As with other Passenger Transport Executives upon their formation, SELNEC committed to orders of new buses made by their municipal forebears. Although no standard bus types had been yet decided upon by the PTE, these new buses assisted greatly in their modernisation plans.

 

6809 was one of fifteen (6802 - 6816) East Lancs bodied Leyland Atlanteans received by the PTE between December 1971 and March 1972. These buses were allocated to Bolton. A handful of these long-wheelbase buses went on to see further service after withdrawal, but 6809 was saved for posterity by the Bolton Bus Group. This vehicle is a lucky survivor from the period and remains with us to this day, restored to the near new state it is seen in here.

 

The image shows 6809 on Grecian Crescent, Bolton working the Great Lever Circular service on the 27th September 1972.

The scene is much altered, but part of the school still stands from behind where the people are standing. Today, the old school is used as a mosque, but the old chapel to the left of the picture is no more. In the distance can be seen a glimpse of the Robin Hood Mills, these also remain extant. However, the rest of the buildings in this view are long gone including the corner shop.

 

The open-sodium street lighting is worthy of note, Bolton using a lot of this kind of lighting in the post war period. These are Revo C9225 lanterns for use with 140w low-pressure sodium lamps and would have been installed in the late 1940s or early 1950s.

 

Photo - 27th September 1972.

 

Scanned from the original 35mm slide held in my archive.

This man has gone the extra mile beyond just wearing and carrying the flag with his face-paint job and Mohican wig.

 

I saw him in front of the National Theatre on the South Bank of the Thames, preparing with his daughter to watch the Diamond Jubilee Thames Pageant. He was by far the most spectacularly decorated of all the people we saw that day.

 

It would be nice if someone could tell me who he is so I can properly credit him!

Mosby winery is committed to producing award-winning Cal-Italian wines. Bill and Jeri Mosby purchased the old de la Vega land in the early 1970s, and the first thing Bill did was plant vines. The Mosby’s first commercial wines were bottled under the Vega label, named after the old Spanish California land grant. Bill’s wine began to gain industry attention, and a following of Mosby wine enthusiasts continued to develop. In 1986, at his family’s insistence, Bill changed the Vega label to reflect the Mosby name and winemaking philosophy.

Located in the Santa Barbara County AVA, the vines are planted in various microclimates found on the estate with care taken to match the grape type with the most suitable conditions. This results in wines with the distinctive varietal character Bill Mosby demands. Bill’s experienced palate and careful, ongoing search for interesting new varietals have resulted in vintage after vintage of award-winning Pinot Grigio, Sangiovese, Dolcetto, Teroldego, and more. His latest addition is the first domestically-produced Sagrantino released in this country.

 

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

 

Thanks to all for 12,000.000+ views and kind comments ... !

Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved

  

There were mass atrocities committed during World War II. But one of the most egregious was the Commando Order issued by Germany, in which any Allied forces be killed on sight even if they surrendered, completely contradictory to the laws of war. The Germans felt this necessary after countless raids on their territories and subsequent perceived mistreatment of German forces taken by these raiding Commandos. Today, the new British Commando accessories land on BrickWarriors:

 

-Commando Cap

-Commando Knife

-Harpoon Gun

-Oxygen Tank

-Commando Carbine

The Town of Clifton Park is committed to ensuring the public safety and protecting the citizens and property of community. In addition to dedicated contract policing by the Saratoga County Sheriff’s Department and the New York State Police {Clifton Park Station} maintains a Town of Clifton Park Security Patrol.

 

Town Security Patrols cover town facilities – Buildings, Parks, Recreational / Sport Venues and residential neighbors to insure the public safety, protect public and private property. Town Security is responsible for the following items also –

 

Conducts speed checks on town roadways to ensure general compliance with posted speed limits,

Security Patrols days, evenings, weekends at various hours to meet residential needs and concerns,

Security / Code Enforcement Officers are responsible for the enforcement of all Town Codes and ordinances,

Enforces all Fire Lane and Handicapped Parking Laws,

Provides security and law presence at all Town Board, Committee Meetings, in the Justice Court and general public gatherings in Town Hall and Town Court located at the Town Public Safety Building,

Conducts “Vacation” home security checks to deter unlawful activity, upon written request of the homeowner, while away on vacation. Please See “Online Vacation Form”.

Traffic Control and Crossing Duties -

 

Assists the Shenendehowa Schools with Crossing Guard duties on busy highways,

Provide crossing duties for Town Sponsored events - Day Camp sites, civic events, Sports Tournaments, Parades, and / or town emergencies,

The Town of Clifton Park Security Department consists of 3 - Full Time Security Officers, 4 - Part-time Security Officers, 4 - Guards and 2 – Armed Court Officers and all Full Time, Part-time and Court Officers are New York State Certified Officers and all Public Safety Security Vehicles are fully radio equipped to interact with Saratoga County Sheriff’s Department or the New York State Police.

Source:

www.cliftonpark.org/index.php?option=com_content&view...

 

Photo By Derek J. Ewing

Copyright 2023 - All Rights Reserved.

The Prayer of the 5 Widows

In Memory of Elizabeth Eliot

www.christianitytoday.com/ct/1957/january-7/prayer-of-fiv...

 

The Prayer of the Five Widows

An account after the Auca ambush in Ecuador, from CT's seventh issue.

Elisabeth Elliot/ JUNE 15, 2015

This article originally appeared in the January 7, 1957, issue of Christianity Today—less than three months after the magazine's launch. It was posted June 15, 2015, to commemorate the death of Elisabeth Elliot.

 

On a beautiful Sunday afternoon a year ago, five young women were asking God for two things regarding their husbands: that they might be permitted to contact the Auca Indians again, and that they might be protected. As we sat in our jungle homes here in Ecuador, two in Arajuno, one in Shandia and two in Shell Mera, we little dreamed of the answer God was then giving. He answered both of those prayers, but, as is often the case with him whose thoughts are as far above ours as the heavens are high above the earth, his answer far transcended what we had in mind.

 

Silence on a Sand Strip

The second contact was given. Probably at about two-thirty in the afternoon at least ten Aucas arrived at the strip of sand where the men had set up their little camp. Having seen them some time earlier from the airplane, approaching the beach, the pilot had reported to his wife the anticipated contact. We can imagine the five, then, as the forest rang with their praises. They sang hymns together, committed themselves to the Lord once more and eagerly prepared for their longed for visitors. It was not long before savage yells, instead of hymns of praise, echoed through the forest, polished wooden spears slashed through the air and five young men lay dead on the Rio Curaray. Silence closed once more over the stand strip, and those beloved Indians returned nonchalantly to their thatched homes, to recount another killing to their waiting families.

  

The asked-for contact had been given. But what about the protection?

 

Protection from Disobedience

When the Lord Jesus prayed to His Father, as recorded in the seventeenth chapter of John, he asked, too, for protection for those whom the Father had given him. For what purpose? “. . . that they may be one, as we are.” Protection from what? “. . . that thou shouldst keep them from the evil one.” Each one of our five men, years before, had asked for the whole accomplishment of Gods will in him at any cost, to the end that Christ be glorified. The Evil One is determined, however, that Christ shall not be glorified. But, in making them obedient men, God had answered the prayer of his Son, the prayer of the men themselves and the prayer of their wives. The adversary did not succeed in turning them aside from Gods highest purpose. They were protected from that most fearful of all dangers, disobedience. They loved God above all else. “Herein is the love of God, that ye keep his commandments.”

  

The prayer of our hearts today, of the widows who remain, is the same, that Christ may be glorified.

 

Christ’s Glory in Some Aucas

First of all, we continue asking for that which motivated the men from the beginning of the project—that Christ may be glorified in some Aucas. The contact God gave to the five was only one step in the opening of the fast-closed doors to that tribe.

 

Nor was it the first step. Others had thought and prayed for years about them, asking for an entrance, flying over the territory in search of their whereabouts, seeking a way to carry to them the Word of Life.

 

Some of the five men had long borne them before the Lord, asking for their salvation and committing themselves to God for them.

 

Now, thousands of Christians in all parts of the world have learned of them and are praying.

 

For us who have been most closely touched by the death of the five, there could be no greater joy than to know at last that the blood of our husbands has been the seed of the Auca church. Our hearts go out to the very ones whose strong brown arms sent flying the lances that killed our loved ones, for we know that they walk in darkness, knowing not even the name of Him who is more than life to us. And how shall they hear without a preacher?

 

So we ask for those whom God has prepared to be sent to the Aucas and only those. A well-meaning but misguided effort could ruin further opportunities to enter the tribe. But because God has done a tremendous thing in taking five of His choicest servants in this incipient stage, we are bold to expect tremendous answers to prayer in the future. We believe He will send the Light to the Aucas and have given ourselves anew for that, if He should care to choose any one of us to go. We were wholly at one with our husbands in their desire to reach the Aucas and had it been possible, would gladly have accompanied them. The last thing on earth we would have wanted would have been to hinder them in obeying the command of Christ, which was as clear to us as it was to them. He was directingthe only issue at stake was obedience. Jesus made the conditions of discipleship unequivocal—“Forsake . . . Deny . . . Follow.” This is the price we are asked to pay.

 

Many speak of the five men as having made the “supreme sacrifice.” We do not think of it in that way. They would not have called it that. One of them wrote in his diary years ago, “He is no fool who gives what he cannot keep to gain what he cannot lose.” Jesus promised that whoever loses his life preserves it. Can we call this sacrifice? When we make a purchase, we pay the price, of course, but no one thinks of this as a sacrifice. How much less, then, when our lives, already paid for by Christ at tremendous sacrifice on his part, are offered to him? We lose nothing. We gain everything. Hence, we ask that God may choose those whom He wishes to carry the gospel to the Aucas, that they may be prepared by his Spirit, that they may not count their lives dear unto themselves, and that thereby the Aucas may be brought out of their bondage to know Jesus Christ, that he may be glorified in them.

