Driving along a dirt road with a marsh on both sides, I spotted this frog sitting just off to the side with a butterfly on it's back. Grabbed my macro lens, laid on the road and I was just about to focus on the frog when the butterfly flew to the ground in front of him. I looked away for a split second to tell man servant that my award winning shot was lost - just as his tongue came out and scooped the butterfly from the ground - damn - make that two award winning shots lost - not the first and definitely not the last. When I took the shot I thought he had the decency to have a leg hanging out - but alas it's just a piece of dirt. Just to show you why he was laying in wait on the road - please see below!! I'm thinking he's looking sufficiently guilty for ruining my image!!!

Because thongs on Korean beaches are serious scandals, about 10x this many people gathered at one point watching said ridiculously tanned man wearing tiny thong (who was covered in a slick shiny oil no less) play frisbee from the top of the walk way with his friends who were speedo clad (slightly higher levels of decency) down on yonder beach.

For my New Year's Day supper, I had Black Forest ham, baked sweet potatoes with melted butter, a mixed green salad, and a Warsteiner beer. I'm wearing a red wool sweater and black denim skirt that see a lot a lot of use in the winter because they are warm and comfortable.

 

After supper, I went to see the movie "The Girl with the Dragon Tattoo." Although I hate tattoos, piercings (other than conventional earrings), and smoking, the girl who was one of the main characters was awesome. Bad guys who messed with her lived to regret it or didn't survive. She was actually sweet to those who respected her. blunt to those who needed it, thorough in her investigations, quick thinking, and deadly. The topic of sexual abuse by family and strangers was handled bluntly. Sometimes the abused people get to strike back. The love scenes (both straight and lesbian) were handled with class and were every bit as sweet as the rape scenes were ugly. Friendship, trust, and decency were shown to be stronger than treachery, betrayal, and perversion.

La Tomba di Dante fu costruita tra il 1780 e il 1782 per volontà del cardinal legato Luigi Valenti Gonzaga e su progetto dell'architetto ravennate Camillo Morigia, secondo i contemporanei dettami neoclassici, nell'intento di restituire nobiltà e decoro alla sepoltura dantesca, fino ad allora ospitata all'interno di una semplice cappellina, più volte ristrutturata nel corso dei secoli. Le spoglie del poeta, dopo essere state a lungo nascoste dai frati francescani, per essere sottratte ai Fiorentini che le avevano richieste, furono rinvenute nel 1865 e da quel momento riposano nella Tomba.

L'interno fu rivestito di marmi policromi per il Centenario dantesco del 1921: sulla parete di fronte all'entrata è collocato il bel bassorilievo con il ritratto di Dante, scolpito da Pietro Lombardo nel 1483; ai piedi dell’arca sepolcrale è posta una ghirlanda in bronzo e argento offerta nel 1921 dall’esercito vittorioso nella Prima Guerra Mondiale e sul lato destro si trova la raffinata ampolla realizzata da Giovanni Mayer e donata dalle città giuliano-dalmate nel 1908.

 

Built between 1780 and 1782, Dante's Tomb was commissioned by the cardinal Luigi Valenti Gonzaga, from a project by the architect Camillo Morigia from Ravenna, who followed the neoclassical norms of that time. The cardinal's aim was to restore the nobility and decency of Dante's burial. Up until then, the remains of the poet had been preserved in a little chapel that underwent several restorations over the centuries. After being kept hidden by the Franciscan friars for a long time, in order to protect them from the Florentines who had claimed them, Dante's remains were found in 1865 and they have been resting in the new tomb ever since.

In occasion of the 600th anniversary (Centenario dantesco) of Dante's death in 1921, the interior was covered with polichrome marbles; a beautiful low relief portraying the poet was carved in 1483 by Pietro Lombardo and placed onto the wall in front of the tomb's entrance; a bronze and silver wreath lies at the foot of the sepulchral ark, it was donated to Ravenna by the victorious army after the First World War; on the right side you find the refined ampoule by Giovanni Mayer, donated by the Istrian cities in 1908.

 

(Fonte: www.turismo.ra.it)

Photo taken at wall mural near Coney Island train station.

Not strictly a Finsec event, but here's a few photos of the Service and Food Workers' Union Nga Ringa Tota rally in Wellington on International Cleaners Day.

The 'Fair Deal for Cleaners' campaign that this rally is part of aims to provide a voice to the low-waged largely immigrant female workforce, in cities across Australia and New Zealand, who are calling on big property owners to support decency in their workplaces.

Chatterton: did you record it all?

 

Pepys: Intoxication? Yes.

 

Chatterton: bloody wonderful!

I haven't come anywhere near that stuff yet, describing it I mean. I take surreptitious peeps (no pun intended) and then scarper, still scared I guess. But I will get there.

 

Pepys: That was transient. I didn’t realise it at the time. Those places have been flattened, those dens.

 

Chatterton: I am sure. Decency always prevails, at least if you live long enough. Remember I tried to top myself? What a plonker I was. Hey Peeps, how many times do you think you have changed sex over the eons.

 

Pepys: Changed sex for what exactly, Chatter?

What an amazing place this is. It used to be a thermal bath house. It was built in the 19th century and what beautifully decorated. It will soon be converted into a posh hotel.

When we entered early morning we were the first explorers setting up our gear. Within an hour the place was crowded with explorers from all over Europe and it was hard to take a decent picture.

Apparently it is hard for other people to wait until others who were there earlier are done. I gave them a hard time by just standing in 'their' way while taking a shot. Have some decency people and be patient!

 

Please visit www.preciousdecay.com for more pictures and follow me on Facebook on www.facebook.com/Preciousdecay.urbex

Pictured are Superintendent Simon Retford of Greater Manchester Police's Trafford Division, Inspector Kevin Taylor of the Force's Tactical Aid Unit Task Force and Chair of the Trafford Partnership Councillor Matt Colledge and members of the Tactical Aid Unit Task Force.

  

Police seized around £10,000 worth of illegal drugs, £5,000 cash and arrested 30 people following a series of early morning raids on addresses across Trafford.

 

The 22 raids were carried out by officers from Greater Manchester Police’s Trafford division alongside the Tactical Aid Unit Task Force over the two week period beginning Monday 16 January.

 

·One man was arrested on suspicion of burglary and handling stolen goods

·Two women and one man were arrested on suspicion of possessing class A drugs with intent to supply

·One man was arrested on suspicion of possessing class A and class B drugs

·Eleven men and three women were arrested on suspicion of possessing cannabis

·Two men were arrested on suspicion of cultivating cannabis

·Two men were arrested on suspicion of being concerned in the supply of cannabis

·Two men were arrested on suspicion of possessing cannabis with intent to supply

·Five men were arrested on suspicion of failing to appear in court

 

A dog, suspected of being a banned breed, was also seized by officers during one of the raids.

 

Officers also conducted Metrolink checks and visits to five licensed premises in Sale town centre on Friday 20 January. During the checks, 33 stop searches were carried out while 48 fines and 25 ticket warnings were issued.

 

The two week operation was carried out as part of the Trafford Partnership’s ‘100 Days’ campaign. The aim of the scheme, which was launched on Friday 13 December 2011, is to reinforce the high standards of respect, decency and responsibility demonstrated in Trafford and encourage people both young and old to get involved in their local areas.

 

A community pledge has been set up to outline a list of actions that the community and local organisations agree to, such as working together and sharing information, working together to eliminate unlawful behaviour and supporting communities to achieve their potential and ambitions.

 

Trafford Divisional Commander, Chief Superintendent Mark Roberts said: ““This operation builds on the successes we have been having over the last couple of years in driving down crime and boosting community confidence.”

 

It is, in part, thanks to positive action like this that we have managed to cut the number of victims of crime across the borough by 792 during the past year. We also work with partners to tackle issues in a variety of ways, aiming at prevention as well as enforcement.

 

“Recent surveys also showed that people in Trafford have less concerns about drug dealing and antisocial behaviour than anywhere else in Manchester and that overwhelmingly they think we are doing a good job. Just five per cent of those asked considered drugs or drug dealing to be a major problem in their area while 90 per cent of those asked thought we were doing a good or excellent job in the borough.

 

“I would continue to urge people to report criminal behaviour or suspicious activity to us by calling the single non-emergency number 101 or Crimestoppers anonymously on 0800 555 111. I can assure you that we will act on any genuine concerns.”

 

Chair of the Trafford Partnership, Cllr Matt Colledge, said: "The 100 day campaign not only celebrates the excellent work going on in Trafford's communities but also aims to encourage people to get involved to develop a greater sense of respect, decency and responsibility.

 

"By signing up to the pledge, we are giving people the opportunity to get involved if they haven't before and to demonstrate that the Trafford Partnership is prepared to support our communities both practically and by helping develop links between groups. I would encourage any residents or groups who have an activity for the 100 days campaign to get in touch so we can all pledge to get involved in our borough."

 

For information about Greater Manchester Police please visit our website.

www.gmp.police.uk

 

For more information on the 100 Days campaign, visit www.trafford.gov.uk

   

Life and Marvelous Adventures of Wild Bill, the Scout by J. W. Buel 1879

 

i_042

 

A Duel with Four Men.

The origin of the difficulty was in bad whisky and ruffian nature. Bill went into a saloon—which was well filled with cattle drivers, who were half drunk and anxious for a fight—and called for a drink without inviting any one to join him. While raising the glass to his mouth one of the ruffians gave him a push in the back which caused him to drop the glass. Without saying a word, Bill turned and struck the rowdy a desperate blow, felling him outside the door. Four of the rowdy’s friends jumped up from their chairs and drew their pistols. Bill appreciated his situation at once, and with wonderful coolness, said: “Gentlemen, let us have some respect for the proprietor. You are anxious for a fight, and I will accommodate you if you will consent to step outside. I will fight all four of you at fifteen paces with pistols.” There was a general consent, and the crowd filed out of the saloon. The distance was stepped off, and the four men stood five feet apart, facing42 Bill. The saloon-keeper was to give the word “fire,” and the arrangements were conducted in as fair a manner as four men can fight one. Bill stood as calmly as though he were in church. Not a flush nor tremor. All parties were to allow their pistols to remain in their belts until the word “fire” was given, when each was then to draw and fire at will, and as often as circumstances permitted. The saloon-keeper asked if all were ready, and receiving an affirmative reply, began to count slowly, pausing at least ten seconds between each count: “one, two, three—fire!” Bill had fired almost before the call had died from the saloon-keeper’s lips. He killed the man on the left, but a shot also struck Bill in the right shoulder, and his right arm fell helpless.

In another instant he had transferred his pistol to his left hand, and three more successive shots dropped his antagonists. Three of the men were shot in the head and instantly killed. The other was shot in the right cheek, the ball carrying away a large portion of the cheek bone. He afterwards recovered, and may be living yet. The names of the four were: Jack Harkness, the one who recovered; Jim Slater, Frank Dowder and Seth Beeber.

Bill was lionized by the others in the crowd in a moment after the fight; his wound was carefully bandaged and his wants administered to; but he considered it safer to quit the county at once, and returned to Kansas, going direct to Hays City, where43 he remained until he recovered the use of his arm, none of the bones having been broken, and in the latter part of the same year he was made city marshal, as he was the only one capable of dealing with the lawless class which had often overrun the town and set law and decency at defiance.

________________________________________

WILD BILL’S OPINION OF YANKEES.

