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Derek DiGregorio, a 14-year-old Princeton youth who suffers from a aware genetic disorder. Local pub the Alchemist & Barrister will be raising fund for Derek's Dreams, a charity set up by family friends to help them cope with caring for the boy. The family also helps others with the money raised for them.
More shots of Derek's Evo from our shoot a few weeks ago. Put a few up and decided to upload the rest of them. Some new shots of the car should be out soon had a shoot earlier this week and be on the look out for the new wheels set up in the few weeks to come.
Derek Leslie Underwood was born in Bromley, Kent on June 8 1945. A left arm slow bowler he made his debut for Kent at age 17 and became the youngest player in history to take 100 first-class wickets in his first season. He achieved this feat on 9 further occasions in a county career spanning 25 years, and in 1966 took a remarkable 157 wickets. He was chosen for England against the West Indies, when just 21 years old and went on to play 86 tests, despite interrupting his international career to play world series cricket and terminating it with a disapproved trip to South Africa. His 297 Test wickets are included in a career total of 2465 taken at just 20 runs apiece. He was awarded the MBE in 1981.
To describe Derek Underwood as a slow bowler, or simply a spinner is to give a false picture of a unique performer. Much of his bowling was delivered at a respectable medium pace, and always off a plodding run-up of ten yards or so. When conditions were right he would turn the ball extravagantly, but on good pitches, against good players, he would still take plentiful wickets through his unfailing accuracy. Batsmen, infuriated or entranced by the unhittable length and line firing at them with the remorseless regularity of a bowling machine, would very often commit cricketing suicide in their frustration.
Underwood was at his most effective on the uncovered English pitches of the sixties and early seventies. On a "sticky dog" the cricket slang for a pich affected by rain he could be unplayable. Full covering failed to thwart him, however, and both in county and Test cricket he maintained a high success rate through his dedicated attention to detail. A bad delivery from Underwood was a rarity and the anguish over it would be etched on his expression. Although sometimes accused of bowling, a negative, flat trajectory, when conditions demanded something more flighted, Underwood was a master of variations of pace and slight shifts in angle. He won countless lbw victims with the ball which swung in to the right hander, "with the arm".
Underwood's most memorable triumph of many in his long career, was to retrieve the series against Australia. It had seemed hopelessly lost. The circumstances of the story are extraordinary and the fact that they could not be repeated now makes it a tale worth retelling.
It was 1968 and England captained by Colin Cowdrey had lost the first test to Bill Lawry's Australians and then drawn the next three. Underwood, who did not play in the defeat, bowled creditably in each succeeding game, but his hour of glory arrived literally at the last gasp. The final Test, played as tradition demands at the Oval, had been dictated by England. They had gained a first innings lead of 170 and, although England were dismissed the second time around for 181, Australia looked doomed when they went into lunch on the fifth day at 86 for 5. Their salvation seemed to arrive with a violent thunderstorm, which left the pitch and surrounds completely flooded. Further play looked to be out of the question but when the sun appeared, the groundstaff were joined by volunteers from the crowd in a frantic mopping-up operation. To Australia's dismay, the game resumed at 4.45 p.m. England had 15 minutes plus a final, desperate hour, in which to take the 5 wickets and square the series. For 40 minutes they were denied. Then, with time and hope fast diminishing, D'Olivera made the breakthrough. It was now 110 for 6. Half an hour later Australia were all out for 125, Underwood having taken the remaining four wickets to clinch the victory with just 5 minutes to spare. Cowdrey had recalled him immediately after the fall of the sixth wicket. Using the unusual conditions brilliantly, Underwood baffled each batsman in turn. Finally with every English fielder camped around the bat, opener John Inverarity, who had batted through the innings for 56, played no shot to Underwood's famous inswining "arm ball", and was out lbw. The crowd celebrated in style while televison viewers could scarcely credit the half hour of gripping sporting drama that they had just witnessed.
Derek Moore of Pensnett Bedford YNT Plaxton Paramount 3200 SIB 3258 is seen in Blackpool in October, 1996. It had been new to Tourmaster as A255 SBM.
