View allAll Photos Tagged cleanliness
All of my stuff downstairs! It took AGES!!! And this is only a little bit of it!!! The rest is my upstairs spring clean!!
I met her at a tattoo/piercing studio. My wife decided to treat herself to new ear piercings and earrings for her birthday. Friends had recommended a piercer at Dark Canal, a studio in nearby Napanee Ontario. Meet Karen.
My wife has spent her adult life with piercings done with a sewing needle and ice cube in her dorm at university, so Dark Canal was a new experience for both of us. {No, I didn’t get pierced or tattooed; I was just along for the ride.)
Karen’s warm, friendly manner was apparent from the get-go as she took us into the adjoining piercing room with a dentist-type chair and macrame wall hanging. When she realized that my wife didn’t have a fully-formed concept of what she wanted, Karen was very helpful and spent a good deal of time getting to know us and figuring out what would be good options. We then spent some time in the adjoining room, looking at the jewelry and making a decision. The chosen earrings were then taken to an adjoining room to be autoclaved for sterility. While the machine was at work, Karen and my wife finalized the decision regarding placement of the new piercings. I was impressed by the cleanliness of the place and by multiple layers of disinfectant applied prior to marking the locations with a small, disposable felt-tip pen. Karen was gloved throughout and explained all the precautions she was taking. Piercing needles and all the materials used were taken from sealed packets with lables designating sterility.
Compared to the consultation, the actual piercing was done quickly and my wife explained she barely felt a pinch. The earring insertion was equally quick and painless.
I had asked if I could take a few photos and was told that was fine. In fact, once the new earrings were in and disinfectant was cleaned off, Karen took a few photos for her own records. My wife told Karen about my Human Family photo project and told her to expect to get a portrait request from me and Karen was fine with that. After moving the chair out of the way, I simply posed her with the cabinet drawers holding the piercing supplies in the background.
Karen has an interesting background. She is a Registered Nurse with a Remote Nursing certificate. She did remote nursing for 10 years in northern British Columbia where she had few other health-care resources to draw on in the community. Her husband used to be a Paramedic who now does the tattooing at Black Canal. Karen said that she loves her job which allows her to meet a wide variety of people, each having a different story to tell. She particularly enjoys consulting with her clients in order to ensure that they wind up with the most positive experience possible. Like tattooing, each piercing may have a special meaning to her client. It is not uncommon for clients to get tattoos or piercings to commemmorate losses. Some who are trauma survivors get them to reclaim their body through experiencing a voluntary controlled experience of pain.
Karen mentioned that her oldest client was an 82 year old widow who had spent her married life respecting her husbands wishes that she not get pierced. Now that she was on her own, she was free to act for herself. “When she looked in the mirror and first saw her piercing, tears flowed down her cheeks.”
My wife told Karen that she had been a bit self-conscious about coming into a studio, likely revolving around a much younger population. Karen said “Not at all. Age is a gift not everyone is lucky enough to be given.” Her comment was beautifully expressed. Regarding age, Karen added "Women get stronger and stronger with age, don't you think?"
When I invited her to share a comment with the project she thought for a moment and said “Enjoy riding life’s wave.”
If you are ever in the Kingston area and are considering a piercing, I highly recomment Karen at Black Canal Tattooing in nearby Napanee. www.blackcanaltattoocompany,com
Thank you, Karen, for participating in my photo project. You are my 943rd submission to The Human Family Group.
You can see more street portraits of strangers and read their stories by visiting The Human Family.
Note the cleanliness difference between the buses parked in the (paved) Putnam Valley yard and the (unpaved) Verplanck yard
Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56546 Photo: Collection Cinémathèque Suisse, Lausanne. Photo: MGM. Caption: Gibson Gowland & Joan Crawford, USA, 1927. Gibson Gowland and Joan Crawford in Rose-Marie (Lucien Hubbard, 1928).
American film star Joan Crawford (1904-1977) had a career that would span many decades, studios, and controversies. In her silent films, she made an impact as a vivacious Jazz Age flapper and later she matured into a star of psychological melodramas.