In 1868, Wild Bill was engaged to guide a party of thirty pleasure-seekers, headed by Hon. Henry Wilson, deceased ex-Vice-President, through some of the Western territories. Mrs. Wilson, wife of the Vice-President, was among the party, and being of a most vivacious and entertaining disposition, added greatly to the enjoyment of the trip. Wild Bill’s introduction to her resulted in a pleasing episode at the conclusion of the trip. She requested Bill to carefully scrutinize the party, and then give her his impartial opinion of Yankees. Bill replied that it was not customary for him to form rash conclusions, but if it were her wish he would deliver his opinion upon their return.

The thirty days roaming through the canyons and over the mountains furnished a most enjoyable diversion to the entire party. There was scarcely a day passed but that Bill gave them samples of his unerring aim, killing enough game with his pistol to provision 44 the company. The ladies, who composed nearly one-half the party, never tired of praising him, listening to his stories of border life, and wondering at his marvelous escapes. Bill naturally felt elated, and could not refrain from evincing his very deep interest in the pretty girls from the states. The gentlemen exhibited equal interest in the exploits of Bill, and gave him full credit for his performances. There was one thing about the party which Bill could not comprehend, viz.: the tight-legged pants which they wore—which at that time were the prevailing fashion in the East—and gave to the wearer the appearance of skeleton legs, wrapped with checked bandages, or a grasshopper dressed in an overcoat.

Upon the return of the party, Mrs. Wilson, in bidding Bill good-bye, asked for a fulfillment of his promise. He rather reluctantly responded, “Well, madam, I always like to keep my promise, but in this instance I should like to be excused.” But no excuse would answer; his disinclination only excited a more anxious interest in Mrs. Wilson to obtain his opinion.

Being pressingly importuned, Bill at length gave his opinion as follows: “If you Yankee women have as small legs as the sample of Yankee men we have here, then I have a d—d poor opinion of the tribe.”

The frankness with which Bill spoke, no less than his remarks, threw the entire party into disorder. 45 The young ladies hid their faces, and the men generally exhibited their umbrage, but Mr. and Mrs. Wilson were fairly convulsed with laughter. The sting was taken out of Bill’s opinion by Mrs. Wilson exclaiming, “Well, Mr. Hickok, that is just my sentiment.”

________________________________________

 

W C Fields: 'Twas a woman who drove me to drink ... and I never had the decency to write and thank her.'

I have decided to use this new setup as my primary for taking pictures, what do you guts think - i for one think it's a lot better than my old crappy one... I hope you guys enjoy these 3 tests...

If you favourite then please have the decency to comment, I don't mind if you don't but I would much like it :) This guy is just a test, so it's not for anything important...

Union Square, Manhattan, New York City, New York, United States

 

The Everett Building is a sixteen-story commercial structure located on the northwest corner of East 17th Street and Park Avenue South. Named for Union Square's nineteenth-century Everett Hotel, and built in 1908 for the Everett Investing Company, it was designed by Goldwin Starrett & Van Vleck, a firm known for its commercial architecture.

 

It is a quintessential example of a building type defined by A. C. David (writing in Architectural Record in 1910): functional, fireproof, speedy to construct, while also demonstrating a concern for "architectural decency;" as such, this building is a uniquely American architectural expression. In its design, the Everett Building synthesizes classical elements with key aspects of both the New York and the Chicago styles; Goldwin Starrett was familiar with the Chicago style as a result of his years in Daniel Burnham's Chicago office.

 

The building reflects its structure in its cladding, while employing a design vocabulary that includes classical motifs. The Everett Building is prominently located on a site on the north side of Union Square and, together with the monumental Germania (now Guardian) Life Insurance Company Building directly across the avenue, forms an imposing terminus to Park Avenue South.

 

The Development of Union Square

 

The Commissioners Map of 1807-11, which first laid out the grid plan of Manhattan above Houston Street, allowed for certain existing thoroughfares to retain their original configuration. Bloomingdale Road, (now Broadway), and the Bowery intersected at 16th Street.

 

The acute angle formed by this "union" was set aside by the Commissioners and named Union Place.

 

Initially Union Place extended from 10th to 17th Streets, on land owned by the Manhattan Bank:

 

It then presented to the eye of the tourist and pedestrian a shapeless and ill-looking collection of lots, where garden sauce flourished — devoid of symmetry, and around which were reared a miserable group of shanties.

 

In 1815, the state legislature reduced the size of Union Place by making 14th Street its southern boundary. As the city expanded northward and land use intensified, the need for open spaces became apparent. A report drafted by the street committee in 1831 states the need for public squares "for purposes of military, and civic parades, and festivities, and ... to serve as ventilators to a densely populated city."

 

Designated a public space in 1832 at the urging of local residents, additional land was acquired so that the area could be regularized.

 

Graded, paved, and fenced, Union Place was finally opened to the public in July, 1839. Throughout much of its history, the square has been used for public gatherings, political rallies, and demonstrations.

 

By the 1850s, Union Square (as it came to be known) was completely surrounded by buildings including some of the city's most splendid mansions; but, "already by 1860, the dramatic march of commerce had begun." Theaters, hotels, and luxury retailers predominated in the 1870s. By the 1890s, the vestiges of the fashionable residential area, as well as the elegant stores and theaters, had been supplanted on Union Square by taller buildings that catered to the needs of publishers and manufacturers who had moved uptown.

 

The land on which the Everett Building stands was originally part of Cornelius Tiebout's farm. From 1853 on, the site was occupied by the Everett House, a hotel frequented by the singers and musicians performing at the new opera house, the Academy of Music (1854, architect Alexander Saeltzer).

 

Like the Belvedere and the Clarendon, hotels which were also demolished to make way for 'modern' office and loft buildings, the Everett House was razed to clear the site for the Everett Building.

 

The Everett Building is prominently situated on the northwest corner of East 17th Street and Union Square North, at the base of Park Avenue South (then called Fourth Avenue). Stations for major subway, surface, and "El" lines were close to the site, which was characterized by Real Estate Record & Guide in 1908 as "one of the most accessible locations for modern office buildings in the city."

 

Although when built, the Everett Building was associated with a possible transformation of Union Square to be effected by the construction of a new courthouse, the building was later seen as evidence of the concentration of the silk, woolen, cotton, and dry goods trades on Fourth Avenue, the area around the Square and lateral streets.

 

By September, 1910, about seventeen new loft and office buildings (generally restricted to office and salesroom needs, as opposed to manufacturing) had been erected, conveniently located near hotels and transportation.

 

In October 1911, Real Estate Record & Guide noted that "the Everett Building and those along the avenue, in which dry goods people are tenants, are all filled up."

 

Larger than the late nineteenth-century buildings on Union Square West, the new loft and office buildings, such as the Everett Building, altered the scale of structures on the Square's northern and southern ends and formed the core of a new mercantile district developed as an economical alternative to the commercial district along lower Fifth Avenue.

 

Notice of Goldwin Starrett & Van Vleck's selection as the recipients of the commission to design the Everett Building appeared in Real Estate Record & Guide for August 1, 1908.

 

The Everett Building was built for the Everett Investing Company; included among its early tenants were a wide variety of businesses and occupations, including William Skinner & Sons, an operating establishment "in the broad silk end"; the firm of W. G. Cornell, which was responsible for the plumbing for the new Gimbel Building and the offices of Goldwin Starrett & Van Vleck.

 

Goldwin Starrett & Van Vleck

 

The firm was founded in 1907 by Goldwin Starrett (1867-1918) and Ernest Allen Van Vleck (1875-1956). Starrett was one of five brothers, all active in the construction and architectural fields. Born in Lawrence, Kansas, his family later moved to Chicago. Starrett attended the engineering school of the University of Michigan, graduating in 1894. He then entered the architectural offices of D. H. Burnham & Co. , as had his two older brothers, Theodore and Paul. He remained in Burnham's employ for four years, rising to be one of Burnham's principal assistants.

 

In 1898 Goldwin entered the New York offices of the George A. Fuller Construction Co. as superintendent and assistant manager, joining his brother Theodore.

 

In 1901, along with Theodore, and his brothers, Ralph and William A., he formed the Thompson-Starrett Construction Company; he remained with the firm for four years, during which time he designed the Algonquin Hotel, a designated New York City Landmark, for Albert Foster of the Puritan Realty Company. Goldwin then entered into a four-year association with the E. B. Ellis Granite Company, which had its quarries in Vermont. In the construction business, Goldwin was associated with many important buildings, including Union Station in Washington, D.C. and the Woolworth Building in New York, a designated New York City Landmark.

 

In 1907, Ernest Allen Van Vleck joined Starrett to form the firm of Goldwin Starrett & Van Vleck. A native of Bell Creek, Nebraska, Van Vleck received a degree from the Cornell School of Architecture in 1897. He then traveled to Europe on a fellowship.

 

About 1908, Orrin Rice was admitted to the partnership, and in 1913, William A. Starrett joined the firm, which then became known as Starrett & Van Vleck, with Goldwin Starrett becoming the senior partner.

 

Starrett & Van Vleck specialized in commercial buildings and schools but also designed many other structures. Among the firm's ma j or commissions were the Lord & Taylor department store, a building that was termed "frankly commercial as well as dignified" in contrast to the residential nature of most other contemporary commercial designs; Saks Fifth Avenue, a designated New York City Landmark; a major expansion of Bloomingdale's; the facade of the Curb (now the American Stock) Exchange Building; the Downtown Athletic Club; the La Salle & Koch store in Toledo, Ohio (1916); the Court & Remsen Street Building in Brooklyn; The Equitable Life Assurance Society Building, and the Royal Insurance Building.

 

The firm was also responsible for designing the Hale Publishing Co. Building, the Berkeley Building, and the twelve-story neo-Italian Renaissance apartment houses at 82 0 and 817 Fifth Avenue, within the Upper East Side Historic District.

 

Other works by the firm include the Mills-Gibb Building, a mercantile building at Fourth Avenue and 22nd Street; a building for John T. Underwood, president of Underwood Typewriter Co. located at Church and Vesey Streets; the Mercantile Building at Fifth Avenue and 38th Street; 28-30 West 38th Street, a twelve-story building for Capt. W. H. Wheeler; and the twelve-story Sixteenth Street Building, at Irving Place and 16th Street.

 

Loft and Commercial Building

 

The Everett Building is a quintessential example of the new commercial style of architecture built around 1910 in New York and concentrated on Fourth Avenue from Union Square to 30th Street.

 

Its design was considered innovative when it was illustrated in the Architectural Record (Dec. 1910), as part of a tribute to the new corridor of commercial buildings in what is now Park Avenue South.

 

These buildings termed "thoroughly contemporary" and "strictly commercial" were erected with exceptional rapidity; the Everett Building "was ready for occupants within four months from the time the first column shoe was set."

 

In "The New Architecture," A. C. David specified a tall order for architects of these loft and commercial buildings, one which Starrett & Van Vleck fulfilled. Tenants required a maximum amount of clear, preferably square or rectangular, floor space so that large numbers of employees could be supervised by a floor manager.

 

In order to secure the greatest amount of natural light, a corner site, large windows, and high ceilings were imperative. In addition, the planning of building services affected the amount of "clear and available" floor space. These new structures had to meet the specifications of the insurance companies and of the building laws for fireproofing, in order to obtain the lowest insurance rates (as the Everett Building did).

 

Combining the stairway and fire escape provisions of the building law and omission of power plants in the building were additional ways to cut costs. At the same time, the building must be economical to operate. Speedy construction, a goal facilitated by granolithic or concrete floors, the use of metal trim, the omission of ornamental plastering, and the standardization of detail, was also essential.

 

In his article, David also suggested that attention to the building's design was necessary because "a structure which presents a good appearance sells better."

