View allAll Photos Tagged dates
Dates: 1865-1890
Maker: Unidentified
Place: USA
Donor: Museum Purchase
Photographer Credit:Scottish Rite Masonic Museum & Library
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We decided to make the 1.35 mile walk up to Buffalo Wild Wings and catch the end of the Twins home opener.
Starting on the far right and proceeding clockwise:
(1) Blue De Basque (French) *
(2) Gruyere (Switzerland)
(3) Ossau Bartholomy (Utah, USA) -
(4) Barely Buzzed (Utah, USA)
(5) Prima Donna (Holland)
(6) Brillant Savarin (French) *
Paphos is a coastal city located in the southwestern part of the Republic of Cyprus. Its rich history dates back thousands of years, making it one of the oldest continuously inhabited cities in the world. In this 1000-word overview, we will explore the key historical periods and events that have shaped Paphos into the vibrant city it is today.
Paphos has a mythical origin linked to Greek mythology. According to legend, the city was founded by Agapenor, one of the heroes of the Trojan War, who was said to have established Paphos as his kingdom. The city's name is derived from "Paphia," an epithet of Aphrodite, the Greek goddess of love and beauty, who was believed to have been born in the region.
The city flourished during the Hellenistic period, particularly under the Ptolemaic dynasty, which ruled over Cyprus from the 4th century BCE. Paphos became the capital of the island and a thriving center of culture and trade. The city was adorned with impressive buildings, including temples, theaters, and a grand agora.
During the Roman period, which began in 58 BCE with the incorporation of Cyprus into the Roman Republic, Paphos continued to thrive and gained even more prominence. The city became the administrative center of the island, attracting wealthy Romans who built luxurious villas in the area. One of the most famous attractions of this period is the Paphos Archaeological Park, which houses the remains of ancient Roman villas with exquisite mosaics.
In the 4th century CE, Cyprus and Paphos experienced a significant shift with the rise of Christianity. The Apostle Paul is said to have visited the city during his missionary journeys, converting the Roman governor, Sergius Paulus, to Christianity. This event marked the beginning of Paphos' association with the spread of Christianity and the establishment of several early Christian communities in the region.
During the Byzantine era, which followed the fall of the Western Roman Empire, Paphos remained an important religious center. Several early Christian churches and monasteries were built, and the city became the seat of a bishop. However, Paphos faced several challenges during this period, including raids by Arab pirates and conflicts between Byzantine factions vying for control of the island.
The 12th century saw the arrival of the Crusaders, who conquered Cyprus and established the Kingdom of Cyprus. Paphos became the capital once again, and the city experienced a revival under Frankish rule. The Crusaders built a fortress near the harbor to protect the city from pirate attacks, and Paphos became an important trading hub.
In the following centuries, Paphos came under the control of various powers, including the Venetians and the Ottomans. The city experienced a decline in prosperity, with many of its inhabitants leaving for other regions. The once-great city became a small fishing village, overshadowed by other centers on the island.
Cyprus came under British administration in 1878 and remained a British colony until 1960 when it gained independence. Paphos remained a relatively small town until the late 20th century when tourism started to develop on the island. The city's historical sites and beautiful coastline attracted visitors from around the world, leading to significant growth and economic development.
In recent years, Paphos has become a popular tourist destination, known for its archaeological sites, picturesque harbor, and vibrant cultural scene. In 2017, Paphos was designated as the European Capital of Culture, further enhancing its reputation and attracting even more visitors.
Today, Paphos continues to thrive as a cosmopolitan city that beautifully blends its rich history with modern amenities. Its archaeological treasures, including the Tomb of the Kings and the Paphos Archaeological Park, are UNESCO World Heritage sites, drawing history enthusiasts and tourists alike.
In conclusion, Paphos, Republic of Cyprus, is a city with a fascinating history that spans thousands of years. From its mythical origins and Hellenistic and Roman splendor to its association with early Christianity and its subsequent periods of decline and revival, Paphos has experienced a remarkable journey. Today, it stands as a testament to its past, attracting visitors who are captivated by its historical treasures and natural beauty.
