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Physical Description
The bridge is of tradition road bridge construction. The bridge is built in sets of three poles buried into the ground and connected at the top with transitional beams. These sets of poies are evenly spaced and support the bridge work that comprises of secondary timber beams and planks. Each set of poles is diagonally braced. The bridge is finished on both sides with a timber balustrade with a painted top rail and intermediate rail.
History
Although a return issued by the Wandering Roads Board on 17 December 1895 showed that since its inception four bridges and 59 culverts had been built, no necessity for large bridges had been noted. That is, until 1905, when a considerably larger bridge than the usual small bridge was required. After the opening of the GSR in 1899, both Pingelly and Narrogin were surveyed as townsites. This meant that both places were being prepared to accommodate Wandering settlers from both sides of the Hotham River. Since about 1865, a crude stone structure across the river was the only means of crossing the river, and this could only be accomplished during the summer. Owing to the increasing number of settlers, both south and north of the river, it was decided to build a large bridge to span a straight stretch. The contract for the building of the bridge was let to Mr White by the Road and Bridge section of the Public Works Department at an estimated cost of £750.1 The annual report of the Department of Public Works for the year 1905 noted, "Bridge - Hotham River (Pumphrey's) Wandering - Timber Bridge - completed"2 Minor repair works were carried out in 1938, and in 1950, the Main Roads Department tested its safety, finding that the foundation timbers were stable enough for another fifty years.
Description from the back - "On the Lake of the Ozarks at Osage Beach, Mo. The world's most unique theatre. The lovely Tasmanian Aquamaids starring in the underwater show at the Aquarama."
Published by Aurora Postcard Company., Aurora, Missouri. Advercolor Photograph by T. Sidney Harley.
Read an excellent interview by Vintage Roadside with one of the Aquamaids here and here.
Description of the coal flora of the Carboniferous formation in Pennsylvania and throughout the United States ....
Harrisburg,Board of Commissioners for the Second Geological Survey,1879-84..
Fort Langley, BC Canada
DESCRIPTION OF HISTORIC PLACE
Fort Langley Community Hall is a large, classic revival building set back on a spacious property on Fort Langley's main street, Glover Road.
HERITAGE VALUE
Fort Langley played a pivotal role in the creation of British Columbia. It was the first permanent European settlement in the Fraser Valley, the site of the proclamation of the Crown Colony of British Columbia and the first major commercial agricultural centre in B.C. The Hudson's Bay Company used the fur trade fort based here for exporting Fraser River salmon as well as agricultural products and furs to Europe and to Pacific Rim countries. In 1858, when gold was discovered on the bars of the Fraser River, the influx of prospectors caused fears of American annexation, and directly led to Britain proclaiming a Crown Colony under the direction of Governor James Douglas. The fort and the Village that grew up adjacent to it are now part of the Township of Langley.
Designed by a prominent Vancouver architect, Archibald Campbell Hope, and constructed in 1931, Fort Langley Community Hall is recognized for its landmark status as well as its historic, social and aesthetic significance to the Township.
A.C. Hope and his wife Mary came to Vancouver in 1908 from England and via a two year stay in San Francisco, where he obtained his architect's certificate. Primarily known for designing schools in Vancouver, Hope is also known for designing municipal halls and is best known for his design of Heritage Hall (formerly Postal Station C) at Main and 15th in Vancouver.
Hope likely received the commission to design Fort Langley Community Hall through his brother, Charles, who was a long time and prominent resident in Fort Langley. Built by volunteers for the Fort Langley Community Improvement Society, the Hall has played an important role in the community's life by faithfully providing a place to meet and hold functions that encourage a strong and vital community life.
Through volunteer commitment, the Hall has and continues to accommodate a variety of social, athletic, public and business events. The sustained use of the Hall shows the enduring dedication and enthusiasm of both the community and the Fort Langley Community Improvement Society (which has always owned and operated the building). To the residents of Fort Langley, this continuity of function is an important part of their civic pride.
Noteworthy for its time when men tended to dominate civic life, the Association's first president was Mrs. Hector Morrison, a woman of dedication who was also the president of the Fort Langley Women's Institute. Women have continued to play strong lead roles in the management of the Hall, in both its programming and its conservation.
The Hall is a fine and rare example of a wooden classic revival building in the Fraser Valley. The formality of the Hall is emphasized by its placement at the rear and centre of a large, open property, and by the requirement to approach the entrance via a sweeping drive. At the same time, the Hall also appears gracious and welcoming, due primarily to its symmetry, its celebration of approach and entry from Glover Road, and its sense of old world charm.
The row of large, deciduous Maple trees on each of the north and south property lines are also important as they offer a direct historic and symbolic link to the original directors of the Society, who planted these trees in celebration of the Hall's construction.
Together with the Coronation Block and the Canadian Northern Railway Station, the Fort Langley Community Hall played an important role in focusing the community on heritage conservation issues. Its imposing and uniquely grand design helped create the public and political will to ensure the success of Langley's first Heritage Conservation Area, which was established in 1997 and includes a 9 square block area of the Village of Fort Langley.
Source: Langley Centennial Museum, heritage files
This image is best viewed in Large screen.
Thank-you for your visit, and please know that any faves or comments are always greatly appreciated!
Sonja
DESCRIPTION
Tender crescent bites hold a warm, cheesy filling in a crowd-pleasing appetizer.
INGREDIENTS
4 oz tomato-basil feta cheese, finely crumbled (1 cup)
2 tablespoons finely chopped green onions (2 medium)
1 egg, well beaten
1 can (8 oz) Pillsbury® refrigerated crescent dinner rolls or 1 can (8 oz) Pillsbury® Crescent Recipe Creations™ refrigerated flaky dough sheet
1 tablespoon grated Parmesan cheese
DIRECTIONS
1.Heat oven to 375°F. In small bowl, mix feta cheese, green onions and 3 tablespoons of the beaten egg.
2.If using crescent rolls: Unroll dough; separate into 4 rectangles. Press perforations to seal. If using dough sheet: Unroll dough; cut into 4 rectangles.
3.Press each rectangle into 7 1/2x5-inch rectangle. Cut rectangle into 3 rows by 2 rows to make 6 (2 1/2-inch) squares. Top each dough square with slightly rounded measuring teaspoon feta cheese mixture. Fold dough over filling, forming triangle; press edges to seal. On ungreased cookie sheets, place triangles 2 inches apart. Repeat with remaining 3 dough rectangles and feta cheese mixture.
4.Brush tops with remaining beaten egg. Sprinkle lightly with Parmesan cheese.
5.Bake 9 to 11 minutes or until golden brown. Serve warm.
High Altitude (3500-6500 ft): No change.
Description
Taken at our hotel in Kalamaki, Zakynthos, Greece, before the hustle and bustle of the day set in. Great hotel and great food here. I know the three arches are off centre, but there were obstructions I wanted out of the photo which were on the left.
Neil Mair Photography
New to my stream? Why not take a look? Click here
Copyright Notice
Do not use any of my images anywhere (except flickr) without my explicit written permission: doing so is an ILLEGAL act for which action WILL be taken against. Copyright © Neil Mair.
