View allAll Photos Tagged courageous
3237 and 5917 power up hill away from Gunning with Lachlan Valley Railways 8S02 from Sydney to Cootamundra
The pair were on their way to Cootamundra to be fitted with ICE Radios as the cut off day was nearing for ARTC's network.
Monday 6th October 2014
Some very courageous people having fun on a very cold and windy day!
Info from Wikipedia:
Quebec City (pronounced /kwɪˈbɛk/ (About this sound listen) or /kəˈbɛk/; French: Québec [kebɛk] (About this sound listen)); French: Ville de Québec), officially Québec, is the capital city of the Canadian province of Quebec. The city had a population estimate of 531,902 in July 2016, (an increase of 3.0% from 2011) and the metropolitan area had a population of 800,296 in July 2016, (an increase of 4.3% from 2011) making it the seventh-largest metropolitan area in Canada.
The narrowing of the Saint Lawrence River proximate to the city's promontory, Cap-Diamant (Cape Diamond), and Lévis, on the opposite bank, provided the name given to the city, Kébec, an Algonquin word meaning "where the river narrows". Founded in 1608 by Samuel de Champlain, Quebec City is one of the oldest cities in North America. The ramparts surrounding Old Quebec (Vieux-Québec) are the only fortified city walls remaining in the Americas north of Mexico, and were declared a World Heritage Site by UNESCO in 1985 as the 'Historic District of Old Québec'.
The city's landmarks include the Château Frontenac, a hotel which dominates the skyline, and La Citadelle, an intact fortress that forms the centrepiece of the ramparts surrounding the old city. The National Assembly of Quebec (provincial legislature), the Musée national des beaux-arts du Québec (National Museum of Fine Arts of Quebec), and the Musée de la civilisation (Museum of Civilization) are found within or near Vieux-Québec.
Visit: en.wikipedia.org/wiki/Quebec_City
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This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
This is my wife. Twenty days ago her right knee was removed and replaced with an artificial implant made with plastic and titanium. The time since the operation has included significant pain and discomfort, exacerbated by the daily exercises needed to insure continued functioning of the joint. Yesterday she was able to walk to the end of our street, where Stanley Park begins, a significant milestone in her exercises and recovery.
We didn't even notice the rain...
68029 'Courageous' and Coaching Set TP04 form 1U27 the 8.03am York to Scarborough Trans - Pennine Express service approaching Seamer West.
" At the gates of Hell I stand,
Ready to enter as a man,
Sought out by evil here,
It shall find me without fear."
- Lillian Casillas
East Bay Photo Collective June Photo Walk through downtown Oakland California!
Ricoh GR film camera
Ilford fp4+
developed in Eco Pro 10 min.
68029 'Courageous' gets into its' stride departing Scarborough with 1F72 the 3.34pm Scarborough to Manchester Victoria, Trans. - Pennine Express service.
www.flickr.com/photos/33714681@N06/show/
--------- beach photography ---------
British postcard in the Picturegoer Series, London no. 1175a. Photo: Metro-Goldwyn-Mayer. Freddie Bartholomew in Captains Courageous (Victor Fleming, 1937).
English-American Freddie Bartholomew (1924-1992), was one of the most famous child actors in film history. Born in London, he emigrated for the title role of MGM's David Copperfield (1935) to the United States He became very popular in 1930s Hollywood films such as Little Lord Fauntleroy (1936) and Captains Courageous (1937).
