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.

 

Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.

 

Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.

 

Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.

 

Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.

 

In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".

 

In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.

 

Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.

 

Awards and honors

 

Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:

 

*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114

*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4

*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense

*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66

*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor

*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor

*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor

*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]

 

Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.

 

His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.

 

The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.

 

In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.

 

Legacy

 

Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.

 

The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).

 

Kirby: King of Comics (Hardcover)

by Mark Evanier (Author), Neil Gaiman (Introduction)

 

Editorial Reviews

From Publishers Weekly

As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

 

Product Description

Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.

 

“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon

 

About the Author

Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.

 

Mark Evanier

www.povonline.com/

www.newsfromme.com

 

Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.

 

DECONSTRUCTING ROY LICHTENSTEIN™ © 2000

 

David Barsalou MFA Hartford Art School

 

www.flickr.com/photos/deconstructing-roy-lichtenstein/

 

This visualization attempts to explain the writing process. We all start with planning, but when we move to the drafting stage, we diverge as writers and follow our own path, moving back and forth among the components such as coferring, rethinking, revising, editing, proofreading, and more plannning. Sometimes we will publish our work and sometimes we will not.

Matenasaran Manuscript Museum

 

The Mesrop Mashtots Institute of Ancient Manuscripts holds one of the world's richest depositories of a collection of nearly 17,000 manuscripts and 30,000 other medieval documents and books which span a broad range of subjects, including history, philosophy, medicine, literature, art history and cosmography in Armenian and many other languages.

 

The English speaking

guide did not turn up as promised at 09:30, so Jenna did her best to explain the exhibits to us. Only one room was open to the public, which was just as well, I didn't fancy trawling through 30,000+ books....

 

The oldest book in the museum is from the 5th century, and the oldest printed book from just a mere 30 years after the very first book was printed in Venice. When you think how old those colourful illustrations are, and how painstakingly each had to be produced by hand, it becomes quite overwhelming. I am fascinated with the Armenian alphabet with its 39 characters, some of which may have a slightly different intonations as far as the Armenians are concerned, but sound the same to me. Jenna has been trying to teach me a little every day, but I am struggling to get my tongue around some of their sounds. They also don't have different words for he and she, so Jenna often gets confused, and as a result so do we. Musical notes are also different in Armenian to the ones at home.

In the event of my Demise when my heart can beat no more I Hope I Die For A Principle or A Belief that I had Lived 4 I will die Before My Time Because I feel the shadow's Depth so much I wanted 2 accomplish before I reached my Death I have come 2 grips with the possibility and wiped the last tear from My eyes I Loved All who were Positive In the event of my Demise.

A school punishment book from a village junior school in 1951-1952, that was quite sparing with the cane.

 

About six entries per year, I could have managed that almost on my own in a year, and with similar crimes at a couple of junior school I attended in the 1960s.

Talking & disobedience would have been an easy crime for me to be punished over.

Pee Fights were an often punished affair, mostly it was just the slipper, most of the teachers did not use the cane or have time to take you for the cane, the nearest plimsoll or the longer teacher style ruler was often quickly found and the matter was soon over.

One of my crimes which I was caned for, was during a game of "Highest Up The Wall" in the outside lavatory block. The walls were only about 5 foot high, this allowed any teacher on playground duty to see what we were up to. The dare between junior school boys was to see who could get their stream over the top, in most cases we failed, normally one of us was picked to watch out for teachers on the prowl.

A friend managed the task, just a as teacher came into view of the lavatory block. On entering, he did try to get a confession straight away, but failed, it was easier just to cane the ten or so who were there, as probably there was the chance we all were guilty of not using the urinal properly. All of us were soon in tears after a couple of hits with the cane.

 

The other antic we got up to was peeing on the back of another boys legs if they were taking too long at the urinal. A few boys did find it difficult to go if there were up to 100 others wanting to use the urinals at that point, had they waited and been at the end of the queue there would not have been any problems for them.

We were trying to take aim at the urinal wall in the gap at the side, if they moved they were soaked. A few complained to the teachers, but as they were unable to name us, and we would vouch for others that they had not been responsible, There were only a few punishments were ever given for soaking a younger boys legs and shoes. If they were in wellingtons, then we did intentionally pee on their legs, as there was little evidence as to what we had been up to.

 

Wetting a raincoat could happen over a challenge of who could go the furthest. Two boys stand at an agreed distance facing each other. The winner is the one who can hit the other one, the looser the one whose stream did not reach as far, or was not as long lasting if it hit the coat. Waterproof rubber raincoats were the ideal garment to wear as any hit of pee just ran off, a cloth raincoat or duffel coat might stay soaked.

The punishments of only one stroke was a bit mild, mostly I received two or three strokes, but I didn't get the full six very often.

 

-------------------------------------

  

Among the collection of photographs, maps, and letters is the School punishment book with entries from 1902 to 1962.