Description: Powwows are large social gatherings of Native Americans who follow traditional dances started centuries ago by their ancestors, and which continually evolve to include contemporary aspects. These events of drum music, dancing, singing, artistry and food, are attended by Natives and non-Natives, all of whom join in the dancing and take advantage of the opportunity to see old friends and teach the traditional ways to a younger generation. During the National Powwow, the audience see dancers in full regalia compete in several dance categories, including Men and Women's Golden Age (ages 50 and older); Men's Fancy Dance, Grass and Traditional (Northern and Southern); Women's Jingle Dress, Fancy Shawl, and Traditional (Northern and Southern); Teens (13-17); Juniors (6-12) and Tiny Tots (ages 5 and younger). The drum groups are the heart of all powwows and provide the pulsating and thunderous beats that accompany a dancer's every movement. The powwow is led by three "host drums" that showcase three distinct styles of singing (Northern, Southern and contemporary) and represent the best examples of each style. The drum contest highlights groups of 10 to 12 members each, and they sing traditional family songs that are passed down orally from one generation to the next. The National Museum of the American Indian sponsored the National Powwow in 2002, 2005, and 2007 as a way of presenting to the public the diversity and social traditions of contemporary Native cultures.
Creator/Photographer: Walter Larrimore
Medium: Digital photograph
Culture: American Indian
Geography: USA
Date: 2005
Repository: National Museum of the American Indian
Accession number: 081205WLPOWWOW0440
Description of the coal flora of the Carboniferous formation in Pennsylvania and throughout the United States ....
Harrisburg,Board of Commissioners for the Second Geological Survey,1879-84..
Old Swedish countryside cottage. It's color radiation caught my lens as I was passing, Saturday morning.
Caption: Using the "narrow"-lens and the native HDR setting of my Xiaomi Mi6 smartphone camera, I cut as close to the chimney-top as possible. Due to my frog perspective, I didn't want to skew the lines of the cottage (as I so irritatingly did sideways).
Post-production: Adding the "Faded Glow" filter of Snapseed, and then letting the app do all it's trickery and magic to the photo during the save.
I found this video on YouTube and I felt the need to share it with you.
There isn't much I can say right now about Kevin haters without being arrested in some way. Seriously, Kevin haters are the farthest thing from a fan I've known. I believe they may even be farther than Jonas Brothers haters. This video I found is a perfect way to show what would happen without Kevin. I don't know about you, but I would be IN PIECES if anything ever happened to this boy </3
ISKJ forever and then some <3
Here's the video link. Feel free to cry until you run out of tears. :'(
Description of the coal flora of the Carboniferous formation in Pennsylvania and throughout the United States ....
Harrisburg,Board of Commissioners for the Second Geological Survey,1879-84..
This revised description of the log punt that ended up protecting John Sointu’s wharf on Wallis Island in the late 1950s has been prepared by Alan Wright and Chris Borough. Alan is a Director of the Great Lakes Co-operative Historical Society Ltd, is a member of the Wright shipbuilding family of Tuncurry and has a wealth of knowledge about the shipping history of the Great Lakes of NSW.
Other images relating to the log punt Wallis Lake are in the Album Wallis Lake or Queen?
This image was taken is part of the collection in the Great Lakes Museum and depicts the Queen II loading logs on the Wallinghat River that flows into Wallis Lake near Coomba. Queen II was thought to be constructed in 1914 after Queen I sank in Wallis Lake, near Bandicoot Island..
After a lot of thought Alan and Chris have concluded that the hulk protecting the wharf on Wallis island is the Wallis Lake built by Ernest Wright in 1924. Many reports have suggested that it is another of the Wright-built log punts - Queen.
Other images relating to the log punt are in the Album Wallis Lake or Queen?
Information on the log punts that were operated by Wright and McLaren and later John Wright and Co. Ltd. is scant with reports varying. This interpretation should not be relied upon to be completely accurate although the evidence provided is strong. Despite some reservations, the story of the hulk on Wallis Island story reflects a fascinating period in the history of the timber industry of the Great Lakes of NSW.
Early Log Punts
Early sawmillers employed teams to fell trees for logs that were dragged by bullock team from the forest to rivers and lakes. Here they were loaded onto log punts and taken to mills located on the waterfront at Tuncurry and Forster.
The puntmen who delivered logs to the sawmills at Tuncurry had to employ great caution and skill in mooring a fully loaded punt at the mill wharf as the tides moving into and out of Wallis Lake were strong - particularly coming down with the ebbing tide. The procedure was to throw out an anchor on the opposite sand spit, so that the punt swung around and faced upstream.
The first log punt built by John Wright at Tuncurry was the Nil Desperandum - a punt that was handled by man-power alone – typically a puntman using a long pole that he pushed into the mud and walked the length of the punt pushing on the pole.
Steam Punts
A series of four steam powered log punts were then built for the sawmilling operation at Tuncurry operated initially by Wright and McLaren and, after 1913, by John Wright & Co. Ltd.
These were:
- Queen I (circa 1897) - builder John Wright
- Queen II (believed to be built 1914) – builder Ernest Wright
- Wallis Lake (1924) - builder Ernest Wright
- Queen III (1948) - builder William Mann - Nabiac
John Wright constructs the steam punt The Queen I
Around 1897, John Wright constructed a much larger, steam powered, paddle-wheeler log punt that could operate regardless of the tide. She was the Queen of the Hawke (later known simply as the The Queen). The deckhouse was located at the rear – the two paddle wheels were located each side the deckhouse. Records from the Great Lakes Museum indicate that she was some 30 m long and 6 m wide on the deck. For convenience she is referred to as Queen I.
Cape Hawke Regattas
The first reference to the The Queen was in 1898 when she was used to bring people to the Cape Hawke Regatta on 26th January. “To reach the rendezvous, the steam punts belonging to the various sawmills are brought into requisition. The mill-owners always allow the use of their punts to convey passengers, free of charge. These punts are roomy— not too slow— well provided with awnings and seats, and suit admirably. Mr. Wright's 'Queen,' from Tuncurry; Messrs. Miles, Bros.' 'The Brothers' from Forster; Mr. Fenning's 'Wollomba,' from Wallamba River; Mr. J. Breckenridge's 'Wheelbarrow,' from Failford ; and Messrs. Goodlet & Smith's ' Coolongolook,' from the village of the same name, conveyed hundreds of people— all sorts and conditions of men, yes, and women, too— for the ladies of Forster and district take great interest in boating, and lend an additional charm to the great aquatic carnival by their presence in large numbers.”
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) - Sat 5 Feb 1898
She was initially given the name Queen of the Hawke but commonly this was abbreviated to simply the The Queen or Queen. Newspaper reports in 1899 reported the Queen of the Hawke taking people from Tuncurry to the famous Cape Hawke Regatta that was held every year around 26th January – Anniversary Day (now Australia Day
The Wingham Chronicle and Manning River Observer (NSW : 1898 - 1954) - Wed 1 Feb 1899
The Queen - multi-tasked vessel
The The Queen performed many tasks other than the transport of logs and sawn timber and participants to the annual Cape Hawke Regatta. In 1901 four vessels helped raise the sunken log punt Wallamba - these were 'The Dart,' the s.s. 'Marian Mayfield,' the s.s. 'Ariel,' and the p.s. 'Queen.'
In 1904 Queen I travelled to Smiths Lake (presumably as far south in Wallis Lake as possible) as reported in the Manning Times - :
“The fishermen of Cape Hawke are congratulating themselves on having an ice factory in their midst — Mr. Coombes having brought his refrigerating plant and machinery down from Smith's Lake last week in Messrs. Wright and McLaren's steam punt [Queen].”