Frederick Cecil Bartholomew was born in Harlesden, London, in 1924. He was the son of Lilian May (Clarke) and Cecil Llewellyn Bartholomew. He was abandoned by his alcoholic parents when he was a baby. From age three, he grew up in the town of Warminster under the care of his unmarried aunt Millicent. A precocious lad, Freddie was reciting and performing on stage at three years of age and was soon singing and dancing as well. By age six he had appeared in his first film, a short called Toyland (Alexander Oumansky, 1930). Three other British film appearances and the recommendation of his teacher Italia Conti led him to be cast by MGM in the lavishly produced adaptation of Charles Dickens's The Personal History, Adventures, Experience, & Observation of David Copperfield the Younger (George Cukor, 1935), as the title character. It resulted in a seven-year MGM contract and a move to Hollywood with his aunt. The illustrious, star-studded and highly successful David Copperfield (George Cukor, 1935) made Freddie an overnight sensation, and he went on to star in a succession of high-quality films through 1937, including Anna Karenina (Clarence Brown, 1935) with Greta Garbo, Professional Soldier (Tay Garnett, 1935), the riveting Little Lord Fauntleroy (John Cromwell, 1936), Lloyds of London (Henry King, 1936), and The Devil Is a Sissy (W.S. Van Dyke, 1936) with Jackie Cooper and Mickey Rooney. Freddie's biggest success was Captains Courageous (Victor Fleming, 1937), opposite Spencer Tracy. Following the success of Little Lord Fauntleroy (John Cromwell, 1936), Freddie's birth parents, who were strangers to him, stepped in and attempted for seven years to gain custody of him and his fortune. His aunt Millicent attempted to offset these legal expenses and payouts by demanding a raise in Freddie's MGM salary in 1937. Freddie was protected by the so-called "Coogan Law," which was supposed to prevent parents from stealing the earnings of child performers, but every time she filed suit, he was forced to expend money from the trust fund defending against her, and after a half-dozen or more times, his trust was very much depleted. Another slew of court cases ensued, this time over the MGM contract, and Freddie missed a critical year's work and some golden film opportunities. By the time he resumed acting work in 1938, he was well into his teens, and audiences grew less interested in literary period pieces as World War II erupted in Europe. Following Kidnapped (Alfred L. Werker, 1938), many of his ten remaining films through 1942 were knock-offs or juvenile military films, and only two were for MGM. The best of the films after Kidnapped (Alfred L. Werker, 1938) were Lord Jeff (Sam Wood, 1938), Listen, Darling (Edwin L. Marin, 1938) with Judy Garland, Swiss Family Robinson (Edward Ludwig, 1940), and Tom Brown's School Days (Robert Stevenson, 1940). His salary soared to $2,500 a week making him filmdom's highest paid child star after Shirley Temple.
|n 1944, at the age of 20, Freddie Bartholomew was drafted into the U.S. Army Air Force, assigned as an aircraft mechanic, and while doing repairs that year on a bomber engine, he fell from a scaffold and broke his back. He spent a year in traction at a G.I. hospital and was given a medical discharge in 1945, seemingly recovered. Unknown to himself and all but a tiny handful of those closest to him, however, he had been damaged psychologically by the injury and the recovery period. and American citizenship. The additional time away from the screen had not done him any favours, though, and efforts to revive his film career were unsuccessful. He tried to resume his career with the low-budget PRC feature The Town Went Wild, never realizing that he was deeply mentally ill. When that film failed to revive his movie career he turned to the stage, and his one effort at performing in a play, in Los Angeles, was ignored by everyone but the critics, who hated it; his mental condition was exacerbated by the tone and venom of their reviews. Worse still, he ended up marrying the publicist for the production, Maely Daniele, a Russian immigrant who was trying to escape deportation and needed the protection of the American citizenship that Bartholomew had been granted through his military service. Aunt Millicent left for England when Freddie married Daniele in 1946 against her wishes. At one point, with all but a tiny bit of his money spent, the couple was living in a car parked on the streets of Brooklyn. It was in those bad years that he made another attempt at film work, playing himself in Sepia Cinderella (Arthur H. Leonard, 1947). Freddie toured a few months in Australia doing nightclub singing and piano, but when he returned to the U.S. in 1949 he switched to television, making a gradual move from performer to host to director, at New York station WPIX. He also made one final big-screen appearance, portraying a priest in St. Benny the Dip (Edgar G. Ulmer, 1951), a strange, whimsical drama shot on the Lower East Side of New York. In 1954, re-married to TV cookbook author Aileen Paul, and he moved to Benton & Bowles advertising agency, as a television director and producer. He remarked at the time that the millions he had earned as a child had been spent mostly on lawsuits, many of which involved headline court battles between his parents and his aunt for custody of young Freddie and his money. "I was drained dry," he said. He became vice president of television programming in 1964, directing and producing several prominent long-running soap operas, including As the World Turns and Search for Tomorrow. Bartholomew retired due to emphysema by the late 1980s, and eventually moved with his third wife Elizabeth to Florida, where he died in Sarasota in 1992, but not before being filmed in several interview segments for the lengthy documentary, MGM: When the Lion Roars (Frank Martin, 1992). He had two children with Aileen Paul, Kathleen Millicent Bartholomew (1956) and Frederick R. Bartholomew (1958). Composer Jesse Zuretti is his grandson.