 

The Everett Building fulfilled these specifications as well. Like the Everett Building, the ideal loft and commercial structure was to consist of "a frame work, usually about sixteen stories high of piers and floors, the lines of both of which are separated by fixed distances, and both of which cannot be disguised by much ornamentation."

 

An ornamental cornice was not merely permitted but encouraged, even if the natural light on the top floor was impaired. The employment of glazed orange and green terra-cotta panels and medallions brings this desired attention to the Everett Building's crown.

 

According to David, windows should be grouped in order to emphasize the corners and to convey an impression of solidity; a building could thus be made to resemble a tower rather than a cage.

 

Face brick, laid in patterns, and architectural terra cotta were recommended for the cladding of the shaft. In other instances, exemplified by the Everett Building, "white glazed terra cotta decorated with superficial ornamental patterns has been effectively employed."

 

David continues that these buildings were a specific and original American type, "the only genuine commercial architecture in the world." These characteristics constitute what may be called a New York style.

 

Classical Aspects of the Building's Design

 

The Everett Building incorporates many classical elements in its design. As in other nearby skyscrapers including Bruce Price's Bank of the Metropolis, a designated New York City Landmark, the tripartite skyscraper elevation inspired by the parts of a classical column is employed in the Everett Building. A rusticated base is surmounted by a decorative transitional story; an eleven-story shaft leads to yet another transitional story, which is capped by a two-story attic crowned by an elaborate bracketed cornice.

 

The two-story base is articulated by rusticated piers which carry a classically-derived entablature that is embellished with stylized triglyphs and metopes. The building's two-story crown evokes a giant order; the elements of the pilasters are articulated and embellished by abstract terracotta elements. The doorway as built was pedimented with acroteria at center and sides.

 

William H. Jordy has observed that such commercial buildings retain "something of the blocky quality of the Renaissance palace format" which permitted the anonymity and interchangeability of functions.Real Estate Record & Guide concluded that the building "an investor might expect for $900,000," would be a structure "not — gaudy ... the whole with its straight, Renaissance architecture giving the impression of commercial utility."

 

Influence of the Chicago School

 

Goldwin Starrett's years working in Daniel Burnham's prestigious office (in the 1890s, the largest in Chicago, with branch offices in New York and San Francisco) are of clear influence to the design of the Everett Building which frankly expresses function. Starrett doubtless knew such monuments of Chicago architecture as Burnham & Root's Rand McNally Building (1888-90) and Burnham & Atwood's Reliance Building (1895).

 

Starrett's Chicago connections also would have insured his familiarity with the Carson, Pirie, Scott Store (the first two parts designed by Louis Sullivan, 1899, 1903-04; third part designed by Daniel Burnham, 1906). All three buildings contain innovations later incorporated in the Everett Building. The Rand McNally by Burnham & Root was formed of a consistent steel frame with facades "of terra cotta produced specifically to fit the frame."

 

The steel and terra cotta combination introduced in the Rand McNally was further refined after Root's death by Burnham and his designer Charles Atwood in the Reliance Building (1895).

 

Terra cotta, which although lighter, less expensive, and more solid than masonry, had heretofore been employed only as a fireproof undercoating to masonry and for ornamental embellishment. Its use as sheathing for the skyscraper was a precedent followed by Goldwin Starrett & Van Vleck and in many contemporary office and loft buildings in New York City.

 

By creating the appearance of a grid on the elevations, Starrett incorporated a major tenet of the Chicago School: the articulation on the exterior of interior structure. In this building, verticals are juxtaposed against horizontals and thus serve as visible surrogates for the concealed skeletal frame; such a system is one of the most important characteristics of the Chicago School.

 

The panels which emphasize the spandrel beams, the use of textured, ribbed moldings to articulate the panels themselves, and the vertical alignment of the windows is, in some respects, reminiscent of Carson, Pirie, Scott's structural expressiveness.

 

In Carson, Pirie, Scott, the terra-cotta panels and the fenestration create the impression of a grid and of horizontality; like the Chicago structure, the Everett Building can be viewed as both grids "expressing the frame" and as bands of horizontals.

 

The Everett Building, however, is more overtly classical than Carson, Pirie, Scott. In contrast to the receding two-story loggia which originally capped the two portions of the store designed by Sullivan, Starrett's design articulates the top two stories (which do not recede) with terra-cotta moldings.

 

Starrett topped the building with an avowedly classical cresting that features acroteria (as did the pedimented portico over the doorway as originally completed) and rests the building on rusticated piers.

 

Starrett and Van Vleck also render the Chicago idiom more traditionally. For example, the tripartite "Chicago window" with wide central pane and two narrow sash windows has here been translated into a bay containing three equally sized one-over-one windows. Although the end piers of the Everett Building are of the same width as those between bays, an additional textured molding has been added to their outer edges. Moreover, at the intersection of the Park Avenue South and Union Square elevations, the rusticated pier emphasizes the effect of the corner.

 

Description

 

Prominently located at the corner of East 17th Street and Park Avenue South, fronting on Union Square, the Everett Building is a sixteen-story, steel-framed office and loft building. A seventeenth story is concealed beneath the cornice and is evident only on the north and west walls. The building is sheathed in white terra-cotta panels and has applied green and orange architectural terra-cotta ornament. It is rectangular in shape with a rectangular light-court in the northwestern portion.

 

There are six bays on the Union Square side; the Park Avenue South elevation consists of eight bays. Each bay is divided into three parts, (with the exception of one bay on the Park Avenue South side which only contains two), each of which contains a window; above each first story window (with the exception of the second from the right on the Park Avenue South elevation which contains only two) and framed by the rusticated piers are three narrow, rectangular panels.

 

A two-story base with rusticated piers (each resting on a pink polished marble base and topped by a geometrical molding) is set off from the rest of the building by a cornice embellished with stylized triglyphs and metopes. Mullions separating windows in the bays of the second story resemble pilasters; they are set on blocks and feature consoles supporting pyramid-shaped blocks that reiterate the rustication on the piers and serve as capitals. A cornice with mutules completes the frieze above the second story. On the Union Square facade, atop the aperture of the bay on the extreme left, the original overdoor consisting of several thin moldings (two of which are embellished by small applied bosses in the shape of flowers) remains. On the Park Avenue South elevation, the bay to the extreme right contains the original transom treatment: above the shop windows and entrance (which are new), the transom area is divided into three panels each consisting of twelve lights, arranged in three rows of four. Two faciae separate each group of twelve lights; directly above these faciae, on the beltcourse, two dark bezants appear, serving both to embellish and to link the dark frames of the glazed panels below and the windows above.

 

The third story consists of ornamented piers (which separate the bays) demarcating the transition from the two-story base to the eleven-story shaft above. Set atop a plain base, the shaft of each pier is ornamented by borders with foliated and ribboned embellishments and palmette accents set diagonally into the corners.

 

Pilasters between the windows are also set atop plain bases; they are ornamented by long, thin recessed panels. The capitals of both piers and pilasters are both embellished by palmettes. A frieze embellished by garlands draped over bezants completes the transitional story and signals the beginning of the shaft.

 

On the eleven-story shaft, the crossings of the ribbed mullions and the outer textured edges of the panels which cover the spandrel beams establishes a grid, which reflects the building's construction and underscores the grid created by the intersection of windows, spandrel beams, and piers. On the Union Square facade, spandrel bands below each window are three panels wide and two panels high; each such group "of six panels is outlined by raised moldings.

 

Each bay consists of a total of three such groups. On the Park Avenue South elevation, each group is two panels wide and two panels high; each such group of four panels is outlined by raised moldings. On both elevations, the moldings which separate each group of panels are both continuations of the window mullions and indications of the window's outer edges. Piers are also indicated (when they intersect with the spandrel beam) by outlined terra-cotta panels, one panel wide and two panels high.

 

The intersection of the horizontal spandrel demarcation and the window's mullions and outer edges sets up a grid motif. The regularity of the grid deflects attention from the bay (second from the right on the Park Avenue South elevation) which consists of only two windows and from the change from a width of three panels for each subsection of each bay on the Union Square facade to two panels for each subsection on the Park Avenue South elevation.

 

A beltcourse tops the eleven-story shaft and sets off the two-story crown, which corresponds to the "capital" of the "tripartite column," from the body of the building. The piers are transformed into abstract pilasters by the application of applied reiterating polychrome terra-cotta ornament.

 

Within raised borders of white terra cotta that extend the length of both stories, orange rectangular panels embellished at their midpoints by applied green circles appear.

 

The spandrel beams between the two stories are covered with white terra-cotta panels within which are rectangular orange panels. Mullions (and their extensions) which abut spandrel beams are also embellished with recessed panels. The two-story section is topped with several moldings including one incorporating applied polychrome geometric motifs: in this scheme, paired and single green and orange rectangular lozenges alternate with green circular motifs. An elaborate dentilled cornice crested by acroteria tops the building.

 

On the west elevation, a brick wall pierced by four-over-four sash windows is visible from the ninth story upward; two windows indicate the seventeenth story. Bands demarcate borders that correspond to the terra-cotta spandrel beam covers on the facade. This elevation features interpretations of the stringcourse separating the top two stories and of the polychrome panelling and cornice treatment on the Union Square facade. To the right of and above the seventeenth story windows, a substantial amount of replacement brick appears.

 

On the north elevation visible above the ninth story, a buff brick wall features eight windows per floor; the remaining originals have four-over-four sash. From the visible base of this elevation through the fourteenth story, a terra-cotta border appears; above this, the border continues as panels. On this elevation, windows indicate the presence of the seventeenth story. A significant portion of the top two stories appears to be resurfaced. With its essential architectural features unchanged, this building continues to function as an office building with retail spaces at the ground story.

 

- From the 1988 NYCLPC Landmark Designation Report

Mind the white roses...

 

www.aljazeera.com/news/2017/07/thousands-rally-court-refo...

1912 postmarked postcard photograph of the RFD (Rural Free Delivery) Route No. 8 mail carrier at Plymouth, Indiana. The carrier was posing in his horse-drawn vehicle for a photo that he used as a Christmas card for the patrons on his route. This copy was addressed to Mr. and Mrs. Eli Silvius.

 

The carrier didn’t identify himself, but an undated document at the Indiana Genealogy Trails website provides information about the Marshall County post offices. That document includes a list of the rural route carriers for Plymouth as of 1908 and identified Roller Kleckner as the carrier for Route No. 8. The postcard owner has also found additional documentation showing Mr. Kleckner was still the carrier on Route No. 8 in 1910. Although the carrier in this photograph was probably Mr. Kleckner, that remains to be confirmed.

 

Postmasters were political appointees in those days and, prior to Mr. Kleckner’s appointment, there was some controversy regarding the examination and employee selection process at Plymouth. In 1905, F. M. McCrory had resigned as a Plymouth rural route carrier. In a November 15, 1906, letter to the editor of the Plymouth Tribune newspaper, Mr. McCrory took issue with Postmaster Yockey’s handling of the selection process for the new RFD carrier for Route No. 8.

 

“I desire to call attention at this time to a condition existing in rural route matters, to make a few predictions and the dear people can figure out the balance. A year ago Oct. 1st I resigned as carrier on rural route No. 1 and an examination was held of applicants for the place at which the postmasters prospective son-in-law was given highest grade and the place from which I had resigned. Roller I. Kleckner won second place and Ora Jacox fifth place there being nine applicants. This year Mr. John Nye decided to withdraw from the service and purchased the restaurant of Mr. Cripe taking possession Oct. 10th. Mr. Kleckner wrote the department stating the facts, making formal demand for his rightful place.

