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This morning Poland's Prime Minister Donald Tusk presented his priorities for the six-month presidency of the EU Council of Ministers.
Poland's overall aim is to get the EU back on track towards faster economic growth and an enhanced political community.
The Council presidency will focus on three priorities: European integration as the source of growth, Secure Europe and Europe benefiting from openness.
According to Tusk, "the answer to the crisis is more Europe".
www.europarl.europa.eu/en/headlines/content/20110627FCS22...
© European Union 2011 PE-EP
Mwajuma was orphaned from a young age and lives with her grandmother and 13 siblings. She knows from experience what it's like to go hungry and is often forced to skip meals.
She's a passionate young campaigner for Save the Children and a journalist – determined to speak up for those who suffer from malnutrition and determined to work hard so that in the future her family doesn’t have to suffer.
Mwajuma came to DFID today to about her experiences on our Twitter and Facebook pages.
Find out more: www.gov.uk/government/news/young-tanzanian-campaigners-ta...
October 7, 2012 - Tokyo, Japan. Young girl answers attends an international festival in Tokyo to celebrate international cooperation. The World Bank partnered in the 2012 Global Festa event in advance of the 2012 Annual Meetings. People answer a World Bank's question that was posted online as part of an international campaign - "What Will It Take?".. to improve live, to create jobs, to end poverty. Photo: Simone D. McCourtie / World Bank
Here are the two items I used for the Macro Monday theme. The one on the left is a diamond willow walking stick. The "wooden eye" like image, was a macro of what is called the "diamond" in the willow.
The second image was a macro of the grid on my "electronic mosquito racket". I have multiple electronic rackets as they are a much needed tool during the buggy time of year in Alaska, and they work great.
So puzzle solved everyone. Now on to next weeks theme. I can't wait. :))
FIELD TESTER：Mr.KINUGAWA(フィールドテスター衣川氏)
ROD：PLAISIR ANSWER PA-B80SOPMOD(プレジールアンサーソップモッド)
REEL：RYOGA SHRAPNEL（改）(リョウガ シュラプネル)
LINE：PE4号＋leader40lb（PE4号＋リーダー40ポンド）
LURE：CD9/Rapala（カウントダウン9）
Illustration is “of A Jewel thief” drawn by Edwin Georgi
Photos are based on his vision
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It is unknown if the couple returning early to their hotel room after an evening out upset the thief’s plans. If so than a simple burgled apartment would have been the only consequence. As it was…..
The young couple had not been back more than fifteen minutes when the husband received a phone call summoning him to the hotel desk “to discuss a matter of some importance” the crisp, foreign accented female had informed him.
It was soon after he had left that the knock came at their door. The Wife, who had been left alone and was still in her evening attire, unquestioningly answered it.
A maid in uniform entered, and after ascertaining the lady was all alone, pulled a weapon out.
The lady was forced to hand over all the jewels she was wearing. Than forced to produce her other jewelry, the thief( not an employee of the hotel) seemed to know just what she was looking for.
The ladies purses and several other small, but quite valuable personal items were also taken in the hold-up.
The lady was not harmed.
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Below is a little more detailed report, received by the couples insurance company compiled from eyewitness accounts…..
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It had been an early evening. The friends who had invited them to the gala dance in London had bailed out on them. Not entirely their friends fault, her old school chums husband was a doctor and had received a call from the hospital about an emergency. His wife, 4 months pregnant, had decided to stay home for the evening. So they were, all dressed up and absolutely alone in the metropolis. Not knowing anyone at the ball , and finding the band not to their liking, they decided to call it an early evening. Their hotel was only a few blocks away ,so they decided to walk.
They reached their hotel without incident, although the wife had thought she had heard someone walking the fog filled walkway behind them, but when they turned there was nothing there. Jitters her husband chided her gently.
They reached their room at ten, some three hours after leaving it. At ten fifteen the phone rang in their room. It was the front desk, the manager on thye floor wishing to speak confidentially downstairs with the husband on an matter that required his urgent attention. He left immediately, still in black tie.
Within five minutes after the husband had left there was a knock at the door. A female voice announced room service. The wife opened the door a crack. A lady wearing a smart uniform was standing their holding a bottle in ice vase. The hotel had sent up a bottle of complimentary champagne, the maid explained, as her eyes remained glued to the ladies sparkling necklace.