Dates: 1900-1925
Maker: Moore, Hubbell & Co.; Moore, Bond & Co.
Place: USA: Illinois, Chicago
Donor: Scottish Rite Masonic Museum & Library Collection
Photographer Credit: Scottish Rite Masonic Museum & Library Collection
Exifer tutorial part 2 of 6: Dates.
The EXIF "Date taken" field is what Flickr uses for its "Taken on" field. Unless I'm mistaken, I don't think the IPTC Date/time field works with Flickr. I always try to keep my photos stamped on CST time zone since I live in Tennessee. Even if I'm in France, I won't change my camera's clock. Changing the time can be problematic, as evidenced by this FlickrCentral discussion.
Please make general comments on the main set page. Specific comments can be added to each picture, as well.
exifer2-date
Exhibition Dates: September 5 - 27, 2019
Lecture & Reception: Saturday, September 7, 4-7 pm
Gallery 224 at the Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, MA 02134
This show is built from a fascination with glazes and ceramic materials. During my residency at the Ceramics Program - Office for the Arts at Harvard, I’ve been researching and testing materials and procedures to take a fresh look at how we approach contemporary clay.
The process that I developed for this work has me hand-printing vessels and balloons the time to produce a single vase out to 40-plus hours. In that time-frame, I make thousands of decisions about where the profile is heading. Each drop is a waypoint in the design of the object. There is no inside surface vs. outside surface, there is only the object and the space it contains. It’s a really beautiful process. It’s layered with the irony of an American studio artist hand-replicating a 3-d printing process; making work representative of blue and white ware. There’s a lot of good questions in there.Colby Charpentier
Knowing that the material itself is a glass that was formulated to devitrify and be ceramic when fired— is important to understanding this work as a veil of glaze. This process is driven by the research questions: What if we took clay out of the vessel and glaze was all that remained? And what does it mean to replicate a 3-D printing process by hand? The result is ceramic: glass, devitrified.
Read more:
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
History
Grass Valley dates from the California Gold Rush, as does nearby Nevada City. It was originally named Centreville when a post office was established in 1851, but renamed Grass Valley the following year for unknown reasons. The town incorporated in 1860.[2]
Grass Valley is the location of the Empire Mine and North Star Mine, two of the richest mines in California. Many of those who came to settle in Grass Valley were tin miners from Cornwall. They were attracted to the California gold fields because the same skills needed for deep tin mining were needed for hardrock (deep) gold mining. Many of them specialized in pumping the water out of very deep mining shafts. This followed the disastrous fall in tin prices as large alluvial deposits began to be exploited elsewhere.
Grass Valley still holds on to its Cornish heritage, with events such as its annual Cornish Christmas and St Piran's Day celebrations.[7] Pasties are a local favorite dish with a few restaurants in town specializing in recipes handed down from the original immigrant generation. Grass Valley is also twinned with the Cornish town of Bodmin, UK.
There was formerly a Roman Catholic diocese of Grass Valley.[8]
Part of Disney's 1957 film Old Yeller was shot here.
El pueblo de Grass Valley data desde los tiempos de la Fiebre del oro de California, al igual que el pueblo vecino Nevada City. Originalmente el pueblo se llamó Centreville cuando en 1851 se estableció una oficina de correos y un año mas tarde cambio al nombre de Grass Valley por razones aun desconocidas. El pueblo fue incorporado en el año 1860.
En Grass Valley se encuentran dos de las minas mas ricas de California, la Mina de el Imperio (Empire Mine) y la mina de La Estrella Del Norte (North Star Mine) . Muchos de los primero habitantes que llegaron a Grass Valley eran mineros de estaño en Cornwall. Muchas de las tradiciones que estos nuevos immigrantes Ingleses trajeron con ellos continuan vigentes como especialidades culinarias y religiosas.