 

“At this time another letter was sent the department stating the facts more fully than Mr. Kleckner felt warranted in doing and reply was received that ‘there was no vacancy on route No. 8 and as soon as a vacancy occurred, if the Civil Service Commission recommended Mr. Kleckner, he would be appointed at once.’

 

“Now instead of sending his resignation to the department, Mr. Nye placed it in the hands of Mr. Yockey, who held it up until the department was notified by outsiders and demanded it at once, and it was sent in about Oct. 17, so we are credibly informed. Now why all this jockeying? First Mr. Kleckner is a Democrat. Second the mother and brother of Mr. Jacox we are informed are sureties on Mr. Yockey's bond and Mr. Yockey asked' permission for Mr. Jacox to drive the route from Oct. 10 on instead of sending in the resignation of Mr. Nye and asking that his successor be appointed at once. A notice is pasted in the lobby of the postoffice for examination for rural route carriers, since the commissions of those examined a year ago expire Nov. 16. Now we predict Mr. Jacox will be given first place and the route, at once after the examination, for which we will wait and see. Now let us moralize a little. When those men took that competitive examination a year ago Mr. Jacox virtually agreed to take his place according to what he won. If he entered into such machinations as above stated, is he the party the people on route 8 desire to trust to carry their mail? What do you think of a postmaster who will be a party to such scullduggery which amounts almost to a crime. My dear people this is the class of political scavengers and their methods against which Mr. Hendricks and his friends have waged war during the past ten months and will continue, if they so continue, for the next ten years. People who will lend themselves to such work would enter an orphan asylum and rob the baby of its nursing bottle and jaw the nurse for having allowed it to drink some of the milk. Nothing remains of h6nor and common decency but the grinning skeleton and they envy even that the little space it occupies. F. M. McCrory.

 

The following individuals served as Plymouth postmasters during those years.

 

Joseph A. Yockey, appointed June 6, 1901 and reappointed December 16, 1905

Monroe Steiner, appointed January 19, 1910

Francis E. Garn, appointed August 19, 1911

L. G. Hurley, appointed July 23, 1915

 

From a private collection.

 

The full postcard image can be seen here.

 

www.flickr.com/photos/hoosier_recollections/5418578839/

 

Copyright 2008-2018 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.

A report of the final visit by Dr R Koch, 2-5 March 1948 (appendices omitted):

 

“Object of Visit:- General Survey

 

Strength: Off[icer]s: 2. O[ther] R[anks]: 905. Total: 907, of which:

393 at HQ; 186 at Bury Hostel...; 31 at Penketh Hostel...; 49 at Golborne Hostel...; 80 in Billets; 168 Various Detachments.

 

Screening figures: A 2. B 905. No. of Hostels visited: 3. No. of PsW repatriated to date: 2200

 

Personnel: O.C: Lt Col Glendinning. Interpreter: none. Camp Leader: St/Fw. Kaesler (20). Deputy CL: O/Fw Schweppenhauser (26). German MO: Dr Kobbert, Dr Mayenfels (at Bury). Hostel Leaders: Bury – SS/O/Jun. Schmidt (20; Penketh – Rottf. Till (29); Golborne – Fw. Ehmke (23).

 

RECEPTION: The Cdt and his officers give every possible assistance. The camp will close on the 1 April, when the men will be sent to 189 Camp [Dunham Park, Altringham].

 

PW OUTLOOK: Intelligent and re-educated men emphasize that a general judgement on “the” British cannot be passed, no more than on “the” Germans or “the” Jews, but that each individual must be judged according to his or her merits. However, the average PW has formed an opinion about “the British people”, based mainly on his own experiences with individuals. The men of this camp have had the advantage of close contact with the civilian population... I have interrogated 5 different repatriation-groups, which have certain opinions in common:

The lower classes, the ordinary British workman in Lancashire, has been friendly and hospitable towards the PsW. The upper classes, the “capitalists”, are unfriendly and cannot be trusted. If they meet or invite PsW, they do so only in order to find out what the Germans are thinking. If members of this class appear friendly towards the Germans, they do not show their genuine feelings. The general attitude of the farmers has been to exploit the PsW as much as possible, though many exceptions are admitted. Professional soldiers of the British army are not popular. Men who have been in various parts of the UK emphasise the difference in attitude between the population of one county and another. The attitude of the Midlands is much praised. Some men, particularly youngsters, have not forgotten their treatment in Belgium in 1945/46* and in some camps in the UK after their arrival in 1944/45 (Oldham for instance). The use of the word “Nazi” for “German” in newspapers and the showing of “anti-German” films years after the war is criticised. Differences between the British and German way of life are noticed and there seems to be a feeling of superiority in some respects towards the people of this country, particularly in so far as efficiency (farming), cleanliness (they see miners leaving the pits unwashed) and cooking are concerned. Social differences and distinctions between classes are criticised. Intelligent and older PsW seem to be more pro-British than the uneducated and young. Answers given varied accordingly. Voting averaged as follows: Hate: 0%; Dislike: 1% or less; Distrust: 20%; Indifference: 20%; Like: 59%.

 

RESTTLEMENT PROBLEMS: No resettlement lecture has been given in this camp.

 

OUTSIDE CONTACTS: a) Wigan Mining & Technical College: 3-5 men attended. b) Lancs Education Committee Evening Classes: English & Commercial Courses are attended. c) Wigan Police Court: PsW are allowed to attend. d) Elementary School at Earlestown & Grammar School Upholland: Groups of 3-4 men visited these and other schools, to study British education. e) Approved School Newton-le-Willows... f) Youth Clubs Ashton and Haydock: PsW take regular part on their activities , discussion groups etc. g) YMCA Canteens & Clubs: Up to 30 PsW pay regular visits. h) United Europe meeting: 12 men attended the meeting in Manchester on the 20th Feb. i) Lancs Standing Conference of Youth Organisations: Meeting in Manchester on the 13th March will be attended. k) Rotary Club Tyldesbury [Tyldesley?]: PW Broeg (ex TC) attended the Luncheon on the 4 March, lectured on Germany, and answered questions during the discussion...

 

CAMP FACILITIES: Adequate.

 

SWISS AND DUTCH LECTURERS: A Dutch lecturer, Van Hessen, was announced and supposed to lecture from 29 Feb to the 2 March. He only arrived on the 1 March. His lecture was fixed for 17 hrs, but he only appeared at 20.15 hrs. His next lecture on the 2 March could also not take place, as the lecturer had left Wigan in the meantime. This information was supplied by the Study Leader of camp 50.

 

FINAL IMPRESSIONS: The men from the Russian Zone who have to return for family reasons are very uneasy. Youngsters from the Western Zones, who belonged to the Waffen SS, receive information that they will meet with difficulties if they wish to complete their studies (Teachers Training Colleges, Universities etc) in spite of the so called “Youth Amnesty”. There are rumours that the French have deported most SS men and paratroopers.

 

CONCLUSIONS: Organised re-educational activities in this camp have impressed but few. Lectures become more and more unpopular. The men who attended the TC returned much impressed and remained active. Since the beginning of 1947, re-education has passed into the hands of the population of Lancashire, whose friendliness has proved a great help. The ordinary workmen [of the district are] responsible for the fact that the majority of the PsW in this camp is pro-British. A first class Commandant with a thorough knowledge of Germany, the German mentality and language has exercised a beneficial influence on the camp. The intelligent men have made full use of the valuable outside contacts and have certainly learned a great deal. The harm done to re-education by political segregation cannot be overemphasized**.”

[From National Archives ref. FO 939/132 “Prisoner of War Camps: 50 Working Camp, Garswood Park, Ashton in Makerfield, Lancashire”]

 

*Of his own experience at St Forte, a disused brick-factory on the outskirts of Ostend where he and thousands of other German POWs had been detained for a fortnight in March-April 1945, Bert Trautman recalled: “Life was grim... The accommodation was totally inadequate, the sanitary arrangements were almost non-existent and the amount of food we had wouldn't have kept a child alive. Occasionally we had soup, but the basic ration was a small piece of bread every twenty-four hours and this you guarded with your life. It was in this camp that I first saw the black market in operation, and I was thoroughly disgusted with what I saw. I used to believe that even in the lowest grade of human being there was some sort of pride and self-respect, but hunger drove the last vestige of decency from some of my countrymen during those ill-stared days...” (in “Steppes to Wembley”, Robert Hale Ltd 1956).

**In the USA, the interests of maintaining camp harmony and making cost-effective use of POW labour had led the Americans to segregate German POWs according to their political beliefs. The practical arrangements for this were left to individual camp commanders (Andrew Streeb, “Political Segregation of German Prisoners of War in America 1943-1946”, in Historical Studies Journal, Spring 2009). How and to what extent similar practices were followed by the British authorities is unclear. There is no suggestion of political segregation at -or affecting the allocation of POWs to- Camp 50 in the earlier PID reports, and Dr Koch does not elaborate on what, in his view, were the negative consequences for re-education.

Catching up on some back shots from the beginning of the year

 

On a walk around the Addington Cemetery with a wonderful Flickr friend. February 13, 2016 Christchurch New Zealand.

 

There is so much damaged in the cemetery because of the earthquake we have had. It is such a pity as I don' think it will ever be fully repaired.

 

The Addington Cemetery was established in 1858 when the Scottish Presbyterians of St Andrew’s Church purchased land for a cemetery in Selwyn Street. Although not the first cemetery in Christchurch, Addington was in fact the first “public” cemetery, “being open to all persons of any religious community” and allowing the performance of any religious service “not contrary to public decency”.

 

The first burial took place on the 10th of November 1858. The cemetery has several persons of note buried within its grounds including activist Kate Sheppard, Christchurch Mayor Tommy Taylor and members of the pioneer family, the Deans.

For More Info:http://my.christchurchcitylibraries.com/addington-cemetery/

Not strictly a Finsec event, but here's a few photos of the Service and Food Workers' Union Nga Ringa Tota rally in Wellington on International Cleaners Day.

The 'Fair Deal for Cleaners' campaign that this rally is part of aims to provide a voice to the low-waged largely immigrant female workforce, in cities across Australia and New Zealand, who are calling on big property owners to support decency in their workplaces.

"A billboard of Anita Ekberg provocatively selling milk gives a prudish crusader for public decency"

 

Fellini Fragment

12c - 14c Church of St Giles, Hockerton Nottinghamshire www.flickr.com/gp/52219527@N00/3t8bu3 - a church is mentioned here in the 1086 Domeday survey.

12c survivors are the chancel arch and north doorway flic.kr/p/RmMTUR

In 1291 the patronage was in the hands of John le Botelier,

In 1300 Ralph de Hertford was made vicar, he was still here in 1330 when chaplain Henry Asselyn of Halam came to help, Ralph being by then "old, totally blind and physically incapable"

In the reign of catholic Queen Mary Tudor , rector John Addams was deprived of his position which went to a catholic priest Thomas Huddleston, Addams being reinstated in 1559 after the accession of protestant Queen Elizabeth.

Being near the Royalist stronghold of Newark, the building was damaged during the mid 17c Civil War. In 1680 Charles ll was petitioned and a grant of 50 oaks from Sherwood forest was used to repair the "much decayed and rotten" roof.

Rector James Gibson in 1734 was paid £16 per annum to look after Kirklington and Hockerton and begged the archbishop on his visit that this was "an income which I hope your grace will not think overmuch for a clergyman, even in celibacy, to live with a little decency and some sort of independency"

By 1852 the walls, roofs, floors and windows were ‘extremely dilapidated.’