The Manning River Times and Advocate for the Northern Coast Districts of New South Wales (Taree, NSW : 1898 - 1954) - Sat 7 May 1904
Log punt Queen sinks in 1914
In 1913 the partnership of Wright and McLaren was wound up and a new entity that incorporated various operations, was formed in 1913 – John Wright & Co. Ltd.
In 1914 it appears that Queen I may have sunk, near Bandicoot Island. “A severe south-easterly gale is raging here. Shipping is delayed. Wright and McLaren's steam punt, while crossing Wallace [Wallis] Lake yesterday, was caught by the gale and sunk, the crew escaping in a boat. The Sydney Morning Herald (NSW : 1842 - 1954) - Fri 19 Jun 1914
Graeme Andrews reported this after his journey on Wallis Lake in 1975: "The run from Pacific Palms to Forster is about 17 km and gives some idea of the size of the Wallis Lake. The lake is long enough and wide enough to build up big seas and, as it is never very deep - but enough for any boat likely to use it - the wind can build up steep seas very quickly.
As an example, about 1920, one of the paddle droghers "S.S Queen" was overwhelmed by the seas on the lake. Despite the efforts of her crew, short, small waves breaking over the flat deck gradually filled the craft, she sank and her superstructure stood above the surface for many years. Now the remains are just below the surface and are marked by only a small stick." (Australian Seacraft 1977)
Queen II constructed - 1914
Although there was a report in 1902 that a new log put was to be constructed after the Bellinger was completed, no reports of an actual construction have been located: "Messrs. Wright & McLaren are going to have a large new log punt constructed after their steamer [Bellinger] is completed, and the present punt is to do duty in connection with the Krambach mill. A large new wharf is also to be created at the Tuncurry mill, and also new stores." The Manning River Times and Advocate for the Northern Coast Districts of New South Wales- Sat 25 Jan 1902
Although there are no press reports to confirm or reject our hypothesis, we have assumed that Ernest Wright constructed a new log punt (Queen II) shortly after the 1914 sinking of Queen I.
A new log punt Wallis Lake launched
In September 1924 a new log punt was launched, the Wallis Lake - built by Ernest Wright. "Mr. E. Wright has launched a new log punt which is an improvement on anything we have had here. Mr. Wright is master of this craft himself." The Northern Champion Wed 1 Oct 1924
The Wallis Lake continued operation until at least late 1954.
Queen III launched in 1948
The Queen III, built by William (Billy) Mann in 1948, operated for a relatively short time and was sold to Port Macquarie interests after fire destroyed the John Wright & Co. Ltd. Sawmill at Tuncurry in 1951.
Wallis Lake towed to Wallis Island
It is at this point that the idea that the Queen was put in place to protect a wharf arose.
Enter Ida Niemi
Ida Niemi was a member of a Finnish family headed by her cousin John Sointu. John built a house - Harmony Hill House - on Wallis Island in the late 1940’s and constructed a jetty. “When Ida heard one day, that they were sinking big droghers, she rowed over to Forster, saw the boss who owned the sawmill, and said she wanted a punt sunk near her wharf, to act as a barrier from bad weather. He agreed to do this provided she paid for it, so that he would not be liable for any damage that may be caused. He offered her the other “Queen”, and a price of two shillings was agreed. The drogher was brought around and sunk, and its remains can be seen today.”
Williamson (2002): We built a village – the Heritage of Coomba Park.
Graeme Andrews takes a trip on the launch Lake Wallis
In 1975 Graeme Andrews (well-known author on the vessels of NSW) and his wife Winsome took a trip on the Lake Wallis operated by Stan Croad. Stan had been operating his launch since 1946 when he obtained a contract to take schoolchildren to school. Later he operated a tourist service. Stan’s extensive observations and experience cannot be under-estimated and it was upon his advice that Graeme Andrews based his report.
“On the south-western end of Wallis Island is a grand and remarkable two-storey house. It is obviously old and apparently houses a Finnish family who have crops, cattle and the obligatory sauna. Their ‘wharf’ consists of the remains of the steam paddle lighter, or ‘drogher’ Queen. About 40 m long by 10 or 12 m wide, this craft is a wooden boat enthusiast’s dream. Much of the exposed timber remains showing grown timbers and adzed wood working. Stores and monies change hands and off we go again.” Tea and Scones on Lake Wallis - AFLOAT February 2012.
Given that the size of the Wallis Lake matches the measurements made by Graeme Andrews and the Wallis Lake was the last log punt operating from Tuncurry in the mid 1950s we believe that the wharf on Wallis Island was not made from the Queen II. No doubt, however, the issue of Queen vs Wallis Lake will not completely fade away!
So the Wallis Lake, built by Ernest Wright in 1924, lives on almost 100 years after she was built – a testimony to the work of the Wright family and to the quality of the Australian hardwood timbers used.
Image Source:
Black Diamond Images Collection
Acknowledgements
Approval to publish was granted by the Great Lakes Museum Capel Street, Tuncurry, NSW.
References:
Andrews, Graeme and Winsome - AFLOAT February 2012 Tea and Scones on Lake Wallis - Graeme and Winsome Andrews
Andrews, Graeme. An alternative to trailerboating - FERRY FROM FORSTER AUSTRALIAN SEACRAFT - April 1977.
Williamson, Wendy (2002). We built a Village - the heritage of Coomba Park. A Coomba Park Production.
Acknowledgements: Alan Wright of the Great Lakes Museum for his criticism and presenting a plausible explanation of this conundrum.
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
Description: A pair of Curtiss Jenny (JN-4H) airplanes are shown on the polo grounds at Potomac Park in Washington, DC. This location was used for the first few months of the nation's first regularly scheduled airmail service.
Creator/Photographer: Unidentified photographer
Medium: Silver print
Culture: American
Geography: USA
Date: 1918
Collection: Benjamin Lipsner Collection
Repository: National Postal Museum
Accession number: A.2006-12
Persistent URL: arago.si.edu/index.asp?con=2&cmd=1&id=194264
Description: Powwows are large social gatherings of Native Americans who follow traditional dances started centuries ago by their ancestors, and which continually evolve to include contemporary aspects. These events of drum music, dancing, singing, artistry and food, are attended by Natives and non-Natives, all of whom join in the dancing and take advantage of the opportunity to see old friends and teach the traditional ways to a younger generation. During the National Powwow, the audience see dancers in full regalia compete in several dance categories, including Men and Women's Golden Age (ages 50 and older); Men's Fancy Dance, Grass and Traditional (Northern and Southern); Women's Jingle Dress, Fancy Shawl, and Traditional (Northern and Southern); Teens (13-17); Juniors (6-12) and Tiny Tots (ages 5 and younger). The drum groups are the heart of all powwows and provide the pulsating and thunderous beats that accompany a dancer's every movement. The powwow is led by three "host drums" that showcase three distinct styles of singing (Northern, Southern and contemporary) and represent the best examples of each style. The drum contest highlights groups of 10 to 12 members each, and they sing traditional family songs that are passed down orally from one generation to the next. The National Museum of the American Indian sponsored the National Powwow in 2002, 2005, and 2007 as a way of presenting to the public the diversity and social traditions of contemporary Native cultures.