Gruyères dates back to the Roman era with graves dated to the second century and the remains of a Roman villa was discovered dating back to the second or third century. The first written reference to the town is from 1138-39. In the late twelfth century, the town developed as a market town separate from the castle. In 1476, the town took part in the Battle of Morat and captured three capes of the Order of the Golden Fleece and these were on display in the castle.
Today the city is an agricultural and forestry centre and Gruyère cheese is named for the town.
“Ollantaytambo dates from the late 15th century and has some of the oldest continuously occupied dwellings in South America. Its layout and buildings have been altered to different degrees by later constructions, for instance, on the southern edge of the town an Inca esplanade with the original entrance to the town was rebuilt as a Plaza de Armas surrounded by colonial and republican buildings. The plaza at the center of the town also disappeared as several buildings were built over it in colonial times.” Wiki
It is the beginning location for those in the four-day hike along the Inca Trail to Machu Picchu.
During our stay at Ollantaytambo a two-day festival was underway involving dances and music of local groups in their regional attire.
Dates from 1560
www.britishlistedbuildings.co.uk/en-313713-manor-farm-cor...
www.britishlistedbuildings.co.uk/en-313714-gateway-to-fro...
[Originally uploaded for the flickr group Guess Where UK]
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Old man selling dates.
Session "je ressors de vieilles photos prises avant que j'achète mon reflex."
Picture taken in 2006/2007 with my friend's Canon PowerShot A95.
Exhibition Dates: October 13 – November 26, 2018
Opening Reception and Public Demonstration:
Saturday, October 13th, 2018 from 4pm – 7pm
Ceramics Program, Office for the Arts at Harvard
224 Western Ave, Allston, Massachusetts 02134
Join us to celebrate the opening of Raise a Glass—A Contemporary Response to Animal-Shaped Vessels from the Ancient World, an exhibition at the Harvard Ceramics Program that is inspired by the Harvard Art Museums’ current special exhibition, Animal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes, and Kings.
On view from October 13 through November 26, 2018, Raise a Glass features contemporary ceramic artists responding to the elaborate vessels featured in the Animal-Shaped Vessels exhibition. Fourteen internationally recognized contemporary sculptors and vessel makers were invited to seek inspiration in subject matter, form, function and/or culture of origin from these ancient vessels, which illustrate how shapes, artistic forms, ideas, and traditions have exchanged across borders throughout time.
During the opening reception, the public will have the chance to enrich their viewing experience through a hands-on encounter with materials and process. Artists from the Harvard Ceramics Program will demonstrate the use of ceramic press molds developed for research purposes for Harvard Art Museums curators. Participants will be invited to try press molding their own terracotta animal-head drinking vessels.
The intent of Raise a Glass is for artists to work with the time-honored materials of ceramic, metal, and glass to honor and provide a complementary view into the mind of ancient makers represented in the Harvard Art Museums exhibition.
Included artists:
Natalia Arbelaezhands sculpting an animal head in clay
Bruce Armitage
Jessica Brandl
John Byrd
Pattie Chalmers
Richard W. James
Salvador Jimenez-Flores
Kate MacDowell
Jenny Mendes
Mia Riley
Adam Shiverdecker
Kevin Snipes
Ian Thomas
Adam Whitney
Russell Wrankle
Raise a Glass is curated by Kathy King, Director of Education at the Ceramics Program and is co-sponsored by the Harvard Ceramics Program and the Harvard Art Museums, in conjunction with Animal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes and Kings, on view at the Harvard Art Museums from September 7, 2018 through January 6, 2019.
This opening reception and public demonstration will take place at the Harvard Ceramics Program, 224 Western Avenue, Allston.
