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The Boxtrolls: Dare to Be Square
A primary feature in the style of character design in “The Boxtrolls” is unrealistic proportions of the human form. They are heavily distorted into strange shapes, with torsos ranging from needle-thin to heavily rounded, heights from squat to medium to lanky, and face shapes and features as unique as the character itself. A common theme in the anatomy, however, is skinny, long arms on all characters, regardless of body type, with the exception of the character Winnie.
When it comes to the anatomy of the boxtrolls, they mirror certain traits of design in the humans, but not to the same extreme degree. Three of the main boxtroll characters, Fish, Oilcan, and Shoe, play on the spectrum of tall to short, portly to skinny. This spectrum is actually mirrored in the three henchmen of the antagonist, Snatcher. Both of these trios remind me of the hitchhiking ghosts from the Haunted Mansion attraction at the Disneyland resort. It is my belief that these spooky spectres are in fact the inspiration for these two sets of characters.
An element I specifically noticed again and again in the course of the film is hair. The hair, although mostly static – as is the nature of the beast in stop motion animation – is purposefully designed to reflect individual personality. Eggs, the protagonist, has unkempt dusty hair, reflective of his life underground and not concerned with appearance. Winnie has a more pristine style with a touch of dirt and disarray, hinting at her proper upbringing clashing with her rebellious “unladylike” disposition. Snatcher, meanwhile, has almost nauseatingly greasy unhealthy locks. Beneath his red hat are stringy, dull strands that complement his ashy face. He is written to be a slimy, greasy character, and his design reflects those traits.
Just as important to the film’s design are the settings and backdrops. Set in a town, precariously and preposterously clinging to an almost Burton-looking hill (in fact, Tim Burton’s style screams through every aspect of this film, from storyline to aesthetics), the entire setting is inherently slanted. I took note of the fact that in the entirety of the film, I saw almost NO right angles. Although straight lines would seem to be the foundation of a town full of roads and buildings, almost every last line in this film is crooked or curved to some extent. The cobblestones on the road and the tiles on the roofs are individualized, never uniform. Each window pane is just slightly askew. Lampposts are crooked, walls are always leaning, and no table leg is ever even with another. Yes, in a film seemingly revolved around boxes, even the boxes themselves are never a perfect prism.
Additionally, the attention to detail in regards to texture is mind boggling. The fabrics of the characters’ clothing are so realistic. Of course, seeing as how this is stop motion, chances are the fabrics were real. But in the sculpting of textures such as unfinished wood signs and of course the cardboard boxes critical to the film’s themes, the design technique is admirable.
There was a lovely contrast between the “upper” and “lower” realms of this world. Above ground, in the world of humans (and order and rules), sunlight and artificial lighting was plentiful. Yet the artists’ choice in color and lighting made the upper world, almost paradoxically, darker than the world below. In the underground lair of the boxtrolls, in a land of freedom and fun, the design reflects the light feeling of the boxtroll society. Bare lightbulbs, with each light representing a member of the community, unite to illuminate a world without sun, but certainly not without light. This luminosity is mirrored by the eyes of the boxtrolls. Unlike humans, the costarring species in this film have eyes that glow at night. At first this is viewed in a perspective of “monster” or “animal”. But as the film progresses, you realize it refers to the light nature within these misunderstood creatures. The tunnel structure of the underground contributes to the free-flowing attitude of the design. Compared with the attempted (and failed) rigidity of the upper world, the underground is a land of curves and flow and freedom.
When the characters and settings are combined, they create a world so well-lived-in that the film really takes on a dimension of reality in its own way. Almost everything (and everyone) in this universe is designed to look aged, weathered, or dirty. Eggs is always seen with soot and dirt smudging his face. The wardrobes of most of the characters are tattered or stained. Even in scenes that suggest higher class living, such as the gala in Lord Portly Rind’s residence, the whites of the linens are dingy, and the metal fixtures of the candelabras all boast a patina. The boxes, a major focal point of the film, are all lived-in… literally. They are slightly sagging, faded, and stained with dirt and moisture. Nothing in this film looks fresh or new, and this is a major contributor to the overall context of this movie.
My studio has been in disarray for a few months now. I finally had time to redress most of my pullips and rearrange things so I could display the new additions I got over the holidays.
Note the "out of order" sign in the background. Most of the arcade side is in disarray. The skee-balls didn't score properly. The knock-off DDR game didn't allow 2 players. One of the car racing games had at least $0.75 of quarters stuck in the slot. Crazy stuff! We got a few tickets from skee-ball, but it was barely enough to buy the cheapest prize - a pixie stick.