Sources: Bruce Eder (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
50032 'Courageous' at Reading vice the booked HST on the 16.03 Paddington-Bristol Temple Meads. Saturday 3 March 1990.
The Amazing Atheist: This is when American Liberal citizens actually make common sense, sometimes.
LIBERALS AND ISLAM!
TJ & Paul vs. Suicide Squad: He used to be a YouTuber before the big crash of 2017.
www.youtube.com/watch?v=UHQjhNH6g94
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The Grampian Courageous was built in 2006 at Balenciaga Shipyard, Spain. The vessel is an IMT 948 Emergency Response and Rescue Vessel.
DIMENSIONS
LOA 48.25 metres
LBP 40.50 metres
Breadth Moulded 11.8 metres
Draft Loaded / Depth 5.65 metres / 7.4 metres
TONNAGE
GRT 1130 Tonnes
NRT 339 Tonnes
DWT 465 Tonnes
CAPACITIES AND CRANES
Fuel Oil (MGO) / Connection 298 m3
Fresh Water / Connection 171 m3
Ballast Water Approx 350 m3
Oil Based Mud / Connection N/A
Brine / Connection N/A
DMA (Base Fluid) / Connection N/A
Dry Bulk(s) / Connection N/A
Deck Area Approx 120 m2 (Steel Deck)
Deck Loading 3 Tonnes per metre2
Deck Crane # 1 Dreggen DKF 40 2T @ 15 metres
Deck Crane # 2 N/A
Deck Crane # 3 N/A
Winch N/A
Wire Reel N/A
Deck Tuggers N/A
ENGINES/THRUSTERS/AUX
Main Engine(s) MAK 2050 BHP
Propeller(s) 1 x CPP
Bow Thruster(s) Schottel Azimuth @ 400BHP
Stern Thruster(s) N/A
Rudder Systems / Type Schilling Fishtail HP Rudder
Aux Engines 2 x Volvo @ 270kW per unit
Shaft PTOs 1 x PTO from Main Engine
Emergency Generators 1 x Emer Genset @ 150 kW
CONTROL SYSTEMS AND DYNAMIC POSITIONING
Control Positions Fwd, Aft, Port & Stbd consoles
Full Manual Control Fwd & Aft consoles
Integrated Joystick Control Schottel Masterstick
Joystick Control Aft, Port and Starboard consoles
RESCUE AND EMERGENCY RESPONSE EQUIPMENT
Daughter Craft Davit 2 x Grampian Hydraulics Heave Compensated
Daughter Craft 2 x Delta Phantom 10.25 metre (Diesel)
Fast Rescue Craft Davit # 1 Grampian Hydraulics Heave Compensated
Fast Rescue Craft Avon SR 6.4 15 Man (Petrol)
Dacon Scoop 7 Metre Dacon Scoop
Dacon Rescue Crane Dreggen DKF 40 Knuckle Boom 2t @ 15m
Cosalt Rescue Basket Fitted & Launched from aft deck
Jason Cradles Frames Fitted
Winch Area Located on Aft Main Deck
Emer. Towing Capability Towing Hook Fitted
Dispersant Tanks 2 x 5 Tonne Tanks below Main Deck
Dispersant Spray Booms Fully outfitted Port & Starboard
Searchlights 4 x IBAK Kiel Fwd, Port, Stbd & Aft
NAVIGATION AND COMMUNICATION EQUIPMENT
Radar(Fwd) 1 x Furuno 2817 ARPA 1 x Furuno 2837 ARPA
Radar Rptr (Aft) Hatteland
ECDIS Micro-Plot ECDIS System
PLB System N/A
DGPS(s) Furuno DGPS 90
Gyro(s) Anschutz S22 Gyro
Autopilot Anschutz NP 60
Magnetic Comp Gillie 2000
Echo Sounder FE 700 ES
Digital Depth Recorder FE 720
Navtex Furuno NX 700 Navtex
Sat Comms Inmarsat C Felcon, Fleet 77 CapSat (A3)
MF/HF Radio Furuno FS 2570 C (A3)
UHF 3 x UHF Units
VHF (Fwd) FM8800 GMDSS VHF, ICOM ICM 401E
VHF (Aft) FM8800 GMDSS VHF, ICOM ICM 401E
Helo Radio ICOM IC A110
AIS Jotrun AIS TR 2500
VHF Direction Finder Taiyo TDL 1550
Doppler Log Furuno DS 80
SSAS Furuno Felcom
Portable VHF 3 x Jotrun GMDSS
Portable VHF 6 x ENTEL HT 640 VHF
Portable UHF 3 x ENTEL HT 880 UHF
Portable UHF 2 x Kenwood UHF
Sonic Helmets 4 x Sonic Helmets Mk 10
Smartpatch Phone ICOM PS1
CREW FACILITIES
Crew Cabins 15 Man Single Berth cabins c/w en suite facilities
Recreation & Leisure 1 Messroom, 2 Lounges
Leisure 1 x Sauna, 1 x Gym, 1 x Ship’s Office