Creator/Photographer: Cynthia Frankenburg
Medium: Digital photograph
Culture: American Indian
Geography: USA
Date: 2007
Repository: National Museum of the American Indian
Accession number: 20070812_01a_csf_ps_056
DESCRIPTION
No cookie cutters needed for these clever cookies! Just turn a few balls of Pillsbury® Create 'n Bake™ cookie dough into tasty treats.
INGREDIENTS
1 roll (16.5 oz) Pillsbury® refrigerated sugar cookies
1 cup fluffy white frosting
Decorating icing or gel
Assorted small candies or decors
DIRECTIONS
1.Heat oven to 350°F. Cut cookie dough into 16 slices; cut 8 of the slices in half down the center. To make 1 rabbit cookie, place 1 whole slice on ungreased cookie sheet for head; place
2 halves on top, slightly overlapping on whole slice, for ears. Repeat to make 7 more rabbit cookies, placing 2 inches apart.
2.Bake 7 to 9 minutes or until edges are light golden brown. Cool 1 minute; remove from cookie sheet to cooling rack. Cool completely, about 15 minutes.
3.Frost cookies with frosting; decorate with icing and candies.
High Altitude (3500-6500 ft): No change.
Descriptiones et icones amphibiorum
Monachii, Stuttgartiae et Tubingae :Sumtibus J.G. Cotttae [that is, J.G. Cottae],1833
國立台灣文學館 - 台灣本土母語文學常設展 / 從生活中得到經驗 - 孩子才有創造能力
National Museum of Taiwanese Literature - Taiwan native place mother tongue literature standing exhibition / Get experience from life - Children have the ability to create
Museo Nacional de Literatura de Taiwán - lugar madre nativa de Taiwán exposición literatura lengua de pie / Obtener la experiencia de la vida - Los niños tienen la capacidad de crear
国立の台湾の文学館 - 台湾の本土の母語の文学の常設の展 / 生活の中から経験を得ます - 子供は想像力があります
Nationalmuseum der taiwanesischen Literatur - Taiwan Heimat Muttersprache Literatur Ständigen Ausstellung / Holen Sie sich Erfahrung aus dem Leben - Die Kinder haben die Möglichkeit zu schaffen
Musée national de la littérature taiwanaise - Taiwan littérature la langue maternelle lieu permanent d'exposition maternelle / Get iskustva iz života - Djeca imaju sposobnost da stvori
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2014/07/25 Chihkan Tower performances
{ 喜歡就好 / Happy enough / 良いことが好きです }
{View large size on fluidr / 觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
家住安南鹽溪邊
The family lives in nearby the Annan salt river
隔壁就是聽雨軒
The next door listens to the rain porch
一旦落日照大員
The sunset Shineing to the Taiwan at once
左岸青龍飛九天
The left bank white dragon flying in the sky
Description: The Rainbow Lorikeet is unmistakable with its bright red beak and colourful plumage. Both sexes look alike, with a blue (mauve) head and belly, green wings, tail and back, and an orange/yellow breast. They are often seen in loud and fast-moving flocks, or in communal roosts at dusk.
Similar species: Rainbow Lorikeets are such colourful parrots that it is hard to mistake them for other species. The related Scaly-breasted Lorikeet is similar in size and shape, but can be distinguished by its all-green head and body.
Distribution: The Rainbow Lorikeet occurs in coastal regions across northern and eastern Australia, with a local population in Perth (Western Australia), initiated from aviary releases.
Habitat: The Rainbow Lorikeet is found in a wide range of treed habitats including rainforest and woodlands, as well as in well-treed urban areas.
Seasonal movements: Largely sedentary with some nomadic movements in response to seasonal flowering or fruiting of plants.
Feeding: The Rainbow Lorikeet mostly forages on the flowers of shrubs or trees to harvest nectar and pollen, but also eats fruits (go ape over mangoes), seeds and some insects.
Breeding: The eggs of the Rainbow Lorikeet are laid on chewed, decayed wood, usually in a hollow limb of a eucalypt tree. Both sexes prepare the nest cavity and feed the young, but only the female incubates the eggs.
Minimum Size: 28cm
Maximum Size: 32cm
Average size: 30cm
Average weight: 133g
Breeding season: June to January
Clutch Size: 2
Incubation: 23 days
Nestling Period: 45 days
(Source: www.birdsinbackyards.net )
__________________________________________
© All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded,
displayed, posted or transmitted in any form or by any means, including electronic,
mechanical, photocopying & recording without my written consent.
Description: Construction of 5 Foot Vertical Wind Tunnel. The 5 Foot Vertical Wind Tunnel was built to study spinning characteristics of aircraft. It was an open throat tunnel capable of a maximum speed of 80 mph. NACA engineer Charles H. Zimmerman designed the tunnel starting in 1928. Construction was completed in December 1929. It was one of two tunnels which replaced the original Atmospheric Wind Tunnel (The other was the 7x10-Foot Wind Tunnel). In NACA TR 387 (p. 499), Carl Wenzinger and Thomas Harris report that "the tunnel passages are constructed of 1/8-inch sheet iron, stiffened with angle iron and bolted together at the corners. The over-all dimensions are: Height 31 feet 2 inches; length, 20 feet 3 inches; width, 10 feet 3 inches.
Credit: NASA
Image Number: EL-1999-00362 or 1930-L-04793
Date: September 18, 1930
Description for the WWII Afrikakorps Diorama:
Day 7, the sections compilation of all. The MOC has about 7.500 parts. With models and minifigs there are about 10.000 parts. The construction time was one week on evening after work in office. I hope you enjoy it.
For the whole construction diary looks on YouTube Building Diary
Please LIKE and SUBSCRIBE
Models:
Stug 3G, Flak36 PaK 8.8er,
SdKfz 7, SdKfz 222 and
SdKfz 252 with Sd Ah 32 Trailer
The stickers are with white printing on a transparent adhesive film and normal use indestructible. Simply cut out and stick.
Instructions for all Models, Sticker, Decals, Minifigs are available. Building Instructions
Thanks for visiting!
Description: Recreation Grounds, Donaghadee, Co. Down.
Date: 16th May 1958
Catalogue reference: D4069/11/8
[DESCRIPTION]
Talon Dropship units are able to manoeuvre swiftly in the airs and between skyscrapers thanks to its quad VTOL engines, suggested to be either stolen, negotiated, or even reverse engineered from Omnic technology.
Franc: Cette Naturgeschichte von Sardinien
Leipz. :In der Joh. Gottfr. Mèullerschen Buchhandlung,1799.
Description: This is a reprise with modification of my previous post of M101 (or NGC 5457) to show a Type II supernova SN2023ixf which was discovered on 19 May 2023. My image, which was taken on 27 May 2023, indicates the supernova as a relatively bright dot in one of the spiral arms. Among the three objects seen in the magnification inset the supernova is the brightest one. This post corrects color imbalances in M101 in my previous image which, however, does not impact the supernova.
Date/Time/Location: 2023-05-27 / 03:25:37 to 07:30:33 UTC / Washington D.C.