  

Christ’s Glory in Us

We ask, further, that Christ may be glorified in us. “For we know that the sufferings of this present time are not worthy to be compared with the glory which shall be revealed in us.” Our hearts are filled with gratitude for the privilege He gave us in being the wives of men who were chosen to be slain for His sake. None of us is worthy. It is all of His grace, but we know that the Lamb is worthy, a thousand times, the lives of our husbands and of us. He chose to glorify himself in their death—may He now glorify Himself in our lives.

 

During those harrowing days when the rescue party was on its way to the beach, when we did not know what the next radio report would bring, we were conscious that whatever the outcome, God was determined to bring us to himself. He had promised, “When thou passest though the waters, I will be with thee; and through the rivers, they shall not overflow thee; when thou walkest through the fire, thou shalt not be burned, neither shall the flame kindle upon thee, for I am the Lord thy God. . . . Since thou wast precious in my sight, thou hast been honorable, and I have loved thee.” How could we have proved the truth of that promise if there had been no waters? And what rivers could overflow but deep ones? And so, to show us that he meant what he said, to prove to us his love, this was what he sent, this thing which each of us had been sure she could never endure, the loss of the one who was as her own soul.

 

Purpose in the Stab of Pain

And how, then, can Christ be glorified in us through this experience? By our responding with thanksgiving to his dealings with us, by our declaration of our love to him in utter obedience, by our believing that his judgments are right, that he in faithfulness has afflicted us. We ask that we may go on in peace, as he has mercifully permitted us to do thus far. In talking together, we have often said that we did not want to miss one lesson which our loving Father would teach us by this thing. To us, the loss of our husbands is not a tragedy in itself—it is one more of our Father’s right judgments. But it would indeed be a tragedy if, in our failure to respond to him with love, trust, and praise, we should miss what he intended for us through it. We ask that we may know him, and the power of his resurrection and the fellowship of his sufferings, being made conformable unto his death. If, through the loss of our husbands, we may cause Christ to rejoice, to see in us the travail of his soul and be satisfied, we shall never call it sacrifice. Each day, when little things remind us, with a new stab of pain, that our husbands are gone, we turn these things into prayer—“Lord, by this, too, glorify thyself. For this, too, I thank thee and trust thee, knowing that there shall be glory, as thou has promised, through this suffering.”

  

Christ and the Little Ones

Not only do we ask that Christ be glorified in the Aucas and in us, but also in our children. Most of them will have no recollection of their fine fathers. But our Lord gave his word, “All thy children shall be taught of the Lord, and great shall be the peace of thy children.” We ask for his wisdom in training them, for his Spirit in us, that they may be as obedient as their fathers. How wonderful it would be if he should prepare one or more of them to go to the Aucas! We would give them to him for his use, asking that they come to know him as Savior and Lord at an early age. Far be it from us to withhold from the Lord the lives of these little ones, children of the men who did not withhold their own lives. May they sing from true hearts,

 

Faith of our Fathers, Holy Faith,

We would be true to Thee till death.

 

Wherever the Spirit Speaks

Finally, we ask that Christ be glorified in the lives of those to whom the Spirit of God has spoken because of the death of the five men. We have received letters from all over the world, telling of the impact of the event on one and another. But we have heard of few who have actually done anything about it, who have been changed by it. We pray earnestly that those who have heard the voice of the Lord may be obedient. We pray that young men who have been attracted by the “opportunities to use their talents for the Lord in the United States” may abandon themselves, with their talents, to Christ, for his use wherever he wants them. We pray that if any young wife is hesitating to commit her husband and family to God, through fear of loss, she may believe the words of our Lord Jesus, “Truly I say to you, there is no man who hath forsaken . . . who will not receive.” We have proved beyond any doubt that he means what he says—his grace is sufficient, nothing can separate us from the love of Christ We pray that if any, anywhere, are fearing that the cost of discipleship is too great, that they may be given to glimpse that treasure in heaven promised to all who forsake.

 

And all our supplication is “with thanksgiving”— for his great love, for the high privilege of serving him with all of our hearts, for having given us as husbands men who were true soldiers of Jesus Christ, men to whom we could look up in every respect, men who set for us a great example of faith that acts on what it believes. We look forward with joy to that day when God will reveal to us his complete plan, knowing that we shall see clearly that every step of the way was ordained to the end that Christ might be glorified. Our husbands already walk with him, their joy complete. We, too, shall see him face to face, and be satisfied.

 

This hath He done, and shall we not adore Him?

This shall He do and can we still despair?

Come let us quickly fling ourselves before Him,

Cast at His feet the burden of our care,

Flash from our eyes the glow of our thanksgiving,

Glad and regretful, confident and calm,

Then through all life, and what is after living,

Thrill to the tireless music of a psalm,

Yea, through life, death, through sorrow and

through sinning,

He shall suffice me, for He hath sufficed:

Christ is the end, for Christ was the beginning,

Christ the beginning, for the end is Christ.

(From St. Paul, F. W. H. Myans)

took the boys on a little holiday, we stayed in a pet friendly holiday house with loads of beaches within minutes in any direction!

 

it wasn't as weather-friendly as I'd hoped, the rain has been following me, but it was at least warmer :-)

 

Saxon is a strong swimmer, here in the midst of some small swirling waves.

;-) Texto en castellano mas abajo ;-)

 

Excuse me the many mistakes that sure I have committed in the translation, I hope that it is understood regardless!

 

Development of the trilogy blog – pride – persons.

The second part of this trilogy that I dedicate to explain, and to explain myself, because I use the captions (feet) of my photos as if they were my personal blog. This time I will comment because I feel proud, basing on my concept of person that I exposed in the first photo of the trilogy.

 

I am a heterosexual crossdresser girl. It is a fact … but, what does it means? If I you tell the truth, I don´t know it with certainty. It seems as if every crossdresser girl had her own definition … probably because there are many branches inside the crossdress … but this it is another theme. I suppose that to the others happen like to me, I am ashamed instinctively of this facet of my life, it is something cultural, the image of the "transvestite" is at least ridiculous, laughable, even I fall down in it without thinking it. It is like if it was so unnatural, so out of place, so incomprehensibly … why a sane man, that considers himself as man, would try to pass off as a woman?... And this it is the nice image, also there is the vicious image, in which you are a disgusting pervert which who know how many more barbarities will do. It is not to feel very proud … not. But the reason wins to the instinct, I am a person, and as such I have reasoning and feelings, and they say to me that this it is not the reality, it is not my reality. Maybe it is a parafilia, as some people say, or maybe it is the aptitude to overcome the assigned role and experiencing positive sensations that are denied to us without reason. I do not have answers, disease or quality, I don´t know, but I know that I do not have motives for which to be ashamed. I am a person, with multiple characteristics, but none of them defines me lonely and to be a crossdresser girl is not the exception, only it is a small part of me. Globally I am not discontented with me, do not understand me badly, I should improve very much as person, but if tomorrow I would die and I would have to give account for my life and for what I am, I believe that I would go out in peace, and it is a motive of pride. The global pride like person, to feel yourself well with total honesty is what really matters. And the pride for the different characteristics that I have? It is a different pride, with different purposes, bad some as arrogance, and other more positive as the reaffirmation. The pride that I feel for be a crossdress girl is of this type. If the things were as they should be, surely I would not feel proud for it, would be another characteristic more as to have small foot or the dark eyes. But unfortunately the things are not like that, and some groups have had to use pride as method of defense, as reaffirmation against discriminations and injustices.The example most clear is the homosexuality. I am hetero and it allows me to see the situation from out, impartially, and I believe that they do very well in feeling proud, because understandable better or worse, what harm do it?, why to make to feel badly to a person for a quality that goes implicit in that person?... My crossdress does not harm anybody either and though I can give up practising it, it is not anything that could make disappear of me, as I cannot change my liking or my way of being, it is a part of my intimate self. So, if I see it good for the others, why not for me?

I look around and see so many motives for what the people should be ashamed, so many attitudes, so many actions that cause so much harm … And later I look at me, being ashamed instinctively for wearing a dress or for feeling feminine … Not … I refuse to accept it, it is possible that in the moment I could not avoid the instinct, but I refuse to accept consciously a shame that does not correspond to me, because of it I am proud! This one is not an allegation in order that we all go out to the light and feel us superproud (though it would be very well also I understand that it is very difficult and dangerous), it is for feeling us well with ourselves and we do not torture psychologically ourselves without motive. The crossdress makes me feel good, and when I dress and look at the mirror, there goes out for me a smile of satisfaction and pride. I am proud!!

 

Desarrollo de la trilogía blog-orgullo-personas.

Segunda parte de esta trilogía que dedico a explicar, y a explicarme a mi misma de paso, el porque utilizo los pies de fotos como si fueran mi blog personal. Esta vez os comentaré porqué me siento orgullosa, basándome en mi concepto de persona que expuse en la primera foto de la trilogía.