The wife let the maid in and she walked over to a side table, asking the lady, still in her evening gown, where she had been, dressed such as she was. As the wife explained the lady turned and was asked if she was alone. No, my husband is with me, he had to leave for a few minutes, and she started to tell the maid about the call.
Listen princess, I don’t really want to hear your prattle, she snarled, pulling a short, wicked looking razor from the towel she had draped over an arm. Let’s have those jewels she said, holding the knife threateningly close to the startled wife’s heaving chest.., she spit out each word with an evil grin across her handsome face.
The wife stood frozen in fright, not believing that this maid was asking her to do. She was soon snapped out of it as the “maid” snarled, now princess, unless you want to bleed all over your pretty gown. The “maid” raised the razor to the wife’s chin, avoiding the feel of the blade, she was forced to look up towards the ceiling. The “maid with her free hand softly caressed the wife’s gown, mmm she whispered, expensive, then grasping the gowns brooch, she yanked it off, the wife could feel the edge of the knife pushing against her throat, almost slicing flesh.
Now she commanded, raising her voice, Start stripping them off . So In this position the wife was forced to removed her jewels, handing them over to the “maid” When she was finished removing every glittering piece she had been wearing that evening she was forced back to a divan and made to sit. The “maid picked up the wife’s expensively glittering purse and laid the jewels inside.
Very good princess, But I know there’s more. Where’s your jewel chest! She demanded. The wife shook her head, that’s all I have she stammered. The Maid again raised the razor to her chin, this time the wife could fell it starting to dig into her flesh. Don’t hold back now princess, the wife whimpered, and choked out, under my pillow.
The “maid” triumphantly back up to the bed and lifting the pillow, snatched up the sizable black velvet satin pouch that had been nestled underneath. The “ maid” dumped the contents onto The wife’s lap, shining and gleaming in rich luxury. She then held the open purse to her, and had her scoop it up and place it inside.
Okay, where are the pearls you wore to lunch yesterday. The wife jolted, she knew about her pearls, how could she have, had she been followed all day yesterday. As if her mind was being read the Maid said, we saw you wearing them. Now go and get them! She stood, wobbly, and went into the sitting room. There she pulled them from her calfskin purse, where she had place them. Very good princess the maid chided.
She took into the sitting room and made her lay face down upon a crushed velvet fainting couch.. By the way, where is your friend, the pregnant one in red silk who was with you yesterday? The wife shook her head in despair. Not here, to bad, Judging by her everyday jewels she would probably have been decked out very much like you.
Which by the way, thank you for wearing them this evening. It was your silk wearing friend I was really after when I first spotted the two of you at the jewelers, and the whole reason I had followed you to that boring dance in the first place. Tell her for me, she owes you one.
No princess, she snappedd, letting her hands caress along the gowns smooth backside, pusing her victim down, the “maid” almost pureed out her last words, I would suggest not moving until your husband returns..
The wife heard the door slam behind her a few minutes later.
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Courtesy of Chatwick University Archives
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DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
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Belgian Chromo for Cinema Novy in Nevele, no. 181. Photo: Roger Carlet, Paris.
With his heroic physique, Jean Marais (1913-1998) was France’s answer to Errol Flynn, the epitome of the swashbuckling romantic hero of French cinema. The blonde and incredibly good-looking actor played over 100 roles in film and on television and was also known as a director, writer, painter and sculptor. His mentor was the legendary poet and director Jean Cocteau, also his lover.
Jean-Alfred Villain-Marais was born in 1913 in Cherbourg, France. He endured a turbulent childhood. When he was born, on the eve of World War I, his mother refused to see him. Her only daughter had died a few days before. When Marais' father returned from the war, the five-year-old Jean didn't remember him, and his father slapped him. His mother promptly packed her three children off to their grandmother's, and Jean grew up fatherless. He attended the Lycee Condorcet, a prestigious private school, where some of his future film partners also studied, such as Louis de Funes and Jean Cocteau, and the faculty had such figures as Jean-Paul Sartre. At 13, Marais had to leave the Lycee Condorcet, after gamingly flirting in drag with a teacher. He was placed in a Catholic boarding school, but at 16, he left school and became involved in amateur acting. As a child, he had dreamed of becoming an actor but he was twice rejected when he applied to drama schools. He took a job as a photographer's assistant and had acting classes with Charles Dullin. In 1933 Marcel L'Herbier gave him a bit part in L’Épervier/The Casting Net (1933) starring Charles Boyer. This was followed by more small parts in films by L’Herbier, in L'Aventurier/The Adventurer (1934), Le Bonheur/Happiness (1935), Les Hommes nouveaux/The New Men (1936), and Nuits de feu/The Living Corpse (1936). Marais also appeared in Abus de confiance/Abused Confidence (Henri Decoin, 1937), and Drôle de drame/Bizarre, Bizarre (Marcel Carné, 1937).
