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Remembered for his contributions to the art community, Antonio E. Garcia was a talented Mexican American artist who created wood carvings, public frescoes and murals, and impacted generations of artists. Antonio E. Garcia was born in Monterrey, Mexico, in 1901. In 1914, during the Mexican Revolution, Garcia and his two sisters were sent to San Diego, Texas, to live with their grandfather and two aunts. After high school, Garcia attended the School of the Art Institute of Chicago from 1927 to 1930, where he earned two art prizes in 1929. In 1935, Garcia and his wife, Herminia Gonzales Garcia, moved to Corpus Christi where he utilized influences from his Mexican heritage to create award-winning frescoes.
The self-taught fresco painter created his first major public work, March on Washington, in 1933 for the Dallas Museum through the Public Works Administration. In 1936, Garcia's easel painting, Woman Before a Mirror, a life-size representation of his wife, was exhibited at the Texas Centennial Exhibition in Dallas. The easel painting, Juneteenth Review, garnered notoriety for Garcia when it won first prize in the Southern State League Exhibit in 1949.
Between 1942 and 1948, Garcia painted three Buon (True) frescoes for his parish Church of the Sacred Heart in Corpus Christi. Each painting is over thirty feet high and together they cover the sanctuary dome. Other prominent works include Mexican Annunciation at Presidio La Bahia in Goliad (1946), the 44-foot fresco of the Immaculate Conception in the Corpus Christi Seminary Chapel (1960) and wood carvings at Temple Beth-El and St. Thomas & Martin Episcopal Church. Garcia was also a book illustrator, one of the founders of the South Texas Art League in 1936 and taught courses at Del Mar College. A true inspiration to all who knew him, Garcia's art legacy continues to influence generations. (2016) (Marker No, 18483)
African American Contributions in St. Mary's County Juneteenth Celebration . www.ucaconline.org/juneteenth.html . Freedom Park . Corner of Route 235 and Tulagi Place . Lexington Park, MD . Saturday, 16 June 2007 . Elvert Xavier Barnes Photography
Part of my contribution to the Show & Tell' - a Liberty puzzle showing a shaped version of Alphonse Mucha's advertising poster for Cycles Perfecta. Liberty puzzles are laser cut in the USA. The puzzle upside down is a 1929 amateur cut jigsaw wishing good things to the recipient a Mr E Thomason of Liverpool. The puzzles are strewn with other examples of transport themed puzzles and information about the five puzzles I brought. Later on I turned the puzzle on the right to reveal the 1926 Bateman cartoon image, 'The Man Who Threw A Snowball in St Moritz'. The dark brown cardboard boxes belong to the two Thomason jigsaws (the other is on another table) which indicate they are both by the same cutter.
To the left are set out the gaily coloured boxes of 'Wooden Travel Series' jigsaws.
To the right are two assembled wooden Peacock Jigsaws of liners, a Cunard Liner and the Aquitania. The red box at the front houses 174pc puzzle costing 3s 6d, of the Locomotive 'Princess Royal' LHS 4-6-2 Express Locomotive.
United Committee for African-American Contributions in St. Mary's County (UCAC) 8th Annual Juneteenth Celebration Festival at Freedom Park at intersection of Route 235 and Tulagi Place in Lexington Park, MD on Saturday, 18 June 2011 by Elvert Barnes Photography
Captain Stephen Schmeiser, Commanding Officer of Naval Air Station Patuxent River
Ceremony
Visit UCAC 8th Juneteenth Festival 2011 at
www.africanamericancontributions.com/juneteenth2011.html
Elvert Barnes Photography
Check out the neat electric clutch. Normally the central hollow shaft spins independently of the white gear. Apply a few volts to the pins, and the gear locks to the shaft. I got it out of an old printer or scanner or something, never did put it to work, but it should find a good home doing some useful work eventually. Blog entry
African American Contributions in St. Mary's County Juneteenth Celebration . www.ucaconline.org/juneteenth.html . Freedom Park . Corner of Route 235 and Tulagi Place . Lexington Park, MD . Saturday, 16 June 2007 . www.somdnews.com/stories/062007/entecov181947_32092.shtml . Elvert Xavier Barnes Photography
For six years, the mikeroweWORKS Foundation has offered travel scholarships to SkillsUSA competitors who face a financial challenge in attending the SkillsUSA Championships. This year’s $50,000 scholarship contribution from the mikeroweWORKS Foundation was matched by the Charles Koch Foundation and Koch Industries, bringing the fund to $100,000.
Times Square, Midtown, Manhattan, New York City, New York, United States
Located in the heart of Times Square, the Paramount Building made a significant contribution to the development of the world-famous theater and entertainment district. Built in 1926-27 and designed by the firm of Rapp & Rapp, who were among the best-known and most prolific designers of elaborate movie theaters in the 192 0s, it served as the Eastern headquarters for the Famous Players-Lasky Corporation, (forerunner of Paramount Pictures), whose entrepreneurial founders played a major role in promoting the revolutionary motion picture medium. The building's distinctive massing is exemplary of the innovative setback skyscraper type of the 1920s, while the ornamental details are classically inspired, a hallmark of Rapp & Rapp's style. The striking silhouette of the upper stories is enhanced by four giant clock faces, which were conceived to create a memorable image of the the Paramount trademark in the minds of moviegoers, and a crowning glass globe.
The Paramount Building, which once housed the Paramount Theater, stands as as an important reminder of Times Square's boom in the 1920s during the early years of the motion picture industry.
The History of Times Square1
The Times Square area, recognized world-wide as a major entertainment center, has played an important role in the cultural life of New York City in the twentieth century. Known today as the Broadway theater district, this area encompasses the largest concentration of legitimate playhouses in the world. With the meteoric rise of the the motion picture industry, Times Square in the 1920s was also transformed by the arrival of elaborate and luxurious movie theaters, or "palaces," which celebrated this popular and new form of entertainment. Complete with fashionable hotels such as the Hotel Astor (demolished), restaurants, and dance halls, Times Square began early in this century to attract visitors and New Yorkers alike to its thriving night life. The area also became home to scenery, lighting, and costume companies, and the offices of agents and producers, thus creating a busy hub of activity in all branches of the entertainment business.
It was fitting, therefore, that the Famous Players-Lasky Corporation, (now Paramount Pictures) while still in its infancy selected Times Square for its East Coast headquarters and showcase theater.
The development of the Times Square area was primarily a result of the steady northward movement of Manhattan's population, abetted by the growth of mass transportation.
A district of farmlands and rural summer homes in the early 1800s, Lang Acre Square (now Times Square) evolved into an urban center following the opening of the Grand Central Depot and the completion of the Third and Sixth Avenue Elevated Railways in 1871. In 1904, New York's subway system began operation, with a major station at Broadway and 42nd Street.
At this time, the area was also renamed Times Square in honor of the recently erected Times Building.
The theater district, which had existed in the midst of stores, hotels, and commercial buildings along lower Broadway for most of the nineteenth century, moved northward along Broadway in stages, locating first at Union Square, then Madison Square, and then Herald Square. By the end of the century, the district was extended even further north by far-sighted theater managers, such as Oscar Hammerstein, who opened the Lyric in his Olympia Theater complex on Broadway between 44th and 45th Streets in 1895.
Before the installation of electric street lamps, long Acre Square, which had been chiefly occupied by carriage shops and livery stables, was a dark and dangerous area popularly known as "Thieves' Lair." By the 1920s, the peak of Times Square development, the Con Edison Company estimated that one million lightbulbs were" contained within the famous marquees, signboards, and advertisements that lit up what had come to be known as the Great White Way.
This phrase is credited to an advertising businessman named O.J. Gude, who recognized the exciting potential of electric sign display by installing the first in 1901, on Broadway and 23rd Street, which advertised a seaside resort.5 Apart from periods during the World Wars, the brilliant streams of light and color have continued to emanate from Times Square.
The Client: The Paramount Corporation
Forerunner of Paramount Pictures, the Famous Players-Lasky Corporation was headed by some of the most enterprising entertainment entrepreneurs of the century. It was formed in 1916 when the Famous Players Film Company and the Jesse L. Lasky Film Company merged. (In the early 1920s, the Paramount name and trademark began to appear in advertising and publicity, although the name was not officially changed to the Paramount Famous Lasky Corporation until 1928; the office building and theater in Times Square were always known by the Paramount name).