The last major restoration was by architect James Fowler in 1876, the chancel was re-roofed and the east gable rebuilt, also the nave roof was restored, gallery removed and new pews installed.

In need of care and attention flic.kr/p/QY6LJ9 flic.kr/p/QY6LK1 - At the time of my visit in April 2016 plans were underway to close the church and combine the parish with Kirklington. The church was to be "appropriated to use as an art studio for educational purposes and for community and cultural purposes ancillary thereto"

 

one from the archives, Little Sister video shoot in 2005

 

p.s. if you are gonna post my copyrighted images elsewhere on the internet at least have the decency to credit me with them or link them back to here, or i'll probably stop posting them or at least start putting big watermarks on them.

ARARA-VERMELHA-GRANDE ou ARARA-PIRANGA

Nome em inglês: Red and Green Macaw

Nome científico: Ara chloroptera

Família: Psittacidae

Peso:600 a 1000 g

Tamanho: 0,80 a 1 m

 

Who guarantees the feeding of the female and of the younglings is the male,

that in this species is faithful, keeping the same friend the life all.

Ahhhh if the so intelligent "man" followed the example of the macaws male-female,

the world would be another one…With ALLEGIANCE AND LOVE, more health,

more joy, more humanity, more justice, more peace, more decency, more union,

more wisdom, plus everything! We have much that to learn with the animals and

with the nature! My Moments of dream & illusion...

 

As araras vivem em bandos, sempre aos pares. Possuem bico fortíssimo, capaz de quebrar os frutos mais duros. Emitem um som “a-ra-ra”, de onde originou seu nome.

Seus filhotes crescem com muita rapidez, com 2 anos de vida já abandonarão a família e já irão formais casais. As araras chegam a viver até 70 anos se viverem em lugares adequados. A arara vermelha tinha uma grande área de distribuição, pois era encontrada do Panamá ao Paraguai, e no Brasil existia até o Rio de Janeiro e no Paraná, mas hoje só sobrevive em quantidade na Amazônia, pois nas demais áreas está se tornando bastante rara. O ninho da arara vermelha é feito em ocos de árvores, mas também se aproveita de buracos em paredões rochosos para colocar seus ovos, os quais são chocados apenas pela fêmea, que fica no ninho numa incubação que demora 29 dias.

 

Quem cuida de garantir a alimentação tanto da fêmea como dos filhotes é o macho, que nessa espécie é fiel, mantendo a mesma companheira a vida inteira.

 

Ahhhh se o tão inteligente "homem" seguisse o exemplo das araras macho-fêmea,

o mundo seria outro...Teríamos FIDELIDADE E AMOR, mais saúde, mais alegria,

mais humanidade, mais justiça, mais paz, mais decência, mais união, mais sabedoria, mais tudo!!!!!!!!!!

 

Humhummm como temos muito que aprender com os animais e com a natureza afora!!!!!!!!!! Momentos de devaneio.........Utopia!!!!

   

Enjoy yourself within the limits of British decency.

August is the time when the people of Pontelli go to the seaside to have a bath - in all decency possible.

Italian postcard by Vettori, no. 3035. Pina Menichelli and Vittorio Rossi-Pianelli in La moglie di Claudio / Claude's Wife (Gero Zambuto, Itala 1918), based on 'La femme de Claude' by Alexandre Dumas fils. The film was found and restored in 2011 by Museo nazionale del cinema in Turin and Cineteca di Bologna. A digital restoration of this tinted film followed in 2017. See the full film on Turin's website vimeo.com/97531343.

 

Plot: Cesarina (Pina Menichelli) is Claudio Ruper's charming but dissolute wife. Her cold reaction to the death of her illegitimate son, who until then had been kept hidden by a couple of peasants, reveals her true nature to her husband and convinces him to break off all contact with her except for the cohabitation imposed by bourgeois decency. From that moment on, Claudio (Vittorio Rossi-Pianelli), an inventor of war machinery, devotes himself completely to his work, planning the construction of a powerful new weapon to put at the service of his homeland, France. Antonino (Alberto Nepoti), a young man of no means whom he had brought up as his son, assists him in the undertaking. The new invention, a cannon of exceptional power, attracts the attention of a powerful secret society, which commissions a spy, Moncabrè, to seduce Cesarina into handing over her husband's documents. However, the conspirators have not reckoned with the perverse allure of the woman "...the evil female who undermines society, dissolves the family, dismembers the country, weakens the man, dishonours the woman whose appearance she assumes and destroys those who do not crush her". Cesarina seduces Antonino in opening her husband's safe to her... In a whirlwind of passion and death, events precipitate towards a tragic finale.

 

Fascinating and enigmatic Pina Menichelli (1890-1984) was the most bizarre Italian diva of the silent era. With her contorted postures and disdainful expression, she impersonated the striking femme fatale.

I made a Blip.tv account as a side to my Youtube account, I decided that my first video would be on how to get on Facebook when a proxy is blocking it. Within 48 hours of uploading the video I received an email saying that my account had been removed for uploading a promotional video, thus violating their terms of service (TOS).

Please read all of this so that I may have your opinions.

 

So I replied to their email:

 

Blip.tv's original message:

"I'm sorry, but we've removed your account from blip.tv because it looked to us like you were posting videos to our service that had as a primary purpose the advertisement of a particular business, product or service. Blip is a site for original Web shows and our Terms of Service prohibit content that's primarily an advertisement.

In addition to agreeing to our general terms of service, you also checked a box upon signup stating: "I understand that I may not upload copyrighted third-party content, pornography, advertising, network marketing and MLM schemes, video game recordings or other prohibited content."

Here's the applicable section of our TOS for your reference:

"Our goal is to promote the free-flowing exchange of expression relating to members interests, activities and hobbies while maintaining high standards of respect and decency. In order to attain this goal, and in addition to the other content and/or action restrictions set forth in these Terms of Use and elsewhere on the Blip.tv website, the following content is prohibited on Blip.tv:

* Content that has as its sole or primary purpose to advertise a particular product or service that, in the sole judgment of Blip.tv, does not otherwise have redeeming value to the community.

If you believe we made a mistake in removing your account, please e-mail support@blip.tv with your account name, the types of videos you uploaded and the reason you believe your content does not violate the above mentioned section of our TOS.

If you are looking for a video hosting solution for your business, we recommend Brightcove, as they specialize in business video hosting.

 

Thank you,

blip.tv Support"

 

My first message back:

"Hi my account "patrickm129" was removed from blip.tv about a day after I posted my first video. The email I received says I was supporting a business, but my video was how to get onto websites blocked by a proxy, in my instance I used Facebook as an example. Can you please clarify why I was removed, and if at all possible undo the remove?

-Thanks,

Patrick'

 

Blip.tv's reply:

"Our terms of service prohibit content that has promotion of a product or service as its primary purpose. From our review of your content, it appeared that it was primarily promotional in nature, and was therefore removed."

 

My reply:

"It is not meant to be a promotional video, it can be used with any site and thus this is just one example. I think that this is outrageous how your TOS considers and terminates an account that mentions another company, getting no monitory reward, or product without first contacting me or giving me a warning on a possible issue. I switched to blip.tv from youtube and withing the first 48 hours I've already had problems and been removed for a video that has had no problems with youtube and its TOS.

 

I also don't consider using the word Facebook to be advertising because it is easily recognized by the public, and does not need a description to tell someone what it is, the word is almost public domain. Does this one video on blip.tv mentioning Facebook have a substantial impact on Facebook's 500 million users? I am dissatisfied I am having this problem with blip.tv but I would still like to use your services, now how could I get my account back?"

This is one of the photos from a Power Point presentation explaining a study in Augusta, Georgia about a street named for Rev. Dr. Martin Luther King, Jr.

 

The “Claiming A Street Named King” Project is the brainchild of Rev. Terence A. Dicks of Augusta, Georgia.

 

These photos depict homes, building and abandoned structures along Martin Lutheran King, Jr. Boulevard in Augusta, Georgia.

 

It began with research in Athens and Augusta (Georgia) through the University Of Georgia School Of Environmental Design.

 

Research was led by Dr. Mary Anne Akers in collaboration with Georgia Legal Services Program, Georgia State Trade Association of Non-profit Developers (G-STAND) and Neighborhood Works America, INC.

 

“Claiming A Street Named King” Project study in Augusta, Georgia – conducted along Martin Luther King, Jr. Boulevard - shows areas that need economic assistance – and that’s the same issue in many American cities that have streets named for civil rights leaders

 

For more information:

 

claimingastreetnamedking.wordpress.com/2012/01/24/Claimin...

 

*****These charts are not to be used or reposted elsewhere without permission and reference back to the source. I am so beyond tired of seeing my stuff ending up in random places and people not having the decency to simply ask before taking something. Please do not repost these on your blogs, twitter, tumblr, instagram, facebook orca pages, etc...****

  

I also have some Behavior charts that i made for another friend, and i might put those up at somepoint, but if i do, those will be for friends and family only.

 

All of the individual photos have my copyright on them. The only ones that don't are photos belonging to www.flickr.com/photos/joyousorca/

Excerpt nr 13 from ‘A special night', a story that I wrote about a night that Paul and I did a reportage on SHRIMPING.

 

...We looked at each other, and as so often on the same wavelength, we burst out laughing, unable to stop, drunk with fatigue and mirth. We hugged, then crawled back into our berths.

The cadenza changed, waking me. I listened, Paul was in deep sleep. Faint light filtered in through the hatch. I felt around for my stuff, tried to put some decency into my appearance, and, oh so quietly, I felt my way up.

What I saw was stunning. The promise of sun, early rays illuminating the last darkness of night, the sea a pregnant black mass of lapping water-peaks.

It felt as if the iodine scented air was sucked deep into my brain, triggering memories of earlier summers.

 

As the sun rose in orange glory, offsetting the blue ever more, I saw all the other trawlers on the horizon.

 

...In our foaming wake, a shrieking battle was going on between hungry seagulls, their agility never ceased to amaze me.

I retrieved my camera and eternalised these beautiful moments.

 

Well, morning was upon us, we were heading back to land, I'll take you all the way, three more images, hope you enjoy.

Difficult light conditions, still too light for the one, too dark already for the other, c'est dure la vie de photographe, hihi.

Thanx, Magda (*_*)

I started the morning, online, by looking at the idea of self-isolation, and its connection with depression, but this wasn’t, and isn’t, quite apropos. It doesn’t fit. The thing is that I don’t think I am depressed, but then this could be delusional, but I don't think so. But then if you can delude yourself into the feeling that you are not depressed, surely this is a good thing. I feel that I cope well most of the time. Then I glancingly looked at couples isolating themselves together, especially with growing older, what the online ‘experts’ say, and the documented 'problems' generated there. We are doing this, that chosen 'isolation', but I can’t really see any problem. So, is it a problem then?

 

OK, I recognise that the writing is becoming a little strange, perhaps, whacky, even. But this might be the way, that no longer depending, or depending less, on feedback, on the other to stimulate me. It is part of the letting go, and I don’t think it’s premature either. There is an ‘about timeness' about it, about bloody time, even. I have said forever that I wanted to somehow incorporate images and words, and I appear to be eventually doing it, so it might just be time to soldier on. I wouldn’t want to not have this, not to feel that drive to communicate, beyond that communication which manifests as immediate human interaction. I feel a slight panic at it becoming the only outlet, the only means of communication, the only anti-isolation device in my armoury. But I am not panicked enough to stop.

 

armoury

noun

1.

a place where weapons are kept.

2.

an array of resources available for a particular purpose.

"his armoury of comic routines"

 

I like that, one’s armoury of comic routines. Spellcheck wants to change this to armory, but we ain’t in Kansas anymore.