Vicky.
standing.
arcade.
out of order. pregnant.
Pizza MaGill's, restaurant, Annandale, Virginia.
April 10, 2011.
... Read my blog at ClintJCL.wordpress.com
BACKSTORY: Britt wanted to do something together with her brother, Clint. We also found out Vicky was available, so she came too. Ryan wasn't able to make it because he was having computer problems.
After much hemming and hawing about what to do, we decided to go to Pizza MaGills. Pizza MaGills has an all-you-can eat buffet featuring foods like tacos, spaghetti, chicken, lasagna, pizza, soup, salad, macaroni, ice cream, papusas, french fries, and other kid-friendly foods.
Carolyn was looking forward to playing skee-ball, but it turned out the arcade section left a lot to be desired. One skee-ball machine worked, and it scored wrong 50% of the time. Eventually Clint just stood there grabbing the balls in mid air (for free play) because there was no point in abiding by the rules when playing on a broken machine. Their DDR machine had 2 huge metal dancepads, but when you put money in it, it had a missing USB error and only one player could play at a time. And the screen was broken, with a smaller television put in front of it. Most of the multi-player games only had one working player left.
The thing is, they make most of their money from tour buses that come in. Five buses of middle & highschoolers arrived while we were there, and the line was out the door. They made thousands of dollars. And since most of their customers are not repeat customers, they don't really have a reason to fix their aracade games. It's sad to see how much deline that place is. They used to have an array of cakes and puddings (all you can eat, of course) you could select from, but now they just seem to have ice cream. And they stopped selling wine awhile back, too.
Still -- if you want food that is way better than fast food, and cheaper than restaurant food, and you don't want to wait an extra second to get it - This is the #1 place I'd recommend. We hung out there for well over 2 hours.
Canon 50D with Canon EF 50mm f/1.8 @ f/8, ISO 100, 1/200 sec
Kodak P20 Flash @ 1/4? power shot thru subject right and Canon 430EXII at 1/8? power subject right rear (most of the rim light fell on the wall with a tiny bit hitting my ear.)
This shot was taken at the "The Scary Dairy." It "is an old dairy farm adjacent to the former Camarillo State Mental Hospital, now California State University, Channel Islands. It was run and maintained by the staff and patients of the hospital as a form of work experience and additional income to the hospital. In the mid-1900's (around the 1960's) the dairy was closed and the buildings fell into disarray and have since been heavily vandalized. (wikipedia link)
I was in the area after dropping by my uncles to pick up a bed. There is parking off the side of the main entrance road to CSU Channel Island at a dirt lot that says "Camarillo Regonal Park." Park there and walk (or ride a bike like I did) along the path always staying to the right at all forks. It is about three minutes in by bike and about ten minutes in walking. The buildings have such an ominous feeling to them ecspecially if you go toward night time. The walls of the buildings are covered with graffitti. Makes a nice colorful background for pictures. While I was doing some shots I stood myself up on my hands and got a piece of glass in my finger.
Alright that's all folks. Buh bye now!
Kermit Hinkle, an old school craftsman, passed away some over a year ago. A widower, he made it to 92. Unfortunately, I didn’t see much of him in his last few years. My connection with him came about because he sharpened saw blades, a service I occasionally needed. He provided it well, doing excellent quality work at an extremely reasonable price.
When I dropped off or picked up a blade or two, it would take a while, because he loved to show off his shop and talk about his latest projects. Likewise, he couldn’t resist talking about his gardening efforts, which resulted in both floral and edible forms of produce.
The auction of his estate was held the other day. Despite it being a hard-edged, cold day, I went to the house. I’d been thinking it would be nice to have a tool or two which Kermit had used and diligently maintained. Or should I say, had lovingly taken care of.
His house was sold quickly, in ten minutes or less. Then it was on to his garage and workshop. In typical auction company modus operandi, the “littles” were grouped into lots for convenience – a few clamps here, an assortment of hand tools there, some garden items in a corner, and so on. It didn’t appear that much if any thought had been given to putting things into batches.
When we – the auction team and a dozen or so older guys – moved on to Kermit’s compact shop building, “it” hit me and I knew I wouldn’t be able to make a bid in pursuit of anything from his collection. The entropy factor had been accelerating over the last several years of Kermit’s life. The shop was packed with way too much stuff and it had degenerated into dusty, grimy disarray. Disarray, of course, is always at its worst when it involves a collection of things crammed into too little space.