In February 1911, John Plummer was given three “strokes on seat” for “writing indecent matter on slate”. Who knows what the schoolteachers would have made of modern graffiti.

 

Ipswich - The Changing Face of the Town

The book by David Kindred in hardback. Photographs are grouped in themes showing how the town has changed in over 120 years.

There are over 320 photographs, many in colour with detailed captions over 176 pages. More information available at Old Pond Publishing.

www.oldpond.com/

 

My Calligraphy attempt

A bubbling Stream

the wind whispers through the trees

perfect harmony.

This HLS (“Helvetica-like substance”—D. Berlow) appears to be based on Folio – the smaller letters more directly than the large “Glaserei”.

I wonder what the ghost script behind this sign reads. It seems to end with “…iche”.

Drawing book No. 3

pages from the newest.

Port Arthur, TX;

roadsidenut.wordpress.com/2011/03/31/day-6-to-the-beach-b...

Continuing to play with complex layering and color combinations

 

Nikon D90, 16mm, 1.3s f11, straight from the camera

Me tenet Jacobus Reut=

linger Vberlingen: Anno S

1582

4o

 

16th-century ms. ownership inscription, dated 1582, of Jakob Reutlinger (1545-1611) of Überlingen, Germany, near Lake Constance. He held various offices in that city from 1576 on, eventually rising to Bürgermeister in 1600, in which position he served until his death from plague in 1611. He was a skilled diplomat and frequent traveler, often purchasing books for the Ratsbibliothek while abroad (the receipts are still held in the city archives; cf. Handbuch der historischen Buchbestände in Deutschland (Hildesheim: Ohms, 1992-2000), Bd. 9, p. 140). Reutlinger is best known for the "chronicle" of noteworthy events -- personal, social and political -- which he began writing in 1580; the manuscript had reached 16 volumes by the time he died. For biographical notes as well as a summary of Reutlinger's work, see R.W. Brednich, "Das Reutlingersche Sammelwerk im Stadtarchiv Überlingen als volkskundliche Quelle" in Jahrbuch für Volksliedforschung 10. Jahrg. (1965), p. 42-84.

 

DNB heading: Reutlinger, Jakob, ‡d 1545-1611

 

Penn Libraries call number: GC55 Ei833 564c

All images from this book

FRAMED ART PRINT:

society6.com/DebraUlrich/Writing-Right_Framed-Print#12=52...

Steal and spread...!

If you like this, please feel free to follow me on Facebook:

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Copenhagen, Capital Region, Denmark

Robert Lane Greene ("Lane") is a business correspondent for The Economist, covering law, accounting and other subjects. He writes for the magazine’s language blog, “Johnson.” His book on the politics of language around the world, "You Are What You Speak", was published by Random House in Spring 2011. His writing has appeared in the New York Times, Slate, the New Republic, the Daily Beast, and other publications. He is a frequent television and radio commentator, an adviser to Freedom House, and a term member of the Council on Foreign Relations. He is fluent in German, Spanish, French, Portuguese and Danish, and conversant in Russian, Arabic and Italian. He joined The Economist in 2000, and lives in Brooklyn.

Uthayan ~ Tamil language daily newspaper was started in 1985 in Jaffna, North of Sri Lanka .

 

A protest was organised by Free Media Movement (FMM), Sri Lanka Tamil Media Alliance (SLTMA), Sri Lanka Muslim Media Forum (SLMMF), Sri Lanka Working Journalists Association (SLWJA), Federation of Media Employees Trade Union (SLMETU),Media Movement for Democracy (MMD) and South Asia Free Media Association (SAFMA).Nearly 47 journalists from Colombo traveled to Jaffna by A9 highway to show solidarity. They condemned the brutal assault by protesting in front of the Sri Lanka Transport Board bus stand in Jaffna on 16th of August 2011. It was a rare protest for the Peninsula people to witness. “ஏதாவது பிரச்சினையோ?” ~ “Is there any problem?”, “என்ன பிரச்சினை?” ~ “What is the problem?”, “இங்கை என்ன நடக்குது?” ~ “What is happening here?” a few onlookers, passers ~ by and shop keepers asked me while the protest was getting underway on a balmy day in Jaffna. “இங்கை உண்மையா என்ன நடக்குது? ~ “What is actually happening here” asked the owner of a newly built restaurant, while I was running to the restaurant roof top to capture the moments on my camera.