The Famous Players Film Company, founded in 1912, was masterminded by Adolph Zukor and Daniel Frohman. Zukor, who arrived in New York from Hungary in 1888, had established a successful fur business in Chicago by the turn of the century. Prompted by another furrier, Marcus Loew, (who later became president of Loew's Inc., parent company of Metro-Goldwyn-Mayer), Zukor returned to New York to invest in penny arcades with the Automatic Vaudeville Company, opening their first arcade on Union Square in 1903. Zukor and his partners soon expanded to nickelodeons and variety shews combining one-reel films with stage acts and scenic effects. Set on developing the potential of the feature film, the aggressive Zukor broke ties with his colleagues and went to Paris in 1912 to buy the rights to the highly acclaimed film, "Queen Elizabeth," starring the famous dramatic actress, Sarah Bernhardt. He then approached Daniel Frohman, a Broadway producer and theater owner, to arrange for a premiere—the first American showing of a feature-length film—at the Lyceum Theater.
This showing was significant in the evolution of the American motion picture industry, for it helped to establish the movie as a socially acceptable form of entertainment with recognized, legitimate actors. Zukor then founded the Famous Players Film Company, with Frohman a liaison to the theater world.
Within four years, the two men had a commanding share of the motion picture business, having signed the first two of their big stars, John Barrymore, an established stage actor, and Mary Pickford, a young actress for whom Frohman saw a future on the silver screen.
Jesse L. lasky started on the vaudeville circuit playing the cornet in an act with his sister, but soon became a vaudeville agent and producer. In 1912, he collaborated with Cecil Blount De Mille in writing and staging an operetta, "California." Lasky*s brother-in-law, Samuel Goldwyn, (formerly Goldfish), then persuaded Lasky to enter the motion picture field, and in 1913, the Jesse L. Lasky Feature Play Company was founded, with Lasky as president, De Mille as director/producer, and Goldwyn as general manager.
Their first film, "The Squaw Man," was followed by several highly successful films, establishing the company's reputation for superior entertainment.
For three years, Zukor and Lasky carpeted for big-name talent and the favor of the burgeoning motion picture audience. In 1916, the two moguls ended their rivalry by joining forces, and the companies merged to form the Famous Players-Lasky Corporation; having the upper hand, Zukor became president and made Lasky vice-president. Shortly thereafter, the new corporation acquired the Paramount Company, a film distribution organization, and gained control of both production and marketing of a seemingly endless supply of motion pictures.
In the 1920s, the corporation also acquired theater chains, most notably the large Balaban & Katz circuit of Chicago. Sam Katz continued as head of the theater division, which grew to encompass over two thousand theaters, under the name of Publix. By adding exhibition management to their interests, Paramount had virtually autonomous command over all aspects of the industry, prompting several federal investigations for violation of anti-trust laws during the 1920s.
Paramount established headquarters in both Hollywood and New York, taking advantage of California's excellent climatic conditions for production and New York's acting and literary talent. From the offices of the Paramount Building, the executives scouted for talent, and obtained pictorial rights to plays and novels as well as new dramatic material.
The firm had also built its eastern studio in Astoria, Queens in 1920-21, (a designated New York City Landmark), which was used by Paramount until 1932 for rehearsals, short feature filming, and screen-testing.
Paramount had many successes in the 1920s, adding such famous silent-screen stars to their roster as Gloria Swanson, Rudolf Valentino, Clara Bow, and Pol a Negri. In 1928, the transition to "talkies11 was made, first by adding sound to silent films and then by using the sound-on-film Movietone system. Among the Paramount stars who became famous with the introduction of sound were Gary Cooper, William Powell, Mae West and Claudette Colbert.
As prosperous as these years were, however, the company went into receivership in 1933 as a result of the Great Depression. Two years later, the enterprise re-emerged; after management battles, Lasky was fired and Zukor became the intrepid chairman of the board of Paramount Pictures, Inc., (now owned by Gulf & Western).
Zukor later acquired the titles of honorary chairman and then chairman emeritus, maintaining an interest in his movie empire until the time of his death in 1976, at 103 years of age.
The Architects: Rapp & Rapp
The architects of the Paramount Building and Theater, Cornelius Ward Rapp (1861-1927) and George Leslie Rapp (1878-1942), were among the best-known and most prolific designers of imaginative and palatial movie houses in this country during the 1920s.
The brothers were the sons of a carpenter-architect in Carbondale, Illinois. C.W. Rapp began as an assistant to his father, and opened his own Chicago practice around 1891. George Rapp graduated from the University of Illinois School of Architecture in 1899 and then spent some time abroad—particularly in Paris—studying the monuments. He later worked in the office of the Chicago architect, Edward Krause, preparing plans for the Majestic Theater.
The brothers formed a partnership in 1906, and the firm of Rapp & Rapp soon specialized in the design of elaborate movie theaters. In 1916, they began an association with the large, .Chicago-based Balaban & Katz movie theater chain, with the commission for the Central Park Theater. Among their other commissions in Chicago were the influential Chicago and Tivoli theaters, (both 1921), and the Uptown Theater, (1925).
These early designs served as models for the lavish "movie palace" type, characterized by "eye-bugging opulence."
When Balaban & Katz were acquired by Paramount in 1925, Rapp & Rapp became the architects for the new theater chain, Publix. The Paramount Building and Theater was their first eastern commission; at this time, the firm opened a New York office in the Times Annex. C.W. Rapp died before this project was completed, but the firm went on to design over 400 theaters nation-wide; other commissions in New York included the Brooklyn Paramount and the Loew's Kings, (1929), originally a Paramount theater.
Most theater designs were derived from eight schematic types, modified to suit the requirements of each program. Eighteenth- and nineteenth-century French architecture, such as Charles Gamier's Beaux-Arts style Paris Opera, provided the primary sources for their classically-inspired designs.
Among Rapp & Rapp's other commissions are the Corn Palace in Mitchell, South Dakota, ornamented with corn stalk motifs; the Bismark Hotel and Theater and the Windemere Hotel in Chicago; the Lei and Hotel in Detroit; and the National Press Club Building in Washington, D.C. George Rapp also served as consulting architect on Radio City Music Hall (a designated New York City Landmark). He retired in 1938.
The Setback Skyscraper of the 1920s
The 1920s were marked by a boom in commercial development in New York, as large corporations took advantage of their economic strength and financed many skyscrapers. Between 1925 and 1933, 138 new office buildings were constructed in Manhattan, an average of 15.3 per year.
Many of the new buildings erected in Manhattan in the 1920s were designed in the Art Deco style, which seemed to echo the excitement and modernity of the "Jazz Age." This style, characterized by simple, sleek lines, geometric forms, and flattened ornamental patterns, was derived from several sources, the best-known being the 1925 Paris exhibition from which the style took its name—the Exposition Internationale des Arts Decoratifs et Industriels Modernes.
Another influence was the Finnish architect Eliel Saarinen's second-place winning submission to the 1922 competition for the Chicago Tribune Building, with its streamlined, vertical treatment and lack of cornices. These sources of inspiration had a tremendous international impact on architecture and interior design.
The most direct influence on the form of the Art Deco, setback skyscraper in New York was the New York City Zoning Resolution of 1916, an ordinance which placed height restrictions on buildings at the street line, determined by varying multiples of the street width, above which the building was required to set back at certain levels.
The Resolution was introduced to ensure that light and air would reach the street, while also providing better interior conditions. Interpretive drawings relating to this ordinance were published in 1922-23 by the architectural renderer, Hugh Ferriss, based on diagrams by the architect Harvey Wiley Corbett.
These important drawings served as a basic formulation of what became the characteristic massing of the setback skyscraper. The overall design of the Paramount Building, although its ornament is more inspired by the Beaux-Arts style than it is by the Art Deco, is derived from the innovative models of the time.
The silhoutte of the setback skyscraper also drew comparison with ancient architectural models, such as the Mesopotamian ziggurat, the Eqyptian stepped pyramid, and the Mayan temple, in which there was an awakened interest in the 1920s.
Franciso Mujica, an architect who studied the ruins in Central America, commented about the Paramount Building that "there are few more eloquent examples to demonstrate that the set back system...resembles...the primitive pyramids of America."
The Paramount Building is indeed exemplary of the tiered skyscraper type of the 1920s. The pyramidal massing of the upper stories was also claimed to be advantageous from a real estate perspective, producing a variety of floor areas that offer "a wide choice of space for firms who choose to locate their business offices in one story and would like a story to themselves."