So, the auctioneer dealt with the situation in what must have seemed like the only practical, expedient manner. Everything between a vaguely designated Point A and Point B – perhaps one half of a wall, or one corner of the shop, loosely speaking, was offered as “Lot 42” or whatever. He was an efficient auctioneer and didn’t waste any time trying to push bidding beyond its natural bounds or comfort zone. Each lot typically sold within a couple minutes, often for five or ten dollars, occasionally $15 or $20.
It was over in 45 minutes. I stepped out into the cold again, my bidder number still safely in my pocket. Walking to the car, I found myself wondering what Kermit would’ve thought if he’d been there. No ... not really wondering. For him, I’m sure the stuff was priceless.
...Se solo io potessi tornare indietro negli anni, se lui potesse imparare a perdonarmi.
Io potrei ricominciare a sentire.
©
Far from his confident and winning self on top of the podium receiving gold medal after gold medal, Olympic swimming champion Michael Phelps was in disarray and in solitude at his Baltimore home days after another DUI arrest in 2014.
Getty Images
The bemedalled athlete everyone was singing...
www.sportsrageous.com/sports/michael-phelps-thankful-to-r...
Pub sign of The Sun Inn, Hawkshead, Lake District, Cumbria
Some background information:
The Sun Inn is a traditional Lakeland pub, which was built in the 16th century on the land of a grammar school. Therefore at first the owners had to pay rent to the grammar school governors. Records also show that the landlord in 1720 was a man with the name George Walker. After George Walker left there were many landlords between 1720 and 1826. During this time the grammar school governors became lax and no rent was collected. One enterprising tenant realised, that the back rent would be crippling, so he drew up some bogus deeds and sold The Sun Inn.
In 1826 the church commissioners started to sort out the grammar school accounts, which were in disarray. They approached Mrs Ladyman, the current tenant, for some rent. She brought our her "deeds" from the sale. Eventually the High Courts in London judged in both the grammar school's and Mrs Ladyman’s favour, that Mrs Ladyman had nothing to pay as long as she left immediately.
So Mrs Ladyman left The Sun Inn, which was a profitable business and had prospered over the years. But from the money, she earned at The Sun Inn, she was able to buy a different pub, the Queens Head further along the road.
By the way, isn’t it a strange coincidence that the Sun newspaper, one of the biggest popular newspapers in the UK, has recently rated The Sun Inn as one of the best family pubs in England?
Hawkshead It is one of the prettiest villages in the Lake District, with many buildings dating from the 17th century. It has about 600 inhabitants, a lively community and a high pub to population ratio. The village is situated just north of Esthwaite Water, in a valley to the west of Windermere and east of Coniston Water.
Originally Hawkshead was owned by the monks of Furness Abbey. After the dissolution of the monasteries in 1532 it grew to be an important wool market and was granted its first market charter by King James I in 1608.
During the 18th and 19th centuries, Hawkshead became a village (or town at the time) of important local stature. The famous poet William Wordsworth was educated in its grammar school, whilst the author and illustrator Beatrix Potter lived nearby, marrying William Heelis, a local solicitor in the early 20th century.
Upon the formation of the Lake District National Park in 1951, tourism grew in importance, though traditional farming still goes on. Today much of the land in and around the village is owned by the National Trust.
After a bit of a false start to the day whereby I initially thought I'd gotten over being ill in the night then had a good second round of it all day, I had an excellent comedy discovery thanks to my friend Will. He recommended the series Portlandia, which is currently available on Netflix - and which I'd never even heard of. But he sold it as "I'm not much of a TV watcher, but holy shit, Portlandia is incredible. A great parody of hipster culture. May as well be set in Hackney!"
Having just rekindled my love of Nathan Barley, and not being much of a TV watched myself, it sounded promising - and it did not fail to deliver! The opening scene had me convinced, but when Kyle McLachlan showed up as the 'cool' Mayor of Portland I was convinced! It also features appearances from Steve Buscemi, Heather Graham, Aimee Mann and Selma Blair and is sort of a bit like if Lonely Island did a sketch show about hipster culture with Tim & Eric. I am enjoying it very much and it has completely turned the day around! As Zehavit would have it, I had been running rather low on spoons; but I feel replenished and invigorated after some well-produced silliness!