Equipment:
Scope: WO Zenith Star 81mm f/6.9 with WO 6AIII Flattener/Focal Reducer x0.8
OSC Camera: ZWO ASI 2600 MC Pro at 100 Gain and 50 Offset
Mount: iOptron GEM28-EC
Guider: ZWO Off-Axis Guider
Guide Camera: ZWO ASI 174mm mini
Focuser: ZWO EAF
Light Pollution Filter: Chroma LoGlow Broadband
Processing Software: Pixinsight
Processing Steps:
Preprocessing: I preprocessed 39x300s subs (= 3.25 hours) in Pixinsight to get an integrated image using the following processes: Image Calibration > Cosmetic Correction > Subframe Selector > Debayer > Select Reference Star and Star Align > Image Integration.
Linear Postprocessing: Rotation > Dynamic Crop > Dynamic Background Extractor (both subtraction to remove light pollution gradients and division for flat field corrections) > Background Neutralization > Color Calibration > Noise Xterminator.
Nonlinear Postprocessing: Histogram Transformation > Local Histogram Equalization > Curves Transformation > SCNR Noise Reduction.
DESCRIPTION
It's a pizza… it's a tostada… it's a tostizza! Pile the fillings on a Grands!® biscuit in a five-star-rated Bake-Off® Contest chicken recipe.
INGREDIENTS
1 can (16.3 oz) Pillsbury® Grands!® Flaky Layers refrigerated biscuits
1 cup diced cooked chicken
1 cup Progresso® black beans, drained (from 15- or 19-oz can)
1/2 cup Old El Paso® Thick 'n Chunky salsa
2 tablespoons Old El Paso® taco seasoning mix (from 1-oz package)
2 green onions, chopped
1/2 cup bell pepper strips (1 inch long)
1 1/2 cups shredded Cheddar cheese (6 oz)
DIRECTIONS
1.Heat oven to 350°F. Separate dough into 8 biscuits. On ungreased cookie sheets, press or roll each biscuit to form 5 1/2-inch round.
2.In medium bowl, mix chicken, beans, salsa and taco seasoning mix. Spread evenly over biscuits to within 1/4 inch of edges. Top evenly with onions, bell pepper and cheese.
3.Bake 20 to 24 minutes or until biscuits are golden brown and cheese is melted, reversing position of cookie sheets halfway through baking time. If desired, garnish with sour cream and guacamole.
Description: Taken during the time of the Tennessee v. John T. Scopes Trial, Dayton, Tennessee. The Defense Mansion was a Victorian house where the defense team and witnesses stayed during the trial. July 1925
Creator/Photographer: Watson Davis
Medium: Black and white photographic print
Dimensions: 4.25 in x 3 in
Culture: American
Geography: USA
Date: 1925
Repository: Smithsonian Institution Archives
Collection: Tennessee v. John Thomas Scopes Trial Photographs - During 1925, Watson Davis (1896-1967), Science Service managing editor, took numerous photographs while covering the State of Tennessee v. John Thomas Scopes trial as a reporter. In what was dubbed "The Trial of the Century," Scopes was tried and convicted for violating a state law prohibiting the teaching of the theory of evolution. William Jennings Bryan served on the prosecution team, and Clarence Darrow defended Scopes. Almost eighty years later, the nitrate negatives, including portraits of trial participants, and images from the trial itself and significant places in Dayton, were discovered in archival material donated to the Smithsonian by Science Service in 1971. Marcel C. LaFollette, an independent scholar, historian and Smithsonian volunteer uncovered these rare, previously unpublished photographs of the 1925 Tennessee vs. John Scopes "Monkey Trial" in the Smithsonian Institution Archives (SIA). In 2005, SIA restored fifty-two of the negatives with funds granted by the Smithsonian Women's Committee. Included here are thirty-nine of the images. All images belong to the Record Unit 7091: Science Service, Records, 1902-1965 collection of SIA. All photographs were taken by Watson Davis, Managing Editor of Science Service, while he was in Dayton, Tennessee, June 4-5, 1925, and July 10-22, 1925. LaFollette identified and dated each of these images, and has published a new book highlighting these and other images from the trial entitled, Reframing Scopes: Journalists, Scientists, and Lost Photographs from the Trial of the Century, University Press of Kansas, 2008.
Accession number: SIA2008-1129
國立台灣文學館 - 台灣本土母語文學常設展 / 帶著童年看世界 - 實現從前的願望
National Museum of Taiwanese Literature - Taiwan native place mother tongue literature standing exhibition / With childhood to see the world - Wish to achieve the former
Museo Nacional de Literatura de Taiwán - lugar madre nativa de Taiwán exposición literatura lengua de pie / Con la infancia de ver el mundo - desea alcanzar la ex
国立の台湾の文学館 - 台湾の本土の母語の文学の常設の展 / 持っていて少年時代世界を見ます - 昔の願望を実現します
Nationalmuseum der taiwanesischen Literatur - Taiwan Heimat Muttersprache Literatur Ständigen Ausstellung / Mit der Kindheit, die Welt zu sehen - der Wunsch des ehemaligen erreichen
Musée national de la littérature taiwanaise - Taiwan littérature la langue maternelle lieu permanent d'exposition maternelle / Avec l'enfance à voir le monde - souhaits pour atteindre l'ancienne
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2014/07/25 Chihkan Tower performances
{ 喜歡就好 / Happy enough / 良いことが好きです }
{View large size on fluidr / 觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
家住安南鹽溪邊
The family lives in nearby the Annan salt river
隔壁就是聽雨軒
The next door listens to the rain porch
一旦落日照大員
The sunset Shineing to the Taiwan at once
左岸青龍飛九天
The left bank white dragon flying in the sky
Large chipped Atlantic Noble Triton Trumpet shell.
(The description Charonia Nobilis does not actually exist)
It’s about a foot long but it has been chipped. I can’t give serious consideration to turning this shell into a horn. As a teenager I dabbled at playing the French horn, a one valve bugle in a Boy Scout/Legion marching band and a trumpet in high school. This would have a totally different aesthetic.
www.flickr.com/photos/21728045@N08/32538981152/in/photoli...
www.flickr.com/photos/internetarchivebookimages/148021776...
www.flickr.com/photos/internetarchivebookimages/147468078...
www.flickr.com/photos/internetarchivebookimages/147445304...
SOME BASICS ON SHELL TRUMPETS
AND SOME VERY BASICS ON HOW TO MAKE THEM
By Mitchell Clark © 1996
Two views of an end-blown shell trumpet made by the author from a Cassis cornuta ("horned helmet"); length 8 1/4"; pitch B3 (open) or A3 (hand-stopped).
At the request of the editor of Experimental Musical Instruments, to whom I once casually mentioned that I had made a few shell trumpets, I will write something about the process of making such an instrument. But, to the possible disappointment of the editor, there's not an awful lot for me to say about their construction, as the simple forms of shell trumpets are quite easy to make. So, in the style of an entry in a cookbook where the author gives lots of history, lore, and anecdotes, and then finally gets down to the recipe, somewhere in what follows are some basic instructions for making shell trumpets. Endnotes - often referring to illustrations which may be consulted in other sources - are included, and contribute additional texture.