Construction and Design
At thirty-three stories with a clock tower, the Paramount Building when erected was the tallest structure on Broadway north of the Woolworth Building. Six of the largest floors were devoted to the offices of the Paramount Company. In the 1926 Paramount pep Club Yearbook, the organization expressed pride in its conspicuous new headquarters and presaged its cultural significance:
At the crossroads of the world the new Paramount Building is rising. For generations yet unborn it will stand as a monument to the motion picture industry and as an ever-lasting tribute to the vision and genius of a leader.
The Paramount executives were clearly committed to creating a symbol of the company's role in promoting a revolutionary entertainment medium, the motion picture.
The original lighting scheme of the Paramount Building reflects the client's desire to create a memorable image in the minds of moviegoers, as well as the contribution made by Paramount to the development of Times Square.
By the mid-1920s, imaginative lighting and signage had already become a distinctive attribute of the busy theater district and a major tourist attraction. In addition to the large and brightly lit Paramount Theater marquee, once located near the southern end of the Broadway facade, the entire structure was a nighttime tableau of light.
The setbacks were fitted with floodlights placed behind the parapets at each level so that the stepped silhouette of the building was dramatically displayed. These setbacks culminate in a tower with clock faces on all four sides, of which the hands and the five-pointed stars marking the hours were lit as well.
The well-known Paramount trademark—a ring of five-pointed stars surrounding a mountain peak—is recalled in the design of the clocks, which cap, symbolically, a "mountain-like" building. An early rendering shows the clock faces with depictions of mountain peaks, but this was not carried out.
Crowning the tower is a glass globe which, when illuminated at night, was visible for miles.
This globe was meant to * represent "the worldwide activities of Paramount." The clocks, equipped with chimes, and the globe were synchronized so that light would flash in "white or red to tell the time at night. The globe would flash on and off to indicate the hour. On the quarter-hour, the globe would flash once, then twice on the half-hour, and three times at three-quarters of an hour, remaining lit in between.
The site of the Paramount Building was assembled in 1922 when the 1493 Broadway Corporation, of which Zukor was president, purchased the property, formerly among the holdings of the Astor estate, from an intermediate realtor. Zukor subsequently leased the property to the Famous Players-Iasky Corporation on twenty-one year terms.
The property encompassed the six-story commercial Putnam Building, which occupied Broadway between 43rd and 44th Streets, and the rear plot which was the site of Westover Court, ten four-story houses which had been converted to bachelor apartments. The Putnam Building was so named to commemorate the spot at which George Washington met with General Israel Putnam during the Revolutionary War.
Plans for the 13.5 million dollar theater and office building were filed in April of 1925. The twelve-story theater wing to the rear of the tower was completed first; the theater, which seated approximately 3600 people, opened in November of 1926, although the office building was not completed until Spring of the fol lowing year.
Early reports indicate that the building was to have twenty-nine stories, rather than thirty-three, and these illustrate renderings of the building without its glass globe, which was conceived in the course of construction.24 In November of 1927, glass-enclosed observation decks were added to the north and south sides of the topmost setback; these have since been removed.
Much fanfare surrounded the construction of the Paramount Building and Theater. For the first time in history, a film record of the progress of a building's construction was made by the enthusiastic clients.
Among the remarkable aspects of the construction documented on film was the setting of eight, 122-foot long trusses which supported the roof of the theater's auditorium. Each truss weighed 144 tons and was hoisted 115 feet above the projected theater stage. The Thompson-Starrett Company, general contractor for the commission, designed travelling derricks that moved on steel rollers and supported the cranes which performed the unprecedented weight-lifting feat.
The New York Times reported the dedication ceremony of the building in May of 1926, at which Mayor Walker laid the cornerstone; contained within copper boxes sealed in the cornerstone are the front pages of New York morning newspapers, three five-dollar gold pieces, two feature films, and news reels of Admiral Byrd's Polar expedition.
In addition to various speeches made by notable New Yorkers and members of the motion picture industry at the ceremony, a letter of congratulations from Thomas Edison was read.
Description
The Paramount Building occupies the entire 200-foot block front on the west side of Broadway between 43rd and 44th Streets, and extends 207 feet on the side streets. Clad in beige brick with a base and trim of contrasting limestone, the building is composed of two sections: a thirty-three-story setback skyscraper with a clock tower, fronting on Broadway, and a 1 ower wing to the rear, (which once housed the Paramount Theater).
Although the Paramount Building's ornamental details are largely inspired by the French Beaux-Arts style, its massing reflects a modem current in 1920s office building design, characterized by a series of setbacks on all four sides.
A continuous five-story base joins the two sections of the building. Above ground floor storefronts (not original), rise three-story rusticated limestone piers framing large, tripartite windows. These have iron mullions and spandrels ornamented with classical moldings, festoons, masks, scrolls, and figural motifs relating to the theater.
A bronze double-height main entranceway, located just north of the center of the Broadway facade, is set in a simple limestone enframement with a projecting lintel. The distinctive entranceway has the same tripartite configuration as the windows at the base level, with a central, revolving door and two single doors of glass framed in brass. These are surmounted by decorative cresting and a clock framed by two scrolled brackets, topped by such classical motifs as a bearded, theatrical mask, horns, and an urn.
Above the doors are two tripartite windows separated by brass mullions and spandrel panels also featuring classical and theatrical motifs. The central panel has an oval cartouche surrounded by foliage containing comedy and tragedy masks in profile and a three-part horn. Musical instruments and masks also embellish the two side panels.
One story of one-over-one, metal-clad windows framed by festooned, oval cartouches caps the base and makes a transition to the brick-faced upper portion of the building, where one-over-one, metal-clad windows are divided into bays by a rhythm of plain and rusticated piers.
The vertical emphasis is visually continued in the upper setback stories, where the rusticated piers project from the building. These piers, grouped in pairs, culminate in trapezoidal stone finials at the setbacks.
The massing of the upper stories is distinguished by six setbacks, stepping back regularly from the eighteenth story on the Broadway facade and side elevations. The rear elevation rises to the twenty-sixth story before stepping back to the twenty-eighth story, where it sets back sharply, forming a portion only two bays deep located toward the front of the building which rises from this level.
Paneled stone parapets and trapezoidal finials highlight the setbacks. Flanking the sides between the twenty-eighth and thirtieth stories, oversea led consoles give the building a sculptural silhouette and make a transition to the clock tower.
On the Broadway facade and rear elevation, the clocks, approximately two stories high, are faced in limestone. These clocks have round glass panels, flush with the stone, which are inset with stars marking the hours, and protruding metal hands.
They are flanked by the uppermost setback, which at the front and rear of the building is articulated by large, oval stone cartouches framed by rusticated piers. Affixed to the side elevations at this level are metal-framed clocks, of the same design but slightly smaller and one story lower that those front and rear.
A stone base for the glass globe capping the building surmounts the clocks; it is ornamented with a stylized wave frieze and four trapezoidal finials at the corners. The globe, constructed of ninety panes of glass encased in copper and measuring nineteen feet in diameter, is set on a molded copper pedestal.
The rear wing of the Paramount Building, visible on 43rd and 44th Streets, is articulated by plain piers separating double-hung windows above the continuous base. The ninth story has no windows. On 4 3rd Street, the rear wing rises twelve stories and features a row of classical cartouches at the parapet.
On 44th Street, this section rises nine stories; the parapet has a row of festooned, oval openings, with three acroteria at regular intervals above. These are in the form of convex oval cartouches with decorative surrounds. The westernmost bay on 44th Street rises to twelve stories, sets back to fourteen, and is marked by stone detailing at the top of each level.
Alterations to the Paramount Building were made in 1966-69, when the rear section was converted from the theater to additional office space. The architectural firm of Herbert Fleischer Associates was responsible for the alteration. The arched entranceway to the theater and its elaborate marquee, which had been on Broadway near the 43rd Street comer, were removed.
The facade was reconstructed to match the material and composition of the limestone base of the building. Blank limestone remains at the top of the base where the arch of the entranceway had been. Two sets of original iron spandrels were removed from around the corner on the 43rd Street elevation and relocated in place of the theater entrance.
These were replaced on 43rd Street by metal spandrels, of the same color and configuration as the original but unornamented. The same type of replacement window framing was used on the 43rd and 44th Street elevations of the rear wing.