One part I enjoyed was a woman who wanted to play a gig who called herself 'Sparklepony' - it reminded me of a party I once went to at my old friend Lukao's house where I met a girl who immediately decided my name was Sparklepony based on the My Little Pony neon of my dreadlocks (this was back when I worked at CEX Rathbone Place and had the first iteration of brightly-shining locks!) It was almost as awesome a nickname as Starblade - which perhaps unsurprisingly also originated at CEX Rathbone, courtesy of my friend Max; the full version was Starblade the Sky-Pirate, apparently a commentary on my dress style! My final nickname there was Wizard - which only applied when we were in our Top Gun personas as a team. We had a fun team there - I still miss it sometimes; I still miss the team a lot!
I don't think I had many nicknames other than ones given to me during those years; at Salesians school I was renamed Jill because apparently there were too many Lauras, and I guess that's quite a funny nickname. In primary school I was called Lark after one of the girls who used to pick on me decided it was a stupid word when I explained to her what it meant and she'd never heard of it; she started calling me it in derision, but I kind of liked it and it stuck for quite some years - there are still people who use that occasionally, like there still are people who use Jill occasionally!
Starblade was just a good way to maintain an online identity that really did refer to me - as opposed to Tyris Flare, which is my preferred handle (and of course a reference to Golden Axe). A handle is not quite what I want for my Facebook identity - but as a teacher I didn't really want any bits and pieces of my real identity to be readily traceable, because there are all sorts of rules about not being accessible to children outside of school in social media. I can make myself unsearchable on there, but it doesn't stop me showing up if I post on someone's wall who is friends with someone looking for me.
It's quite strange because I used to always actively try to change my name, or to deflect attention from it; I loved that in the anime scene I was always known by whatever my active handle was (and I know sometimes I still get called Razor! I've not even used that handle for about 5 years!) For some reason that I can barely recall now I used to detest the name Laura - it was something to do with my synaesthetic experience of it, and how little it gelled with the identity that I perceived myself having. These days that's somehow changed; I think it's a lovely name and it feels like me. I'm really glad that that's the case; perhaps it was always more of a prophecy of the person I would grow to be!
It's never going to be as cool as Starblade the Sky-Pirate, but personally I don't think I was ever as cool as that anyway! It's Max's birthday today so thankyou Max for giving me such an awesome name, and Happy Birthday! This one's for you! Hope you have a fantastic day!
My photo for today is a little simple because I'm ill and largely unmoving and quite disinterested in the world around me in that way that happens when your brain gets germy; I just wanted to photograph something pretty - but that also showcased my aesthetics. Clare once overwhelmed me with her madskillz in present-giving when she presented me with a treasure chest filled with plastic diamonds, so she can presumably appreciate how this picture sums up pretty well what I like: sparkling things that spread light; iridescence; elegant disarray; reflections. The bit of me that wanted to be a princess, a pirate and a dragon as a child all combined to revere gaudy tack! It will never cease to be a little bit magical for me.
And hopefully thinking about the things I find beautiful will keep the things I find ugly from my mind.
There may of been some good things to purchase here, or at least some unusual products to get pictures of. Such products are planned to be the main subject of my photo a day 2015 series. But I just didn't have the patience to rummage through all the piles of stuff! All I found to photograph was a Furby, and even that was a "modern era" Furby.
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Former Kroger, 1985-built, U.S. 72 near S. Johns St., Corinth MS
I needed some new shoes for work and Laura wanted to pick up some stuff from Whittards.
That lethal combination means a trip to...Cheshire Oaks. At this point that normally means I recoil in horror and make the kind of hissing noises that you normally hear when a vampire gets exposed to daylight.
Amazingly enough it wasn't bad though. We didn't queue on the way in. The car park was rammed, but we drove straight into a space. The shopping was quick and decisive. We didn't queue for more than a tiny bit on the way out. All in all, no cause for complaint.
This meant that we were able to do a splash and dash visit to Si and Karen to drop off a birthday pressie for Si. We just about caught them in which was lucky.
Last time I visited things were in a state of disarray as they were having some flooding problems. :( Since then there's lots of work gone on, and this photo shows the lovely original planks that have been painstakingly stripped bare and polished.
They look great! On top is this awesome looking coaster which is an unpopulated piece of printed circuit board with cut and polished edges. Very nice. :)
William Henry "Bill" Cosby, Jr., (born July 12, 1937) is an American comedian, actor, television producer, activist, and luminary.
A veteran stand-up performer, he got his start at various clubs, then landed a vanguard role in the 1960s action show I Spy. He later starred in his own series, The Bill Cosby Show, in the late 1960s. He was one of the major characters on the children's television show for its first two seasons, and created the humorous educational cartoon series Fat Albert and the Cosby Kids, about a group of young friends growing up in the city. Cosby also acted in numerous films, although none has received the acclaim of his television work.