 

Soy una chica crossdresser heterosexual. Es un hecho… pero, ¿que significa eso? Si os digo la verdad, ni yo misma lo se con seguridad. Parece como si cada chica cd tuviera su propia definición… quizás porque hay muchísimas ramas dentro del crossdress… pero ese es otro tema. Supongo que a las demás os pasará como a mí, me avergüenzo instintivamente de esta faceta de mi vida, es algo cultural, la imagen del “travesti” es como mínimo ridícula, risible, yo misma caigo en eso sin pensarlo. Es como si fuera tan antinatural, tan fuera de lugar, tan incomprensible… ¿por que un hombre cuerdo, que se considera hombre, intentaría pasar por mujer?... Y esa es la imagen amable, también está la imagen viciosa, en la que eres un pervertido asqueroso que ha saber que barbaridades mas hará. No es para sentirse muy orgullosa… no. Pero la razón vence al instinto, soy una persona, y como tal tengo razonamiento y sentimientos, y ellos me dicen que esa no es la realidad, no es mi realidad. Quizás se trate de una parafilia como dicen algunos, o quizás sea la capacidad de superar el rol asignado y experimentar sensaciones positivas que nos son negadas sin razón. No tengo respuestas, enfermedad o cualidad, no lo se, lo que si se es que no tengo motivos por los que avergonzarme. Soy una persona, con múltiples características, pero ninguna de ellas me define por si sola y ser una chica cross no es la excepción, solo es una pequeña parte de mi. Globalmente no estoy descontenta de mi misma, no me entendáis mal, debería de mejorar muchísimo como persona, pero si mañana muriera y tuviera que rendir cuentas sobre mi vida y lo que soy, creo que saldría en paz, y eso es motivo de orgullo. El orgullo global como persona, el sentirse bien con una misma de forma totalmente sincera es lo que realmente importa. ¿Y el orgullo por las diferentes características que tengo? Ese es un orgullo distinto, con distintas finalidades, algunas malas como la soberbia, y otras mas positivas como la reafirmación. El orgullo que siento por ser una chica crossdress es de este tipo. Si las cosas fueran como deberían de ser, seguramente no me sentiría orgullosa por ello, sería otra característica mas como el tener los pies pequeños o los ojos negros. Pero desgraciadamente las cosas no son así, y algunos colectivos han tenido que tirar de orgullo como método de defensa, como reafirmación ante discriminaciones e injusticias. El ejemplo mas claro de esto es la homosexualidad. Yo soy hetero y eso me permite ver la situación desde fuera, imparcialmente, y creo que hacen muy bien en sentirse orgullosos, porque se entienda mejor o peor, ¿que mal hacen a nadie?, ¿por que hacer sentir mal a una persona por una cualidad que va implícita en ella?... Mi crossdress tampoco hace mal a nadie y aunque puedo renunciar a practicarlo, no es algo que pueda hacer desaparecer de mí, al igual que no puedo cambiar mis gustos o mi forma de ser, es parte de mi yo íntimo. Así que si lo veo bien para los demás, ¿por que no para mí?

Miro alrededor y veo tantos motivos por lo que la gente debería avergonzarse, tantas actitudes, tantas acciones que hacen tanto mal… Y después me miro a mí, avergonzándome instintivamente por ponerme un vestido o por sentirme femenina… No… no lo acepto, puede que en el momento no pueda evitar el instinto, pero me niego a aceptar conscientemente una vergüenza que no me corresponde, ¡por eso estoy orgullosa! Este no es un alegato para que salgamos todas a la luz y nos sintamos superorgullosas (aunque eso estaría muy bien también entiendo que es muy difícil y peligroso), sino para que nos sintamos bien con nosotras mismas y no nos martiricemos psicológicamente sin motivo. El crossdress me hace sentir bien, y cuando me visto y me miro al espejo, me sale una sonrisa de satisfacción y orgullo. ¡¡Estoy orgullosa!!

  

PS: Si quieres ver un video con este look (If you want see a video with this look):

www.youtube.com/watch?v=9GHQJ03rBJg

 

Si quieres ver una versión reducida en Flickrs (If you want see a small version in Flickrs):

www.flickr.com/photos/61410455@N08/6319457850/in/photostream

Will just say that this particular gator let me know in no uncertain terms that he wasn't happy with my presence in HIS bayou!!! The open mouth wasn't just for enjoying the sun but to get the message across that he wanted me to see each and every one of those pearly whites prominently on display!! He also offered up a bit of a guttural growl to get his point across!! He made no moves except for those two things!! I really shouldn't say anything because everyone will get the impression that he was in attack mode when all he wanted to do was to be left alone to sun himself!!

 

Until some drunk fool committed suicide with an alligator last year there had never been a death due to an alligator attack in Texas!! People that are bitten are trying to catch and handle them!! I have no need to go there and am merely here as an observer!!! I have ventured down this bayou well over 300 time without incident and see absolutely no reason why they should start attacking now!!! I don't think they would be offering guided tours on the bayou if there was a risk of an attack!! It's likely more safe than driving down the freeway!!

 

No need to comment on both images!! I'm not fond of multiple post but when I turn off the comments people ask for them to be turned on!!!

  

DSL_3983uls

The central criminal courts, Old Bailey, London. Seen after heavy Spring rain.

 

The court originated as the sessions house of the Lord Mayor and Sheriffs of the City of London and of Middlesex. The original medieval court was first mentioned in 1585; it was next to the older Newgate gaol, and seems to have grown out of the endowment to improve the gaol and rooms for the Sheriffs, made possible by a gift from Richard Whittington. It was destroyed in the Great Fire of London in 1666 and rebuilt in 1674, with the court open to the weather to prevent the spread of disease.

  

Plaque commemorating Bushel's Case of 1670

In 1734 it was refronted, enclosing the court and reducing the influence of spectators: this led to outbreaks of typhus, notably in 1750 when 60 people died, including the Lord Mayor and two judges. It was rebuilt again in 1774 and a second courtroom was added in 1824. Over 100,000 criminal trials were carried out at the Old Bailey between 1674 and 1834

In 1834, it was renamed as the Central Criminal Court and its jurisdiction extended beyond that of London and Middlesex to the whole of the English jurisdiction for trials of major cases. Her Majesty's Courts and Tribunals Service manages the courts and administers the trials but the building itself is owned by the City of London Corporation, which finances the building, the running of it, the staff and the maintenance out of their own resources.

The court was originally intended as the site where only criminals accused of crimes committed in the City and Middlesex were tried. However, in 1856, there was public revulsion at the accusations against the doctor William Palmer that he was a poisoner and murderer. This led to fears that he could not receive a fair trial in his native Staffordshire. The Central Criminal Court Act 1856 was passed to enable his trial to be held at the Old Bailey.

In the 19th century, the Old Bailey was a small court adjacent to Newgate gaol. Hangings were a public spectacle in the street outside until May 1868. The condemned would be led along Dead Man's Walk between the prison and the court, and many were buried in the walk itself. Large, riotous crowds would gather and pelt the condemned with rotten fruit and vegetables and stones. In 1807, 28 people were crushed to death after a pie-seller's stall overturned. A secret tunnel was subsequently created between the prison and St Sepulchre's church opposite, to allow the chaplain to minister to the condemned man without having to force his way through the crowds.

The present Old Bailey building dates from 1902 but it was officially opened on 27 February 1907. It was designed by E. W. Mountford and built on the site of the infamous Newgate gaol, which was demolished to allow the court buildings to be constructed. Above the main entrance is inscribed the admonition: "Defend the Children of the Poor & Punish the Wrongdoer". King Edward VII opened the courthouse.

  

Lady Justice statue on the top of the court building

On the dome above the court stands a bronze statue of Lady Justice, executed by the British sculptor F. W. Pomeroy. She holds a sword in her right hand and the scales of justice in her left. The statue is popularly supposed to show blind Justice, however, the figure is not blindfolded: the courthouse brochures explain that this is because Lady Justice was originally not blindfolded, and because her “maidenly form” is supposed to guarantee her impartiality which renders the blindfold redundant.

During the Blitz of World War II, the Old Bailey was bombed and severely damaged, but subsequent reconstruction work restored most of it in the early 1950s. In 1952, the restored interior of the Grand Hall of the Central Criminal Court was once again open. The interior of the Great Hall (underneath the dome) is decorated with paintings commemorating the Blitz, as well as quasi-historical scenes of St Paul's Cathedral with nobles outside. Running around the entire hall are a series of axioms, some of biblical reference. They read:

"The law of the wise is a fountain of life"

"The welfare of the people is supreme"

"Right lives by law and law subsists by power"

"Poise the cause in justice's equal scales"

"Moses gave unto the people the laws of God"

"London shall have all its ancient rights"

The Great Hall (and the floor beneath it) is also decorated with many busts and statues, chiefly of British monarchs, but also of legal figures, and those who achieved renown by campaigning for improvement in prison conditions in the eighteenth and nineteenth centuries. This part of the building also houses the shorthand-writers' offices.

The lower level also hosts a minor exhibition on the history of the Old Bailey and Newgate featuring historical prison artefacts.

In 1973, the Belfast Brigade of the Provisional IRA exploded a car bomb in the street outside the courts, killing one and injuring 200 people. A shard of glass is preserved as a reminder, embedded in the wall at the top of the main stairs.

  

South Block extension

Between 1968 and 1972, a new South Block, designed by the architects Donald McMorran and George Whitby, was built to accommodate more modern courts. There are presently 18 courts in use. Court 19 is now used variously as a press overflow facility, as a registration room for first-day jurors or as a holding area for serving jurors.

The original ceremonial gates to the 1907 part of the building are only used by the Lord Mayor and visiting royalty. The general entrance to the building is a few yards down the road in the South Block and is often featured as a backdrop in television news reports. There is also a separate rear entrance, not open to the public, which permits more discreet access. In Warwick Square, on the western side of the complex, is the "Lord Mayor's Entrance".

A remnant of the city wall is preserved in the basement beneath the cells.

Bob Seger on the Oldies station: Her Strut

www.youtube.com/watch?v=QGZ91RxI_N0

She's totally committed - To major independence

Amber: (spots Paradise and Brad getting out of the Dylan family van and hurries over, once Linda Dylan drives away) Why couldn't you ride with me and Champagne, today?

Brad: (grinning) Seeya, superstar. (to Paradise, before jogging off to join Kyle's circle of friends)

Bob Seger on the Oldies station: She gives them quite a battle - All that they can handle

Paradise: (sighs) I had to tell my mom about the vid, and she watched it, and she grounded me from everything except school, for a week. (she says random hellos to random kids who pass her, most of whom she doesn't even know)

Amber: But Champagne's your ride to school, so how does grounding you from that figure into it?

Paradise: She thinks you guys are a bad influence on me. I can't see your sister, or the Samuels' either, even Stacy. (she says random hellos to random kids who pass her, most of whom she doesn't even know, and is starting to look quizzical)

Amber: Stacy? Seriously? Since when does she have an influence on you? I mean, other than trying to avoid her.

Paradise: She was with you guys during the suck-fest and my mom thinks that started the whole thing. Why is everybody talking to me?

Bob Seger on the Oldies station: Sometimes they'll want to leave her

Amber: Seriously? You are totally THE webceleb of the day!