Subsequent History
In the 1940s, the Paramount Theater became a showcase for big bands and entertainers such as Benny Goodman, Tommy Dorsey, and Frank Sinatra, who catered to the "bobby-soxer" crowd. With the advent of television, the movie palace declined in popularity, and soon many large and luxurious theaters in New York were demolished or converted to other uses. In 1964, the Paramount Theater closed, and its immense space was converted for office use in 1966-69.
The Paramount Building has remained in use as an office building, although Paramount Pictures no longer maintains offices there. A striking reminder of Times Square's boom in the 1920s, and of a founding force behind the motion picture industry, the Paramount Building stands as a important symbol of New York's architectural and cultural past.
- From the 1988 NYCLPC Landmark Designation Report
It probably looks better! :) Since this is International Silly Face Week, according to several other Flickrites, I wanted to join in. I took a couple shots and this was the sillier one so I went with it.
Go ahead and LYAO. That's what it's here for!
The “A BAFTA Interview” explored Abhishek Bachchan’s contribution to the Indian film industry and allowed audiences to hear first-hand of his experiences.
Friday 5th March – BAFTA
12th Tongues on Fire Film Festival Opening
[18:30] Reception
[19:00] Interview
Tiatr Academy of Goa presented lifetime Contribution to Tiatr awards to 6 Tiatrists on Pai Tiatrist Day
1. Felicidade P Rebello Fernandes, Felcy
2. Luisinha Tomacina J Fernandes, Luiza
3. Luis Antonio E Rodrigues, Steve Rod
4. Joao Santana Fernandes, John (Light effects)
5. Pascoal F Aniceto Lourence, Aniceto
6. Joseph Constancio Rodrigues, Jose Rod
14th December 2021 at Pai Tiatrist Hall
Awards received at the hands of Sr. Tiatrist Premanand Sangodkar. TAG President Menino de Bandar, Vice Prez Mario Menezes, TAG MS Suresh Divkar, Pai Tiatrist's grand daughter Sharmila Fernandes and Pradeep Naik are also seen in the group pic
African American Contributions in St. Mary's County Juneteenth Celebration . www.ucaconline.org/juneteenth.html . Freedom Park . Corner of Route 235 and Tulagi Place . Lexington Park, MD . Saturday, 16 June 2007 . www.somdnews.com/stories/062007/entecov181947_32092.shtml . Elvert Xavier Barnes Photography
WASHINGTON -- Secretary of Defense Leon Panetta learned about the U.S. Army Research, Development and Engineering Command’s contributions to national energy security during a tour of exhibits at the Pentagon Oct. 4.
Subject matter experts from three of RDECOM’s research centers -- Tank Automotive Research, Development and Engineering Center; Communications–Electronics Research, Development and Engineering Center; and Natick Soldier Research, Development and Engineering Center -- showcased the Army’s research on operational energy.
The Pentagon Courtyard was filled with exhibits Oct. 2-4 as part of the Pentagon Energy Security Event 2012.
Read more:
Three periods when Shuttleworth's contributions to lkml dropped to 0.
The first was when he made 0.5billion,
The second was when he was not actually on earth.
The third was when he started his own distribution.
BLM, with considerable contributions from the Pit River Tribe, Modoc Wildlife Refuge, and Modoc National Forest, successfully built a traditional Pit River summer house. The experience taught school children and archaeologists alike valuable lessons including a traditional technology and that it truly takes a community to build a tule house.
Photo by Jen Rovanpera, BLM.
New Zealand's contribution to the Vietnam War.
RNZAF
Several pilots (listed below) from the Royal New Zealand Air Force (RNZAF) were seconded to No. 9 Squadron, Royal Australian Air Force (RAAF) flying Iroquois helicopters. From December 1968 another two RNZAF officers, F/L Ross Ewing and F/L John Scrimshaw served as forward air controllers with the 7th US Air Force, until their withdrawal in February 1972.
A FAC in Vietnam - A New Zealander's Perspective by John Scrimshaw, Jade 02, 1969:
www.flickr.com/photos/gcdnz/49849570162/in/album-72157678...
RNZAF transport aircraft were also active in Vietnam, not only for the duration of New Zealand's military involvement, but also beyond in support of medical and humanitarian teams through to the end of the conflict in April 1975. RNZAF 41 Sqn Bristol Freighters made 572 flights into Vietnam, making 1,979 landings at 21 destinations.
RNZAF Pilots who complemented RAAF 9 SQN
F/L Bud Mills (Jul 67 – Feb 68)
F/L John Clements (Nov 67 – May 68)
F/O Ken Wells (Jan 68 – Dec 68)
F/L Ted Creelman (Sep 68 – Oct 69)
F/L George Oldfield (Oct 68 – May 69)
F/O Trev Butler (Oct 68 – Oct 69)
F/O John Peterson (Mar 69 – Apr 70)
S/L Graeme Derby (Jul 69 – Jan 70)
F/L Doug 'Punchy' Paterson (Sep 69 – Sep 70)
S/L John Pendreigh (Oct 69 – Oct 70)
F/O Ian Brunton (Apr 70 – Jul 70)
F/L Gordon Wood (Apr 70 – Apr 71)
S/L Robin Klitscher (Sep 70 – Sep 71)
F/L Chris Peters (Sep 70 – Oct 71)
F/L Ian Clark (Oct 70 – Sep 71)
F/O Brian Senn (Mar 71 – Dec 71)
F/L Bill Waterhouse [1969]
Timeline
In April 1963 New Zealand civilian surgical team arrives in Vietnam and were based at Qui Nhon in Binh Dinh province.
From 11 Feb 1963 until 21 Apr 1975, No. 41 Squadron Bristol Freighters flew regular supply missions from Changi and Tengah, Singapore to various bases in Vietnam. Scotty Wingfield’s records show that 41 Squadron flew into South Vietnam 572 times, making 1979 landings at 21 different locations, some under fire.
docs.google.com/spreadsheets/d/1CD2h71husqPrMgFjYKnBlXFIY...
In July 1965 the first New Zealand combat troops, 161 Battery, Royal New Zealand Artillery (RNZA), were airlifted to South Vietnam by No. 40 Squadron C-130 Hercules. The Battery was based at Bien Hoa Air Base as part of the US 173rd Airborne Brigade.
From 1967 New Zealand helicopter pilots served with the RAAF’s No. 9 Squadron, while other RNZAF pilots flew with USAF squadrons as Forward Air Controllers. In total, 30 RNZAF pilots served in Vietnam between 1967 and 1972.
21 Apr 1975, RNZAF Bristol Freighter NZ5907, at Saigon's Tan Son Nhut Airport, evacuated 33 passengers including the NZ Ambassador for South Vietnam, Norman Farrell. This is the last RNZAF flight out of Vietnam, 21 April 1975, before Saigon fell to the North Vietnamese.
www.flickr.com/photos/gcdnz/33906535662/in/album-72157678...
No. 41 Squadron RNZAF history.
ipfs.io/ipfs/QmXoypizjW3WknFiJnKLwHCnL72vedxjQkDDP1mXWo6u...
41 Squadron Vietnam War Veterans project - Scotty Wingfield
vietnamwar.govt.nz/memory/41-squadron-vietnam-war-veteran...
Scotty's List (Version 3) All Flights into Vietnam by 41 Squadron RNZAF 1 December 1962 - 21 April 1975 Issued October 2017
docs.google.com/spreadsheets/d/1CD2h71husqPrMgFjYKnBlXFIY...
Location Map: New Zealanders In Vietnam
vietnamwar.govt.nz/resources/location-map-new-zealanders-...
Timeline - NZ's Vietnam War 1963–75
vietnamwar.govt.nz/resources/timeline
Digitising the Unit Histories of the 40 and 41 Squadrons RNZAF
www.facebook.com/notes/archives-new-zealand/digitising-th...
37 New Zealanders lost their lives during the Vietnam conflict including RNZAF Sgt Gordon Watt.
Vietnam Roll of Honour:
vietnamwar.govt.nz/resources/roll-of-honour
Vietnam Veterans List
vietnamwar.govt.nz/about-vietnam-veterans-list
ANZACS The Battle of Long Tan. Aussies in Vietnam:
www.facebook.com/battleoflongtan/videos/2863709940402222
RNZAF 3 Sqn Army and Air Force pilots in Vietnam
An article by Robin Klitscher
3sqnassn.org.nz/no-3-squadron-air-and-army-helo-pilots-in...