I'll start by saying that when I was young, I knew about shell trumpets but obviously did not quite understand the principle of how they worked. I thought that no alteration was made to a conch's shell, which I thought was very beautiful and that it would be a shame to deface it. Rather, it seemed that getting the shell to sound was a matter simply of blowing very, very, very hard. Fortunately I did not rupture any blood vessels trying out this theory.1
But the shell trumpet (an instrument in the domain of study of the organologist) has indeed been altered from the animal's natural shell (a natural object in the domain of study of the conchologist) in such a way that would make life uncomfortable for the actual mollusk itself (an animal in the domain of study of the malacologist) - that is, a hole's been poked in the shell. A shell trumpet will obviously have to made after the mollusk has (willingly or unwillingly) vacated.
There are two basic places this hole may be placed, and so there are two basic approaches that can be taken for making a conch shell into a shell trumpet. A hole is made either at the apex (the tip of the spire) of the shell, or, alternatively, in one of the whorls to the side of the spire. The mouth hole may be at the apex if the spire is shallow, as on a Strombus gigas ("queen conch" or "pink conch," common in the Caribbean), 2 Cassis cornuta ("horned helmet," found in the Indo-Pacific region), or Cassis tuberosa ("king helmet," found in the Caribbean). The mouth hole may be on the side of the spire if the spire is more steep, as on a Charonia tritonis ("Triton's trumpet," distributed throughout most of the tropical Pacific and Indian Oceans). In some cases the hole itself forms the mouth hole; in others, a mouthpiece is added. Mouthpieces seem to be a matter of what tradition has evolved, as sometimes the same species of shell may be found with or without a mouthpiece. For instance, a variety of approaches will be found with Charonia tritonis. In Polynesia, a mouth hole cut into the side of the spire is the norm. 3 Occasionally a side-blown tritonis will have a mouthpiece added, as found in the Marquesas Islands; 4 this appears to be a rare arrangement. Concerning end-blown tritonis, on the Hawaiian pu 5 and on the Korean na, 6 a mouth hole is cut into the apex. On the Japanese hora, the tritonis (called horagai) is given a mouthpiece, placed at the apex. 7 Other shells used for trumpets usually have the hole in the apex, with a mouthpiece or (perhaps more commonly) without.
The qualities of sounds which shell trumpets can produce are varied, and also layered in the meanings and responses such sounds evoke. As children we learn of one of the poetic associations of shells - that if you hold a conch shell to your ear, you will hear (however far away from the coastline you may be) the sound of the sea. 8 Yes, perhaps it is indeed the air column enclosed by the shell filtering the ambient level of noise to create a faint roaring sound. But the association of shells with water, and the sea especially, is also at the basis of the many of the ceremonial uses of shell trumpets around the world. Shell trumpets have often been used at great distances from the sea, and this has contributed to the sacredness of their sounds. Thus the hearing the of sea in a shell may be a vestige of these older, profound associations. Shell trumpets produce a profound sound in every sense of the word - there is a sense of the sound coming from the deep past. This is both true as regards the actual antiquity of the use of shell trumpets, which dates to the Neolithic era, 9 and in the very shell itself. The apex of a univalve gastropod such as a conch or a snail is the oldest part of the shell (the place where the young animal started growing): in blowing a shell trumpet the sound is passing from the oldest place to the youngest - from the past towards the present.
Concerning this antiquity of the use of shell trumpets, the etymologist Eric Partridge puts forth the idea that the word "conch" may be of echoic - that is, onomatopoeic - origin. 10 Echoic, I suppose, of the sound of the blast of a shell trumpet, and thus - given the early Greek roots of the work "conch" - indicating the great antiquity of their use. A common term applied in a number of parts of Polynesia to the shell trumpet - pu - would certainly also seem, in its own way, to be echoic.
The most common use of shell trumpets in many parts of the world - and they have a remarkably wide distribution - is as a signaling device. A shell trumpet may announce curfew in Samoa, or announce that fresh fish is for sale in Fiji, or may serve as a foghorn on the Mediterranean. The shell trumpet often has a magical role in relation to weather. It may be used on the one hand be used to calm rough seas, or on the other to summon wind when seas are becalmed. 11 Shell trumpets are also used in musical contexts, most often in conjunction with ritual. The Indian shanka has held a place in the Hindu religion for millennia. There it may be used as a ritual vessel as well as a trumpet. 12 The shanka is also of significance in Buddhism, where, besides its musical uses, it figures importantly into Buddhist iconography. Befitting their role in Tibetan ritual music, where they are called dung-dkar, shell trumpets made from shanka receive detailed decoration, with carving on the surface of the shell itself and with added ornamentation in metal and semi-precious stone. 13 Shell trumpets were also important ritual instruments in Pre-Columbian South and Central America and in Minoan Crete. In these latter areas, skeuomorphic reproductions ("the substitution of products of craftsmanship for components or objects of natural origin") of shell trumpets, in ceramic and stone, are found archaeologically. The details of their exact purposes remain a mystery. 14 Generally a shell trumpet is used to produce one note; harmonics are possible but seldom utilized. One exception is the Japanese hora, where three, sometimes even four, pitches of the harmonic series may be employed. 15 On the end-blown Fijian shell trumpet made from the Bursa bubo ("giant frog shell"), there is a fingerhole which will allow for a whole-tone change in pitch. 16 Shell trumpets with several fingerholes have also been explored. 17 Occasionally pitch is modified by the player inserting his or her hand into the aperture. Although shell trumpets would seem to lend themselves to being played in a musical context in homogenous ensembles, along the lines of ensembles of panpipes and stamping tubes in Oceania (particularly Melanesia), such an approach is actually very rare. Tonga (in Polynesia) is the only place where conch ensembles have been found, and then only in the more remote areas (some of the northern islands) and only in a few musical contexts (for recreation and for cricket matches). 18 In contemporary music and jazz, however, ensembles of shell trumpets have been used by trombonists Stuart Dempster and Steve Turre.
Now, to get to work. I've made a few shell trumpets with the mouth-hole at the apex. A simple basic recipe is:
Ingredients:
The shell of a large univalve gastropod
A file
Jeweler's files for finishing work (optional)
Procedure:
File off the tip of the spire.
Smooth out the perimeter of the hole (optional).
That's it. But to be more specific: from my experience, for making a shell trumpet it seems that a conch of some size - something like seven inches or greater in length - is needed. My attempt at making an instrument with the shell of a young Strombus gigas (perhaps 5-6 inches long) did not work out: I just couldn't get a sound out of the thing. Perhaps a smaller shell such as that might work with a mouthpiece. I've made end-blown trumpets from Cassis cornuta (my shell of choice; see photos above), Cassis tuberosa, and adult Strombus gigas. My construction approach with the Cassis has been to file off the tip with an 8" mill bastard file and a lot of elbow grease, getting it to the point where the opening is about 5/8" in diameter. With the jeweler's files, I'll smooth down the insides of the opening. For a Strombus gigas, which has a steeper spire, I first cut off an inch or so of the tip with a saw, and then proceeded as with the Cassis.
It is certainly possible to get the job done more quickly. A friend once made a trumpet from a Strombus gigas by forcibly breaking off the tip - he's a percussionist - with little or no filing. In this case, it appears that the irregularities of the edges of the mouth-hole allowed for a more pronounced array of upper partials to the shell trumpet's tone. To remove the tip of a Strombus gigas, D.Z. Crookes (describing the process in his "How to make a shelly hautbois") supported the shell's tip "on an anvil, and nipped it off with a cold chisel," later carving a "half-civilized" mouthpiece. 19 I suppose one could also use a power grinder or sander to quickly get through the early stage on a Cassis, for instance, but I think a couple of hours or so of manual filing is not too big a price to pay (however, see photo below). Of course, being physically involved with the stages of the manufacture of a shell trumpet, as with any musical instrument, increases one's connection with the instrument and its sounds.