In 1937, Jean Marais, then 24, met Jean Cocteau at a stage rehearsal of Oedipe-Roi/King Oedipus. They fell in love and would remain close friends until Cocteau died in 1963. Cocteau became his surrogate father, and he was Cocteau's surrogate son. Cocteau had a major influence on Marais’ career. In 1938 he cast him as Galahad in the stage play 'Les Chevaliers de La Table Ronde' (The Knights of the Round Table), and wrote the film L'Éternel retour with him in mind. With L’Éternal retour/The Eternal Return (Jean Delannoy, 1943), Marais made his big break in the cinema. This was the turning point in his life and the start of a film career which was to span nearly sixty years. In the following years, he appeared in almost every one of Cocteau's films: La Belle et la bête/Beauty and the Beast (Jean Cocteau, Jean Delannoy, 1946), L'Aigle à deux têtes/The Eagle Has Two Heads (Jean Cocteau, 1947), Les Parents terribles/The Storm Within (Jean Cocteau, 1948), and Orphée/Orpheus (Jean Cocteau, 1950). After the Allies liberated Paris in August 1944, he joined France's Second Armored Division and served as a truck driver carrying fuel and ammunition to the front. Later he was decorated with the Croix de Guerre for his courage. During the war, Marais was engaged to his film partner, actress Mila Parély, and their engagement was blessed by Cocteau, who wanted Marais to be happy. Marais and Mila Parély separated after two years, and shortly after they worked together again in La Belle et la bête/Beauty and the Beast (1946). His double role as the beast and the prince in this classic film made Marais an international teen idol.
During the 1950s, Jean Marais became a dashing sword master, dazzling his audiences with impressive French swashbuckling adventures, in which he performed his own stunts. Le Comte de Monte Cristo/The Count of Monte Cristo (Robert Vernay, 1955), Le Bossu/The Hunchback of Paris (André Hunebelle, 1959), and Le Capitaine Fracasse/Captain Fracasse (Pierre Gaspard-Huit, 1961) all enjoyed great box office popularity in France. Marais would become one of the most admired and celebrated actors of his generation and star in international productions directed by Jean Renoir (Elena et les hommes/Elena and Her Men, 1956), Luchino Visconti (Le Notti bianche/White Nights, 1957), Cocteau (Le testament d'Orphée/The Testament of Orpheus, 1959), and others. During the 1960s and 1970s, he went on to appear in such popular adventure comedies as the Fantômas (1964-1967, André Hunebelle) trilogy, co-starring with Louis de Funes and Mylène Demongeot.
Jean Marais was equally impressive in the theatre, appearing in such plays as 'Britannicus,' 'Pygmalion' and 'Cher Menteur' at the Théâtre de Paris, Théâtre de l'Atelier, and the Comédie Francaise. He spent his later years living in his house in Vallauris, in the South of France where he was involved in painting, sculpture and pottery, and was visited by Pablo Picasso and other cultural figures. His monument Le passe muraille/The Walker Through Walls, honouring French author Marcel Aymé, can be seen in the Montmartre Quarter in Paris. After a long retirement, Jean Marais returned to filmmaking in the mid-1980s with choice character roles in such films as Parking (Jacques Demy, 1985). In 1993 he was awarded an honourable César. Marais made his final film appearance in Bernardo Bertolucci's Io ballo da sola/Stealing Beauty (1996) starring Liv Tyler. That year he received France's highest tribute, the Legion of Honour for his contribution to the French cinema. Jean Marais died of heart failure in 1998, in Cannes. He had an adopted son, Serge Marais.
Sources: Steve Shelokhonov (IMDb), Hal Erickson (AllMovie), Wikipedia, Films de France, Lenin Imports, and IMDb.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
This photograph was taken by Nicholson Museum curator William J Woodhouse in Greece between 1890 and 1935.