Joan Crawford was born Lucille Fay LeSueur in 1904, in San Antonio, Texas. Her parents were Anna Belle (Johnson) and Thomas E. LeSueur, a laundry labourer. By the time she was born, her parents had separated. The young Lucille was bullied and shunned at Scaritt Elementary School in Kansas City by the other students due to her poor home life. She worked with her mother in a laundry and felt that her classmates could smell the chemicals and cleaners on her. She said that her love of taking showers and being obsessed with cleanliness had begun early in life as an attempt to wash off the smell of the laundry. Her stepfather Henry Cassin allegedly began sexually abusing her when she was eleven years old, and the abuse continued until she was sent to St. Agnes Academy, a Catholic girls' school. By the time she was a teenager, she'd had three stepfathers. Lucille LeSueur worked a variety of menial jobs. She was a good dancer, though, and she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in the choruses of travelling revues in big Midwestern and East Coast cities. She was spotted dancing in Detroit by famous New York producer Jacob J. Shubert. Shubert put her in the chorus line for his show 'Innocent Eyes'(1924) at the Winter Garden Theatre on Broadway. Then followed another Schubert production, 'The Passing Show of 1924'. After-hours, she danced for pay in the town it-spot, Club Richman, which was run by the 'Passing Show' stage manager Nils Granlund and popular local personality Harry Richman. In December 1924, Granlund called Lucille to tell her that Al Altman, a NYC-based talent scout from MGM had caught her in 'The Passing Show of 1924' and wanted her to do a screen test. Metro-Goldwyn-Mayer (MGM) offered Crawford a contract at $75 a week. On New Year's Day 1925 she boarded the train for Culver City. Credited as Lucille LeSueur, her first film part was as a showgirl in Lady of the Night (Monta Bell, 1925), starring MGM's most popular female star, Norma Shearer. Crawford was determined to succeed, and shortly after she also appeared in The Circle (Frank Borzage, 1925) and Pretty Ladies (Monta Bell, 1925), starring comedian ZaSu Pitts. She also appeared in a small role Erich von Stroheim's classic The Merry Widow (1925) with Mae Murray and John Gilbert. MGM publicity head Pete Smith recognised her ability to become a major star but felt her name sounded fake. He told studio head , Louis B. Mayer, that her last name, LeSueur, reminded him of a sewer. Smith organised a contest called 'Name the Star' in Movie Weekly to allow readers to select her new stage name. The initial choice was 'Joan Arden', but after another actress was found to have prior claim to that name, the alternate surname 'Crawford' became the choice. She first made an impression on audiences in Edmund Goulding's showgirl tale Sally, Irene and Mary (1925). The film, which co-starred Constance Bennett and Sally O'Neil, was a hit. Joan's popularity grew so quickly afterwards that two films in which she was still billed as Lucille Le Sueur: Old Clothes (Edward F. Cline, 1925) with Jackie Coogan, and The Only Thing (Jack Conway, 1925) were recalled, and her name on the billings was changed to Joan Crawford. In 1926, Crawford was named one of the WAMPAS Baby Stars, and she starred opposite Charles Ray in Paris (Edmund Goulding, 1926). Within a few years, she became the romantic female lead to many of MGM's top male stars, including Ramón Novarro, John Gilbert, and action star Tim McCoy. She appeared alongside her close friend, William Haines in the comedy Spring Fever (Edward Sedgwick, 1927). It was the second film starring Haines and Crawford (the first had been Sally, Irene and Mary (1925)), and their first onscreen romantic teaming. Then, Crawford appeared in the silent horror film The Unknown (Tod Browning, 1927), starring Lon Chaney, Sr., who played Alonzo the Armless, a circus freak who uses his feet to toss knives. Crawford played his skimpily-clad young carnival assistant whom he hopes to marry. She stated that she learned more about acting from watching Chaney work than from anyone else in her career. Her role of Diana Medford in Our Dancing Daughters (Harry Beaumont, 1928) elevated her to star status. Joan co-starred with Anita Page and Dorothy Sebastian, and her spunky wild-but-moral flapper character struck a chord with the public and zeitgeist. Wikipedia: "The role established her as a symbol of modern 1920s-style femininity which rivaled Clara Bow, the original It girl, then Hollywood's foremost flapper. A stream of hits followed Our Dancing Daughters, including two more flapper-themed movies, in which Crawford embodied for her legion of fans (many of whom were women) an idealized vision of the free-spirited, all-American girl." The fan mail began pouring in and from that point on Joan was a bonafide star. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. But Crawford wasn't felled by sound. Her first talkie, the romantic drama Untamed (Jack Conway, 1929) with Robert Montgomery, was a success. Michael Eliott at IMDb: "It's rather amazing to see how well she transformed into a sound star and you have to think that she was among the best to do so."
