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An angular unconformity is where horizontally parallel strata of sedimentary rock are deposited on tilted and eroded layers, producing an angular discordance with the overlying horizontal layers.
Or two generations
BLS ordered the RBDe565 (the right EMU) between 1982 and 1992. I think that you see that making an angular front was not an issue at all. It was most likely difficult enough to fit in all technical requirements with the limited space and weight.
The RABe535 (on the left) was delivered between 2008 and 2010. You see some really nice treatment by a design time for wonderfully round curves and some other design elements.
• Dimensiones: ancho de 70 a 100 cm - alto 195 cm.
• Vidrio templado de 8 mm (6 mm si es clarglass).
• Abatible para permitir mejor acceso a la ducha.
• Sujeta a la pared con bisagras compensantes
y regulación de cierre.
• Perfiles de goma coextrusionada para darle mejor estanqueidad al conjunto.
• Elegante y funcional.
• Fácil limpieza y mantenimiento.
• Opción de perfil de aluminio para los fijos a pared al mismo precio.
This is t he window from my bathroom, the pattern on it makes the lights spread and I find it beautiful.
Angular Nude
by Koola Adams
Cubist Style Nude painting. Acrylic inks on paper. 40cm x 30cm
Frame and mount not included
Copyright reserved by the artist.
www.contemporary-artists.co.uk/paintings/angular-nude/
#art #painting #artists
The Complete R.E.M. Lyrics Archive
Burning Hell
From: Dead Letter Office
Women got legs, men got pants
I got the picnic, you got the ants,
Put it in the fire heaven knows
Take my torch and touch your toes in hell
It's a burning hell
....
Tonight after studying several hours I started to do my CWD assignments. R.E.M. what a difficult assignment!!!! Luckily I got an idea from the song "Burning Hell" by R.E.M. So I started to take photos of my pants =D
CWD #663: Inspired by R.E.M.
Belgian chromo card for Cinema Le Stuart in Gilly by Merbotex, Bruxelles, no. 42. Photo: Warner Bros.
Fame came to American film legend Burt Lancaster (1913-1994) with his first film role, as the doomed Swede in Universal's The Killers (1946), but the former circus acrobat knew better than to leave his career in other hands. After less than two years in Hollywood, Lancaster formed his own production company and took the lead in such popular successes as the Technicolor swashbucklers The Flame and the Arrow (1950) and The Crimson Pirate (1952), and the Western Vera Cruz (1954). The athletic, savvy but passionate Lancaster remained a box office draw for 20 years, winning a 1961 Academy Award for playing the corrupt evangelist Elmer Gantry (1960). His best work through the next decades was often in European features like Luchino Visconti's Il gattopardo/The Leopard (1963) and Gruppo di famiglia in un interno /Conversation Piece (1974), Novecento/1900 (1976) and Atlantic City (1980), which netted him an Oscar nomination.
Burton Stephen Lancaster was born in East Harlem in New York City in 1914. He was one of the five children of Elizabeth (Roberts) and James Henry Lancaster, a postal clerk at Manhattan's General Post Office. All of his grandparents were immigrants from Northern Ireland. Burt was a tough street kid who took an early interest in gymnastics. Lancaster was accepted into New York University with an athletic scholarship but subsequently dropped out. At the age of 19, Lancaster met Nick Cravat, with whom he continued to work throughout his life. Together they learned to act in local theatre productions and circus arts at Union Settlement, one of the city's oldest settlement houses. They formed the acrobat duo 'Lang and Cravat' and joined the Kay Brothers circus. In 1939, an injury forced Lancaster to give up the profession, with great regret. He supported himself by working as a nude artist model by day and a singing waiter by night. In 1942, he joined the US Army during WW II and performed with the Twenty-First Special Services Division, organized to follow the troops on the ground and provide USO entertainment to keep up morale. He served with General Mark Clark's Fifth Army in Italy from 1943 to 1945. After the war, he made his Broadway debut as Burton Lancaster in Harry Brown's wartime drama A Sound of Hunting, the source for the film Eight Iron Men (Edward Dmytryk, 1952). Though the production closed after 12 performances, Lancaster caught the eye of Hollywood agent Harold Hecht. Hecht provided Lancaster with an introduction to producer Hal Wallis. Lancaster's debut was the Film Noir The Killers (Robert Siodmak, 1946) opposite Ava Gardner. Siodmak and cinematographer Elwood Bredell employed stark chiaroscuro lighting to offset Lancaster's angular face and chiselled physique. It made him an instant Hollywood star at the age of 32.