Support for this event—as well as crucial support for the exhibition—has been provided by the National Endowment for the Humanities: Exploring the Human Endeavor. In addition, the Harvard Art Museums are deeply grateful to the anonymous donor of a gift in memory of Melvin R. Seiden and to Malcolm H. Wiener (Harvard A.B. ’57, J.D. ’63) and Michael and Helen Lehmann for enabling us to mount this exhibition and to pursue the related research. This work was also made possible in part by the following endowed funds: the David M. Robinson Fund; the Andrew W. Mellon Publication Funds, including the Henry P. McIlhenny Fund; and the M. Victor Leventritt Fund, which brings outstanding scholars of the history and theory of art to the Harvard and Greater Boston communities through the generosity of the wife, children, and friends of the late M. Victor Leventritt, Harvard Class of 1935.
Share your experience on social media: #HarvardCeramics #Gallery224 #partyanimals #harvardartmuseums
Gallery 224 hours: 10am-5pm
Othella Dallas
Dates: 22-25.6
SWISS JAZZ AWARD WINNER 2019!
AWARD CEREMONY 23.6
From: USA, Switzerland
Style: Vocal Jazz
Othella Dallas, vocals
Ueli Gasser, guitar
Michael Chylewski, bass
Lukas Gasser, drums
Othella Dallas premiata con Swiss Jazz Award 2019: a 93 anni la vecchia Signora del Jazz, del Blues e del Funk infiamma ancora il pubblico con il suo carisma e la sua incredibile energia
È con grande gioia che JazzAscona annuncia il ritorno di Othella Dallas ad Ascona. Alla carismatica 93enne (!) cantante e ballerina americana residente in Svizzera, sarà conferito, domenica 23 giugno, lo Swiss Jazz Award 2019 per la sua straordinaria carriera artistica.
Nata a Memphis nel 1925, Othella Dallas ha debuttato come cantante nei primi anni 50 a Parigi e si è rapidamente affermata condividendo il palco con celebrità del calibro di Duke Ellington, Sammy Davis jr, Nat King Cole, Quincy Jones, Sonny Stitt e King Kurtis, per elencarne solo alcuni. Residente in Svizzera dagli anni 60, ha realizzato un fragoroso ritorno sulle scene con l’album “I Live The Life I Love”, che la consacra definitivamente Grand Old Lady del Jazz, del Blues e del Funk. Ospite delle scene più prestigiose del paese, a 93 anni Othella Dallas tiene tuttora regolari concerti, dispiegando un’energia, un’intensità, una presenza scenica che ovunque suscitano ammirazione ed entusiasmo il pubblico. Lo Swiss Jazz Award 2019 premia dunque una delle più carismatiche personalità della musica e dello spettacolo che ha avuto la Svizzera negli ultimi decenni.
Le Swiss Jazz Award revient à Othella Dallas : à 93 ans la “Vieille Dame du Jazz, du Blues et du Funk” enflamme encore le public avec son charisme et son incroyable énergie
C’est avec une immense joie que JazzAscona annonce le retour d’Othella Dallas à Ascona. À la charismatique dame âgée de 93 ans (!), chanteuse et danseuse originaire des Etats-Unis et résidant en Suisse, sera remis, le dimanche 23 juin, le Swiss Jazz Award, pour son extraordinaire carrière artistique.
Née à Memphis en 1925, Othella Dallas a débuté comme chanteuse au début des années 50 à Paris et s’est rapidement affirmée sur scène aux côtés de célébrités du calibre de Duke Ellington, Sammy Davis Junior, Nat King Cole, Quincy Jones, Sonny Stitt et King Kurtis, pour n’en citer que quelques-uns. Résidant depuis les années 60 en Suisse, elle a fait un come-back éclatant avec l’album « I Live The Life I Love » qui l’a définitivement consacrée Grand Old Lady du jazz, du blues et du funk. Brûlant les planches des scènes nationales les plus prestigieuses, encore à 93 ans Othella Dallas se produit régulièrement en public avec une énergie, une intensité et une présence scénique qui partout suscitent l’admiration et l’enthousiasme du public. Le Swiss Jazz Award récompense donc un des personnages les plus charismatiques que le monde de la musique et du spectacle suisse ait eus ces dernières décennies.