Paradise: That's not going to make my mom shorten my sentence. Oh, and I'm grounded from working at Booty Burger. In fact, I had to call and quit, this morning.

Amber: No way! That sucks so much!

Paradise: I know. Now I have to look for another job, and most of the summer jobs are filled.

Amber: That is SO unfair. Oh, come on, this way.

Paradise: Why are we going to the gym?

Amber: Champagne wants us to meet her there.

Bob Seger on the Oldies station: The lady will be all they ever dreamed

Paradise: Why? (going along)

Amber: No idea. Who cares?

Paradise: Good point. Why care about anything?

Amber: (opening the gym door for her friend) Wow, way to sound defeatist. This, coming from the girl who finally sat on the guy she wants to marry.

Paradise: Considering that embarrassing myself by crushing Tyler was the high point of that day, I choose to wallow in misery. (as they walk to the locker room)

Champagne: (striking a pose in the locker room, a shopping bag hooked on one hand, the other hand on her tilted hip) Wallowing isn't allowed when you've made a massive, positive leap forward in popularity. You look presentable in that, but I've brought you something more appropriate.

Bob Seger on the Oldies station: they'll kill to make the cut

Paradise: A shroud?

Champagne: It's silk, it's Versace, and you will put it on now. (extends the bag to her)

Paradise: (takes the bag and looks inside) It's...gorgeous! It still has the tag on it!

Champagne: That's because it's new, idiot. (turns her back on Paradise) Throw it on and let's show this school what a star looks like.

Bob Seger on the Oldies station: They love to watch her strut

Paradise: (when the last bell for class rings, she and Amber follow Champagne through the doors at the far end of the main hallway) But everyone's staring. (whispers to Champagne, seeing dozens of students filing along the halls, turn toward them)

Champagne: Don't say, 'but.' Strut. (and all three girls toss back their hair and catwalk down the hallway to applause and whistles directed at Paradise)

Bob Seger on the Oldies station: Yeah love to watch her strut - Watch her strut

 

(Thank you to Eclaire D for playing Amber, Kes R for playing Champagne, and to Kes M for playing Paradise.)

Our burning bush got too large for it's space and we had to get rid of it. Last summer we bought a tiny new one and planted it in a space where it can grow to its heart content. During the winter we discovered the rabbits were enjoying this tender new plant a little too much! Fortunately, it looks like it's going to be resilient and continue to grow despite the major crime committed by the neighborhood bunnies. :)

I fully committed for this one... walking through grass, thorns, etc. to find a hole to sit in to get low enough to make the shot work. All part of the fun.

Committed to Lomography Babylon using a Leica M3 and 50 mm Summicron dual-range lens. Developed using Ars-Imago R9 (rodinal) 1:99 in a semi-stand process for 80 minutes and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.

Committed to Ilford HP5+ using a Leica M3 and 50 mm Summilux ASPH lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.

Committed to expired Kodak Ektachrome 100 using a Hasselblad 503CX and 100 mm f3.5 lens. Developed using an E6 kit from Ars-Imago and scanned using an Epson V850 using Silverfast.

Name: Reginald Stains alias Brown

Arrested for: not given

Arrested at: North Shields

Arrested on: 4 December 1915

Tyne and Wear Archives ref: DX1388-1-262-Reginald Stains AKA Brown

 

The Shields Daily News for 15 December 1915 reports:

 

“NORTH SHIELDS FALSE PRETENCES CASE. ACCUSED COMMITTED FOR TRIAL.

 

Reginald Ashley Staines (30), chief steward, of 23 Milton Terrace, was brought up on remand at North Shields today, charged with having obtained by false pretences on the 22nd Nov. from Joseph Randell, the sum of £15 and on the 23rd ult. a further sum of £7 from Joseph Randell and Ed. Perris and on the same date in a like manner, the sum of £5 from William Manson Bews, with intent to cheat and defraud. Mr Frankham of Newcastle defended.

 

Joseph Randell of 40 Drummond Terrace stated that in the early part of November last defendant came to his shop and made reference to some previous groceries and wanted to open an account. On the 22nd October he ordered goods to be sent on board his ship. On the 22nd Nov. he wanted to cash a cheque for £15. He said he had got married and wanted to go to Liverpool and witness gave him the £15. Next day he again came to the shop and asked witness to cash another cheque for £7 and he said he would send his account from Liverpool in settlement for some goods. Witness cashed the cheque. He presented the cheques on the 22nd and 23rd Nov. and they were returned on the 24th and 25th.

 

Mr Frankham: Defendant has had other dealings with you for groceries and provision? – Yes.

Mr Frankham: Have you cashed other cheques for him? One, for £10, which was honoured.

Mr Frankham: If he had asked for the loan of a certain sum, would you have give him it? – No.

Mr Frankham: He never attempted to conceal where he was going to? – No.

Mr Frankham: You made no effort to get in touch with him? – Yes. Mr Perris went to his mother’s and could not get his address.

 

William Manson Bews, a tailor residing in Linskill Terrace, said that on the 23rd October the defendant came to his shop and ordered a frock suit, a jack suit, a double-breasted suit and a cap. He was dressed in a naval uniform and said the things had to be delivered to the Northumberland Arms. On the 22nd November he again came to the shop and asked for his account. He told witness he was a little short of cash. Witness gave him £5 and the defendant made out a cheque for £22 12s, in payment of the clothes and the money. The cheque was presented at Farrow’s Bank, Newcastle on the 24th and returned on the 26th. Witness still had all the clothes with the exception of the uniform.

 

George Graham Campbell of Farrow’s Bank said that no the 24th November the cheque produced, for £15, was presented and returned, marked ‘N.S.’. On that date the defendant only had £3 19s 6d in the bank. On the 25th November cheques for £7 and £22 12s were presented but the defendant only had a balance of £1 19s 6d then.

 

Detective-Sergeant Radcliffe stated that from certain information received he went to Brighton, on the 3rd inst. and took the defendant into custody from the Brighton police. He was brought to North Shields and when questioned replied “The only thing I can say is, the cheque must not have been met”. When charged later he made no reply. The defendant pleaded not guilty.

 

Mr Frankham said the defendant had not the slightest intent to rob anybody of money. He had a banking account and being newly married and unwell, had gone away and given these cheques. He had about £16 on board the ship and the officers were owing him about £30. The defendant gave a cheque for £1 on the 13th November as a donation to the YMCA. He had not tried to cover up any tracks and the officers on board HMS Satellite knew where he was.

 

The defendant, in giving evidence on his own behalf, said he was chief steward on HM Yacht Medusa II. The ship came into port on the 19th November and he had leave granted because he had been ill and he was going to be married. After the marriage he went to Liverpool and was there two days and he then went to London and Brighton. He sent his medical certificate to HMS Satellite. When he got the money from Mr Randell and Mr Bews he understood he had sufficient money in the bank to meet the cheques. Money was owing to him on board the ship but he could not say how much. He had no intention of defrauding the people.

 

The defendant was committed for trial at the Quarter Sessions”.

 

On 6 January 1916 at Northumberland Quarter Sessions Reginald Staines was acquitted on a charge of obtaining money by false pretences from tradesmen at North Shields.

 

These images are taken from an album of photographs of prisoners brought before the North Shields Police Court between 1902 and 1916 (TWAM ref. DX1388/1). This set is our selection of the best mugshots taken during the First World War. They have been chosen because of the sharpness and general quality of the images. The album doesn’t record the details of each prisoner’s crimes, just their names and dates of arrest.

 

In order to discover the stories behind the mugshots, staff from Tyne & Wear Archives & Museums visited North Shields Local Studies Library where they carefully searched through microfilm copies of the ‘Shields Daily News’ looking for newspaper reports of the court cases. The newspaper reports have been transcribed and added below each mugshot.

 

Combining these two separate records gives us a fascinating insight into life on the Home Front during the First World War. These images document the lives of people of different ages and backgrounds, both civilians and soldiers. Our purpose here is not to judge them but simply to reflect the realities of their time.

 

(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.

Committed to Ferrania P30 using a Leica M3 and 50 mm Summicron dual-range lens. Developed using Ars-Imago R9 (rodinal) 1:99 in a semi-stand process for 80 minutes and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.

;-) Texto en castellano mas abajo ;-)

 

Excuse me the many mistakes that sure I have committed in the translation, I hope that it is understood regardless!

 

Conclusion of the trilogy blog – pride – persons.

Third and last part of this trilogy that I dedicate to explain, and to explain myself, because I use the captions (feet) of my photos as if they were my personal blog.

 

Always I have been a crossdresser girl, an innate tendency that thankfully did not produce many concern to me, it was there, but separated from my habitual life. It was dominating my fantasies and dreams, but was not leaving trace in the "real" life. It was appearing in the moment in which one was giving an opportunity and was vanishing without leaving trace, as if it had never happened at all. I was never planning anything, never thinking about it except in my dreams, only… was arising occasionally, sometimes with many frequency, sometimes with long periods of inactivity. Until that came one day in which I wanted more, I started having concern, started having desires and this part of me that was living in my dreams until that moment, started emerging in my reality. It was then when I started investigating the subject, in the easiest and more safe way … Internet. I was lucky, found at the first attempt the suitable sites, far from the topics and the habitual image of the "transvestite" with which I was not identifying. I found heterosexuals crossdressers who understood the subject of similar form to how I was feeling. It was good for me, I could see from out, in other persons a sort of reflection of what I was, or I wanted to be. In this reflection I saw persons and saw pride, not because they wanted to transmit it deliberately, surely they were not thinking it, but it was what I saw, and I liked it. Different and complete persons to who the crossdress factor, was not limiting them and was not determining for entire. Crossdress was alone one more characteristic and they were not left to trap for a hackneyed role that really was not reflecting their true personality, except when wanted to do it. A characteristic that they were taking of natural form, with precaution against the dangers, but with the implicit pride of the one that does not make nothing bad. Yes, I was lucky, if instead of find initially the correct persons I had found the typical image of the transvestism, surely I had stopped searching soon, convinced to be totally atypical. And surely not had changed anything, probably my path would be the same, but I had felt isolated and alone in this. Because of it I would like to contribute to put my two cents in to give the image that I received in that moment. Flickr is the temple of the image, is not the appropriate site to write, but it is, probably, one of the first sites that visits a beginner crossdress girl, or someone interested in it… almost certainly, end up passing through Youtube or Flickr, and if fortuitously find my gallery, I hope that they see a gallery that, though it belongs to a silly and ugly girl with a low level of crossdress, it transmit the values that I liked to find so much. This one is not the reason for which I upload photos and videoes, but it is the principal reason for which I try to transmit my personality in what I do, because of it, even though it is not the suitable place and be so ephemeral as to construct sandcastles, I write whatever I think in every moment, things related to the crossdress and things that not, silly things and deep issues, my tastes and interests, my culture … because it is the gallery of a person … that among other many things, is a crossdresser girl and is proud of it.