Bo Derek on the red carpet at Celebrity Fight Night XXIII at the JW Marriott Desert Ridge Resort & Spa in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
derek wagnon flogging the rs125. not many people find themselves in a crossed up wheelie while leaning over the front of the bike and leaning into a corner.
Derek Sanders of Mayday Parade at the Vans Warped Tour.
July 21, 2012 at the Nassau Coliseum in Uniondale, NY.
Group 1 - Digital Culture B
Derek Semenchuk with Beau Guinta
SLURL:"http://maps.secondlife.com/secondlife/klaw/12/22/47
Title: Dream Caused By The Flight Of A Bee Around A Pomegranate
This is a 3D recreation of the classic work of art (stated above) by Salvador Dali. I chose this piece because I have always been fascinated by Dali's artwork and his use of surrealism in his art. I learned that in this piece it becomes even more surreal as Dali tries to convey a dream he had through his painting. The main thing missing in this version is a nude woman (Gala his wife) laying on the white horizontal plane. She is abruptly woken up by the stinging end of a bayonet into the underside of her arm symbolizing the sting of a bee. This painting is Dali's way of conveying dreams and when asked about this painting he responded saying his goal was "To express for the first time in images Freud's discovery of the typical dream with a lengthy narrative, the consequence of the instantaneousness of a chance event which causes the sleeper to wake up. Thus, as a bar might fall on the neck of a sleeping person, causing them to wake up and for a long dream to end with the guillotine blade falling on them, the noise of the bee here provokes the sensation of the sting which will awaken Gala". One instance I remember as a child was a dream I had where in my dream I couldn't breathe because I was trapped in an air tight chamber and when I awoke I was laying face down, unable to breathe because my face was pressed against my pillow. I thought it was strange that my dream (seemingly subconscious) pertained to my current reality and I feel this painting does a good job of trying to describe that sensation.
Derek (Deka) Latham Born 18 November 1932 died 2 January 1984
Ex Parachute Regiment
Buried at Carmountside Cemetery and Crematorium, Stoke on Trent, Staffordshire
Derek Jeter jogs in after warming up in the outfield before the start of the game against the Chicago White Sox at US Cellular Field
number four: derek jarman – super8, julia stoschek foundation e.v., duesseldorf, 11 september 2010 – 26 february 2011
the julia stoschek foundation e.v., in collaboration with james mackay, and as part of the quadriennale 2010 in duesseldorf, presents the first comprehensive retrospective of the experimental film works of derek jarman from his super8 archives. it represents the first solo exhibition of an artist in the julia stoschek collection.
the british painter, film maker, set designer and writer derek jarman (1942–1994) is best known to the wider public primarily as the director of stylistically influential feature films and music videos from the 1980s and early 1990s. less well-known, but vital to his oeuvre, are the over 60 super8 films that jarman filmed from 1970 until his death in 1994. taken from the subjective-personal perspective of his hand-held camera, the scenic arrangements mediate jarman’s artistic approach in which life and art constantly connect with one another as a matter of course. the often autobiographical film documents, which he himself called a “cinema of small gestures”, are defined by spontaneity and lightness on the one hand and symbolism and mythology on the other.
the 24 digitalised films from the super8 archive, complemented by a 16mm sound film and the blueray version of a 35mm feature film, are distributed over both floors of the exhibition space as well as in the basement cinema. to begin with the first floor contains 12 films covering the social and (sub)cultural world of jarman and his circle of friends. the overlapping of documentation and staging is constantly fluid here and this is further reflected stylistically in the works. two sound films, presented individually, break this sequence: in the first space “tg: psychic rally in heaven” (1980), an early music-video experiment, originally recorded on super8 for the british industrial-music group throbbing gristle, and in front of the second space, “imagining october” (1984), which will be shown – not least because of its references to sergei eisenstein and soviet film – in its original format, as a 16mm sound film.
on the second floor 11 films from the group of works covering rituals, mythology and landscape are displayed. the works are deliberately presented in the completely open space surrounding the centrally placed, boxed projection of “art of mirrors i-iii” (1973). between them, the various works from 1971 to 1978 generate panoramically stylistic and content-based references.
the exhibition ends in the cinema space in the basement where derek jarman’s final, elegiac feature film “blue” (1993) can be seen.
simon fisher turner, who was responsible for the soundtracks of many of jarman’s feature films from the 1980s onwards, has developed a special sound concept with atmospheric and space-specific soundscapes for the exhibition.
a catalogue has been published by verlag der buchhandlung könig, cologne to accompany the exhibition. it contains an essay by jon savage, which sets selected works in the context of their respective contemporary backgrounds. derek jarman himself speaks about his creative work in an interview with simon field and michael o’pray from 1985.