After his sensational debut, Burt Lancaster appeared in two more films the following year. He traded on his tough-guy image in Jules Dassin's Brute Force (1947) and I Walk Alone (Byron Haskin, 1948). The tall, muscular star reunited with Robert Siodmak for another excellent Film Noir, Criss Cross (1949). He varied the image slightly, playing Barbara Stanwyck's cheating husband in Sorry, Wrong Number (Anatole Litvak, 1948) and Edward G. Robinson's conscience-bound son in All My Sons (Irving Reis, 1948), a personal project for which he took a $50,000 salary cut. Lancaster was a self-taught actor who learned the business as he went along. Burt Lancaster impressed film audiences with his acrobatic prowess the Technicolor Swashbucklers The Flame and the Arrow (Jacques Tourneur, 1950), and The Crimson Pirate (Robert Siodmak, 1952). The films became his first major box-office successes. His friend from his circus years, Nick Cravat, played a key supporting role in both films. Lancaster played one of his best-remembered roles with Deborah Kerr in From Here to Eternity (Fred Zinnemann, 1953). Iconic is the scene in which he and Kerr make love on a Hawaiian beach amid the crashing waves. He was nominated for an Academy Award for this role. Lancaster won the 1960 Academy Award for Best Actor, a Golden Globe Award, and the New York Film Critics Award for playing the corrupt evangelist in Elmer Gantry (Richard Brooks, 1960). In 1948, Burt Lancaster set up his own production company with Harold Hecht and James Hill, to direct his career. Their production company, Hecht-Hill-Lancaster, produced such films as the Oscar winner Marty (Paddy Chayefsky, 1955), Trapeze (Carol Reed, 1956), Sweet Smell of Success (Alexander Mackendrick, 1957), and Separate Tables (Delbert Mann, 1958). Lancaster realized a long-held dream and directed his own film, The Kentuckian (1955). Reviews were negative, however, and he did not return to the director's chair for another two decades. In 1965, United Artists made a settlement with Lancaster to end its association with Hecht-Hill-Lancaster, which had financially floundered in the late 1950s due to a few flops and exorbitant spending and wound up operations in 1959. is films often reflected his liberal political beliefs. In 1947 he signed a letter deploring the anti-communist witch hunts in Hollywood, and he was nearly blacklisted due to his political beliefs. The FBI kept a file detailing his activities. In 1963, he was one of the Hollywood stars, who participated in Martin Luther King's March on Washington. Later, Lancaster appeared prominently on President Richard Nixon's 'List of Enemies' due to his support for Senator George McGovern in the 1972 presidential election. In 1985, Lancaster joined the fight against AIDS after his close friend, Rock Hudson, contracted the disease. He campaigned for Michael Dukakis in the 1988 presidential election.
During the latter part of his career, Burt Lancaster left adventure and acrobatic films behind and portrayed more distinguished characters. This period brought him to work on several European productions. Italian director Luchino Visconti wanted to cast Laurence Olivier in the title role of the Italian prince in Il gattopardo/The Leopard (1963) opposite Alain Delon and Claudia Cardinale, but his producer overruled him. The producer insisted on a box office star to justify the lavish production's high budget and essentially forced Visconti to accept Lancaster. Lancaster delivered one of the strongest performances of his career, and the film was a huge success in Europe. Visconti directed him again in Gruppo di famiglia in un interno/Conversation piece (Luchino Visconti, 1974) with Silvana Mangano and Helmut Berger. In this film, Lancaster plays a reclusive professor who is brought face to face with his latent homosexuality. Lancaster sought demanding roles, and if he liked a part or a director, he was prepared to work for much lower pay than he might have earned elsewhere. He even helped to finance movies whose artistic value he believed in. He also mentored directors such as Sydney Pollack and John Frankenheimer and appeared in several television films. He also appeared in European features like Novecento/1900 (Bernardo Bertolucci, 1976) as Robert De Niro's autocratic grandfather, and as an ageing gangster in Atlantic City (Louis Malle, 1980), which earned him an Oscar nomination. He tried to raise financing for four years for Hector Babenco's film Kiss of the Spider Woman (1985), based on the novel by Manuel Puig, after Babenco gave him the novel in 1981 at the NY Film Critics Society Ceremony. Lancaster was to have played the role of Molina, the gay hairdresser who shares a cell with Valentin, a political prisoner. However, Lancaster had heart attacks in 1981 and 1983, and subsequently a quadruple-bypass operation, and at the age of 70, he was essentially uninsurable. The film was later made with William Hurt, who won the Best Actor Oscar as Molina. In the 1980s Burt Lancaster appeared as a supporting player in several films, such as an American general in the Italian war drama La pelle/The Skin (Liliana Cavani, 1981), an astronomy-obsessed Texas oilman in Bill Forsythe's wry comedy Local Hero (1983). Lancaster's last feature film was Field of Dreams (Phil Alden Robinson, 1989) with Kevin Costner. His acting career ended after he suffered a stroke in 1990 which left him partly paralyzed and largely unable to speak. At 80, Burt Lancaster died in his Century City apartment in Los Angeles in 1994, the very same year as his long-time friend and circus partner Nick Cravat. Lancaster was married three times. He was married to acrobat June Ernst from 1935 to 1946, and Norma Anderson from 1946 to 1969. His third marriage, to Susan Martin, was from September 1990 until he died in 1994. He and his second wife Norma had five children: James Stephen 'Jimmy' (1946), William 'Billy' (1947), Susan Elizabeth (1949), Joanna Mari (1951), and Sighle (1954).
Sources: Richard Harland Smith (TCM) and IMDb.
And, please check out our blog European Film Star Postcards.