 

Conclusión de la trilogía blog-orgullo-personas.

Tercera y última parte de esta trilogía que dedico a explicar, y a explicarme a mi misma de paso, el porque utilizo los pies de fotos como si fueran mi blog personal.

 

Siempre he sido una chica crossdresser, una tendencia innata que por suerte no me produjo muchas inquietudes, estaba ahí, pero separada de mi vida habitual. Dominaba mis fantasías y sueños, pero no dejaba huella en la vida “real”. Se manifestaba en el momento en que se daba una oportunidad y se desvanecía sin dejar huella, como si nunca hubiera pasado nada. Nunca planeaba nada, nunca pensaba en ello excepto en mis sueños, solo… surgía de vez en cuando, a veces con mucha frecuencia, a veces con largos periodos de inactividad. Hasta que llegó un día en que quise más, empecé a tener inquietudes, empecé a tener deseos y esa parte de mí que vivía en mis sueños hasta ese momento, empezó a emerger en mi realidad. Fue entonces cuando empecé a investigar sobre el tema, de la manera más fácil y segura… Internet. Tuve mucha suerte, encontré a la primera los sitios adecuados, lejos de los tópicos y la imagen habitual del “travesti” con la que no me identificaba. Encontré a crossdressers heterosexuales que entendían el tema de forma parecida a la que yo sentía. Eso fue bueno para mi, pude ver desde fuera, en otras personas una especie de reflejo de lo que yo era, o quería ser. En ese reflejo veía personas y veía orgullo, no porque ellas lo quisieran transmitir expresamente así, seguramente ni lo pensaban, pero era lo que yo veía, y me gustaba. Personas distintas y completas a la que el factor crossdress, ni limitaba ni condicionaba por entero. El crossdress era solo una característica más y no se dejaban aprisionar por un rol tópico que realmente no reflejaba su verdadera personalidad, excepto en los momentos que sí que querían hacerlo. Una característica que llevaban de forma natural, con precaución ante los peligros, pero con el orgullo implícito del que no hace nada malo. Sí, tuve suerte, si en vez de dar al principio con las personas correctas, hubiera encontrado la imagen típica del travestismo, seguramente hubiera dejado pronto de buscar, convencida de ser una bicho raro totalmente atípica. Y no es que hubiera cambiado nada, probablemente mi trayectoria sería la misma, pero me hubiera sentido aislada y sola en esto. Por eso me gustaría aportar mi granito de arena en dar la imagen que yo recibí en su momento. Flickr es el templo de la imagen, no es el sitio adecuado para escribir, pero sí es, probablemente, unos de los primeros sitio que visite una chica crossdress principiante, o alguien interesado por el tema… terminas pasando por Youtube o por Flickr casi seguro, y si por casualidad dan con mi galería, espero que vean una galería que, aunque sea de una chica tonta y fea con un nivel bastante bajo de crossdress, transmita los valores que a mi tanto me gustó encontrar. Esta no es la razón por la que subo fotos y videos, pero sí es la razón principal por la que intento transmitir mi personalidad en lo que hago, por eso escribo, aunque no sea el lugar adecuado y sea tan efímero como construir castillos de arena, lo que se me ocurre en cada momento, cosas relacionadas con el crossdress y cosas que no, disparates y temas profundos, mis gustos y aficiones, mi cultura… porque es la galería de una persona… que entre otras muchas cosas, es una chica crossdresser y está orgullosa de ello.

    

PS. Si quieres ver videos con este look (If you want see a videos with this look) :

 

In Youtube (recomendado, se ve mejor / recommended, it looks better):

(black version) www.youtube.com/watch?v=o7ZCsLKcOQs

(blue version) www.youtube.com/watch?v=0lzDtTeAte4

  

In Flickr:

(black version) www.flickr.com/photos/61410455@N08/6884139200/in/photostream

(blue version) www.flickr.com/photos/61410455@N08/7177731536/in/photostream

 

PPS. También disponéis de una versión alternativa de esta foto con un estilo cómics en la siguiente dirección: / Also is available an alternate version of this photo, in a comics style, at the following link:

www.flickr.com/photos/61410455@N08/7308970340/in/photostream

 

Estoy muy orgullosa de esa versión, así como de la original que estáis viendo aquí. / I am very proud of that version and also the original photo you're seeing here ^_^

 

Morgan - Iplehouse Arvid

Today I committed to doing a film image. With the rain starting just as I started to shoot I figured the universe was encouraging me to shoot a portrait. The light in Luc’s room is the best in the house. It faces south, has floor to ceiling windows with the bottom half diffused with translucent coroplast. Aubrey was deep into Roblox but Luc was nice enough to give me a bit of time. So up came a piece of black foam core and away we went.

 

I actually missed focus on this frame but I don't mind as this is by far the strongest image of the set. I fudged the error with some liberal sharpening on the eyes in Capture One.

 

Shot with my Mamiya C220 and chrome 80mm f/2.8 lens wide open at 1/60 of a second, developed by hand in the upstairs bathroom and digitized with my Fujifilm X-T3 and old manual focus Nikkor 55 micro... all in the same day.

 

Expired Delta 100 Pro (2014) developed in Ilford DD-X in a Patterson tank for 11:30 minutes. Conversion from negative, spotting and some dodging done in Capture One Pro.

 

I just love the look of medium format film.

 

178/365

Committed to Ilford HP5+ using a Leica M6 and 50 mm Summicron v3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust removal and further contrast adjustment in Photoshop.

I'm not sure a bird can be anymore stretched out and committed to catching that fish than this massive eagle is. With the talons extended out front and the wings fully in the back position ready to apply as much force as possible to striking and clamping down on that fish, this eagle means business.

www.troymarcyphotography.com

 

These birds are focused downward and have committed to the drop down to the pond in a steep descent... more a free fall drop (i.e., parachute) than a glide-in. This shot against a cloudy western sunset sky results in a silhouette view of the crane against the sky... but if you're familiar with these birds such shots offer no difficulty regarding their ID. The sky colors deepen so rapidly, and the bird groups continually arrive... you need to be constantly shooting to capture the ever changing spectacle! All of the subsequent shots this evening will be of silhouettes of the Cranes against the sky background.

 

IMG_8110; Committed To Land

Model: Desli (@desliness)

 

Committed to Kodak Portra 400 using a Hasselblad 503CX and 100 mm Zeiss lens. Developed using a C41 kit from Ars-Imago and digitised with a digital camera. Positive conversion and contrast done with Negsets, dust removal and sharpening in Photoshop.

Lincoln Memorial, Daniel Chester French

Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His poem "The Revolution Will Not Be Televised", delivered over a jazz-soul beat, is considered a major influence on hip hop music.

 

His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. His recording work received much critical acclaim, especially for The Revolution Will Not Be Televised. AllMusic's John Bush called him "one of the most important progenitors of rap music", stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."

 

Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew. In 2021, Scott-Heron was inducted into the Rock and Roll Hall of Fame, as a recipient of the Early Influence Award.

 

Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the Oratorio Society of New York. His father, Gil Heron, nicknamed "The Black Arrow," was a Jamaican footballer who in the 1950s became the first black man to play for Celtic Football Club in Glasgow, Scotland. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School, after impressing the head of the English department with some of his writings and earning a full scholarship. As one of five Black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him: "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.

 

After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson, with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement (BAM). The Last Poets, a group associated with the Black Arts Movement, performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?"[18] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.

 

Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at University of the District of Columbia (then known as Federal City College) in Washington, D.C. while maintaining his music career.

 

Scott-Heron began his recording career with the LP Small Talk at 125th and Lenox in 1970. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.

 

Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."

 

In 1974, he recorded another collaboration with Brian Jackson, Winter in America, with Bob Adams on drums and Danny Bowens on bass. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. In 1975, he released the single "Johannesburg", a rallying cry for the end of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.

 

A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.

 

In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.

 

Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs: Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.

 

Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line: "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. "Message to the Messengers" was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:

 

They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.

 

— Gil Scott-Heron

 

In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.

 

On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.

 

After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.

 

Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.

 

In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.

 

In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.

 

Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.

 

The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".

 

Scott-Heron described himself as a mere participant, in a 2010 interview with The New Yorker:

 

This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.

 

The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.

 

In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.

 

Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a trip to Europe. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.

 

He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and is a member of Lost Boyz.

 

Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.

 

In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.

 

Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.

 

Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.

 

Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:

 

The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.

 

At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley was not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron "introduced me [Rackley] from the stage as his son".

 

In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available.[69] Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.

 

According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.

 

Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".

 

Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:

 

Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".

 

Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:

 

Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.

 

Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:

 

In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".

 

Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".

 

In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.

 

Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]".[81] As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.

 

Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".

 

In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.

 

He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.

The Sister prayed to God to forgive her for the sins she had committed, though in her heart she knew she enjoyed them and would probably do them again.

We here at Bullseye® are committed to bringing you top quality products to feed your sadistic inner addiction for mindlessly slaughtering people you dislike,

 

The ''Linebacker'' Anti personal rifle is our latest weapon using our patented dual bolt cycling technology, This little beauty fires .308 Sabot rounds at face melting velocity, enough to leave anything with 2 hilariously large holes, The Linebacker is also equipped with our new auto-lock on target tracking scope, so you never miss your target!