'The Courageous Sabertooth' is a world-renowned equalizer ray-gun, famous for producing the most powerful Aether blasts known to man, while still looking classy and fashionable!
Included is a splendid wood stand!
For an upcoming MOC
Tiger mask...
The powerful expression of the wild beast =)
The tiger pattern is full of the auras to the background.
Unaware of being observed, Dr. Von Shrapnell, and his friend Digginson assigned to the supervision of the mission set foot on the surface of the Red Planet.
This fly stood between life and death for a short time. The nectar is very tempting . But the survival instinct was stronger . Once again escaped with its life .
Our Santa was a sport and had a seriously cool Falstaff thing going on. Real beard, real hair, soft-spoken and lots of patience and eye contact. The whole shigella.
Also, I've never seen so many babies crying in one place that didn't involve haircuts or hypodermic needles.
The mall can be an emotionally complex way to spend an hour.
Today's special, running as 1Z76, and having come around the curve at Chester North, and traversed over the Mostyn Up goods loop,races through Bangor behind 68033 'Courageous' en route for Holyhead.
It is out of this understanding of rebellion as salvation for all that the most courageous acts of solidarity are born. One is reminded of Simone Weil, whom Camus lauded as “the only great spirit of our times” and who, as she lay dying of tuberculosis, defied her doctors’ orders by refusing to eat more than the rations her compatriots in Nazi-occupied France were given. Invoking such heroes, Camus writes:
This insane generosity is the generosity of rebellion, which unhesitatingly gives the strength of its love and without a moment’s delay refuses injustice. Its merit lies in making no calculations, distributing everything it possesses to life and to living men. It is thus that it is prodigal in its gifts to men to come. Real generosity toward the future lies in giving all to the present. […] Rebellion proves in this way that it is the very movement of life and that it cannot be denied without renouncing life. Its purest outburst, on each occasion, gives birth to existence. Thus it is love and fecundity or it is nothing at all. At the end of this tunnel of darkness, however, there is inevitably a light, which we already divine and for which we only have to fight to ensure its coming. All of us, among the ruins, are preparing a renaissance beyond the limits of nihilism. But few of us know it. In a sentiment of especial poignancy today, as Europe struggles to welcome the world’s refugees and displaced families so ungenerously referred to as a “crisis,” Camus adds:
In the light, the earth remains our first and our last love. Our brothers are breathing under the same sky as we; justice is a living thing. Now is born that strange joy which helps one live and die… With this joy, through long struggle, we shall remake the soul of our time, and a Europe which will exclude nothing.
The Rebel is a magnificent and acutely timely read in its totality. Complement it with Susan Sontag on courage and resistance and Nietzsche on what it really means to be a free spirit, then revisit Camus on strength of character, happiness, unhappiness, and our self-imposed prisons, the art of awareness, and the touching letter of gratitude he sent to his childhood teacher shortly after winning the Nobel Prize.