Othella Dallas wird mit dem Swiss Jazz Award 2019 ausgezeichnet: Mit 93 Jahren ist sie die alte Dame des Jazz, Blues und Funk und bringt das Publikum noch immer zum Kochen mit Ihrem Charisma und ihrer unglaublichen Energie
Mit grosser Freude kündet JazzAscona die Rückkehr nach Ascona von Othella Dallas an. Der charismatischen 93-Jährigen (!) amerikanischen, in der Schweiz wohnhaften Sängerin und Tänzerin wird am Sonntag, 23. Juni, der Swiss Jazz Award 2019 für ihre aussergewöhnliche Künstlerkarriere verliehen.
1925 in Memphis geboren, debütierte Othella Dallas als Sängerin in den frühen 50er-Jahren in Paris. Rasch machte sie sich einen Namen und teilte die Bühne mit Berühmtheiten wie Duke Ellington, Sammy Davis Jr., Nat King Cole, Quincy Jones, Sonny Stitt, King Kurtis, und vielen andern. Seit den 60er-Jahren lebt sie in der Schweiz. Ihr Album “I Live The Life I Love” brachte sie spektakulär auf die Bühne zurück und machte sie definitiv zur Grand Old Lady des Jazz, Blues und Funk. Auch mit 93 ist sie noch regelmässig mit Ihren Konzerten auf den renommiertesten Bühnen des Landes zu Gast. Ihre überschäumende Energie und Intensität und die einnehmende Bühnenpräsenz begeistern ihr Publikum, wo immer sie auftritt. Der Swiss Jazz Award 2019 zeichnet somit eine der charismatischsten Persönlichkeiten der Musik- und Showwelt.
Othella Dallas is the recipient of the Swiss Jazz Award 2019: at 93, the Grand Old Lady of Jazz, Blues, and Funk still enthralls her audience with an incredible charisma and power.
It is with great joy that we announce Othella Dallas’ return to the shores of Lake Maggiore. On Sunday June 23, the charismatic 93-year-old American singer and dancer (who resides in Switzerland) will receive the Swiss Jazz Award in recognition of her extraordinary artistic career. Born in Memphis in 1925, Othella Dallas debuted as a singer in 1950s Paris; she soon rose to fame, performing alongside superstars such as Duke Ellington, Sammy Davis Jr, Nat King Cole, Quincy Jones, Sonny Stitt and King Kurtis, to mention a few. A Swiss resident since the 1960s, she becomes nationally known with her album “I Live the Life I love”. The Grand Old Lady of Jazz, Blues, and Funk continues to delight with her live performances. This year’s Swiss Jazz Award honors one of the most charismatic dance and music personalities in Switzerland.
Banana date oatmeal cookies. Everything is here except the oatmeal. That's next.
I baked for two days and made one hundred and eighty cookies.
Little is known of the origins of the Church of St Martin, but it dates back at least to the Middle Ages. Christianity was brought here by people such as St David at Llanthony, and St Issui at Partrishow. It is more than likely that there was a church at Cwmyoy before the Norman Conquest.
The present church is dedicated to St Martin of Tours, which is not a common dedication in Monmouthshire. There was an ancient chapel at Bwlch Trewyn also bearing the dedication to St Martin. All traces of this chapel have disappeared. Both these churches would have been on the Pilgrim route to St David's in Pembrokeshire. In medieval times, two pilgrimages to St David's were considered the equivalent of one pilgrimage to Rome - an indication of how rough and hazardous travelling was at that time.
After the Norman Conquest the church came under the jurisdiction of Llanthony Priory which was founded in 1100 AD. The Manor of Cwmyoy was conferred to the Priory by Hugh de Lacy, son of the founder of the Priory, William de Lacy.
On 8th June 1538, after the Dissolution of the Monasteries, Llanthony Priory, together with all the manors and churches under its control were given to Sir Nicholas Arnold, the Lord Chief Justice of Ireland.