1965-75: In Vietnam with the Ghost Squadron by Peter Tremayne
Victor's contribution to Typing In Public (which you are invited to build upon, here in comments, on Twitter, on RIP, and/or on May 15th in San Luis Obispo):
Miss Rae Schade is slender in her modest dress. She tilts her head downward, toward the older man on her right, as if embarrassed. A veil of chiffon gauze hides her eyes. Her body seems to yield to the pressure of other eyes as she steps from the shadows of the Hall of Justice to a downtown sidewalk. That taller, older man on her right is her father, Fred. He wears a suit, wide tie, and a fedora. He, too, averts his eyes as if avoiding the gaze that magnifies a shame made public during a week of police interviews and court hearings. He lets the outer part of his left shoulder touch the inner part of his daughter's smaller right shoulder. In that exposed moment on March 28, 1929, his closeness suggests protectiveness, or a need to hide.
Excerpted from his new book, "City of Industry: Genealogies of Power in Southern California" (Rutgers University Press, 2009)
Photo courtesy of the author
The new Besty Stage's contribution to the Denver Actors Fund's Tap Shoe Initiative, a spare-change fundraising effort to help actors who find themselves in sudden medical need. At Betsy Stage (not to be confused with Boulder's BETC, also colloquially referred to as "Betsy"), get this -- the shows are all free. Always. And the actors get paid. Decently, even. How do they do it? There's a benefactor, McAndrews says. A benefactor with a kingdom, apparently, to partition out, only her kingdom is funding for the making of art. The company's mission is to “adapt Elizabethan theater for a new audience.” Here, Shakespeare’s “King Lear” is set in the Old West. Lear is the owner of the Scarlet Slipper Saloon. He divides his kingdom by putting his three favorite prostitutes to the test. The script is rife with one-liners, but mostly sticks to Shakespearean in tone. They call in "Shakespeare spiked," but it's more like Shakespeare with a "Deadwood" ear. You may recognize some of the names -- Phil Luna and Kevin Lowry, for example, but even those you might not recognize make for a pretty decent ensemble. Starring Michael Vasicek as Lear and also featuring Patti Murtha, Brooks Mullen, Michal Andrea Meyer, Jacob Abbas, Todd Simmonds, Elinor Reina, Jeannie Saracino, Jim Hitzke and R.J. Harris. Directed by Samantha McDermott. Again, all tickets are free ... really ... the bar is even run on an honor system. Please call for reservations, or email Lear@Betsystage.com -- but you won't be turned away if you don't. "The Travesty of Lear" plays through Jan. 25. Showtimes: 8 p.m. Thursdays through Saturdays; 2 p.m. Sundays at Betsy Stage, 1133 S. Huron St., 720-328-5294 or go to betsy’s home page. All photos by John Moore for www.CultureWest.Org. Thanks: Jennifer McCray. To see the official "Opening Nights" photo series (these are outtakes), click here: www.culturewest.org/?p=6068.
This is a photograph from the annual Ardagh Moydow Glen Community Games 5KM and 10 Mile road races, fun runs, walks and challenges which were held in the heritage village of Ardagh, Co. Longford, Ireland on Monday 28th December 2015 at 13:00. In an opposite turn to last year's frosty icy weather participants today were given a very very windy day with heavy rain at the finish of both races. The 10 mile race takes in the local 'Ardagh Mountain' which is a 1 mile continuous climb starting at the 2.5 mile mark of the 10 mile race. The 5KM race takes a loop around the heritage village of Ardagh. Overall this is a very well organised race with accurate courses, good marshalling and traffic control and excellent after race refreshments.
The bad weather made photography particularly difficult but we did manage to get the start of both races and the first handful of finishers from the 10 mile race. They are available on Flickr [https://www.flickr.com/photos/peterm7/sets/72157662725299342]The 10 mile race is one of the longest road races held during the Christmas period anywhere in Ireland and has appeal to runners who want to add a longer distance race to their festive calendar of running.
The GPS traces of both routes can be found at these links:
www.mapmyrun.com/routes/view/570956144
www.mapmyrun.com/routes/view/570964096
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This image was taken on 4 August 2017 on a Field Studies and Culture Class with Natural History Illustration students to Yengo National Park.
The photograph was taken by Ann Hardy.
If you have any information about the photograph, please contact us or leave a comment. We greatly value your contribution.
Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
On the occasion of birth Anniversary of Late Rosario Rodrigues, father of Khell-tiatr also Late Antonio Moraes, Pioneer of Khell-tiatr, Tiatr Academy of Goa TAG presented Lifetime Contribution to Khell, Khell-Tiatr awards to 3 khell-godde viz. Luis Mariano Fernandes alias Lus Marian, Antonio Remedios Fernandes alias Pandda Remeth and Francisco Cardozo alias F Cardoz at the hands of Fisheries Minister Filip Neri Rodrigues, Dy. Director DAC Ashok Parab, TAG MS Cezar D'Mello, widow of Antonio Moraes - Antonette Moares and widow of Rosario Rodrigues - Carmin Rodrigues
24.10.2019, Panaji
Minister Felipe Neri Rodrigues, Chief Guest
The Primate Cathedral of Saint Mary of Toledo is one of the three 13th-century High Gothic cathedrals in Spain. It was begun in 1226 under the rule of Ferdinand III. The last Gothic contributions were made in the 15th century when, in 1493, the vaults of the central nave were finished during the time of the Catholic monarchs. It was modeled after the Bourges Cathedral and built with white limestone from the quarries of Olihuelas, near Toledo. The building is greatly influenced by the French Gothic style, but adapted to Spanish taste. It measures 390 feet in length by 194 feet in width and 146 feet high and consists of five naves with transept. Unfortunately, we could not photograph the main altar because a choir was practicing.
Please Credit: Lambda Archives of San Diego
Description: Lesbian and Gay Contributions to the Arts exhibit at SD Public Library: Frank Nobiletti and Susan Richards standing in front of exhibit
Date: June 1994
Collection/Accession: Lambda Archives of San Diego, L2013.12
Local Call number: P332.012m.r.t
This image is provided for education and research purposes by Lambda Archives of San Diego (LASD). The image may not be sold or redistributed, copied or distributed as a photograph, electronic file, or any other media without written permission from LASD.
Rights may be reserved. Responsibility for securing permissions to distribute, publish, reproduce or other use rest with the user. This photo may have had minor color/contrast correction. The original uncorrected file is available from LASD. For additional information on use and obtaining high-resolution images see our Copyright and Use Statement.
LASD has made every effort to determine copyright and credit this photo appropriately. If you believe you hold copyright please contact us or comment below.
If you are incorrectly identified in this photo, or identified and do not wish to be please contact us.
Remembrance Sunday
In the United Kingdom, Remembrance Sunday is held on the second Sunday in November, which is the Sunday nearest to 11 November Armistice Day, the anniversary of the end of hostilities in the First World War at 11 a.m. on 11 November 1918. Remembrance Sunday is held to commemorate the contribution of British and Commonwealth military and civilian servicemen and women in the two World Wars and later conflicts.
Remembrance Sunday is marked by ceremonies at local war memorials in most cities, towns and villages, attended by civic dignitaries, ex-servicemen and -women, members of local armed forces regular and reserve units, military cadet forces and uniformed youth organisations. Wreaths of remembrance poppies are laid on the memorials and two minutes’ silence is observed at 11 a.m.
The United Kingdom national ceremony is held in London at the Cenotaph in Whitehall. Wreaths are laid by Queen Elizabeth II, principal members of the Royal Family normally including the Duke of Edinburgh, the Prince of Wales, the Duke of Cambridge, the Duke of York, the Princess Royal, the Earl of Wessex and the Duke of Kent, the Prime Minister, leaders of the other major political parties, the Secretary of State for Foreign and Commonwealth Affairs, Commonwealth High Commissioners and representatives from the Royal Navy, Army and Royal Air Force, the Merchant Navy and Fishing Fleets and the civilian services, and veterans’ groups. Two minutes' silence is held at 11 a.m., before the laying of the wreaths. This silence is marked by the firing of a field gun on Horse Guards Parade to begin and end the silence, followed by Royal Marines buglers sounding Last Post.
The parade consists mainly of an extensive march past, with military bands playing music following the list of the Traditional Music of Remembrance.