Building on Nietzsche’s ideas about the fine line between constructive and destructive rebellion — ideas Camus sees as “born of abundance and fullness of spirit” — he summarizes this orientation of mind: One must accept the unacceptable and hold to the untenable… From absolute despair will spring infinite joy, from blind servitude, unbounded freedom. To be free is, precisely, to abolish ends. The innocence of the ceaseless change of things, as soon as one consents to it, represents the maximum liberty. The free mind willingly accepts what is necessary. Nietzsche’s most profound concept is that the necessity of phenomena, if it is absolute, without rifts, does not imply any kind of restraint. Total acceptance of total necessity is his paradoxical definition of freedom. The question “free of what?” is thus replaced by “free for what?” Liberty coincides with heroism. It is the asceticism of the great man, “the bow bent to the breaking-point.” In a passage of remarkable resonance today, when we are confronting a wave of violence so strangely divorced from everything the past has taught us — those countless bloody lessons in the perennial fact that violence is always without victors — Camus considers the only adequate role of history:
History … is only an opportunity that must be rendered fruitful by a vigilant rebellion. “Obsession with the harvest and indifference to history,” writes René Char admirably, “are the two extremities of my bow.” If the duration of history is not synonymous with the duration of the harvest, then history, in effect, is no more than a fleeting and cruel shadow in which man has no more part. He who dedicates himself to this history dedicates himself to nothing and, in his turn, is nothing. But he who dedicates himself to the duration of his life, to the house he builds, to the dignity of mankind, dedicates himself to the earth and reaps from it the harvest that sows its seed and sustains the world again and again. More than half a century before Rebecca Solnit’s electrifying case for the vital difference between blind optimism and hope as an act of rebellion, Camus writes: The words that reverberate for us at the confines of this long adventure of rebellion are not formulas for optimism, for which we have no possible use in the extremities of our unhappiness, but words of courage and intelligence which, on the shores of the eternal seas, even have the qualities of virtue. No possible form of wisdom today can claim to give more. Rebellion indefatigably confronts evil, from which it can only derive a new impetus. Man can master in himself everything that should be mastered. He should rectify in creation everything that can be rectified. And after he has done so, children will still die unjustly even in a perfect society. Even by his greatest effort man can only propose to diminish arithmetically the sufferings of the world. But the injustice and the suffering of the world will remain and, no matter how limited they are, they will not cease to be an outrage. Dimitri Karamazov’s cry of “Why?” will continue to resound; art and rebellion will die only with the last man.
[…]
Then we understand that rebellion cannot exist without a strange form of love. Those who find no rest in God or in history are condemned to live for those who, like themselves, cannot live: in fact, for the humiliated. The most pure form of the movement of rebellion is thus crowned with the heart-rending cry of Karamazov: if all are not saved, what good is the salvation of one only?
Why rebel if there is nothing permanent in oneself worth preserving? And yet true rebellion, Camus argues, is an act motivated by concerned with the common good rather than by self-interest: The affirmation implicit in every act of rebellion is extended to something that transcends the individual in so far as it withdraws him from his supposed solitude and provides him with a reason to act. […] An act of rebellion is not, essentially, an egoistic act. Of course, it can have egoistic motives… The rebel … demands respect for himself, of course, but only in so far as he identifies himself with a natural community. […] When he rebels, a man identifies himself with other men and so surpasses himself, and from this point of view human solidarity is metaphysical. With an eye to the osmotic relationship between construction and destruction, Camus adds: Rebellion, though apparently negative, since it creates nothing, is profoundly positive in that it reveals the part of man which must always be defended. While this essay is a particularly spirited expression of his lifelong mission to defeat nihilism, Camus uses the writings of Nietzsche — who proclaimed himself “the first perfect nihilist of Europe” — as a springboard for exploring the constructive potentiality of rebellion. He writes: Because his mind was free, Nietzsche knew that freedom of the mind is not a comfort, but an achievement to which one aspires and at long last obtains after an exhausting struggle. He knew that in wanting to consider oneself above the law, there is a great risk of finding oneself beneath the law. That is why he understood that only the mind found its real emancipation in the acceptance of new obligations. The essence of his discovery consists in saying that if the eternal law is not freedom, the absence of law is still less so.
[…]
The sum total of every possibility does not amount to liberty… Chaos is also a form of servitude. Freedom exists only in a world where what is possible is defined at the same time as what is not possible. Without law there is no freedom.