More shots of Derek's Evo from our shoot a few weeks ago. Put a few up and decided to upload the rest of them. Some new shots of the car should be out soon had a shoot earlier this week and be on the look out for the new wheels set up in the few weeks to come.
Derek was picked us as his host family in 04-05 and, we truly became family. He is now retired. We love you Derek!
NEW YORK, NY - SEPTEMBER 04: Derek Jeter #2 of the New York Yankees watches his three run home run in the bottom of the third inning against the Toronto Blue Jays on September 4, 2011 at Yankee Stadium in the Bronx borough of New York City. (Photo by Christopher Pasatieri/Getty Images)
Derek is currently listed as the 16th best guitarist of all time by Rolling Stone magazine.
Northerly Island, Chicago IL, August 14th 2013
Derek Jeter seen during the ticker-tape parade up Broadway celebrating the Yankees' 27th World Series championship on Friday, Nov. 6, 2009 in New York City. He looks so happy!
number four: derek jarman – super8, julia stoschek foundation e.v., duesseldorf, 11 september 2010 – 26 february 2011
the julia stoschek foundation e.v., in collaboration with james mackay, and as part of the quadriennale 2010 in duesseldorf, presents the first comprehensive retrospective of the experimental film works of derek jarman from his super8 archives. it represents the first solo exhibition of an artist in the julia stoschek collection.
the british painter, film maker, set designer and writer derek jarman (1942–1994) is best known to the wider public primarily as the director of stylistically influential feature films and music videos from the 1980s and early 1990s. less well-known, but vital to his oeuvre, are the over 60 super8 films that jarman filmed from 1970 until his death in 1994. taken from the subjective-personal perspective of his hand-held camera, the scenic arrangements mediate jarman’s artistic approach in which life and art constantly connect with one another as a matter of course. the often autobiographical film documents, which he himself called a “cinema of small gestures”, are defined by spontaneity and lightness on the one hand and symbolism and mythology on the other.
the 24 digitalised films from the super8 archive, complemented by a 16mm sound film and the blueray version of a 35mm feature film, are distributed over both floors of the exhibition space as well as in the basement cinema. to begin with the first floor contains 12 films covering the social and (sub)cultural world of jarman and his circle of friends. the overlapping of documentation and staging is constantly fluid here and this is further reflected stylistically in the works. two sound films, presented individually, break this sequence: in the first space “tg: psychic rally in heaven” (1980), an early music-video experiment, originally recorded on super8 for the british industrial-music group throbbing gristle, and in front of the second space, “imagining october” (1984), which will be shown – not least because of its references to sergei eisenstein and soviet film – in its original format, as a 16mm sound film.
on the second floor 11 films from the group of works covering rituals, mythology and landscape are displayed. the works are deliberately presented in the completely open space surrounding the centrally placed, boxed projection of “art of mirrors i-iii” (1973). between them, the various works from 1971 to 1978 generate panoramically stylistic and content-based references.
the exhibition ends in the cinema space in the basement where derek jarman’s final, elegiac feature film “blue” (1993) can be seen.
simon fisher turner, who was responsible for the soundtracks of many of jarman’s feature films from the 1980s onwards, has developed a special sound concept with atmospheric and space-specific soundscapes for the exhibition.
a catalogue has been published by verlag der buchhandlung könig, cologne to accompany the exhibition. it contains an essay by jon savage, which sets selected works in the context of their respective contemporary backgrounds. derek jarman himself speaks about his creative work in an interview with simon field and michael o’pray from 1985.
The Derek Rankins Virginia Tech is a professional photographer in Blacksburg Virginia. It takes a lot of imagination to be a good photographer. You need less imagination to be a painter because you can invent things. But in photography everything is so ordinary & it takes a lot of looking before you learn.