Other members of the British Royal Family watch from the balcony of the Foreign and Commonwealth Office.
After the ceremony, a parade of veterans and other related groups, organised by the Royal British Legion, marches past the Cenotaph, each section of which lays a wreath as it passes. Only ticketed participants can take part in the march past.
From 1919 until the Second World War remembrance observance was always marked on 11 November itself. It was then moved to Remembrance Sunday, but since the 50th anniversary of the end of the Second World War in 1995, it has become usual to hold ceremonies on both Armistice Day and Remembrance Sunday.
Each year, the programme of music at the National Ceremony remains the same, following a programme finalised in 1930:
Rule, Britannia! by Thomas Arne
Heart of Oak by William Boyce
The Minstrel Boy by Thomas Moore
Men of Harlech
The Skye Boat Song
Isle of Beauty by Thomas Haynes Bayly
David of the White Rock
Oft in the Stilly Night by John Stevenson
Flowers of the Forest
Nimrod from the Enigma Variations by Edward Elgar
Dido's lament by Henry Purcell
O Valiant Hearts by Charles Harris
Solemn Melody by Walford Davies
Last Post – a bugle call
Beethoven's Funeral March No. 1, by Johann Heinrich Walch
O God, Our Help in Ages Past – words by Isaac Watts, music by William Croft
Reveille – a bugle call
God Save The Queen
Other pieces of music are then played during the march past and wreath laying by veterans, starting with Trumpet Voluntary and followed by It's A Long Way To Tipperary, the marching song of the Connaught Rangers, a famous British Army Irish Regiment of long ago.
Cenotaph Ceremony and March Past - 10 November 2013 Order of March and Ticket Allocation
Column D [Lead Column]
Marker NumberDetachmentNo of marchers
1War Widows Association 126
2British Gurkha Welfare Society 78
3West Indian Association of Service Personnel 18
4Trucial Oman Scouts Association 18
5Bond Van Wapenbroeders 26
6Polish Ex-Combatants Association in Great Britain Trust Fund 40
7Canadian Veterans Association 10
9Hong Kong Ex-Servicemen's Association (UK Branch) 24
10Hong Kong Military Service Corps 18
11Foreign Legion Association 24
12Not Forgotten Association 54
13The Royal British Legion 348
14The Royal British Legion Poppy Factory 6 New
15The Royal British Legion Scotland 26
16Ulster Defence Regiment72
18Northern Ireland Veterans' Association 42
19Irish United Nations Veterans Association 12
20ONET UK 10
21St Helena Government UK 24
22Commando Veterans Association 30
23South Atlantic Medal Association 196
24SSAFA Forces Help 66
25First Aid Nursing Yeomanry (Princess Royal's Volunteers Corps) 12
26Association of Jewish Ex-Servicemen & Women 48
27British Nuclear Test Veterans Association 48
28British Limbless Ex-Service Men's Association 48
29British Ex-Services Wheelchair Sports Association24
30Royal Hospital Chelsea 30
31Queen Alexandra's Hospital Home for Disabled Ex-Servicemen30
32The Royal Star & Garter Homes20
33Combat Stress48
34Walking With The Wounded14
Total 1,590
Column E
1Merchant Navy Association 150
2Royal Naval Association 160
3Royal Marines Association 198
4Aircraft Handlers Association36
5Telegraphist Air Gunners Association12
6Aircrewmans Association30
7Cloud Observers Association10
8Fleet Air Arm Armourers Association36
9Fleet Air Arm Association30
10Fleet Air Arm Bucaneer Association24
11Fleet Air Arm Field Gun Association24
12Fleet Air Arm Junglie Association18
13Fleet Air Arm Officers Association40
14Fleet Air Arm Safety Equipment & Survival Association18
15Sea Harrier Association24
16Flower Class Corvette Association18
17LST & Landing Craft Association10
18HMS Andromeda Association18
19HMS Bulwark, Albion & Centaur Association22
20HMS Cumberland Association18
21HMS Ganges Association36
22HMS Glasgow Association30
23HMS St Vincent Association36
24HMS Tiger Association20
25Algerines Association25
26Ton Class Association30
27Type 42 Association35 New
28Queen Alexandra's Royal Naval Nursing Service35
29VAD RN Association18
30Association of WRENS90
31Royal Fleet Auxiliary Association10
32Royal Naval Communications Association30
33Royal Naval Medical Branch Ratings & Sick Berth Staff Association 6
34Royal Naval Benevolent Trust18
35Royal Navy School of Physical Training24
36Russian Convoy Club30
37Yangtze Incident Association24
38Special Boat Service Association 6
39Submariners Association30
40Association of Royal Yachtsmen24
41Broadsword Association36
Total 1,489
Column F
1British Korean Veterans Association 500
2National Malaya & Borneo Veterans Association98
3Normandy Veterans Association 6
4National Service Veterans Alliance 150
5Italy Star Association48
6Monte Cassino Society20
7Gallantry Medallists League36
8National Pigeon War Service30
9National Gulf Veterans & Families Association30
10Fellowship of the Services 150
11Burma Star Association50
12Far East Prisoners of War 8
14Memorable Order of Tin Hats36
15Suez Veterans Association50
16Aden Veterans Association84
171st Army Association36
18Showmens' Guild of Great Britain30
19Queen's Bodyguard of The Yeoman of The Guard18
20Popski's Private Army 4
21Pen and Sword Club18
22Black and White Club18 New
Total 1,420
Column A
2Royal Northumberland Fusiliers48
3The Duke of Lancaster's Regimental Association30
4Green Howards Association44
6Cheshire Regiment Association24
7Sherwood Foresters & Worcestershire Regiment36
8Mercian Regiment Association30
9Rifles Regimental Association48
10The Rifles & Royal Gloucestershire, Berkshire & Wiltshire Regimental Association
30
11Royal Irish Regiment Association12
12Durham Light Infantry Association60
13King's Royal Rifle Corps Association60
14Light Infantry Association48 New
151LI Association36 New
16Royal Green Jackets Association 198
17Parachute Regimental Association 174
18The Royal Regiment of Scotland Association18 New
19Royal Scots Regimental Association40
20King's Own Scottish Borderers50
21Black Watch Association45
22Gordon Highlanders Association60
23Argyll & Sutherland Highlanders Regimental Association 6
24The Cameronians (Scottish Rifles)24 New
25Grenadier Guards Association48
26Coldstream Guards Association48
27Scots Guards Association40
28Guards Parachute Association36
294 Company Association (Parachute Regiment)24
30Princess of Wales's Royal Regiment72
32Royal East Kent Regiment (The Buffs) Past & Present Association30
33Royal Sussex Regimental Association12
34Royal Hampshire Regiment Comrades Association12
Total 1,443
Column B
1Blind Veterans UK 198
2Royal Scots Dragoon Guards30
3Royal Dragoon Guards78
4Queen's Royal Hussars (The Queen's Own & Royal Irish)12
5Kings Royal Hussars Regimental Association96
6The 16/5th Queen's Royal Lancers36 New
7Gurkha Brigade Association36
8JLR RAC Old Boys' Association30
943rd Reconnaissance Regiment Old Comrades Association 6
10Army Dog Unit Northern Ireland Association48
11North Irish Horse & Irish Regiments Old Comrades Association78
12Association of Ammunition Technicians36
13Beachley Old Boys Association36
14Arborfield Old Boys Association18
15Women's Royal Army Corps Association 120
16656 Squadron Association72
17Home Guard Association12
183rd Regiment Royal Horse Artillery Association60
19Royal Artillery Association18
20Royal Engineers Association30
21Royal Engineers Bomb Disposal Association65
22Airborne Engineers Association24
23Mill Hill (Postal & Courier Services) Veterans' Association30 New
24Royal Signals Association48
25Army Air Corps Association42
26Royal Army Service Corps & Royal Corps of Transport Association40
27RAOC Association18
28Army Catering Corps Association48
29Royal Pioneer Corps Association54
30Reconnaissance Corps18
31Royal Army Medical Corps Association36
32Royal Electrical & Mechanical Engineers Association48
33Royal Military Police Association 100
34The RAEC and ETS Branch Association 6
35Royal Army Pay Corps Regimental Association36
36Royal Army Veterinary Corps & Royal Army Dental Corps18
37Intelligence Corps Association30
38Royal Army Physical Training Corps24
39Queen Alexandra's Royal Army Nursing Corps Association48
Total 1,783
Column C
1Royal Air Forces Association 125
2Royal Air Force Regiment Association 300
3Royal Air Forces Ex-Prisoner's of War Association20
4 Federation of Royal Air Force Apprentice & Boy Entrant Associations 150
5Royal Air Force Air Loadmasters Association24
6Royal Air Force Police Association90
7Princess Mary's Royal Air Force Nursing Service Association40
8Bomber Command Association20