In the early 1930s, tired of playing fun-loving flappers, Joan Crawford wanted to change her image. Thin lips would not do for her; she wanted big lips. Ignoring her natural lip contours, Max Factor ran a smear of colour across her upper and lower lips. It was just what she wanted. To Max, the Crawford look, which became her trademark, was always 'the smear'.
As the 1930s progressed, Joan Crawford became one of the biggest stars at MGM. She developed a glamorous screen image, appearing often as a sumptuously gowned, fur-draped, successful career woman. She was in top form in films such as Grand Hotel (Edmund Goulding, 1932), Sadie McKee (Clarence Brown, 1934), No More Ladies (Edward H. Griffith, 1935), and Love on the Run (W.S. Van Dyke, 1936) with Clark Gable.
Crawford often played hard-working young women who found romance and success. Movie patrons were enthralled, and studio executives were satisfied. Her fame rivalled, and later outlasted, that of MGM colleagues Norma Shearer and Greta Garbo. Among her early successes as a dramatic actress were The Women (George Cukor, 1939), Susan and God (1940), Strange Cargo (1940), and A Woman’s Face (1941).
By the early 1940s, MGM was no longer giving Joan Crawford plum roles. Newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros. In 1945 she landed the role of a lifetime in Mildred Pierce (Michael Curtiz, 1945). It is the story of an emotional and ambitious woman who rises from waitress to owner of a restaurant chain. The role gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter (Ann Blyth) everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (Jean Negulesco, 1946). In 1947, she appeared as Louise Graham in Possessed (Curtis Bernhardt, 1947) with Van Heflin. Again she was nominated for a Best Actress from the Academy, but she lost to Loretta Young in The Farmer's Daughter (H.C. Potter, 1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (David Miller, 1952) opposite Jack Palance and Gloria Grahame. This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (Daniel Mann, 1952). In 1955, Crawford became involved with the Pepsi-Cola Company through her marriage to company Chairman and Chief Executive Officer Alfred Steele. Crawford married four times. Her first three marriages to the actors Douglas Fairbanks, Jr. (1929–1933), Franchot Tone (1935–1939), and Phillip Terry (1942–1946) all had ended in divorce. After his death in 1959 she became a director of the company and in that role hired her friend Dorothy Arzner to film several Pepsi commercials. Crawford's film career slowed and she appeared in minor roles until 1962. Then she and Bette Davis co-starred in Whatever happened to Baby Jane? (Robert Aldrich, 1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. Crawford's final appearance on the silver screen was in the bad monster movie Trog (Freddie Francis, 1970). It is said Bette Davis commented that if she had found herself starring in Trog, she'd commit suicide. Anyway, Joan Crawford retired from the screen, and following a public appearance in 1974 withdrew from public life. Turning to vodka more and more, she became increasingly reclusive. In 1977, Joan Crawford died of a heart attack in New York City. She was 72 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote the controversial memoir 'Mommie Dearest' (1978). In 1981, Faye Dunaway starred in the film adaptation Mommie Dearest (Frank Perry, 1981) which did well at the box office. Joan Crawford is interred in a mausoleum in Ferncliff Cemetery in Hartsdale, New York.
Sources: Stephanie Jones (The Best of Everything), Michael Elliott (IMDb), Encyclopaedia Britannica, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Swiss-German-British postcard by News Productions, Baulmes / Filmwelt Berlin, Bakede / News Productions, Stroud, no. 56554. Photo: Collection Cinémathèque Suisse, Lausanne. Photo: MGM.
American film star Joan Crawford (1904-1977) had a career that would span many decades, studios, and controversies. In her silent films, she made an impact as a vivacious Jazz Age flapper and later she matured into a star of psychological melodramas.