Despair, like the absurd, has opinions and desires about everything in general and nothing in particular. Silence expresses this attitude very well. But from the moment that the rebel finds his voice — even though he says nothing but “no” — he begins to desire and to judge… Not every value entails rebellion, but every act of rebellion tacitly invokes a value… Awareness, no matter how confused it may be, develops from every act of rebellion: the sudden, dazzling perception that there is something in man with which he can identify himself, even if only for a moment.
“You say you want a revolution,” the Beatles sang in 1968 as Dr. Martin Luther King, Jr. was erecting the pillars of nonviolence on the other side of the Atlantic, “Well, you know / We all want to change the world… But when you talk about destruction / Don’t you know that you can count me out… If you want money for people with minds that hate / All I can tell you is brother you have to wait.”
Perhaps such is the curse of our species: Only in violent times do we remember, in our bones and our sinews, that hate is not a weapon of rebellion but of cowardice; that no true revolution is achieved through destruction and nihilism; that the only way to change the world is through constructive and life-affirming action. No one has made this point more persuasively and elegantly than Albert Camus (November 7, 1913–January 4, 1960) in his sublime and sublimely timely 1951 book The Rebel: An Essay on Man in Revolt (public library).The Rebel (French: L'Homme révolté) is a 1951 book-length essay by Albert Camus, which treats both the metaphysical and the historical development of rebellion and revolution in societies, especially Western Europe. Camus relates writers and artists as diverse as Epicurus and Lucretius, Marquis de Sade, Georg Wilhelm Friedrich Hegel, Fyodor Dostoyevsky, Friedrich Nietzsche, Max Stirner, André Breton, and others in an integrated, historical portrait of man in revolt. Examining both rebellion and revolt, which may be seen as the same phenomenon in personal and social frames, Camus examines several 'countercultural' figures and movements from the history of Western thought and art, noting the importance of each in the overall development of revolutionary thought and philosophy. This work has received ongoing interest, influencing modern philosophers and authors such as Paul Berman and others.
Fred Rosen has examined the influence of ideas of Simone Weil on Camus' thinking in The Rebel. George F Selfer has analysed parallels between Camus and Friedrich Nietzsche in philosophical aesthestics
One of Camus' primary arguments in The Rebel concerns the motivation for rebellion and revolution. While the two acts - which can be interpreted from Camus' writing as states of being - are radically different in most respects, they both stem from a basic human rejection of normative justice. If human beings become disenchanted with contemporary applications of justice, Camus suggests that they rebel. This rebellion, then, is the product of a basic contradiction between the human mind's unceasing quest for clarification and the apparently meaningless nature of the world. Described by Camus as "absurd," this latter perception must be examined with what Camus terms "lucidity." Camus concludes that the absurd sensibility contradicts itself because when it claims to believe in nothing, it believes in its own protest and the value of the protester's life. Therefore, this sensibility is logically a "point of departure" that irresistibly "exceeds itself." In the inborn impulse to rebel, on the other hand, we can deduce values that enable us to determine that murder and oppression are illegitimate and conclude with "hope for a new creation."
Another prominent theme in The Rebel, which is tied to the notion of incipient rebellion, is the inevitable failure of attempts at human perfection. Through an examination of various titular revolutions, and in particular the French Revolution, Camus argues that most revolutions involved a fundamental denial of both history and transcendental values. Such revolutionaries aimed to kill God. In the French Revolution, for instance, this was achieved through the execution of Louis XVI and subsequent eradication of the divine right of kings. The subsequent rise of utopian and materialist idealism sought "the end of history." Because this end is unattainable, according to Camus, terror ensued as the revolutionaries attempted to coerce results. This culminated in the "temporary" enslaving of people in the name of their future liberation. Notably, Camus' reliance on non-secular sentiment does not involve a defense of religion; indeed, the replacement of divinely-justified morality with pragmatism simply represents Camus' apotheosis of transcendental, moral values.
A third is that of crime, as Camus discusses how rebels who get carried away lose touch with the original basis of their rebellion and offer various defenses of crime through various historical epochs.