 

There was chaos as the protesters arrived in Jaffna town with placards in Tamil. Police in the vicinity came closer and asked them not to block the traffic. Verbal argument took place between the Police and the protesters. But the protesters kept chanting and walking. The traffic came to a standstill for a couple of moments, as the protesters took the space on the mot busiest road in Jaffna, the Hospital road while carrying the placards in Tamil ~ “யாழ்ப்பாண ஊடகவியலாளர்களுக்கு யார் பாதுகாப்பு?” ~ “Who is responsible for the lives of the journalists in Jaffna?”, “ஊடக சுதந்திரம் பாதுகாக்கப்பட வேண்டும்” ~ “Media freedom needs to be protected”, “எப்போ முடியும் யாழ்ப்பாணத்தில் அடக்குமுறைகள்?” ~ “When will the suppression come to an end in Jaffna?”, “ஊடக சுதந்திரத்தைப் பாதுகாக்க ஒன்றுபடுவோம்” ~ Let’s unite to protect media freedom”, “குகநாதனுக்கு விழுந்த அடி உண்மைக்கு விழுந்த பேரிடி”~ Assault on Kuganathan is an assault on the Truth, “ஊடகத்துறைக்கு எதிரான அடக்குமுறையை ஒழிப்போம்” ~ Eradicate Suppression Against the Media” “ஊடகத்தின் மீதான தாக்குதலை உடனே நிறுத்து” ~ “Stop Attacking the Media Immediately”, “ஜனநாயகத்தின் குரலை ஒடுக்காதே” ~ “Don’t Suppress the voice of Democracy”, “தேர்தலில் தோற்றவர்களா மண்டையைப் பிளந்தார்கள்?” ~ “Did they split the head those who lost the elections?”

The protesters chanted “Let Us Write”,“Continue; Continue; Continue to Write”,“Do Not Kill; Do Not Kill; Do Not Kill Us; Do Not Kill the Journalists, Do Not Kill the Democracy”,“Uthyan was attacked, but nobody was arrested”, “Bring the culprit to the courts”“Do Not Attack; Do Not Attack; Do Not Attack the Media”, “Take Your Hands Off Media”“Stop; Stop; Stop the Suppression” “Kuganathan; Kuganthan who wrote the plight of the people”, “Kuganathan was attacked with Iron rods”,“Kuganathan; Kuganathan; Keep Writing, “Lift the Emergency Immediately” in Tamil and Sinhala. There were nearly 350 journalists, activists and politicians participated in the protest according to the organisers.

 

“I want to continue to highlight the activities against the humanity” ~ Gnanasundaram Kuganathan. Please click passionparade.blogspot.com/2011/08/i-want-to-continue-to-... to read and view more.

On October 28th 1638, St Pancras church in Widdicombe, Dartmoor was struck by lightning during a service.

 

Rumour suggests a dazed member of the congregation was seen to stagger from the wreckage saying, "I didn't think the sermon was that bad!"

 

Richard Hill, the local schoolmaster wrote a verse describing the events. This was painted on boards and was placed in the church.

 

In 1786 the boards were replaced by new ones by the churchwardens. All the scorch marks and shattered stones in the church tower have long ago been repaired.

 

note: The old style s is used except at the end of a word. This is very like a letter f. Also the runic letter 'thorn' is used, by the 18th century this was written like a letter y, but pronounced th.

Dans une petite salle, juste éclairée par des vitraux de Miro, sont exposés des dessins et des lettres d'Alberto Giacometti.

russellmoreton.blogspot.co.uk/

The OLD WAYS, a JOURNEY ON FOOT, Robert Macfarlane

“ Walking was a means of personal myth-making, but it also shaped his everyday longings:

Edward Thomas not only thought on paths and of them, but also with them.”

  

“To Thomas, paths connected real places but they also led out-wards to metaphysics, backwards to history and inward to the self. These traverses- between the conceptual, the spectral and the personal-occur often without signage in his writing, and are among its most characteristic events. He imagined himself in topographical terms.”

day twenty-four of the November photo challenge. I have an actual to do list sitting in front of my computer, but most of the stuff is crossed out and it's much more boring and politically correct than this.

i love the rubber grip on this one and it writes so smoothly!

Archibald McIlroy was born in 1859 in Fluther Loanin in the townland of Ballylinney, where his father was a small farmer. After National School, he went to Belfast to study at the Mercantile Academy and the Royal Belfast Academical Institution, Although he considered training for the Presbyterian ministry, he instead entered the Ulster Bank, where he worked as a clerk for ten years. He then went into business on his own account, and, married to a clergyman's daughter, settled in Drumbo, Co Down. He became a JP, and a member of Down County Council, a position that gave him the chance to promote the cause of land reform, a contentious issue in late-Victorian Ireland.

 

McIlroy's young son gave a start to his writing career, when he repeatedly asked his father for stories. A series of sketches based on his youthful exploits around Ballyclare became McIlroy's first book, When Lint was in the Bell (1897). This book's popularity encouraged him to write The Auld Meetin Hoose Green (1898), a humorous re-working of tales told to him by his mother, and by workers in the east Antrim countryside. McIlroy uses the true Scotch tongue of the countryfolk in his writing, and publication of his second book in Belfast was followed by an edition in Toronto, with the book selling well on both sides of the Atlantic.