Joan Crawford was born Lucille Fay LeSueur in 1904, in San Antonio, Texas. Her parents were Anna Belle (Johnson) and Thomas E. LeSueur, a laundry labourer. By the time she was born, her parents had separated. The young Lucille was bullied and shunned at Scaritt Elementary School in Kansas City by the other students due to her poor home life. She worked with her mother in a laundry and felt that her classmates could smell the chemicals and cleaners on her. She said that her love of taking showers and being obsessed with cleanliness had begun early in life as an attempt to wash off the smell of the laundry. Her stepfather Henry Cassin allegedly began sexually abusing her when she was eleven years old, and the abuse continued until she was sent to St. Agnes Academy, a Catholic girls' school. By the time she was a teenager, she'd had three stepfathers. Lucille LeSueur worked a variety of menial jobs. She was a good dancer, though, and she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in the choruses of travelling revues in big Midwestern and East Coast cities. She was spotted dancing in Detroit by famous New York producer Jacob J. Shubert. Shubert put her in the chorus line for his show 'Innocent Eyes'(1924) at the Winter Garden Theatre on Broadway. Then followed another Schubert production, 'The Passing Show of 1924'. After hours, she danced for pay in the town it-spot, Club Richman, which was run by the 'Passing Show' stage manager Nils Granlund and popular local personality Harry Richman. In December 1924, Granlund called Lucille to tell her that Al Altman, a NYC-based talent scout from MGM had caught her in 'The Passing Show of 1924' and wanted her to do a screen test. Metro-Goldwyn-Mayer (MGM) offered Crawford a contract at $75 a week. On New Year's Day 1925 she boarded the train for Culver City. Credited as Lucille LeSueur, her first film part was as a showgirl in Lady of the Night (Monta Bell, 1925), starring MGM's most popular female star, Norma Shearer. Crawford was determined to succeed, and shortly after she also appeared in The Circle (Frank Borzage, 1925) and Pretty Ladies (Monta Bell, 1925), starring comedian ZaSu Pitts. She also appeared in a small role in Erich von Stroheim's classic The Merry Widow (1925) with Mae Murray and John Gilbert. MGM publicity head Pete Smith recognised her ability to become a major star but felt her name sounded fake. He told studio head, Louis B. Mayer, that her last name, LeSueur, reminded him of a sewer. Smith organised a contest called 'Name the Star' in Movie Weekly to allow readers to select her new stage name. The initial choice was 'Joan Arden', but after another actress was found to have a prior claim to that name, the alternate surname 'Crawford' became the choice. She first made an impression on audiences in Edmund Goulding's showgirl tale Sally, Irene, and Mary (1925). The film, which co-starred Constance Bennett and Sally O'Neil, was a hit. Joan's popularity grew so quickly afterwards that two films in which she was still billed as Lucille Le Sueur: Old Clothes (Edward F. Cline, 1925) with Jackie Coogan, and The Only Thing (Jack Conway, 1925) were recalled, and her name on the billings was changed to Joan Crawford. In 1926, Crawford was named one of the WAMPAS Baby Stars, and she starred opposite Charles Ray in Paris (Edmund Goulding, 1926). Within a few years, she became the romantic female lead to many of MGM's top male stars, including Ramón Novarro, John Gilbert, and action star Tim McCoy. She appeared alongside her close friend, William Haines in the comedy Spring Fever (Edward Sedgwick, 1927). It was the second film starring Haines and Crawford (the first had been Sally, Irene and Mary (1925)), and their first onscreen romantic teaming. Then, Crawford appeared in the silent horror film The Unknown (Tod Browning, 1927), starring Lon Chaney, Sr., who played Alonzo the Armless, a circus freak who uses his feet to toss knives. Crawford played his skimpily-clad young carnival assistant whom he hopes to marry. She stated that she learned more about acting from watching Chaney work than from anyone else in her career. Her role of Diana Medford in Our Dancing Daughters (Harry Beaumont, 1928) elevated her to star status. Joan co-starred with Anita Page and Dorothy Sebastian, and her spunky wild-but-moral flapper character struck a chord with the public and zeitgeist. Wikipedia: "The role established her as a symbol of modern 1920s-style femininity which rivaled Clara Bow, the original It girl, then Hollywood's foremost flapper. A stream of hits followed Our Dancing Daughters, including two more flapper-themed movies, in which Crawford embodied for her legion of fans (many of whom were women) an idealized vision of the free-spirited, all-American girl." The fan mail began pouring in and from that point on Joan was a bonafide star. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. But Crawford wasn't felled by sound. Her first talkie, the romantic drama Untamed (Jack Conway, 1929) with Robert Montgomery, was a success. Michael Eliott at IMDb: "It's rather amazing to see how well she transformed into a sound star and you have to think that she was among the best to do so."