 

We here at Bullseye® do not condone the murder of innocent animals or people, we do however find it fucking hilarious!

 

Oh, and did we mention? The Linebacker can be fulfilling your need for mindless violence in 3 easy payments of 7000 credits! And as always, purchasing a Bullseye® gives you the Bullseye® Guarantee!*

 

*If your Bullseye® weapon blows off your arms and leaves you disabled, please send us an email telling us about the faulty weapon and we will repair your weapon for no extra costs*

 

**Bullseye® Home Repair kits now available for only 33 easy payments of 500 Credits!***

 

***Shipping not Included!

  

''Bullseye® Pleasing the sadistic inner child of you since 2012!''

 

Credit to Cami for the shading technique.

Committed to Ilford HP5+ pushed to 800 using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.

Three orthodox Jews protesting against Israeli atrocities committed against Palestinians. They had joined other demonstrators, who were angry at the failure of British authorities to arrest Ehud Barack, the butcher of Gaza, who was scheduled to give a talk at the Jewish Community Centre on Finchley Road to promote his memoirs.

 

[ Just in case anyone is interested I have attached a link to my research on British crimes against both Arabs and Jews in Palestine during the mandate period - 1919-1948. Use the following url and scroll down the list of countries alphabetically for Palestine - roguenation.org/choose-by-country/ ]

 

The police, instead of arresting Ehud Barak, had been instructed to protect him !

 

Barak was Israel's Minister of Defence during Operation Cast Lead (also known as the Gaza massacre) in 2008-9, during which, according to United Nations figures, 1417 Palestinian were killed, the vast majority of them (926) civilians including 344 children, 250 police officers, civil defence works and ambulance drivers.

 

A passing out parade of police officers was deliberately targeted in the opening surprise aerial assault on 27 December. Civilian infrastructure was also targeted. Over half of Gaza's hospitals were seriously damaged or destroyed as well as tens of thousands of homes, half a million people were deprived of running water and a million people without any electric supply.

 

It is interesting to note that recently Ehud Barak has himself accused the current Israeli government of having been hijacked by extremists. Last year he wrote a piece for the New York Times observing that "our country now finds its very future, identity and security severely threatened by the whims and illusions of the ultranationalist government of Prime Minister Benjamin Netanyahu.”

 

The demonstrators were however unwilling to trust a suspected war criminal now portraying himself as a moderate and they were also angry that two weeks earlier,

on Monday 14th May 2018, 61 unarmed Palestinians, including several children and a baby, were killed by the Israeli army, most of them shot dead by precision snipers during a demonstration close to Gaza's border fence, although some may also have been killed by the excessive us of CS gas.

 

Apart from the shocking number of fatalities, over 2,000 Palestinians were injured (including at least eight journalists) on the same day; over one thousand of them by live ammunition. On the same day, the United States had moved its embassy from Tel Aviv to Jerusalem, a move which is a clear violation of international law. US president Donald Trump called it a "great day for Israel."

 

On the following day several hundred protesters had gathered in central London opposite Downing Street to protest against both the ongoing Israeli crimes against the population of Gaza and the West Bank and also British diplomatic and military support for Israel. Since 2014, the UK government has exported 445 million dollars worth of arms to the country, including components for fighter aircraft, helicopters and sniper rifles.

 

People in the demonstration on 15 May had expressed anger at the Israseli army's use of lethal force against unarmed protesters over the previous few weeks, which had resulted in the death of 111 demonstrators and thousands of civilian casualties. Needless to say not a single Israeli soldier had been injured and one of the Palestinians killed, Yasser Murtada, was a well respected journalist who had previously worked for the BBC, and was clearly wearing a PRESS jacket at the moment he was shot in the chest by a carefully aimed sniper's bullet.

 

He, like others, was also killed some distance from the illegally erected border/prison fence which isolates the population of Gaza from both their family relatives and any chance of gainful economic employment in wealthier areas. That's why the popular anology which compares Israel to South African apartheid is highly misleading because in South Africa, at least the white population needed the blacks as workers, even if they committed appalling atrocities, but in Israel the Palestinian population are neither needed nor wanted by Israeli employees.

 

Palestinians are treated worse than dogs, to whom humans tend to show some sympathy, but rather as unworthy of any consideration, so much so that past Israeli military operations against Gaza in which the planners know thousands of civilians are likely to die are given the military term "mowing the grass", because the Palestinian civilian population is considered of no more value in importance, than the ants one might tread underfoot when one ventures into the garden.

Committed to Ilford HP5+ using a Leica M6 and 35 mm Summicron v3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.

Three orthodox Jews protesting against Israel's continued construction of illegal settlements and its atrocities committed against Palestinians. They had joined other demonstrators, who were angry at the failure of British authorities to arrest Ehud Barak, the butcher of Gaza, who was scheduled to give a talk at the Jewish Community Centre on Finchley Road to promote his memoirs.

 

[ Just in case anyone is interested I have attached a link to my research on British crimes against both Arabs and Jews in Palestine during the mandate period - 1919-1948. Use the following url and scroll down the list of countries alphabetically for Palestine - roguenation.org/choose-by-country/ ]

 

The police, instead of arresting Ehud Barak, had been instructed to protect him !

 

Barrack was Israel's Minister of Defence during Operation Cast Lead (also known as the Gaza massacre) in 2008-9, during which, according to United Nations figures, 1417 Palestinian were killed, the vast majority of them (926) civilians including 344 children, 250 police officers, civil defence works and ambulance drivers.

 

A passing out parade of police officers was deliberately targeted in the opening surprise aerial assault on 27 December. Civilian infrastructure was also targeted. Over half of Gaza's hospitals were seriously damaged or destroyed as well as tens of thousands of homes, half a million people were deprived of running water and a million people without any electric supply.

 

It is interesting to note that recently Ehud Barak has himself accused the current Israeli government of having been hijacked by extremists. Last year he wrote a piece for the New York Times observing that "our country now finds its very future, identity and security severely threatened by the whims and illusions of the ultranationalist government of Prime Minister Benjamin Netanyahu.”

 

The demonstrators were however unwilling to trust a suspected war criminal now portraying himself as a moderate and they were also angry that two weeks earlier, on Monday 14th May 2018, 61 unarmed Palestinians, including several children and a baby, were killed by the Israeli army, most of them shot dead by precision snipers during a demonstration close to Gaza's border fence, although some may also have been killed by the excessive us of CS gas.

 

Apart from the shocking number of fatalities, over 2,000 Palestinians were injured (including at least eight journalists), over one thousand of them by live ammunition. On the same day, the United States had moved its embassy from Tel Aviv to Jerusalem, a move which is a clear violation of international law. US president Donald Trump called it a "great day for Israel."

 

On the following day several hundred protesters had gathered in central London opposite Downing Street to protest against both the ongoing Israeli crimes against the population of Gaza and the West Bank and also British diplomatic and military support for Israel. Since 2014, the UK government has exported 445 million dollars worth of arms to the country, including components for fighter aircraft, helicopters and sniper rifles.

 

People in the demonstration on 15 May had expressed anger at the Israseli army's use of lethal force against unarmed protesters over the previous few weeks, which had resulted in the death of 111 demonstrators and thousands of civilian casualties. Needless to say not a single Israeli soldier had been injured and one of the Palestinians killed, Yasser Murtada, was a well respected journalist who had previously worked for the BBC, and was clearly wearing a PRESS jacket at the moment he was shot in the chest by a carefully aimed sniper's bullet.

 

He, like others, was also killed some distance from the illegally erected border/prison fence which isolates the population of Gaza from both their family relatives and any chance of gainful economic employment in wealthier areas. That's why the popular anology which compares Israel to South African apartheid is highly misleading because in South Africa, at least the white population needed the blacks as workers, even if they committed appalling atrocities, but in Israel the Palestinian population are neither needed nor wanted by Israeli employees.

 

Palestinians are treated worse than dogs, to whom humans tend to show some sympathy, but rather as unworthy of any consideration, so much so that past Israeli military operations against Gaza in which the planners know thousands of civilians are likely to die are given the military term "mowing the grass", because the Palestinian civilian population is considered of no more value in importance, than the ants one might tread underfoot when one ventures into the garden.

committed.

common tern hits the gas

Glow Designs is Looking for Committed Bloggers

If You Think You are and want to blog for us please apply here

glowdesigns.blogspot.com/

In a nation criminalising dissent, these two protesters committed their "crime" in broad daylight: they held a sign. Their simple placards directly challenge a government that prosecutes peaceful protesters under terror laws while remaining complicit in an assault that has systematically killed over 63,000 Palestinians. They acted in defiance of a state that ignores the deliberate weaponisation of starvation which created a confirmed famine in Gaza.

 

Their stance isn't radical; it reflects a powerful academic and human rights consensus. The International Association of Genocide Scholars, Amnesty International, and even Israeli human rights groups have all concluded that Israel is committing genocide. The deep, weary but determined resolve on their faces is a silent testament to a profound moral clarity, a refusal to be silenced in the face of the gravest of all war crimes - genocide.

 

+++++++++++++++++++++++++++++

 

Protest and the Price of Dissent: Palestine Action and the Criminalisation of Conscience

 

Parliament Square on Saturday, 6 September 2025 was a scene of quiet, almost solemn defiance. The air, usually thick with the noise of London traffic and crowds of tourists, was instead filled with a palpable tension, a shared gravity that emanated from the quiet determination of hundreds of protesters, many of them over 60 years old, some sitting on steps or stools and others lying on the grass.

 

They held not professionally printed banners, but handwritten cardboard signs, their messages stark against the historic grandeur of their surroundings. This was not a march of chants and slogans, but a silent vigil of civil disobedience, a deliberate and calculated act of defiance against the state.

 

On that day, my task was to photograph the protest against the proscription of the direct-action group Palestine Action. While not always agreeing entirely with the group’s methods, I could not help but be struck by the profound dedication etched on the faces of the individual protesters.