At the end of the book, Camus espouses the possible moral superiority of the ethics and political plan of syndicalism. He grounds this politics in a wider "midday thought" which opposes love of this life, and an unrelativisable normative commitment to fellow human beings, against ideological promises of the other world, end of history, or triumph of an alleged master race.
Captain Courageous Comics / one-shot
Captain Courageous, The Sword
cover:?
Ace Magazines / USA 1942
Reprint / Comic-Club NK 2010
ex libris MTP
Sitting in Aberdeen Harbour below the big Caledonian Oil Drums is this emergency response and rescue vessel, there were quite a few vessels in the harbour. The water was flat calm and there was hardly a sound except passing traffic behind me. I like coming round here from time to time to see if there are any colourful boats in the harbour.
It was a funny day today started with some flurries of snow then we had bright sunshine.
Class 50 50032 Courageous had come up from the west country and is now standing in the centre road at Birmingham New Street.
Kevin Connolly - All rights reserved so please do no use this image without my explicit permission
“Captains Courageous” is a coming-of-age tale of fishing off the New England coast. It is the story of Harvey Cheyne, a spoiled rich kid, who stumbles overboard an ocean liner and is rescued by fisherman Manuel Fidello off the Grand Banks of Newfoundland and brought aboard a small fishing boat. There he meets Disko Troop, captain of the fishing boat, who refuses to take the young man back to port but agrees to take him on as part of the crew against Harvey’s wishes. Over the course of the novel, Harvey befriends the captain’s son Dan and has some sense knocked into him. Dan helps the arrogant, overly pampered Harvey become a hard-working, self-reliant man at sea.
“Captains Courageous” is also an excellent portrayal of life in the Gloucester fishing fleet of Massachusetts, written while the newlywed Kipling lived in Vermont. Although Kipling lived in Vermont several years and was married to an American this is his only novel with entirely American settings, themes and major characters. The American edition of the book is dedicated to James Conland, M.D., of Brattleboro, Vermont. Dr. Conland had brought the Kiplings elder daughter into the world and had been a member of the Massachusetts fishing fleet. It is he who took Kipling to explore the wharves and quays of Boston and Gloucester.
Considered one of the great sea novels of the 19th century, “Captains Courageous” was made into an excellent Victor Fleming film in 1937 starring Freddie Bartholomew (Harvey Cheyne), Spencer Tracy (his rescuer Manuel Fidello),
Lionel Barrymore (Captain Disko Troop) and Mickey Rooney (Dan Troop).
Courageous Heart
A heart so full of love
A heart so full of doubt
Easily giving to all who want
Yet afraid to trust love’s sweet touch
Affection pours through her eyes
So willing to accept a warm advance
Only to find that ugly surprise
The pain that comes with one night stands
To have love torn right from her heart
Yet courage enough to start but again
A lesser soul would just fall apart
Never trusting love from any man
EagleKnight
The Grampian Courageous was built in 2006 at Balenciaga Shipyard, Spain. The vessel is an IMT 948 Emergency Response and Rescue Vessel.
DIMENSIONS
LOA 48.25 metres
LBP 40.50 metres
Breadth Moulded 11.8 metres
Draft Loaded / Depth 5.65 metres / 7.4 metres
TONNAGE
GRT 1130 Tonnes
NRT 339 Tonnes
DWT 465 Tonnes
CAPACITIES AND CRANES
Fuel Oil (MGO) / Connection 298 m3
Fresh Water / Connection 171 m3
Ballast Water Approx 350 m3