In the early 1930s, tired of playing fun-loving flappers, Joan Crawford wanted to change her image. Thin lips would not do for her; she wanted big lips. Ignoring her natural lip contours, Max Factor ran a smear of colour across her upper and lower lips. It was just what she wanted. To Max, the Crawford look, which became her trademark, was always 'the smear'. As the 1930s progressed, Joan Crawford became one of the biggest stars at MGM. She developed a glamorous screen image, appearing often as a sumptuously gowned, fur-draped, successful career woman. She was in top form in films such as Grand Hotel (Edmund Goulding, 1932), Sadie McKee (Clarence Brown, 1934), No More Ladies (Edward H. Griffith, 1935), and Love on the Run (W.S. Van Dyke, 1936) with Clark Gable. Crawford often played hard-working young women who found romance and success. Movie patrons were enthralled, and studio executives were satisfied. Her fame rivalled, and later outlasted, that of MGM colleagues Norma Shearer and Greta Garbo. Among her early successes as a dramatic actress were The Women (George Cukor, 1939), Susan and God (1940), Strange Cargo (1940), and A Woman’s Face (1941). By the early 1940s, MGM was no longer giving Joan Crawford plum roles. Newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros. In 1945 she landed the role of a lifetime in Mildred Pierce (Michael Curtiz, 1945). It is the story of an emotional and ambitious woman who rises from waitress to owner of a restaurant chain. The role gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter (Ann Blyth) everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (Jean Negulesco, 1946). In 1947, she appeared as Louise Graham in Possessed (Curtis Bernhardt, 1947) with Van Heflin. Again she was nominated for the Best Actress award from the Academy, but she lost to Loretta Young in The Farmer's Daughter (H.C. Potter, 1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (David Miller, 1952) opposite Jack Palance and Gloria Grahame. This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (Daniel Mann, 1952). In 1955, Crawford became involved with the Pepsi-Cola Company through her marriage to company Chairman and Chief Executive Officer Alfred Steele. Crawford married four times. Her first three marriages to the actors Douglas Fairbanks, Jr. (1929–1933), Franchot Tone (1935–1939), and Phillip Terry (1942–1946) all had ended in divorce. After his death in 1959 she became a director of the company and in that role hired her friend Dorothy Arzner to film several Pepsi commercials. Crawford's film career slowed and she appeared in minor roles until 1962. Then she and Bette Davis co-starred in Whatever happened to Baby Jane? (Robert Aldrich, 1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. Crawford's final appearance on the silver screen was in the bad monster movie Trog (Freddie Francis, 1970). It is said Bette Davis commented that if she had found herself starring in Trog, she'd commit suicide. Anyway, Joan Crawford retired from the screen, and following a public appearance in 1974 withdrew from public life. Turning to vodka more and more, she became increasingly reclusive. In 1977, Joan Crawford died of a heart attack in New York City. She was 72 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote the controversial memoir 'Mommie Dearest' (1978). In 1981, Faye Dunaway starred in the film adaptation Mommie Dearest (Frank Perry, 1981) which did well at the box office. Joan Crawford is interred in a mausoleum in Ferncliff Cemetery in Hartsdale, New York.
Sources: Stephanie Jones (The Best of Everything), Michael Elliott (IMDb), Encyclopaedia Britannica, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
meine Besen-Sammlung - collection
Broom for the hand - Brosse à la main - Handfeger
Show me your broom and I'll tell you who you are ...
Montre-moi ton balai et je te dirai qui tu es ...
Zeige mir Deinen Besen und ich sage Dir, wer Du bist ...
One of the first tools of mankind is a broom. However, the street sweepers and cleaners are often despised in society, because they take care of dirt and waste. The housework is usually undervalued. However, order and cleanliness are part of the culture.
L'un des premiers outils de l'humanité est le balai. Toutefois, les balayeuses et les nettoyeurs sont souvent méprisés dans la société, car ils prennent soin de la saleté et les déchets. Le ménage est généralement sous-évalué. Cependant, l'ordre et la propreté font partie de la culture.