 

As they sat in silence, contemplating both the horrific gravity of the situation in Gaza and the enormity of the personal risk they were taking — courting arrest under terror laws for holding a simple placard — their expressions took on a quality not dissimilar to what war photographers once called the “thousand-yard stare.” It was a look of weary but deep and determined resolve, a silent testament to their readiness to face life-changing prosecution in the name of a principle.

 

This scene poses a profound and unsettling question for modern Britain. How did the United Kingdom, a nation that prides itself on its democratic traditions and the right to protest, arrive at a point where hundreds of its citizens — clergy, doctors, veterans, and the elderly — could be arrested under counter-terrorism legislation for an act of silent, peaceful protest?

 

The events of that September afternoon were the culmination of a complex and contentious series of developments, but their significance extends far beyond a single organisation or demonstration. The proscription of Palestine Action has become a critical juncture in the nation’s relationship with dissent, a test of the elasticity of free expression, and a stark examination of its obligations under international law in the face of Israel deliberately engineering a catastrophic humanitarian crisis in Gaza.

 

To understand what is at stake, one must unravel the threads that led to that moment: the identity of the movement, the state’s legal machinery of proscription, the confrontation in Parliament Square, and the political context that compelled so many to risk their liberty.

 

Direct Action and the State’s Response

 

Palestine Action, established in 2020, has never hidden its approach. Unlike traditional lobbying groups, it rejected appeals to political elites in favour of disrupting the physical infrastructure of complicity: factories producing parts for Israeli weapons systems, offices of arms manufacturers, and — eventually — military installations themselves.

 

Its tactics, while non-violent, were disruptive and confrontational. Red paint sprayed across buildings to symbolise blood, occupations that halted production, chains and locks on factory gates. For supporters, these were acts of conscience against a system enabling atrocities in Gaza. For the state, they were criminal disruptions of commerce.

 

That clash escalated steadily. In Oldham, a persistent campaign against Elbit Systems, a key manufacturer in the Israeli arms supply chain, culminated in the company abandoning its Ferranti site. Later actions targeted suppliers for F-35 fighter jets and other arms manufacturers.

 

These were no random acts of mindless vandalism but part of a deliberate strategy: to impose costs high enough that complicity in Israel’s war effort would become unsustainable.

The decisive rupture came in June 2025, when activists infiltrated RAF Brize Norton, Britain’s largest airbase, and sprayed red paint into the engines of refuelling aircraft linked to operations over Gaza.

 

For the activists, it was a desperate attempt to interrupt a supply chain of surveillance and logistical support to a state commiting genocide. For the government, it crossed a line: military assets had been attacked. Within days, the Home Secretary announced Palestine Action would be proscribed as a terrorist organisation.

 

Proscription and the Expansion of “Terrorism”

 

Here lies the heart of the controversy. The Terrorism Act 2000 defines terrorism with unusual breadth, encompassing not only threats to life but also “serious damage to property” carried out for political or ideological aims. In this capacious definition, breaking a factory window or disabling a machine can be legally assimilated to mass murder.

 

By invoking this law, the government placed Palestine Action on the same legal footing as al-Qaeda or ISIS. Supporting it — even symbolically — became a serious offence.

Since July 2025, merely expressing support for the organization can carry a maximum prison sentence of 14 years.

 

This is based on Section 12 of the Terrorism Act 2000. The specific offense is "recklessly expressing support for a proscribed organisation". However, according to Section 13 of the Act, a lower-level offence for actions like displaying hand held placards in support of a proscribed group carries a maximum sentence of six months imprisonment or a fine of five thousand pounds or both.

 

Civil liberties groups and human rights bodies have denounced the proscription move as disproportionate. Their concern was not primarily whether Palestine Action’s tactics might violate existing criminal law. One might reasonably argue that they did unless they might sometimes be justified in the name of preventing a greater crime.

 

But reframing those actions as “terrorism” represented a dangerous category error. As many pointed out, terrorism has historically referred to violence against civilians. Expanding it to cover property damage risks draining the term of meaning. Worse, it arms the state with a stigma so powerful that it can delegitimise entire political positions without debate.

 

The implications go further. Proscription does not simply criminalise acts. It criminalises expressions of allegiance, conscience and even speech. To say “I support Palestine Action” is no longer an opinion but technically a serious crime. The state has moved from punishing deeds to punishing expressions of solidarity — a move with chilling consequences for democratic life.

 

Parliament Square: Civil Disobedience on Trial

 

It was this transformation that brought nearly 1,500 people into Parliament Square on 6 September. They knew what awaited them. Organisers announced in advance that protesters would hold signs reading: “I oppose genocide. I support Palestine Action.” In doing so, they openly declared their intent to break the law.

 

The crowd was strikingly diverse. Retired doctors, clergy, war veterans, even an 83-year-old Anglican priest. Disabled activists came in wheelchairs; descendants of Holocaust survivors stood beside young students. This was not a hardened cadre of militants but a cross-section of society, many of whom had never before faced arrest.

 

At precisely 1 pm, the protesters all sat or lay down silently, cardboard signs raised. There was no chanting, no aggression — only a quiet insistence that they would not accept the criminalisation of conscience.

 

The police response was equally predictable. Hundreds of officers moved systematically through the crowd, arresting anyone displaying a sign. By the end of the day, nearly 900 people were detained under counter-terrorism law. It was one of the largest mass arrests in modern British history.

 

Official statements later alleged police were met with violence — officers punched, spat on, objects thrown. Yet independent observers, including Amnesty International, contradicted this. They reported a peaceful assembly disrupted by aggressive policing: batons drawn, protesters shoved, some bloodied.

 

www.amnesty.org/zh-hans/documents/eur45/0273/2025/en/

 

Video footage supported at least some of Amnesty's report.

 

www.youtube.com/watch?v=mZQGFrqCf5U&t=1283s

 

The two narratives were irreconcilable, but only one carried the weight and authority of the state.

 

The entire event unfolded as political theatre. The government proscribed a group, thereby creating a new crime. Protesters, convinced the law was unjust, announced their intent to commit that crime peacefully. The police, forewarned, staged a vast operation. Each side acted out its script. The spectacle allowed the state to present itself as defending order against extremism — while in reality silencing dissent.

 

The Humanitarian Context: Why Protesters Risked All

 

To see the Parliament Square protest as a parochial dispute over free speech is to miss its driving force. The demonstrators were not there merely to defend abstract principles. They were responding to what they, and a growing body of international experts, describe as a genocide in Gaza.

 

By September 2025, Gaza had descended into almost total collapse. Over 63,000 Palestinians had been killed, the majority of them women and children. More than 150,000 had been injured, many maimed for life. Entire neighbourhoods had been flattened. Famine was confirmed in August, with Israel continuing to impose and even tighten deliberate restrictions on food, water, and fuel, a strategy condemned by human rights groups as a major war crime. Hospitals lay in ruins. Ninety percent of the population had been displaced.

 

It is in this context that the term genocide has been applied. Legal scholars point not only to mass killings but also to the deliberate infliction of life-destroying conditions, accompanied by rhetoric from Israeli officials dehumanising Palestinians as “human animals.” In September 2025, the International Association of Genocide Scholars declared that Israel’s actions met the legal definition of genocide.

 

www.bbc.co.uk/news/articles/cde3eyzdr63o

 

Major NGOs, UN experts, and even Israeli human rights groups such as B’Tselem echoed that conclusion.

For the protesters, then, the question was not abstract but immediate: faced with what they saw as a genocide, could they in good conscience remain silent while their own government criminalised resistance to it? Their answer was to risk arrest, their placards making the moral connection explicit: opposing genocide meant supporting those who sought to stop it.

 

The Price of Dissent

 

The mass arrests in Parliament Square were not an isolated incident of law enforcement. They were the product of a broader trajectory: escalating tactics by a direct-action movement, a humanitarian catastrophe abroad, and a government determined to suppress dissent at home through the bluntest of instruments.

 

The official line insists that Palestine Action’s campaign constituted terrorism and thus warranted proscription. On this view, the arrests were simple enforcement of the law. Yet this account obscures the deeper reality: a precedent in which the state redefined non-lethal protest as terrorism, shifting from punishing actions to criminalising expressions of solidarity.

 

The cost is profound. Once speech and conscience themselves become suspect, dissent is no longer tolerated but pathologised. The chilling effect is already evident: individuals weigh not just whether to join a protest, but whether uttering support might expose them to years in prison. Terror laws, originally justified as a shield against mass violence, are recast as tools of political management.

 

The protesters understood this. That “thousand-yard stare” captured in their faces was not only the weight of potential arrest, but the knowledge of Gaza’s devastation, the famine and rubble, the deaths mounting daily. It was also the recognition that their own government had chosen to silence them rather than address its complicity.

 

In a functioning democracy, the question is not why citizens risk arrest for holding a handwritten cardboard sign. It is why a state finds it necessary to treat that act as a terror offence. The answer reveals a narrowing of democratic space, where conscience itself is deemed subversive. And that narrowing, history teaches, carries consequences not just for those arrested, but for the society that allows it.

I wanted a long and committed relationship with my Canon EF 200mm f1.8L lens, but alas, the lens didn't want that. I had it only a few years before the USM focus motor fried, with the distance setting fixed at 4.5 meters. Everything else still works. I can change the aperture, take a picture and it still came out tack sharp and beautiful as it has always been. But it won't AF or even manual focus, as the lens was designed as focus-by-wire that requires the ultrasonic motor to function in order for the lens to focus manually.

 

No parts to fix it. Even with parts, it would cost more than $1000 to fix.

 

It's a sad and costly love affair that didn't last. I still love the lens, and hope that I can find someway to get it to focus manually, like putting the lens on a focus helicoid as Ian suggested.

I committed to bringing trophies for the World Architecture theme. I thought it would be fun to make a "triumphal arch", which seems to incorporate the theme of architecture along with triumphing. I think they look better in person. I was also severely limited in color and piece count and all the rest. Oh well.

 

For added extra fun, I'm going to give a presentation on cheese slope mosaics Sunday morning.

 

Then I'm going to write an article about the convention for Hispabrick Magazine. Busy times!