 

There is a suspicion that one would go on weaving forever if one could. That’s just how it is. This might be what writers and artist are compelled to do, to continue describing for as long as this remains an option. The body rebels, of course, inevitably. This might manifest as depression if there wasn’t this possibility, that chance of adding to the warp and weft, of somehow insinuating some strands through the fabric. The inevitability of slowing down can generate strange bedfellows, bots and artists are a good example.

 

It’s a strange choice to make, at any age, that one of attempting to be a witness, and even stranger when you consider that at its core it has to be embraced without acknowledgement, other than a tendency to self-congratulate, something that you have to keep constantly in check. (I fail).

 

What joy there is has to be generated by the weaving itself, and that is a solitary pursuit. There is also that ‘Penelope’ aspect too, that unravelling, that gordian-knot picking apart, to discover the threads essential to that weave. Mixing mythologies there, but then I could also throw in Sisyphus, and even my beloved ‘Moontoad’ from Chinese lore. They all, more or less tell that same story, the relentlessness of describing, and the transcendental release to be found there.

 

I hate cute, I cringe at it, but I am foregoing the tendency to impose ‘taste’. Letting the bots decide, from an entanglement of words, combining depression, transcendental joy, Moontoads and Penelope might seem like a gamble. It is, it’s a type of roulette. Sometimes ‘cute’ comes to the fore.

 

But then I can always make her/him/them gender-neutral, with a well-placed turquoise decency strip, and thereby make them mine.

 

Don’t you just love now? I know that I do.

 

I particularly like this grumpy old man/woman/or couple stage, and can only encourage everyone to look forward to it.

 

Pending: To be continued from 'Working on 'Quinn's Da'', two images back. I want to say that genetic midden, in place of 'Family' in the title, but I don't want to appear bitter.

 

So I won't.

 

The text in the left panel, which is somewhat Illegible (in this photograph) reads: 'My mother wanted to be the Virgin Mary'. This piece was created in full anger mode, in New York in the eighties, when a small group of us were collectively engaged facing another pandemic, which most of the world was quietly ignoring.

 

It is somewhat interesting to see how the world has, more or less, galvanised into dealing with this latest Covid pandemic, this was not at all true of the situation then.

 

As usual, I enjoy using my turquoise decency strip, in an attempt to make this bitter pill child-proof, in a 'Suffer little children' (Matthew 19:14) sort of way. Yes, it does all begin with the family, that supposed place of 'safety'. But then, luckily, I 'believe' that all is redeemable.

 

Other than 'family', the starting point here was a trip I made, with two friends, across the killing fields of the First World War in Northern France, to spend a week with the Isenheim Altarpiece in the Unterlinden Museum in Colmar, in Alsace Lorraine on the German Border.

 

Some art changes your life forever, with sincere apologies to Matthias Grünewald and Armadillos everywhere.

 

As to whatever is going on lurgywise, I have had a headache now for two days, and a slight sore throat and sore underarm nodes, with a runny nose and a sneeze, no cough yet. The headache has been strange, like darting pain, with a sensitive scalp, only in one place. ‘Him indoors’ has a bit of a clogged nose and is sneezing. He was tested for Corona last week, and was ok.

 

I am going to leave this for a few days and see if anything develops.

 

Yes, my sister was a wobble, I wobble easily, apparently. I really need to be without family. I guess it's hard for them, that I ran out of the place when I was 18 and hardly returned. The abuse stuff upended them somewhat too. But I have been on my own since then, meaning without family really, with enforced jaunts back, but I never wanted to be there. Anyway, I have become quite divorced from them, this happened slowly to begin with, but with time it appears to heal somewhat and you manage. In this type of exorcism the sentimental attachment became somewhat exorcised too. I have also encountered some abuse from them over the years too, I would suspect generated by desertion issues, since we re-connected. As I said, abuse effects the whole family. It works covertly.

 

Anyway, I didn't like the pressure of her being here, in this Covid situation. I have no patience with people who feel that the pandemic has been an inconvenience which effected their 'Awayday' weekends. She can fly all she wants, I don't want to know, and I will never respect her for it. It's like when someone you love decides they believe in a God of some ilk or other. Do what you want, but don't tell me. Insisting on chasing ‘freedom’ by choosing to go from one Covid ‘Hot-spot’ to another, Ireland and the Netherlands being both in that ‘Red Zone’ of those Covid maps, makes no sense to me at all. The Pandemic as an inconvenience that has interrupted holidays is totally underestimating what is going on. Him indoors is 79, I have another ‘fatal’ disease, and the idea that we would entertain a traveller, disembarking from a cheap flight, after spending hours in two airports, and having spent days wandering around the mask-less tourist traps of Amsterdam, makes no sense at all. We have closed down now for almost two years, protecting each other, and I must say I love this seclusion. The idea that we would welcome someone into our space, who chose to wander everywhere we chose not to, is pretty ridiculous.

 

So, ‘Family’ recurred, but, for once, I knew how to deal with it. I am pleased to say that this sort of emotional manipulation does not work as well anymore. The only excuse I can dream up is: Bless ‘em, afterall it is their first pandemic, poor dears.

 

I suspect you saw that 'cleanies' reference I put up. I know it seems offensive. It came from a time when I would go out to bars, or wherever, and someone would try to pick me up. We would chat away, the usual inanities, until the person flirting with me would ask was I clean. I would play along and say I washed regularly, or whatever, but they would insist. So I would get them to ask me if I was positive or not. I was asked was I clean so many times. They would get angry too, when I said I was positive, as in why I had wasted their time. I was told a few times that I shouldn't be in a bar, because I was spoiling it for 'clean' people.

 

At least this second pandemic has no stigma like that. It's a walk in the park compared to the first.

 

Maybe, I should explain this all with an image someday.

 

I see some 'problems' with the text here. I am now going to print the first 170 pages of text and images out, and spread them out, and work on the floor, treating them as I would a painting, or collage. These 170 pages will hopefully distill down to a 1st chapter. This editing will happen the old-fashioned way. I am used to clambering around the floor in this fashion, it comes somewhat instinctively, and is, perhaps, the most creative aspect of putting an idea together, for me. There are too many images and too many words. Let the distilling begin.

  

Not strictly a Finsec event, but here's a few photos of the Service and Food Workers' Union Nga Ringa Tota rally in Wellington on International Cleaners Day.

The 'Fair Deal for Cleaners' campaign that this rally is part of aims to provide a voice to the low-waged largely immigrant female workforce, in cities across Australia and New Zealand, who are calling on big property owners to support decency in their workplaces.

Join here..... I already did, years ago. Glad I did. How prophetic indeed, even though I did not realise it at the time, one of the first exhibits I cam across was this immaculate Austin 8cwt van, turned out in AA colours.

 

A little over 96 hours later while driving on the M25 I got an offside puncture. If I has set out to pick a worse spot I could not have done so, I was near Gatwick, heading anti- clockwise, in a sort of a ravine, and came to grief at a point where there was no hard shoulder. As it would have been madness to change an offside wheel it was game up. Being an AA member I phoned via an nice orange S.O.S. box.

 

Administrative difficulties arose with my membership. Not a resident of the U.K. the lad on the S.O.S. phone failed to connect me with the A.A. because "he did not recognise my number" .... A valid and up to date number. Seems U.K. policy numbers are different from European ones?

 

More concerned with tyre debris on the road than my situation, he hung up and left me to my own devices!!!! I am glad I was not suicidal.

 

Most tragicially for somebody else, but fortunate to my situation was a serious crash on the clockwise M25. This backed up traffic for miles and lead to scores of broken down cars.

 

A passing AA patrol stopped looking for another, and in an act of sheer decency changed my wheel, unconcerned by the beaucratic mumbo jumbo which caused my so much difficulty in getting past go!

 

My thanks expressed to the decency of the AA man, and my annoyance at the S.O.S people I was underway.

 

It seems Irish AA members are part of AA Europe, in Lyon, so a call must be placed directly with AA in Lyon. The nice M25 S.O.S. man was unaware of this. Given the amount of traffic heading toward the M20 and the likely number of European motorists this was poor to say the least.

  

The name of the movie is " Shareef Bay Na Cheeray " . I have no idea what that means Iam guessing its something in Pushto. But Iam sure it has something to do with decency well that's what shareef means ...... ironical isnt it ??

Truffoire is a famous skin health management brand set up with the point of offering a spa-quality involvement with the solace of home. The items have been figured with the decency of truffles and other gainful fixings that fulfill the fantasies of people who fight against the maturing cycle consistently. Every item utilizes truffle as a mark fixing and takes clients closer holding a revived appearance. The brand offers the White Collection which is included white truffle removal and the Black Collection which contains dark truffle separate.

Taken after sunset, so the lighting was a challenge for my camera when trying to capture a moving animal. But he had the decency to pose nicely. (Interior Alaska)

On our arrival, our rep greeted us with the news that a 'German athletics team' was staying in the hotel - and he'd been enjoying their antics.

 

We didn't realise at that point that it was a mixed team.

 

Decency - or, more likely, availability of a camera - prevented me from snapping the young ladies bouncing up and down with their skipping ropes.

Oh my! The defamers have their claws out. A set of photos from Upfish

 

Robert Lederman wrote the following letter to the New York Times. I don't know if they published it. He asks the question "What can one person do?" This is what I can do: make a graphic (above) and publish Lerman's letter.

 

What can one person do?

 

Most people I've spoken with in recent years feel they have no power, no

ability to affect the dreadful course of events unfolding around them,

especially world or national events. Cindy Sheehan shows what one person can

do.

 

Whether you agree with her position on Bush and Iraq or not, there can be no

doubting the magnitude of the effect that has followed her actions. By

standing along a dusty road in Texas with a sign she has done more to

successfully challenge the neo-con New World Order than the entire worldwide

anti-war movement and the entire Democratic Party combined. If more people

dared to individually stand up for what they believe in this way the police

state would wither on the vine.

 

During a war normal life is suspended. We are in a war, but it's not the

fake war on terror we see on Fox and CNN.

 

The real war is being made all over the Earth against average everyday

people like Cindy Sheehan. Right now most of the casualties are overseas but

the real focus is still right here in the US. Unless the American people can

be subjugated, intimidated, disinformed and made willing to give up their

rights those making this war will ultimately lose it.

 

The real war is a war against free speech, against the bill of rights,

against freedom, against conscience and against human decency. It's a war

against life, against nature and against the Earth itself. As Americans we

are uniquely both the perpetrators and the victims of this war -

perpetrators because this is all being done in our names and victims because

it is our freedom that is the ultimate target.

 

Deny the corporate police state what it wants and you will deny it power. To

defeat such an enemy, we must use the weapons that are most effective, the

weapons they most fear.

 

What are these weapons? Certainly not bombs or bullets or suicide attacks.

They are the manufacturers, distributors and perpetrators of most of the

violence we see in the world today. Using the techniques of advertising,

propaganda and human psychology, they manipulate young Americans to go to

war as readily as they brainwash young Muslims to become suicide bombers.

 

What they fear most are not weapons of mass destruction but sincere words.

Cardboard signs. Acts of conscience. A refusal to go along with the

propaganda of fear. A determination to not let them get away with it.

 

It all comes down to one person at a time non-violently standing up for what

they believe in. Anyone can refuse to be intimidated into silence or passive

acceptance. Sometimes, defending your country means fighting against it.

 

Like the power within a single atom, we all have this power right now freely

at our disposal.

 

Freedom is the gift given to all Americans. Use it or lose it.