9Royal Observer Corps Association80
10National Service (Royal Air Force) Association42
11RAFLING Association24
126 Squadron (Royal Air Force) Association18
137 Squadron Association30
14RAF Habbaniya Association30
15Royal Air Force & Defence Fire Services Association30
16Air Sea Rescue & Marine Craft Sections Club12
17Royal Air Force Mountain Rescue Association30
18Royal Air Force Butterworth & Penang Association 6
19Royal Air Force Yatesbury Association15
20Royal Air Force Airfield Construction Branch Association12
21Women's Auxiliary Air Force12
22Blenheim Society18
23Coastal Command & Maritime Air Association24
Total 1,152
Column M
1Transport For London48
2First Aid Nursing Yeomanry (Princess Royal's Volunteers Corps)24
3Munitions Workers Association18
4Children of the Far East Prisoners of War60
5Evacuees Reunion Association48
6TOC H12
7Salvation Army36
8NAAFI12
10Civil Defence Association10
11British Resistance Movement (Coleshill Auxiliary Research Team)12 New
12National Association of Retired Police Officers36
13Metropolitan Special Constabulary36
14London Ambulance Service NHS Trust36
15London Ambulance Service Retirement Association18
16St John Ambulance36
17St Andrew's Ambulance Association 6
18Firefighters Memorial Trust24
19Royal Ulster Constabulary (GC) Association36
20Ulster Special Constabulary Association30
21Commonwealth War Graves Commission12
22Daniel's Trust36
23Civilians Representing Families85
24Royal Mail Group Ltd24
25Royal Society for the Prevention of Cruelty to Animals24
26The Blue Cross18
27PDSA24
28HM Ships Glorious Ardent & ACASTA Association24
29Old Cryptians' Club12
30Fighting G Club18
31Malayan Volunteers Group12
32Gallipoli Association18
33Ministry of Defence30
34RBL Non Ex-Service Members 123
35Union Jack Club12
36Western Front Association11
37Shot at Dawn Pardons Campaign18
38Royal Antediluvian Order of Buffaloes24
39National Association of Round Tables24
40Lions Club International24
41Rotary International24
4241 Club 6 New
43Equity12
44Romany & Traveller Society18
45Sea Cadet Corps30
46Combined Cadet Force30
47Army Cadet Force30
48Air Training Corps30
49Scout Association30
50Girlguiding London & South East England30
51Boys Brigade30
52Girls Brigade England & Wales30
53Church Lads & Church Girls Brigade30
54Metropolitan Police Volunteer Police Cadets18
55St John Ambulance Cadets18
56British Red Cross12 New
Total 1,489
Newindicates first time participation in 2013.
Cenotaph Ceremony & March Past - 10 November 2013 Summary of Contingent Composition
Column A1,443
Column B1,783
Column C1,152
Column D1,590
Column E1,489
Column F1,420
Sub-total8,877
Column M1,489
Total 10,366
News report on 10 November 2013
Remembrance Sunday 2013: The Queen leads nation in honouring fallen heroes
Her Majesty laid the first wreath at the Cenotaph on Whitehall as the UK fell silent at 11am in tribute to those who lost their lives in conflict
The Queen was joined by Prince Philip and other members of the Royal Family as she led the nation in honouring members of the Armed Forces killed in conflict.
The monarch laid the first wreath at the Cenotaph on Whitehall to commemorate all those who have made the ultimate sacrifice in the decades since the First World War, bowing her head after paying her respects.
As Remembrance Sunday services took place around the UK to remember our war dead, the royals, politicians, military leaders, veterans and serving personnel laid wreaths of poppies at the monument.
Prince Harry was laying the wreath on behalf of his father Prince Charles, who is currently abroad on an official tour of India with the Duchess of Cornwall, and was marking the occasion there.
Kate Middleton, who dressed in a navy, military-style coat, watched from a balcony with Sophie, Countess of Wessex and Princess Anne's husband, Vice Admiral Timothy Laurence.
Troops in Afghanistan were joined by the Duke of York, who laid a wreath during a service held at Camp Bastion in Helmand Province to mark Remembrance Sunday.
Defence Secretary Philip Hammond also flew to Afghanistan last night to join servicemen and women.
Millions across the UK fell silent in tribute to those lost in war, joining the crowds gathered in central London who stood in a moment of quiet contemplation as Big Ben struck 11am.
During the two-minute silence, only the distant sounds of traffic and the rustling of leaves could be heard, despite the fact that police said Whitehall was at capacity.
The beginning and end of the silence was marked with the firing of a round by the King's Troop Royal Horse Artillery, using a 13-pounder First World War gun.
In cold but bright weather, the royals and dignitaries then laid their wreaths at the Cenotaph.
Prime Minister David Cameron was first after the royals to do so, followed by Deputy Prime Minister Nick Clegg and Labour leader Ed Miliband.
Former prime ministers Sir John Major, Tony Blair and Gordon Brown, and London Mayor Boris Johnson also attended the ceremony.
The Duchess of Cambridge was accompanied on the Foreign Office balcony by the Countess of Wessex and Vice Admiral Tim Laurence.
The Duke of Edinburgh, who joined the Royal Navy in 1939, wore the uniform of an Admiral of the Fleet for the ceremony. Prince Harry, who has undertaken two tours of duty in Afghanistan, wore the uniform of a Captain in the Household Cavalry. His brother William left operational service recently after more than seven years in the forces. He wore the uniform of Royal Air Force Flight Lieutenant.
Following the wreath-laying, the Bishop of London the Right Reverend Richard Chartres conducted a short service in his role as Dean of HM Chapels Royal.
More than 10,000 veterans and civilians then marched past the Cenotaph to pay their respects to their departed comrades, led this year by members of the War Widows Association, wearing black coats and red scarves.
They were all warmly applauded as they paraded past, some veterans in wheelchairs and motorised scooters as they marked the loss of their comrades.
There was a large contingent of veterans from the Korean War, the armistice of which was 60 years ago.
The 70th anniversaries of the Battle of the Atlantic and the Dambusters' Raid were also marked this year.
Greyson's contribution to Liam's nursery. It's the two of them. His first drawing was a big circle with a scribble inside with him standing next to it. I was confused. He explained it was Liam in my belly..... Makes perfect sense. We kept drawing for fun and this was what he decided on. He was so proud of it. #babyzamot
26 Likes on Instagram
2 Comments on Instagram:
mrsjuliegraham: Love that boy! Well, both boys actually 😘😘
amjohnson: Presh!!! Cannot wait to see you!! 😘
My contribution to the Flickr Group «Top 20 Favorites for 2005» - have Fun!
There is a note on every thumbnail that explains the picture, use your mouse to explore.
Here is a link to the picture selection.
Thanks for the invitation... :-)
Photo contribution from Jerry & Debbie Langman. Jerry's comment with the photo is:
"John deciding a bottle of red or a bottle of white. Great smile on (your) Mom! No Lobster for them. No bibs! Big Shrimp Cocktails! "
Cool one! Thanks! Love the comments with the photos. They sent 5 more and we'll be getting them up soon!
Clockwise: Robbie, Engy, waiter, John, Doris, Lucille, Gerri.
My contribution to a Street Party - Mum did the Fairy Cakes and Sausage Rolls, so I went for something a little different :-)
The pattern is embedded in the chocolate.
November 28th saw Hartlepool College of Further Education hold its twentieth annual Celebration of Achievement. A highlight of the College calendar, this prestigious event presents awards to those students selected by tutors for their commitment to their work, superb attitude and the contribution they make to the life of the College and in helping others to succeed despite often challenging circumstances of their own. Thirty awards covered all areas of the College's provision, with the winners representing the top 0.5% of the College's student body of over 8,500.
John George Diefenbaker's contribution to his country needs no repeating here. His declaration, "I am a Canadian, free to speak without fear, free to worship in my own way, free to stand up for what I think right, free to oppose what I believe wrong, or free to choose those who shall govern my country. This heritage of Freedom I pledge to uphold for myself and all mankind," was a basis for the Canadian Bill of Rights.