During the monastic days, Cwmyoy was served by monks sent out by the Prior. After the dissolution, curates were appointed, but the names of those serving in the 17th century have never been recorded.
During the 18th century Cwmyoy became a perpetual curacy. Finally in 1830 it became a Vicarage, being formally joined to Llanthony. This was a formal recognition of an existing arrangement, since the curates had always shared both benefices.
To bring the record up to date, the two parishes of Cwmyoy and Llanthony became part of a larger grouping in 1969 when these parishes came together with Llanfihangel Crucorney and Oldcastle; in the 1990s Oldcastle church was closed, and the three remaining parishes joined to become the united parish of Llanfihangel Crucorney.
The name Cwmyoy - a phonetic spelling of the Monmouthshire pronunciation of "cwm lau" - means "valley (cwm) of the yoke (lau)" in reference to the curved shape of the valley near the church cutting deep into Hatterrall Hill behind (along which runs part of the long-distance trail, Offa's Dyke Path).
The Church of St Martin is probably unique. No part of it is square or at right angles with any other part. This striking irregularity is accounted for by the geology of the underlying rock. The shifting subsoil has caused the church to move, tilting to the north at the tower end and to the south, forward of the small window at the west end of the north wall. If you look towards the altar from inside the tower, you will see that the tower arch tilts to the left, and the chancel arch and east window tilt markedly to the right.
The tower itself, at the NW corner, leans 5.2 degrees out of perpendicular. The two large buttresses to support it were built in the 1960s.
The interior of the church is simple: it has a nave, chancel, tower and porch, and dates mainly from the 13th to 16th centuries. The remains of a stair in the chancel would have led to a rood loft (probably destroyed during the Reformation).
The church was restored in 1887, when the plaster ceiling of the nave was removed, and it is possible that moulded plaster decorations set in the porch wall are remnants of the ceiling.
There are interesting wall memorials, many of which are by members of the Bute family who carved many memorials in and around the churches of the Black Mountains.
The medieval cross in the centre of the church was dug up in 1861 at the nearby farm, and placed in the church in 1935. An unusual feature is the mitre with three crosses on the head of Christ. The chamfered edges indicate it is post-Conquest.
The simple font is medieval, the pulpit is 19th century.
This cemetery dates back to 1874, it is located close to Duthie Park Aberdeen , I need to revisit as I had two hours to capture these photos before realising the cemetery had another area across the road , that had as many war graves etc and demanded walking time of another two hours or so as the visit I thought I had just completed.
I have now personally viewed and recorded over 457 war graves in Aberdeenshire during my travels , I feel humbled and respectful towards all who gave their life so that I may enjoy my own life in 2018, I have viewed war graves of young men aged 17 years old etc who fought the enemy , checking the internet the youngest british soldier to die in conflict was 14 years old.
Allenvale Cemetery .
Opened in 1874, the cemetery lies at the juncton of Great Southern Road, with Riverside Drive and Allenvale Road with later extensions to the north of Allenvale Road.
ABERDEEN (ALLENVALE) CEMETERY.
CountryUnited Kingdom
RegionAberdeenshire
Total identified casualties273. Casualties from First & Second World War.
History Information
There are 164 Commonwealth burials of the 1914-1918 war here, those whose graves are not marked by headstones are named on 2 Screen Wall memorials in Section S.
There are a further 109 Commonwealth burials of the 1939-1945 war here.
One Swedish merchant seaman and one non war service burial are also here.
The Roman column dates from the 3rd century AD while the upper part (capital) and the enclosure were added in 1825 under Charles X.
The column was once crowned with Jupiter triumphing over a giant.
The column measures 11.6 metres. A four-sided base supports an octagonal pedestal. Each alcove in the octagon has a very weathered figure of a god: Juno, Athena, Jupiter, Apollo or Ganymede, Diana, Hercules, Venus and Bacchus.