 

Between 1900 and 1910 five more books followed, By Lone Craig-Linnie Burn (1900), A Banker's Love Story (1901), The Humour of Druid's Island (1902), Burnside (1908) and By the Inglee Nook (1910). The popularity of his writing made McIlroy in demand as a lecturer, when he would regale audiences with tales of old Ballyclare. Ill health brought on by extensive work caused him to travel through Europe to recuperate, but he never recovered sufficiently to follow an ambition to become an MP. Instead, in 1912 he travelled to Canada to work for the Presbyterian Church, but his final journey was to be on the RMS Lusitania, which was sunk off the coast of Cork by a German U-boat on May 7th, 1915. One of almost 1200 souls who perished that day, McIlroy never returned to the land of his birth.

XV MARZO MDCCCLX

ORE 11 E MINUTI 55 POMERIDIANE IN FIRENZE

LA SUPREMA CORTE DI CASSAZIONE

RIUNITA IN PLENARIA SEDUTA

NEL PALAZZO DELLA SIGNORIA

SENTITO IL PUBBLICO MINISTERO

DICHIARA

 

CHE DAGLI SPOGLI ESEGUITI

IN QUESTA MEDESIMA UDIENZA

DEI RISULTATI PARZIALI DEL SUFFRAGIO UNIVERSALE

REGISTRATI NEGLI ATTI VERBALI

SI E´ OTTENUTO PER RISULTATO FINALE

TOSCANI VOTANTI___________N. 386.445

VOTI PER L´UNIONE ALLA MONARCHIA COSTITUZIONALE_______________366.571

PER REGNO SEPARATO___________ 14.925

NULLI_____________________________4.949

COSI´ CONSTATA

IL PLEBISCITO DEL POPOLO TOSCANO

VOLERE L´UNIONE ALLA MONARCHIA COSTITUZIONALE

DEL RE VITTORIO EMANUELE

Maker: Louis A. Bisson (1814-1876)

Born: France

Active: France

Medium: albumen print

Size: 5 1/2" x 9 3/4"

Location:

 

Object No. 2015.492

Shelf: B-18

 

Publication:

 

Other Collections:

 

Provenance: Estate of the Duc de Luynes

 

Notes: According to a report in the July 3, 1858 issue of La Lumiere, the Duc de Luynes hired Louis-Auguste Bisson to document his estate along with his art, archaeological and numismatic collections.

 

To view our archive organized by Collections, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

France, Vaucluse (84), parc naturel regional du Luberon, Villelaure, abreuvoir

C. v. Bosé.

 

[Stamp of unidentified former owner?]

  

Penn Libraries call number: GC55 H7448 557c

All images from this book

File name: 08_02_005628

 

Box label: Boston public schools: Volume: Horace Mann School for the Deaf, 1892: Photos by A. H. Folsom ; Boston public schools: Volume: Horace Mann School for the Deaf, Paris expo: Photos by A. H. Folsom

 

Title: Conversation and writing

 

Alternative title:

 

Creator/Contributor: Folsom, Augustine H. (photographer)

 

Date issued:

 

Date created: 1892

 

Physical description: 1 photographic print ; 7 3/4 x 9 3/4 in.

 

Genre: Photographic prints; Group portraits

 

Subjects: Horace Mann School for the Deaf (Allston, Mass.); Public schools; School children; Teachers; Special education; Classrooms

 

Notes: Title and date from item, from additional material accompanying item, or from information provided by the Boston Public Library.

 

Provenance:

 

Statement of responsibility: A. H. Folsom, photographer, 48 Alleghany Street, Roxbury

 

Source: Public schools, City of Boston, Massachusetts, U.S.A. Horace Mann School for the Deaf

 

Location: Boston Public Library, Print Department

 

Rights: Rights status not evaluated.

 

لو ربنا كان كاتبلك خير فى اللى راح ماكتش راح

♫ This photo goes well with Sébastien Tellier – Kilometer (Donovan-All Star-Remix) ♫

 

Had a nice vacation in Japan. Now back to messing around with motion brushes.

 

Nikon D90, 50 prime, single exposure, no post.

I fully intended to write a Tutorial on this one until I found how many adjustments were needed to get this effect.

Don't give up on me yet.....I'm working to simplify it

 

The symbol on this cake is mandarin chinese for 'love' and was ordered for a recent wedding reception. www.miss-ingredient.com

...

from Seditionary fanzine, issue #5 (1981)

 

stillunusual.tumblr.com/post/52147116453/seditionary-fanzine

The inner cover has two pouches, for busineess cards or whatever (here it has a Pocketmod mini storyboard organizer). The inner left has a pouch also, I inserted some lined 3x5, from Levenger.

We will be all the same just when there will be no light.