Can you help us catalogue the Woodhouse photographic archive? Contribute by adding tags and answering the following questions in the comments below:
•What do you see? Write a brief description for this image.
•Where was this photograph taken?
•Can you find the geo co-ordinates (latitude and longitude) of this exact place? Let us know by linking to the google maps or add the co-ordinates in your comment.
•Do you know what year this photograph was taken?
About the archive:
The Nicholson Museum holds over 1800 glass-plate negatives taken by Woodhouse while in Greece in 1890s and early 1900s. A small portion of the archive also includes photographs of his family in the Blue Mountains, NSW, Australia. The collection documents important archaeological sites, significant landscapes of the Greek mainland, contemporary buildings and the people he met along the way. His archive is a rich resource capturing many sites pre-archaeological excavation and before modern industrial development. Some of the photographs were published by Woodhouse in his book 'Aetolia: its geography, topography, and antiquities' published in 1897. His desire to capture Greece on 'film', was simply put in his introduction: "History only attains its full value by borrowing actuality from geography and topography". The archive shows his love not only for the sites but also for the people and spirit of Greece.
About the project:
We are asking you to contribute to our documentation of this collection and assist us with the identification of the hundreds of different monuments and places in Greece. The title of each photograph will include the museum registration number (NM2007.##.##) and may already include a place name where museum staff or Woodhouse himself have titled the image.
All of our flikr contributors will be acknowledged when the collection is published through our online collections at the completion of the project.
Answering the Warfighters' Needs
Frank Calvelli, Assistant Secretary of the Air Force for Space Acquisitions and Integration
Andrew P. Hunter, Assistant Secretary of the Air Force for Acquisition, Technology and Logistics
Moderator: Tobias Naegele, Editor-in-Chief, Air & Space Forces Magazine
Photo by Mike Tsukamoto/Air & Space Forces Magazine
I don't even know where to begin with this one. Its a t-shirt... for wearing. In public.
I will only say that you would never find anything like this for sale in any country other than America. Not even in seriously Catholic 1980's Ireland.
Front page from the Daily Mail, Saturday 30th June 2007. Later the same day a car stuffed with incendiary materials was deliberately driven at Terminal 1, Glasgow International Airport. Twenty four hours before a friend of ours had her car parked at almost the same spot...
Relevant blog post here.
DEC Commissioner Joe Martens answers legislators questions at the joint budget hearing. Notice the anti-frackers behind him. Check out his performance here - video.wmht.org/video/2333837800
Instructions:
* Type your answer to the questions into a Flickr search
* Using only the first page, pick an image
* Copy and paste each of the urls in the Mosaic Maker
1. What is your first name?
2. What is your favorite food?
3. What high school did you go to?
4. What is your favorite color?
5. Who is your celebrity crush?
6. What is your favorite drink?
7. What is your dream vacation?
8. What is your favorite dessert?
9. What do you want to do when you grow up?
10. Who/ what do you love most in life?
11. Choose one word that describes you?
12. What is your Flickr name?
1. Alexa, 2. coffee and chocolate mousse cake, 3. Eskbank Railway Yards, 4. Pink Petals, 5. Rain (Bi) 2, 6. Dilmah Tea, 7. Shibuya Crossing at Night, 8. Mickey Mousse, 9. 3.21.2007, 10. Edmil, 당신을 사랑 ^-^, 11. I Never Fail Smile!, 12. hiii
Created with fd's Flickr Toys.
"The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind"
(Found abandoned in a strong wind - Solomons, Maryland.)
Song of the Day: "Blowing in the Wind" - (Bob Dylan) sung by Joan Baez
Rolleiflex Standard
Zeiss f3.5 7.5cm Tessar lens
Kodak Portra 160NC
Professionally developed
Digitally scanned from negative
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
International Monetary Fund Economic Counsellor Maurice Obstfeld answers questions during the World Economic Outlook Press Conference at the 2015 IMF/World Bank Annual Meetings October 6, 2015 in Lima, Peru. IMF Staff Photograph/Stephen Jaffe
Field Tester : Mr.KINUGAWA
ROD: PLAISIR ANSWER PA-70
REEL: 304/Mitchell
LINE: PE#1+leader20lb
LURE:DARTER/CCBCF/rapala他