Covent Garden, London

Leica M Monochrom - 50mm Summilux

I committed to post 8 images of each model... I have 5 more after this one.. I hope you all enjoy them..

 

This image is a product of one of two studio sessions I participated in recently. One night we shot High Key and the next night we shot Low Key. I will post them with alternating styles and models.

 

One of my good friends here on Flickr didn't know what High Key and Low Key lighting was. I wrote him a quick description that he found very helpful, so I thought I would share it here for those who might be interested.

 

This is a quick overview... Both High Key images and Low Key images make an intensive use of contrast, but in a very different way. When approaching a shoot of a dramatic portrait, the decision of making it a High Key, Low Key or "just" a regular image has great impact about the mood that this picture will convey. While High Key images are considered happy and will show your subject as a tooth-paste poster; Low Key portraits are dramatic and convey a lot of atmosphere and tension.

 

Click here to visit Steve Page Photography on FaceBook

 

Click on image or hit your "L" key to View On Black

Front façade and court yard of the Château d'Azay-le-Rideau, Azay-le-Rideau, Loire Valley, France

 

Some background information:

 

Azay-le-Rideau is a commune in the French department of Indre-et-Loire in the Centre-Val de Loire region. It has more than 3,400 residents and is located about 30 km (19 miles) to the southwest of the city of Tours. There are two historic châteaux in the municipal area of Azay-le-Rideau: the Château de l'Islette and the more famous Château d'Azay-le-Rideau. Both belong to the UNESCO Word Heritage Site "The Loire Valley between Sully-sur-Loire and Chalonnes" with its many breathtaking châteaux. Altogether there are more than 400 of them in the Loire region.

 

Built between 1518 and 1527, the Château d'Azay-le-Rideau is considered one of the foremost examples of early French renaissance architecture. Set on an island in the middle of the Indre river, this picturesque castle has even become one of the most popular of all the châteaux of the Loire valley. The current occupies the site of a former feudal castle. During the 12th century, the local seigneur Rideau d'Azay, a knight in the service of the then French King Philip II Augustus, built a fortress here to protect the Tours to Chinon road where it crossed the river Indre.

 

However, this original medieval castle fell victim to the rivalry between Burgundian and Armagnac factions during the Hundred Years' War. In 1418, the future King Charles VII passed through Azay-le-Rideau as he fled from Burgundian occupied Paris to the loyal Armagnac stronghold of Bourges. Angered by the insults of the Burgundian troops occupying the town, the dauphin ordered his own army to storm the castle. The 350 soldiers inside were all executed and the castle itself burnt to the ground. For centuries, this fate was commemorated in the town's name of Azay-le-Brûlé (in English: "Azay the Burnt"), which remained in use until the 18th century.

 

In 1518, the land, together with the ruined castle, was acquired by Gilles Berthelot, the mayor of Tours and treasurer-general of the King's finances under King Charles VII and King Louis XII. Desiring a residence to reflect his wealth and status, Berthelot set about reconstructing the building in a way that would incorporate its medieval past alongside the latest architectural styles of the Italian Renaissance. Although the château's purpose was to be largely residential, defensive fortifications remained important symbols of prestige, and so Berthelot was keen to have them integrated in the architecture of his new castle.

 

Berthelot's duties meant that he was frequently absent from the château, so the responsibility for supervising the building works fell to his wife, Philippa Lesbahy. These took time, since it was difficult to lay solid foundations in the damp ground of this island in the Indre, and the château had to be raised on stilts driven into the mud. In 1527, the château was still incomplete, when the execution of Jacques de Beaune, (the chief minister in charge of royal finances and cousin to Berthelot) forced Gilles to flee the country. The then French King Francis I confiscated the unfinished building and, in 1535, gave it to Antoine Raffin, one of his knights-at-arms.

 

In 1583, Raffin's granddaughter Antoinette, a former lady-in-waiting to Margaret of Valois (the then Queen of Navarre and later Queen of France), took up residence in the château. With the help of her husband Guy de Saint-Gelais, she began modernising the décor. The Raffins, and their relations by marriage, the Vassés, retained ownership of the Château d'Azay-le-Rideau until 1787, when it was sold for 300,000 livres to the Marquis Charles de Biencourt, field marshal of King Louis XVI.

 

After having affiliated to the Third Estate and having committed himself to the ideals of the French Revolution, he was allowed to retain possession of his estate, which was in poor condition at that time. At the beginning of the 1820s, Biencourt undertook some alteration work. But after his death in 1824, it was his son Armand-François-Marie de Biencourt, who accomplished an extensive restoration of the château. This included restoring the old medallions and royal insignia on the staircase (which had been covered up during the French Revolution), extending the courtyard façade and adding a new tower at the east corner.

 

During the Franco-Prussian War of 1870 to 1871, the Château d'Azay-le-Rideau was once again threatened with destruction. It served as the headquarters for the Prussian troops in the area, but when one night a chandelier fell from the ceiling onto the table where their leader, Prince Friedrich Karl of Prussia, was dining, he suspected an assassination attempt and ordered his soldiers to set fire to the building. Only his officers' assurances that the chandelier had dropped by accident persuaded him to stay his hand and thus saved the château from a second burning.

 

Following the Prussian troops' retreat, Azay-le-Rideau returned to the Biencourt family. In 1899, financial difficulties forced the young widower Charles-Marie-Christian de Biencourt to sell the château, along with its furniture and 540 hectares of land, to the businessman Achille Arteau. He sold the château‘s contents for profit and as a result, the building was emptied and its artwork and furniture dispersed. In 1905, the estate was purchased by the French state for 250,000 francs and finally became a listed historical monument.

 

Today, the Château d'Azay-le-Rideau is one of many national monuments under the protection of the Centre des monuments nationaux. It is open to the public and its rooms are re-equipped with interior decoration and furniture, which reflect the influence of the Italian Renaissance. Many of the rooms display 16th- and 17th-century Flemish tapestries and the château also houses a significant collection of artwork. The current gardens were designed in the 19th century by the Biencourts, who laid out a large landscaped park in the English style. To the south and west, the river serves as a water mirror for the château, reflecting the façades and creating an attractive tableau.

This photo is of Alex, a veteran and dedicated activist committed to progressive causes - here protesting against Assange's continued imprisonment and extradition.

 

Thousands of people gathered around the British parliament on Saturday 8 October 1922 to form the first ever human chain to surround the building to protest against Julian Assange's continued imprisonment and extradition. Many of the activists had travelled hundreds of miles - I met people who had travelled from Belgium, France and Germany.

 

The long line of people snaked around parliament's perimeter railings and across both Lambeth and Westminster bridges as well as traversing the south side of the river between St. Thomas' Hospital and Lambeth Palace, each person holding the hand of the person next to them. As a few people attached yellow ribbons to the railings by parliament they were immediately instructed by the police to remove them.

 

For the last eight months Julian Assange, who is being held in the maximum security Belmarsh Prison, has been kept completely isolated and without visitors, except for his lawyers. He been detained in appalling conditions and the former UN Special Rapporteur on torture, Neils Melzer, commented in 2019 that Assange showed 'all the symptoms typical for prolonged exposure to psychological torture,' adding that 'what we have seen from the UK Government is outright contempt for Mr Assange's rights and integrity.'

 

www.ohchr.org/en/press-releases/2019/11/un-expert-torture...

 

The United States wants to extradite Julian Assange to the United States on a supposed charge of espionage. However, Assange's real crime is that he revealed US and Western war crimes in Afghanistan, Iraq and elsewhere. As the founder and chief editor of Wikileaks he has provoked Washington's fury by the publication of US Army intelligence files leaked by Chelsea Manning in 2010 as well as subsequent revelations which have embarrassed the American establishment, including Democratic Party emails which showed how senior officials in the party's national committee favoured Hilary Clinton over the more progressive and radical Bernie Sanders.

 

Former Home Secretary Priti Patel signed off on the extradition request earlier in the year, but that order is currently being appealed by Assange's lawyers, who are awaiting a decision by the High Court on whether they will agree to hear it.

 

As far as I understand it, the remit of the appeal has been restricted to examining the United States' claimed legal promises on how Assange will be treated, rather than to the wider issues of freedom of speech, the CIA plot to assassinate him, the extent to which the evidence against him has obviously been fabricated or as to whether his treatment in Belmarsh Prison has amounted to torture.

 

The former Labour Party leader, Jeremy Corbyn, attended Saturday's protest, as did the former leader of Unite, Len McLuskey, the independent (former Labour Party MP) Claudia Webbe, the comedian and actor Russel Brand and Mr Assange's wife, Stella. According to the Morning Star and the Evening Standard, Corbyn said

 

"I would say to MPs of any party, you're there to represent democracy and rights. That's what you sign up for. If Julian Assange is extradited, it will set forth fear among other journalists of doing anything to expose the truth. It becomes self-censorship of journalists all around the world. They'll say, 'hang, on, I'm not touching that, look what happened to Julian Assange.'"

 

morningstaronline.co.uk/article/b/thousands-gather-human-...

 

www.standard.co.uk/news/london/russell-brand-julian-assan...

 

If Assange is convicted in the United States on the charges of espionage for exposing US war crimes in Afghanistan and Iraq as well as other wrongdoing by the United States and other governments, he faces up to 175 years in prison. Two days after the protest, it was reported that Assange had contracted covid.

July 20th. Family is everything. I thought we'd do a family shot for the last pic in the theme of 'commit'. This is the first ever family jofolo pic on Flickr (and Ipernity) and also the first Mr jofolo shot. I should do more of these for the family album - they grow up so fast. It's hard to believe our eldest is now 15. We found out I was pregnant with her very early in our non married life, but you know when something is right. It was the push we both needed to settle. The next two followed very quickly and then we managed to get married before number four made her appearance. My lovely hubby and the kids (and the house, garden, and the dogs and cats and guinea pigs and frogs) are the biggest commitment I have ever made. And I love it!

Oh and after the serious shot we did the zombie shot in comments!

 

i have also chosen this as my weekly shot for the non themed 52s. week 29

Committed now.

(Clare)