Robert Lederman

201 896-1686

Marian Rivera and Dingdong Dantes

  

[Regine Velasquez' "You Don't Know" Music video shoot

-Society Lounge (French Fashion Food), Makati City]

  

* ALL RIGHTS RESERVED

 

** TO THOSE WHO GRAB MY PHOTOS THROUGH 'PRINTSCREEN' OPTION, PLEASE DO HAVE THE DECENCY TO AT LEAST CREDIT ME PROPERLY OR ASK MY PERMISSION (I suddenly find my pictures of celebrities on various sites, NOT COOL)

 

*** I HATE USING WATERMARK, SO DON'T BE SUCH ASSHOLES, AND IF U EARN FROM BLOGGING OR POSTING MY PHOTOS IN ANYWAY, I WILL KILL YOU (BE GRATEFUL I CAN'T BE TOO LITERAL ON THIS)

Some of you will already be aware of what I am about to write. For others it will come as a complete shock.

I have been wondering for some time how I can even write these words.

My wonderful husband John Charles Dyer who I went to Florida to be with in 2010 and married in 2012 was diagnosed with an inoperable, aggressive brain tumour in July of this year.

In August he underwent a short course of radiotherapy to regress the tumour. Since then he has been at our home here in Lytham St Annes and enjoying his very English adventure.

Until very recently that included trips to Costa for his fix of coffee and to Zest for their delicious lunches as well as taking in the local scenery here on the Fylde coast. He also enjoyed visits in September from his son Ed Dyer and daughter Jessica Dyer.

He continues to be comfortable and happy. It is my intention to nurse him at home with support from the local Hospice for as long as I am able.

Meanwhile I would ask you all to hold him and his family back in the US in your thoughts and prayers.

The universe in her goodness brought us together and gave us the gift of deep and abiding love and happiness. I am thankful for the time we have shared up 'til now and look forward to the sweetest of memories in the future.

We never know what we are destined for when we set out on this great adventure of life, but I do know that throughout his life my husband always lived up to the highest standards of decency and hard work. He has always loved and cared deeply for his children, his grandchildren, his friends and for me and I know he will continue to do so until his very last breath.

 

French postcard in the series 'Les acteurs Français vus par Solo' by Carterie Occitane, Toulouse, no. 7. Illustration: Solo.

 

French actress Brigitte Bardot (1934) died on 28 December 2025, at the age of 91. In the 1950s, she was the sex kitten of the European film industry. BB starred in 48 films, performed in numerous musical shows, and recorded 80 songs. After her retirement in 1973, she became an animal rights activist. In the coming weeks, we will continue to post a BB postcard every day to remember her as she once was.

 

Brigitte Bardot was born in Paris in 1934. Her father, Louis Bardot, had an engineering degree and worked with his father in the family business. Her mother, Ann-Marie Mucel, was 14 years younger than Brigitte's father, and they married in 1933. Brigitte's mother encouraged her daughter to take up music and dance. At the age of 13, she entered the Conservatoire Nationale de Danse to study ballet. By the time she was 15, Brigitte was trying to launch a modelling career and found herself on the cover of the French magazine Elle in May 1949. Her incredible beauty was readily apparent, and Brigitte was noticed by Roger Vadim, then an assistant to the film director Marc Allegrét. Vadim was infatuated with Bardot and encouraged her to start working as a film actress. BB was 18 when she debuted in the comedy Le Trou Normand / Crazy for Love (Jean Boyer, 1952). In the same year, she married Vadim. Brigitte wanted to marry him when she was 17, but her parents quashed any marriage plans until she turned 18. In April 1953, she attended the Cannes Film Festival, where she received massive media attention. She soon was every man's idea of the girl he'd like to meet in Paris. From 1952 to 1956, she appeared in seventeen films. Her films were generally lightweight romantic dramas in which she was cast as an ingénue or siren, often with an element of undress. In 1953, she made her first US production, Un acte d'amour / Act of Love (Anatole Litvak, 1953) with Kirk Douglas, but she continued to make films in France.

 

Roger Vadim was not content with the light fare his wife was offered. He felt Brigitte Bardot was being undersold. Looking for something more like an art film to push her as a serious actress, he showcased her in Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956). This film, about an immoral teenager in a respectable small-town setting, was a smash success on both sides of the Atlantic. Craig Butler at AllMovie: "It's easy enough to say that ...And God Created Woman is much more important for its historical significance than for its actual quality as a film, and that's true to an extent. The immense popularity, due to its willingness to directly embrace an exploration of sex as well as its willingness to show a degree of nudity that was remarkably daring for its day, demonstrated that audiences were willing to view subject matter that was considered too racy for the average moviegoer. This had both positive (freedom to explore, especially for the French filmmakers of the time) and negative (freedom to exploit) consequences, but its impact is undeniable. It's also true that Woman is not a great work of art, not with a story that is ultimately rather thin, some painful dialogue, and an attitude toward its characters and their sexuality that is unclear and inconsistent. Yet Woman is still fascinating, due in no small part to the presence of Brigitte Bardot in the role that made her an international star and sex symbol. She's not demonstrating great acting here, although her performance is actually good and much better than necessary, and her legendary mambo scene at the climax is nothing short of sensational." During the filming of Et Dieu créa la femme / And God Created Woman (Roger Vadim, 1956), directed by her husband, Brigitte Bardot had an affair with her co-star, Jean-Louis Trintignant, who at the time was married to French actress Stéphane Audran. Her divorce from Vadim followed, but they remained friends and collaborated in later work.

 

Et Dieu créa la femme / ...And God Created Woman (Roger Vadim, 1956) helped Brigitte Bardot's international status. The film took the USA by storm, her explosive sexuality being unlike anything seen in the States since the days of the 'flapper' in the 1920s. It gave rise to the phrase 'sex kitten', and fascination with her in America consisted of magazine photographs and dubbed over French films - good, bad or indifferent, her films drew audiences - mainly men - into theatres like lemmings. BB appeared in light comedies like Doctor at Large (Ralph Thomas, 1957) - the third of the British 'Doctor' series starring Dirk Bogarde - and Une Parisienne / La Parisienne (Michel Boisrond, 1957), which suited her acting skills best. However, she was a sensation in the crime drama En cas de malheur / Love is My Profession (Claude Autant-Lara, 1958). Hal Erickson at AllMovie: "This Brigitte Bardot vehicle ran into stiff opposition from the Catholic Legion of Decency, severely limiting its U.S. distribution. Bardot plays a nubile small-time thief named Yvette, who becomes the mistress of influential defence attorney Andre (Jean Gabin). Though Andre can shower Yvette with jewels and furs, he cannot "buy" her heart, and thus it is that it belongs to handsome young student Mazzetti (Franco Interlenghi). Alas, Yvette is no judge of human nature: attractive though Mazzetti can be, he has a dangerous and deadly side. En Cas de Malheur contains a nude scene that has since been reprinted in freeze-frame form innumerable times by both film-history books and girlie magazines." Photographer Sam Lévin's photos contributed considerably to her image of sensuality and slight immorality. One of Lévin's pictures shows Brigitte, dressed in a white corset. It is said that around 1960, postcards with this photograph outsold in Paris those of the Eiffel Tower.

 

Brigitte Bardot divorced Vadim in 1957, and in 1959 she married actor Jacques Charrier, with whom she starred in Babette s'en va-t-en guerre / Babette Goes to War (Christian-Jaque, 1959). The paparazzi preyed upon her marriage, while she and her husband clashed over the direction of her career

Her films became more substantial, but this brought a heavy pressure of dual celebrity as she sought critical acclaim while remaining a glamour model for most of the world. Vie privée / Private Life (1962), directed by Louis Malle, has more than an element of autobiography in it. James Travers at French Films: "Brigitte Bardot hadn’t quite reached the high point of her career when she agreed to make this film with high-profile New Wave film director Louis Malle. Even so, the pressure of being a living icon was obviously beginning to get to France’s sex goddess, and Vie privée is as much an attempt by Bardot to come to terms with her celebrity as anything else. Malle is clearly fascinated by Bardot, and the documentary approach he adopts for this film reinforces the impression that it is more a biography of the actress than a work of fiction. Of course, it’s not entirely biographical, but the story is remarkably close to Bardot’s own life and comes pretty close to predicting how her career would end." The scene in which, returning to her apartment, Bardot's character is harangued in the elevator by a middle-aged cleaning lady calling her offensive names was based on an actual incident, and is a resonant image of celebrity in the mid-20th century. Soon afterwards, Bardot withdrew to the seclusion of Southern France.

 

Brigitte Bardot's other husbands were German millionaire Playboy Gunter Sachs and right-wing politician Bernard d'Ormale. She is reputed to have had relationships with many other men, including Samy Frey, her co-star in La Vérité / The Truth (Henri-Georges Clouzot, 1960), and musicians Serge Gainsbourg and Sacha Distel. In 1963, Brigitte Bardot starred in Jean-Luc Godard's critically acclaimed film Le Mépris / Contempt (Jean-Luc Godard, 1963) opposite Michel Piccoli. She was also featured along with such notable actors as Alain Delon in Amours célèbres / Famous Love Affairs (Michel Boisrond, 1961) and Histoires extraordinaires /Tales of Mystery (Louis Malle, 1968), Jeanne Moreau in Viva Maria! (Louis Malle, 1965), Sean Connery in Shalako (Edward Dmytryk, 1968), and Claudia Cardinale in Les Pétroleuses / Petroleum Girls (Christian-Jaque, 1971). She participated in various musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including 'Harley Davidson', 'Le Soleil De Ma Vie' (the cover of Stevie Wonder's 'You Are the Sunshine of My Life') and the notorious 'Je t'aime... moi non plus'.

 

Brigitte Bardot’s film career showed a steady decline in the late 1960s and early 1970s. In 1973, just before her fortieth birthday, she announced her retirement. She chose to use her fame to promote animal rights. In 1976, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals. She became a vegetarian and raised three million French francs to fund the foundation by auctioning off jewellery and many personal belongings. For this work, she was awarded the Légion d’honneur in 1984. During the 1990s, she was also outspoken in her criticism of immigration, interracial relationships, Islam in France and homosexuality. Her husband Bernard d'Ormal was a former adviser of the far-right Front National party. Bardot has been convicted five times for 'inciting racial hatred'. More fun is that Bardot is recognised for popularising bikini swimwear, in such early films as Manina / Woman without a Veil (Willy Rozier, 1952), in her appearances at Cannes and in many photo shoots. Bardot also brought into fashion the 'choucroute' ('Sauerkraut') hairstyle (a sort of beehive hairstyle) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier. The fashions of the 1960s looked effortlessly right and spontaneous on her. Time Magazine: "She is the princess of pout, the countess of come hither. Brigitte Bardot exuded a carefree, naïve sexuality that brought a whole new audience to French films."

 

Sources: Denny Jackson (IMDb), Hal Erickson (AllMovie), Craig Butler (AllMovie), James Travers (French Films), French Films, Wikipedia and IMDb.

 

And please check out our blog European Film Star Postcards.

"Think about the Children!"

[c. 1969]

oil on board

49.5 x 69.5 cm

not signed

 

Originally part of Wep's 1950 Archibald Prize finalist portrait of Prime Minister Menzies

Exhibited

2012 May, "William Edwin Pidgeon Retrospective", Artarmon Galleries

 

Arrangements were made by Ian Fitchett (R.G. Menzies's Press Secretary and a former journalist and friend of Bill's) to have Menzies sit for the painting. Initially completed in 1950 and entered into 1950 Archibald. Was touched up and finessed over the years and eventually dated as 1969.