I met Mr. Diefenbaker while I was attending the Canadian Police College in Ottawa on a four-months study scholarship. In the evenings I would stroll through Rockcliffe Village, where the homes of diplomats, politicians and the embassies are situated in idyllic surroundings. As I passed one particular house,I often saw an elderly man in his garden,pulling weeds or trimming bushes and we customarily passed the time of day. It was not for some weeks that I realised that this was the Rt.Hon John Diefenbaker, a past Prime Minister of Canada and a colourful politician.
On my next trip around Rockcliffe I was disappointed that he was not in his garden but screwed up courage enough to go knock on the door. It was answered by his housekeeper who explained that he was away at a meeting. I related my request for a portrait sitting to her and she advised me to write a short note, giving a contact number, and she would explain to Mr. Diefenbaker who had called.
Some days later, during a lecture, a member of the RCMP burst into the room and asked for "Dave Roberts, the New Zealand guy". I was then told to contact Mr. Diefenbaker's secretary at Parliament. The stunned silence and open-mouthed looks attested to the reverance in which he was held and I became not a little apprehensive.
Appointment arranged, I went to Parliament and to Mr. Diefenbaker's suite. I had brought a flash with me as I intended to use bounce flash to soften the lighting. Imagine my horror when I was requested not to use flash as Mr. Diefenbaker's health was not too good and he was not to be startled. I was futher horrified by the low light level in the room. I was using Ilford FP4, which I normally rated at 320ASA and developed in Promicrol developer. Taking a reading for the slowest shutter speed I could hand-hold at and the widest aperture that the camera would give me revealed that I would be rating the film at 6400ASA! There was nothing else to do but to get on with it and I engaged my subject in conversation ranging through his political past to my reasons for being in Ottawa. He was an interested conversationalist and the details were as much about me as about him. When I had finished I thanked him for his generous gift of time and wished him better health. He wistfully replied, "Mr. Roberts, I don't think I'll be around too much longer to help guide Canada's destiny." I was left with a memory of a great and gracious man in the twilight of his life. To my knowledge it is the last portrait taken of him, for scant months later he had passed away.
Photo prise avec un téléphone portable Siemens C65 : une page Hotmail. Ma contribution au Fuck you group.
WIPO Director General Daren Tang delivers a speech on April 7, 2022, at the International Conference on “The Contribution of Intellectual Property (IP) to Promoting Innovation and the Transition to a Sustainable Economy” in Cabo Verde.
Mr. Tang spoke alongside the country's Prime Minister, highlighting that Cabo Verde’s inventive and creative people, a growing digital infrastructure, abundant natural resources and its geostrategic location between Europe, Africa and the Americas, were a basis from which to punch well above its weight.
He stressed that underlined that intellectual property is an area of increasing strategic importance to bringing innovation and creativity ecosystems to the next level, and that WIPO was ready to support Cabo Verde on this journey.
More: WIPO Director General Daren Tang Visits Cabo Verde
Photo: Courtesy of Government of Cabo Verde.
A visit to the Parc de la Ciutadella in Barcelona. We got here a bit earlier than we expected as we couldn't visit the Picasso Museum without having booked tickets in advance. This park was nearby and was huge!
The Parc de la Ciutadella (Catalan pronunciation: [ˈpaɾɡ də lə siwtəˈðeʎə]; "Citadel Park") is a park on the northeastern edge of Ciutat Vella, Barcelona, Catalonia, Spain. For decades following its creation in the mid-19th century, this park was the city's only green space. The 70-acre (280,000 m2) grounds include the city zoo (once home to the albino gorilla Snowflake, who died in 2004), the Palau del Parlament de Catalunya, a small lake, museums, and a large fountain designed by Josep Fontserè (with possible contributions by the young Antoni Gaudí).
Marble bust of Joaquim Vayreda by Manel Fuxà
Joaquim Vayreda, work by Manel Fuxà located in the Parc de la Ciutadella (Barcelona).
Please Credit: Lambda Archives of San Diego
Description: Lesbian and Gay Contributions to the Arts exhibit at SD Public Library: People looking at display, including Julie Warren (back left corner of cases)
Date: June 1994
Collection/Accession: Lambda Archives of San Diego, L2013.12
Local Call number: P332.011m.r.t
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My contribution to the big dinner at Elaine and Gina's house. Elaine would make her amazing pulled pork tacos with tons of fresh pico de gallo and guacamole. Lots of friends showed up. I hadn't seen Brian in ages and we decided to trade mixes on music of flash drives rather than cds. Jimmy showed up after his wiffle ball game (for reals). Mark started sweating after putting the Dave's Insanity hot sauce on his taco. I'm addicted to hot sauce and that stuff is the end all be all of HOT.
The berries, all locally grown, were profoundly perfect. I brought a small container of them with me to eat on the airplane the next day (airlines don't feed you anymore). The man next to me seemed envious. The Oregon berries are something to be coveted. Strawberry season is wrapping up but raspberry season is just beginning with blackberries and huckleberries still to come. Hallelujah!
My one year contribution to the FlickrLife project.
1. Thomas James, 2. Froggies, 3. Asleep, 4. Sweetness, 5. (Untitled), 6. Take me out to the ballgame!, 7. Soccer Ball, 8. Sunset Beach 2004, 9. Finger Food, 10. Oreo Cookie, 11. First Haircut, 12. I love chocolate!
“Ministers yt may want a supply... 1691 Mr Jn Hartley – Of Ashton in Mackerfield, a deserving Young man, their contributions cannot maintained him, and hee must be forced to leave them if some Supply from hence be not given”
Records of the Dissenters' Common Fund at the Dr Williams Library, refs MS OD67 (Minutes) and MS OD 161 (Survey), identify three nonconformist ministers who were active in and around Ashton in Makerfield in the period 1690-91.
John Walker was the son of a nonconformist minister of the same name who had been ejected from his living at Newton Heath in 1662. Walker (the son) was active in Rivington at the time of the Common Fund survey, but the Kenyon Manuscript list has him preaching in “John Hasleden's barne in Park Lane, in Ashton-in-Makersfield [and] William Lathwait's barne in Wygan” in 1689. He benefited from “a plentiful temprall estate” at Heath Charnock and, accordingly, did not need support from the Fund. He died at Rivington in 1703.
William Birchall is said to have had 150 followers (or “hearers”), providing him with an income of £20. Beyond this, very little is known about him. Rev Alexander Gordon describes Birchall as “a hitherto unknown predecessor of Thomas Blinstone (1673-1721), whose ministry at Park Lane began in 1697”. He adds that “Birchall's house in Ashton-in-Makerfield was registered [under the Toleration Act] July 1689”. A “William Birchall” is included in a 1689 list of “Presbiterian parsons and theyr meeting places” in “The Manuscripts of Lord Kenyon (Commission on Historical MS, 14th Report, Appendix p1 IV, HMSO 1894), but the latter gives the registered meeting place as “John Hasleden's house in Ashton-in-Makersfield”.
John Hartley had studied at Edinburgh and was preaching at Burtonwood, north of Warrington, when the Common Fund made a grant to him £4 per year. From 1691 he is described as “at or near” Ashton in Makerfield, but “their contributions cannot maintaine him, and hee must be forced to leave them if some Supply from hence be not given”. The Fund accordingly increased his grant to £8. Hartley was ordained on 27 September 1692, and later wrote a “Vindication of Prebyterian Ordination” (1714). Common Fund support seems to have ended in 1702 when he was installed at a newly-built nonconformist chapel in Ashby de la Zouch, Leicestershire. He died in 1724. Rev Alexander Gordon observed in the course of an address to the congregation at Park Lane on 15 August 1926 that “Hartley … must have been the minister under whom the foundation stone of Park Lane Chapel in 1697 was laid, for in the year 1703 -a year after he left- they found the London Fund recognising Thomas Blinston, whose name appears on the memorial tablet as the first minister of Park Lane Chapel, as successor to Hartley. They could, from that record, infer that Blinston came to the chapel, when it was built in 1697, as Hartley's assistant. He would need an assistant there as services, he assumed, would also be held at Burtonwood. Blinston, who died in 1721, was not, therefore, the first minister of that Chapel” (as reported in The Wigan Observer, 31 August 1926).