Oil Based Mud / Connection N/A
Brine / Connection N/A
DMA (Base Fluid) / Connection N/A
Dry Bulk(s) / Connection N/A
Deck Area Approx 120 m2 (Steel Deck)
Deck Loading 3 Tonnes per metre2
Deck Crane # 1 Dreggen DKF 40 2T @ 15 metres
Deck Crane # 2 N/A
Deck Crane # 3 N/A
Winch N/A
Wire Reel N/A
Deck Tuggers N/A
ENGINES/THRUSTERS/AUX
Main Engine(s) MAK 2050 BHP
Propeller(s) 1 x CPP
Bow Thruster(s) Schottel Azimuth @ 400BHP
Stern Thruster(s) N/A
Rudder Systems / Type Schilling Fishtail HP Rudder
Aux Engines 2 x Volvo @ 270kW per unit
Shaft PTOs 1 x PTO from Main Engine
Emergency Generators 1 x Emer Genset @ 150 kW
CONTROL SYSTEMS AND DYNAMIC POSITIONING
Control Positions Fwd, Aft, Port & Stbd consoles
Full Manual Control Fwd & Aft consoles
Integrated Joystick Control Schottel Masterstick
Joystick Control Aft, Port and Starboard consoles
RESCUE AND EMERGENCY RESPONSE EQUIPMENT
Daughter Craft Davit 2 x Grampian Hydraulics Heave Compensated
Daughter Craft 2 x Delta Phantom 10.25 metre (Diesel)
Fast Rescue Craft Davit # 1 Grampian Hydraulics Heave Compensated
Fast Rescue Craft Avon SR 6.4 15 Man (Petrol)
Dacon Scoop 7 Metre Dacon Scoop
Dacon Rescue Crane Dreggen DKF 40 Knuckle Boom 2t @ 15m
Cosalt Rescue Basket Fitted & Launched from aft deck
Jason Cradles Frames Fitted
Winch Area Located on Aft Main Deck
Emer. Towing Capability Towing Hook Fitted
Dispersant Tanks 2 x 5 Tonne Tanks below Main Deck
Dispersant Spray Booms Fully outfitted Port & Starboard
Searchlights 4 x IBAK Kiel Fwd, Port, Stbd & Aft
NAVIGATION AND COMMUNICATION EQUIPMENT
Radar(Fwd) 1 x Furuno 2817 ARPA 1 x Furuno 2837 ARPA
Radar Rptr (Aft) Hatteland
ECDIS Micro-Plot ECDIS System
PLB System N/A
DGPS(s) Furuno DGPS 90
Gyro(s) Anschutz S22 Gyro
Autopilot Anschutz NP 60
Magnetic Comp Gillie 2000
Echo Sounder FE 700 ES
Digital Depth Recorder FE 720
Navtex Furuno NX 700 Navtex
Sat Comms Inmarsat C Felcon, Fleet 77 CapSat (A3)
MF/HF Radio Furuno FS 2570 C (A3)
UHF 3 x UHF Units
VHF (Fwd) FM8800 GMDSS VHF, ICOM ICM 401E
VHF (Aft) FM8800 GMDSS VHF, ICOM ICM 401E
Helo Radio ICOM IC A110
AIS Jotrun AIS TR 2500
VHF Direction Finder Taiyo TDL 1550
Doppler Log Furuno DS 80
SSAS Furuno Felcom
Portable VHF 3 x Jotrun GMDSS
Portable VHF 6 x ENTEL HT 640 VHF
Portable UHF 3 x ENTEL HT 880 UHF
Portable UHF 2 x Kenwood UHF
Sonic Helmets 4 x Sonic Helmets Mk 10
Smartpatch Phone ICOM PS1
CREW FACILITIES
Crew Cabins 15 Man Single Berth cabins c/w en suite facilities
Recreation & Leisure 1 Messroom, 2 Lounges
Leisure 1 x Sauna, 1 x Gym, 1 x Ship’s Office
...courageously and curiously by the shores of destiny. Eager to see something, someone, on the horizon.
Photo credit: bdopekarreuche
(Please contact for use)
... #secondlife #secondlifebeauty #secondlifephotography #secondlifefashion
The wonderful Gloucester Cathedral dominates the skyline on a grey October morning as 'Hoover' class 50 No.50032 'Courageous' powers away with a Bristol service. 47138 in the background was ready to depart for Birmingham. Taken from the Horton Road crossing at Gloucester on 20th October 1979.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
68029 Courageous has just arrived at Scarborough with 1U71, the 17:30 from Manchester Piccadilly. This is its last turn of the day and is now being serviced here on the platform. Here sand is being added to the front end sandbox. November the 2nd 2023.
Designer: Ren Xing (任兴)
1960, March
Courageously move forward under the glorious illumination of Mao Zedong thoughtZai Mao Zedong sixiang guanghui zhaoyaoxia fenyong qianjin (在毛泽东思想光辉照耀下奋勇前进)
Call nr.: BG E12/695 (IISH collection)
More? See: chineseposters.net/themes/mao-thought