As regards side-blown shell trumpets, I've made one, from a Charonia tritonis (see photo below). For such a shell, a basic recipe could be:
Ingredients:
The shell of a large conch with a steep spire, especially a Charonia tritonis
A drill
Jeweler's files for expanding the hole and for finishing work
Procedure:
Drill a small hole into the side of the spire.
Expand the size of the hole and smooth out the edges.
Again, a little more detail. I placed the hole in the second whorl out from, and on the same side of the spire as, the aperture. With this arrangement the aperture faces backwards from the player when the trumpet is played. I used photographs of side-blown Charonia tritonis as my guide. 20 I used a drill bit of about l/8" diameter to get the hole started and then followed with a 1/4" bit. I expanded the hole to about 5/8" with a half-round jeweler's file. A larger rat-tail file would also be possible (although one needs to be careful of a bulkier tool damaging the interior of the shell), before following up with the jeweler's file.
Although I've made a few shell trumpets, I have not yet made musical use of them in any concerted way. I do have a piece - forthcoming in my series of Anthems for ensembles of "peacefully co-existing" sustained sounds - for a plurality of shell trumpets and pre-recorded tape. Also, when you've got a shell trumpet around, blowing it every once in a while does impress neighbors and passers-by alike.
Again, these are the most basic of recipes. I look forward to other writers who have more background in the individual traditions of these instruments, and who are more acquainted with the acoustics and detailed construction, 21 to contribute further on the subject of these fascinating instruments.
ENDNOTES
1. Despite the fact that a large conch does need to be modified to make a trumpet, a small snail shell can be used, unmodified, as a whistle. An intact snail shell is essentially a stopped pipe, and if the aperture is of an appropriate size - so the player is able to create an embouchure - the shell can be an effective whistle. Unaltered large conch shells filled with water were used for their gurgling sounds by John Cage in his pieces Inlets (1977, which also makes use of a shell trumpet) and Two3 (1991, which also includes a Japanese shô reed organ). A single such large water-filled conch was used by the present author in his "concerning an aspect..." (1988). Return to text
2. In general usage, the word "conch" is used to describe large spiral univalve gastropods even when it is not referring to what is, strictly speaking, a conch (the "true conchs" are members of the genus Strombus). This seems to be especially true in relation to shell trumpets, where the term "conch trumpet" is used quite freely. Return to text
3. See Richard M. Moyle, Polynesian Sound-producing Instruments (Princes Risborough, England: Shire Publications, 1990), 39 and figure 25, which shows several side-blown tritonis being played in Tonga. Return to text
4. Richard M. Moyle, Polynesian Sound-producing Instruments, 39 and lower portion of figure 23. Return to text
5. Te Rangi Hiroa (Peter H. Buck), Arts and Crafts of Hawaii, IX: Musical Instruments (Honolulu: Bishop Museum Press, 1957, reprinted 1964), figure 256a. Return to text
6. See Chang Sa-hun, Uri yet Akki ("Our Traditional Musical Instruments"; Seoul: Daewonsa, 1990), 31. Return to text
7. See Hajime Fukui, "The Hora (Conch Trumpet) of Japan" in Galpin Society Journal 47 (1994): 47-62, where several photographs and a diagram of the mouthpiece are shown. For a full-size color photograph of a hora, see Jane Fearer Safer and Frances McLaughlin Gill, Spirals from the Sea: An Anthropological look at Shells (New York: Clarkson N. Potter, Inc., 1982), 174-5. Concerning the hora, one of its less-documented uses is in a rite called Shunie associated with the Tôdai-ji Temple in Nara (see Hajime Fukui's essay, 52). A shell-trumpet ensemble portion of the Shunie can be heard on the album Harmony of Japanese Music, mentioned in the attached discography. Return to text
8. Note that terminology relating to the human ear is rich in shell imagery. The cochlea (a Latin word derived from the Greek kokhlos, land snail) is the spiral, shell-shaped portion of the inner ear which transmits the signals to the brain which are interpreted as sound. As a word referring to a shell-like structure, concha (from the Greek konkhe - a shell-bearing mollusk in general - which, via Latin, is the ancestral form of "conch") is a term used to describe the human external ear, also known as pinna. And pinna, from the Latin word for "wing" or "feather," is also the name for a genus of large - and wing- or feather-shaped - bivalve mollusks (family Pinnidae). Return to text
9. John M. Schechter and Mervyn McLean, "Conch-shell trumpet" in Stanley Sadie, ed., The New Grove Dictionary of Musical Instruments (London: Macmillan. 1954), I:461. Note that it is conjectured that the earliest use of the instrument was as a voice modifier - a megaphone of sorts. Return to text
10. Eric Partridge, Origins: A Short Etymological Dictionary of Modern English (2nd edition, New York: MacMillan, 1959), 114. Note especially one Middle English spelling, conk. Return to text
11. A recorded example of the former, from Chuuk, Micronesia, is included on the album Spirit of Micronesia, mentioned in the attached discography. The latter is mentioned in the entry for the shell trumpet ntuantuangi, of the Poso Toradja of Celebes, in Sibyl Marcuse, Musical Instruments: A Comprehensive Dictionary (2nd edition, New York & London: W.W. Norton & Co., 1975), 368. Return to text
12. Note that the Sanskrit word shanka (which may be romanized in various ways, with or without diacritics; the English common name for the shell is "chank") does share the same Indo-European root as konkhe, and ultimately, "conch." The Latin scientific name for the shanka is Turbinella pyrum. Return to text
13. See Safer and Gill, Spirals from the Sea, 176-7, for two views of a specimen dated 1400. Return to text
14. Jeremy Montagu, "The conch in prehistory: pottery, stone and natural" in World Archaeology 12/3 (1981): 273-9, which focuses on these shell-trumpet skeuomorphs. Return to text
15. Hajime Fukui "The Hora (Conch Trumpet) of Japan," 51-2. Return to text
16. Moyle, Polynesian Sound-producing Instruments, 39 and figure 24. Return to text
17. See D.Z. Crookes, "How to make a shelly hautbois" in FoMRHI Quarterly 80 (July 1995): 43, where he experiments with up to seven (?) fingerholes on Strombus gigas. Return to text
18. Richard M. Moyle, "Conch Ensemble: Tonga's Unique Contribution to Polynesian Organology" in Galpin Society Journal 28 (1975): 98-106. Also, his Polynesian Sound-producing Instruments, 41-2 and figure 25. Ensembles of three to seven, or more, side-blown Charonia tritonis are used. Return to text
19. Crookes, "How to make a shelly hautbois," 43. Return to text
20. For instance, Eric Metzgar, Arts of Micronesia (Long Beach, Calif.: FHP Hippodrome Gallery, 1987 {exhibition catalogue}), figure G, and Safer and Gill, Spirals from the Sea, 168. Return to text
21. See Montagu, "The conch in prehistory: pottery, stone and natural," 274-5, for a brief discussion of shell-trumpet acoustics which outlines some of the basic issues. Concerning shell-trumpet construction, note that Hajime Fukui's "The Hora (Conch Trumpet) of Japan" goes into a great amount of detail concerning making this particular instrument. Return to text
SOME SHELL TRUMPET DISCOGRAPHY
Following is a handful of recordings including shell trumpets. Occasionally, recordings of shell trumpets will appear on collections of music from Oceania. An example is Spirit of Micronesia (Saydisc CD-SDL 414), which includes a conche (note this alternate spelling) introducing two chants (track 20) and a conche used for warding off storm clouds (track 22; a photo on page 20 of the booklet shows a player of a trumpet made from a Cassis species). Though brief, this latter track beautifully captures, against a backdrop of storm waves, the shell trumpet's evocative qualities. Pan Records' Fa'a-Samoa: The Samoan way... between conch shell and disco (PAN 2066CD) includes a recording (track 1) of a conch-shell pu being used to announce curfew; on track 13, an animal horn used for the same purpose is also called pu. (The "disco" of the title is actually a brass band performance.) Another album on Pan, Tuvalu: A Polynesian Atoll Society (PAN 2055CD), has an impressive photograph of a shell-trumpet player on the cover, but does not include any shell-trumpet recordings.