 

“This entry for the Archibald prize has created a lot of interest and keen and favourable comment. ‘Wep’ is regarded by fellow artists and the soundest critics as one of the best contemporary portrait painters. He is, of course, a great cartoonist with a style which is inimitable. ‘Wep’s’ work truly reveals the Prime Minister’s qualities of loyalty, efficiency, regard for decency and truth and, in times of stress like the present, trustworthiness and clear thinking.” – Liberal Opinion, Feb 1951, Vol. 4, No. 4, p1

 

Wep was never happy with the original portrait submitted to the Archibald (the right hand was awkwardly placed) and a second almost identical version was painted with an improvements to the right hand and a slightly altered position. The background was also slightly softened. The original version ended up with a nude painted on Menzies lap; Menzies appeared to have a wry 'Mona Lisa' type smile on his face.

 

In 1988 when Charles Hewitt reframed a number of Wep's works, the original version was cut in half making a separate painting of the nude and the upper half was cropped closely to Menzies’ head. This head has since been acquired by the National Library of Australia as part of Wep’s archives. The lower half nude remains in the personal possession of Peter Pidgeon

 

Charles Hewitt Frames Invoice #25492, 12/9/89

Nude on Menzies lap

34.5" x 26.5"

Small linen bevel

MAG 440-1263 moulding

$508.80

Cleaning & restoration

$240

Four acres granted to St Paul’s Church of England 17 Nov 1847 for a cemetery, earlier there had been a few burials, closed 15 Jan 1874, last official burial 1922 (although later burials noted in newspaper), transferred 1938 to City of Port Adelaide. Headstones cleared c1972, info plaque erected 1990, developed 1994 as Pioneer Park. The burial register indicates 3,000 burials; seven headstones remain. The Portonian Walk was established 2003 with pavers engraved with names of former residents of Port Adelaide. Now a peaceful park, the cemetery was so neglected in the 1920s & 1930s that a two-up school was hidden amongst the prickly pear & boxthorn, cows were pastured in clear areas and children played with broken headstones & bones.

 

“The remains of Thomas King, the unfortunate carpenter of the Lightning, found drowned a few days ago, at Port Adelaide, were yesterday interred in the Cemetery reserve, at Albert Town.” [Adelaide Observer 15 Aug 1846]

 

“Alberton Church of England Cemetery closed, except to persons who have already acquired a portion for the burial of members of their families.” [Express & Telegraph 16 Jan 1874]

 

“a fire, which was caused through some dry grass becoming ignited, started on the eastern side of the Alberton Cemetery. . . Many of the tomb fences and headstones suffered damage.” [Daily Herald 10 Mar 1911]

 

“Near Port Adelaide, north of Albert, Albert Town, or Alberton, as it was variously called, is one of the oldest South Australian graveyards. It is now closed. The first burial was on October 28, 1846.” [Register 5 Mar 1917]

 

“The Friends of the late Robert Cruickshank are respectfully informed that his Remains (Ashes) were Laid to Rest in the Family Ground, in the Alberton Cemetery.” [Register 30 Mar 1922]

 

“Mrs. Hephzibah Beulah Channon. . . recalled the times when funerals from ships were taken to the old Alberton Cemetery by .boats along the canal.” [Daily Herald 22 Jun 1922]

 

“In the middle of the cemetery is a capacious vault erected, so blackened letters on a slate slab above indicate, to the memory of John Snoswell and his wife Eliza. John Snoswell was buried there in 1878 [sic], but the weather has removed the record of the exact year in which his wife was interred. . . Alberton cemetery is a graveyard of tears. Everywhere there are broken headstones, some crushed by careless feet into a thousand fragments, and some half buried in a tangle of undergrowth. Though it is difficult to trace the history of the burial ground from its headstones there is plenty of evidence to show that beneath its unkempt surface many of the pioneers of South Australia sleep. The inscription on one stone indicates that Grace Parsons, who died at Port Adelaide in 1845, sleeps beneath. . . Though an occasional burial still takes place in the cemetery, holders of land exercising the right to inter relatives there, the place has been closed as a public burial place for years.” [The Mail 11 Jun 1927]

 

“cows had been allowed to roam in the cemetery. . . The owner of the cows was no better than the other wretches, for to pen his cows where he wanted them on that day he had attached the barbed wire to the railings of the graves. . . A ‘two-up school’ frequents ‘God's acre’, particularly on Sundays. Rabbiting with dogs is one of the most inoffensive of the pastimes indulged in there. . . It was not to be expected that any reputable cemetery trust would have allowed prickly pear, cacti, boxthorn, and other weeds to spread all over the property and smother the graves.” [Port Adelaide News 24 Jun 1927]

 

“Alberton Cemetery Fund Opened. . . Mayor of Port Adelaide (Mr Lewis) . . . is endeavoring to raise £200 to have the neglected graveyard cleared of boxthorns, prickly pear, and other weeds, and the graves restored to a state of decency. The cemetery is the resting place of many pioneers of the district. The last lease was issued about 60 years ago. Since then there have been no funds available for upkeep.” [News 3 Dec 1931]

 

“Captain G. H. McKay . . . interred in the Alberton cemetery on Monday afternoon. The late Captain McKay who was 56 years of age, had been connected with the shipping industry on the S.A. coast all his life. . . leaves a wife and large family” [Kangaroo Island Courier 9 Apr 1932]

 

“Alberton Cemetery. . . was given by the Government in the early 1850s as a burial ground for Port Adelaide, the management being vested in the Church of England. The cemetery ceased to be used as burial ground about 20 years ago, when the Cheltenham Cemetery was opened, and within recent years had fallen into a state of neglect. About two years ago, the council took the matter up with the trustees, and an arrangement was made whereby the council was to assume control of the cemetery. Because of the terms of the original trust, however, the ground cannot be taken over by the council until the authority of Parliament is given.” [Advertiser 3 Jun 1938]

 

“the control of the Alberton Cemetery to be transferred to the Port Adelaide Corporation.” [Chronicle 15 Dec 1938]

 

“The Old Cemetery at Alberton, which is now 100 years old, was the first burying ground of the Port Adelaide district, and many pioneer families are represented there. The headstones include such well-known names as Bayly, Barratt, Bowen, Bower, Brock, Blake, Dixon, Grosse, Hannay, Hodge, Fisher, Le Messurier, Moyers, Newman, Risely, Quin, Yeo, Wells, Weman, and Dr. Duncan. Originally it adjoined the Church of England Rectory, and was controlled by that body, but as a general cemetery and open to all creeds. After the establishment of the Cheltenham Cemetery by the corporation, it fell into disuse, and the graves became very neglected. In November, 1936, however, the Church of England handed it over to the Municipal Council, together with £100 for its upkeep, and it is therefore now under the same control as the Cheltenham Cemetery.” [The Citizen, Port Adelaide 30 Jun 1939]

 

“The Port Adelaide City Council will recondition the Alberton Cemetery and make several improvements. The cemetery has been overgrown with weeds and in a shocking condition for some time. Vandals have committed numerous acts of desecration and few of the headstones remain in good condition. Members of the cemetery committee of the council found on inspection last week that the burial ground had been haphazardly laid out. On only 25 per cent. of the tombstones were the inscriptions legible, and only half a dozen graves received attention from relatives. Although the council has a list of those buried, it is unable to determine the position of the graves, except by the headstones. . . There have been only occasional burials at Alberton during the last 40 years, and no maintenance work has been carried out for a quarter of a century. Seven years ago the public subscribed £120, and prickly pear and weeds were cleared from the land. But the cemetery again became an eyesore.” [News 12 Oct 1939]

 

“MOORE.—The friends of the late Miss Mary Ann Moore, of 13 Hastings st., Glenelg, are respectfully informed that her funeral will leave the residence of her niece (Mrs E. Peake), 17 Boundary rd., Glenelg, on Monday, at 4 p.m., for the Old Alberton Cemetery.” [Advertiser 16 Mar 1942]

 

Not strictly a Finsec event, but here's a few photos of the Service and Food Workers' Union Nga Ringa Tota rally in Wellington on International Cleaners Day.

The 'Fair Deal for Cleaners' campaign that this rally is part of aims to provide a voice to the low-waged largely immigrant female workforce, in cities across Australia and New Zealand, who are calling on big property owners to support decency in their workplaces.

i am not feeling tired or exhausted or anything like that at all. just that, as soon as i have my head positioned horizontally, i would simply doze off, fall asleep, drift into oblivion or any descriptives of your choice, in a dreamless yet peaceful suspension. then, out of the blue like a lightning strike, i would open my eyes to a buzzing head, and it is at this stage/point/state when i would imagine ant-load of electrical impulses worming across the surface of my cerebral cortex, not unlike surreptitious flies exposed to bright scathing fluorescent light or illicit lovers scampering back into their decency, these electricities wash along the shallows of my brain in tides of disorganised hastiness, and there i would be, my eyes almost always level on the intersection between two walls and a ceiling, slightly intoxicated still with this lethargy without a name, i would imagine scenes. not like an active and vivid imagination of a child on the drier side of the window during a rainy day, but rather, inconsequential scenes where shadows fall on secretive stolen glances or my feet in shoes i never owned running away from echoes of their very own footsteps, or my personal favourite, a drop of water falling and splattering, over and over again, in utter silence;

 

earlier today, my mom reminded me once again that i am not that young anymore. a bit wiser, hopefully, she added.

Cineaste365 (February 6, 2014 - DAY 117) - “Jules and Jim: is perhaps Francois Truffaut’s most beautiful film ever made. The film showcases its fun and vibrant nature on the opening credits but don’t be fooled, this is not a film that is about three people having an open relationship, this is a film about friendship and relationships over the years and the finality of ones love when one really loves someone but knowing that they can’t be with that person. What else can you do?

 

For the most part, “Jules and Jim” is definitely the antithesis of Eric Rohmer’s “Six Moral Tales”. In fact, “Jules and Jim” was criticized for its amorality by the Legion of Decency. But I am not surprised. You have three people with a woman having a relationship with both men. Adultery is a theme and conservatives can only be sickened by Catherine’s free-spirited ways and wonder about her daughter Sabine. While others can see this film and not focus much about the amorality but three people who care for each other but are torn by the way of life that they are used to. The film was not made to showcase amorality, the film was to showcase Henri-Pierre Roche’s life with his best friend and a woman that he cared about. It is a love story but in Truffaut’s film, it’s a tragic love story.

 

Jules is a man who loves Catherine but has not been the man to please her through marriage. Very well reserved, she is his life but is not the man to tame her wildest desire. That is where Jim comes in. Catherine and Jim are sexually connected but unlike Jules, can not have a family with her. Thus a conundrum as she loves both men for different reasons and these men happen to be great friends with each other.

 

Aside from the story’s conundrums, one can’t help but enjoy the setting of when this film takes place. Although shot in the ’60s, this is France during the teens. Featuring an artistic style with three intriguing characters, “Jules and Jim” shows us a different side of Francois Truffaut, outside of Antoine Doinel but showcasing a woman that embodies nouvelle vague. If Godard’s muse Anna Karina showed that free-spirited style in “Pierrot le fou”, Jeanne Moreau shows another free-spirited style through Catherine who has lived on through the decades with people still entranced by the song “Le Tourbillon”.

 

Overall, "Jules and Jim" is a classic film that can definitely be appreciated by the new generation of movie fans who have discovered French nouvelle vague but most importantly, wanting to discover the wonderful films in Francois Truffaut oeuvre. Highly recommended!

Beautiful, yet disturbing. Classic Botes on the fringe of sexual decency, challenging boundaries.