Eines der ersten Werkzeuge der Menschheit sind Besen. Allerdings sind die Straßenfeger und Putzfrauen häufig in der Gesellschaft verachtet, weil sie sich um Dreck und Abfall kümmern. Auch die Hausarbeit wird meist unterbewertet. Ordnung und Sauberkeit allerdings sind Errungenschaft der Kultur.
Illustrated by Marguerite Davis. “Summer Fun” by J. Mace Andress and Annie Turner Andress, with the assistance of Julia E. Dickson. Part of the Story Series in Health by Ginn and Company. Copyright 1932 by Andress and Andress.
Cleanliness is next to ........ ah well I don't think that saying applies to Noon flies. HBBBT everyone!
The remaining serviceable Class 30/EF electric locomotives are presented in a variety of liveries and exhibit various levels of external cleanliness!
It is, therefore a rare event to be able to see a pair of them on a train in both contrasting liveries and relatively clean as well!
On the 29th November I was in luck.......southbound train 225 showed up at Ohaupo with this pair in charge. "Fruit Salad"-liveried 30232 leads an unidentified sister which is in the current Kiwi Rail livery.
~Fernand Mery
Was away from home for a few days this week and Pookie was very happy to see me when I got back:-) (and vice versa)
"The cleanliness in the twinkling of an eye"
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All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my written permission.
[...] Cleanliness and order are not matters of instinct; they are matters of education, and like most great things, you must cultivate a taste for them [...]
-- Quote by Benjamin Disraeli (1804 - 1881)
Ostia, Italy (August, 2004)
Kanso: The principle of simplicity, clarity, and cleanliness.
A couple hold hands on the promenade in Oostende.
Kanso is a Japanese aesthetic concept that emphasises simplicity and minimalism. Kanso is closely related to other Japanese aesthetic concepts such as shibui, wabi-sabi, and iki. It is an aesthetic that values clarity, cleanliness, and unclutteredness. It seeks to communicate the essence of an object or a scene through its essential form.
I wrote a blog about applying nine Japanese aesthetic principles to photography here: paulindigo.blogspot.com/2023/03/embracing-japanese-aesthe...
The amount of decay in Palermo is amazing. This place is not somewhere in the slums or in a distant rundown district â on the contrary, this photo was made from the main street in the historic center about 1 minute walk from the huge beautiful cathedral and 3 minutes from the splendid Norman Palace.
By the way, what is this blue contraption with wires on the window sill? Looks suspicious!
Palermo, Sicily. 2018
With a trio of UP motors, oddly in descending order of cleanliness, the Nashville bound intermodal rockets north.
White was chosen for the chef's coat to signify cleanliness. Later, the French master chef, Georges Auguste Escoffier, brought the traditional chef's coat to London, managing the restaurants at the Savoy Hotel and then at the Carlton Hotel.
The chef's buttons also have a meaning: while qualified chefs wear black buttons, students wear white buttons.
Barcelona, Spain.
Canon EOS R6 Mark II, Canon RF 50mm f/1.8 STM, bearbeitet in Lightroom und Photoshop.
The cleanliness is real, my only Photoshop work was to remove one paper tissue on the platform and a small graffito on the train.
Day and Night / The Stars are Bright / Deep in the Heart / of Berlin (apologies . . )
Wikipedia: "Die Gestaltung von Max Dudler wurde vom berühmten Schinkelschen Bühnenbild zur Oper Die Zauberflöte aus dem Jahr 1816 inspiriert und sieht über den Gleisen als dessen Sternenhimmel ein aquamarinblaues Tonnengewölbe mit 6662 Lichtpunkten vor. Die Wände wurden in Anlehnung an die klassizistische Architektur der umliegenden Gebäude mit hellem Naturstein verkleidet, hierfür kam Granit aus dem Fichtelgebirge zum Einsatz."
Wikipedia: "The design by Max Dudler was inspired by a stage design by Karl Friedrich Schinkel for the opera The Magic Flute (Die Zauberflöte) from 1816 and features a starry sky on a dark blue barrel vault with points of light over the tracks."
This stage design is also echoed in a ceiling in the nearby Alte Nationalgalerie.
www.maxdudler.de/de/projekte/u-bahnstation-museumsinsel/
de.wikipedia.org/wiki/U-Bahnhof_Museumsinsel
en.wikipedia.org/wiki/Museumsinsel_(Berlin_U-Bahn)