A Japanese Buddhist ritual-music use of shell trumpets - as part of O-Mizu Tori ("a water-drawing rite") of the Shunie rite at Tôdai-ji Temple, Nara - may be heard on Harmony of Japanese Music (King Records [Japan] KICH 2021).
Steve Turre's Sanctified Shells (Antilles 314 514 186-2) and Stuart Dempster's Underground Overlays from the Cistern Chapel (New Albion NA076) include some contemporary creative uses of shell trumpets in ensemble. Colin Offord's Pacific Sound (Move Records [Australia] MD 3 105) makes use of shell trumpets in ensemble with instruments of his own construction. Together with other sound-makers made of shells, a shell trumpet may be heard on the track "Sea Language" on The Art of Primitive Sound's Musical Instruments from Prehistory (Hic Sunt Leones [Italy] HSL 003).
Baoding Balls
An on-line description of one:
This Japanese vintage Samurai Horagai is a trumpet shell of yoroi, or armour. It is about 50 years old, and is like the real thing used during the age of the Samurai. It is made from a real trumpet shell like the shells we have had before and found in many oceans including the Pacific, this one being from Japan. A mouth piece had been attached and it can be used just like in the old days when it was used to communicate during wars. Horagai was used as a command and signal of the old times during Samurai battles. Now it is used for decorating armour.
Description: States, 'Nunquam aliud natura, aliud sapientia dicit.' Translates 'Never does nature say one thing and wisdom say another.'
Format: 1 print, b&w; 14 x 10 cm.
Source: Pratt Institute Libraries, Special Collections 2a (sc00258)
For inquiries regarding permissions and use fees, please contact: rightsandrepro.library@pratt.edu.
Content description: Jim Sims (CEO of Cambridge Technology Partners) in hard hat, white coat, and white pants at 8 Cambridge Center foundation completion ceremony walking across the image.
Local identifier: 020_01_03_020
Type of resource: still image
Genre/form: black-and-white prints (photographs)
Date: 1998-04
Physical description: 1 photograph : print, black and white ; 25.4 x 20.3 cm
Digital origin: reformatted digital
General notes: Title and content description from related item.
Date notes: Date from related item.
Acquisition notes: Donated by the Cambridge Redevelopment Authority in July 2014.
Description standard: dcrmg
Subject headings:
Cambridge Redevelopment Authority
Boston Properties, Inc.
Kendall Square (Cambridge, Mass.)
Construction industry
Urban renewal--Massachusetts--Cambridge
Host collection: Cambridge Redevelopment Authority Records, 1952-2000
Physical location: Cambridge Public Library
Conditions Governing Use: The material in this collection is subject to copyright and intellectual property restrictions. It is the responsibility of the researcher to understand and observe copyright law and to identify and satisfy the holders of all copyright. Researchers must obtain written permission from the copyright holder(s) if they wish to publish materials from this collection. Questions concerning copyright and permission to publish should be directed to the Cambridge Room, Cambridge Public Library Archives and Special Collections.
Please use the following format when citing materials from this collection: [Identification of item], Cambridge Redevelopment Authority Records, 1952-2000, 020, [Box#, Folder title], Cambridge Room, Cambridge Public Library Archives and Special Collections.
For more from this collection: cambridgeroomcollections.wordpress.com/2016/03/30/cambrid...
Descriptions may be updated later, as I have over 300 Showbus photos to upload. These last photos are from my phone as my camera battery had died.
Description/Notes: Photos were used in the 1908 "American Birds" book by William Lovell Finley. The photo is found opposite page 28.
Original Collection: MSS - William L. Finley Papers
Item Number: mss-finley
You can find this image by searching for the item number by clicking here.
Want more? You can find more digital resources online.
We're happy for you to share this digital image within the spirit of The Commons; however, certain restrictions on high quality reproductions of the original physical version may apply. To read more about what “no known restrictions” means, please visit the Special Collections & Archives website, or contact staff at the OSU Special Collections & Archives Research Center for details.
The Deputy Chief Constable of Greater Manchester Police has issued a warning to the perpetrators of gun-crime in Salford, telling them “enough is enough.”
The warning comes after police released the description of the two men responsible for the shooting of a 29-year-old woman and her 7-year-old son last night.
Shortly after 9.25pm on Monday 12 October 2015, two men knocked on the front door of a property on Gillingham Road in Salford.
The mother and son answered the door and, following a brief conversation between the offenders and victims, one of the men fired a number of shots.
The woman received two gunshots wounds to her legs, whilst the boy sustained a gunshot wound to his leg.
They were taken to hospital for treatment, where they remain in a serious but stable condition.
The first offender is described as white, between 19 and 20-years-old, of ‘chunky’ build and was wearing a baseball cap. He spoke slowly and with a Salford accent.
The second man is described as white and was also wearing a baseball cap.
Deputy Chief Constable Ian Hopkins said: “This is a sickening and cowardly attack on a seven-year-old boy and his mother in their own home. This level of criminal recklessness is putting innocent people at risk. This has to stop.
“We have stepped up our response to organised crime in Salford over the last few months, with more than 50 specialist officers now working on several major investigations, with the support of the National Crime Agency.
“The shootings that have happened are clearly part of two distinct feuds between organised crime groups; one in the Little Hulton area and the second in the Swinton and Central Salford areas, which includes the murder of Paul Massey.
“We believe the sickening events of last night are linked to the dispute around Swinton and central Salford.
“This morning we have made seven arrests this morning and last month we arrested 24 and charged 22 people in relation to the organised crime dispute in Little Hulton. We are, and will continue, to work with Salford City Council to try and prevent further incidents.
“The vast majority of people in Salford are law abiding citizens who are very proud of the city and will also be sickened by this horrific attack. However, there is still a core of people in Salford who are prepared to use firearms to threaten people and sort out disputes between crime groups. This is clearly putting the wider public at risk.
“I understand that people will be very concerned and this if they have information they should come forward and we will support you. Clearly people associated with these crime groups will have information and I appeal to you to search your soul and come forward with what you know.
“This has to be a turning point - people can no longer remain silent.”
A dedicated information hotline has been set up on 0161 856 9775, or people can also pass information on by calling 101, or the independent charity, Crimestoppers, anonymously on 0800 555 111.