During the 1980s, Cosby produced and starred in what is considered one of the decade's defining sitcoms, The Cosby Show, which aired from 1984 to 1992. The sitcom featured an upper-middle class African-American family without resorting to the kinds of stereotypes previously seen among African-Americans in prime-time television. While some argued that The Cosby Show ignored the issues of racial inequity still prevalent in society, many agreed that it showcased positive role models.
Cosby was active in showbusiness in the 1990s, starring in Cosby, which first aired in 1996, and hosting Kids Say the Darndest Things, which began in 1998, as well as making more movies. He has also continued appearing on the stand-up circuit. His material consists mainly of anecdotal tales, often dealing with his upbringing and raising his own family, and he is known for having a clean, family-friendly routine.
His good-natured, fatherly image has made him a popular personality and earned him the nickname of "America's Dad," and he has also been a sought-after spokesman for products like Jell-O Pudding, Kodak film, Coca-Cola, and the defunct retail chain Service Merchandise.
Early life
Cosby was the captain of the baseball and track & field teams at Mary Channing Wister Elementary School in Philadelphia, as well as the class president.{Fact|date=February 2007}Early on, though, teachers noted his propensity for clowning around rather than studying.[citation needed] At Fitz-Simmons Junior High, Cosby began acting in plays as well as continuing his devotion to playing sports.[citation needed] He went on to Central High School, an academically challenging magnet school, but his full schedule of playing football, basketball, baseball, and running track, not to mention his dedication to joking in class, made it hard for him.[citation needed] In addition, Cosby was working before and after school, selling produce, shining shoes, and stocking shelves at a supermarket to help out the family.[citation needed] He transferred to Germantown High School, but failed the tenth grade. Instead of repeating, he got a job as an apprentice at a shoe repair shop, which he liked, but could not see himself doing the rest of his life.[citation needed] Subsequently, he joined the Navy, serving at the Marine Corps Base Quantico, Virginia and at the Bethesda Naval Hospital in Maryland.
Cosby is a member of the Omega Psi Phi Fraternity.
While serving in the Navy as a Hospital Corpsman for four years, Cosby worked in physical therapy with some seriously injured Korean War casualties,[2] which helped him discover what was important to him. He immediately realized the need for an education, and finished his equivalency diploma via correspondence courses. He then won a track and field scholarship to Philadelphia's Temple University in 1961, and studied physical education while running track and playing fullback on the football team. However, he had continued to hone his talent for humor, joking with fellow enlistees in the service and then with college friends. When he began tending bar at the Cellar, a club in Philadelphia, to earn money, he became fully aware of his ability to make people laugh. He worked his customers and saw his tips increase, then ventured on to the stage.
Cosby left Temple as a sophomore to pursue a career in comedy. His parents were not pleased, but he lined up gigs at clubs in Philadelphia and soon was off to New York City, where he appeared at the Gaslight Cafe starting in 1962. He was discovered by actor Carl Reiner, who enjoyed Cosby's brand of humor. Later, the university would grant him his bachelor's degree on the basis of "life experience." Cosby's career took off quickly, and he lined up dates in Chicago, Las Vegas, San Francisco, and Washington DC, among others. He received national exposure on NBC's Tonight Show in the summer of 1963 and released Bill Cosby Is a Very Funny Fellow ... Right!, the first of a series of popular comedy albums in 1964. He was able to return to finish his BA from Temple and received an MA and Ed.D. from the University of Massachusetts in 1972 and 1977, respectively. Cosby's Ed.D dissertation was entitled, An Integration of the Visual Media via Fat Albert and the Cosby Kids Into the Elementary School Curriculum as a Teaching Aid and Vehicle to Achieve Increased Learning.
While many comics were using the growing freedom of that decade to explore controversial, sometimes risqué material, Cosby was making his reputation with humorous recollections of his childhood. Many Americans wondered about the absence of race as a topic in Cosby's stories. As Cosby's success grew he had to defend his choice of material regularly; as he argued, "A white person listens to my act and he laughs and he thinks, 'Yeah, that's the way I see it too.' Okay. He's white. I'm Negro. And we both see things the same way. That must mean that we are alike..... So I figure I'm doing as much for good race relations as the next guy."
I SPY
1965, Cosby achieved a first for African-Americans when he co-starred with Robert Culp in I Spy, an adventure show that reflected cold-war America's seemingly endless appetite for James Bond-style espionage fantasies. But Cosby's presence as the first black star of a dramatic television series made I Spy unique; Cosby and NBC executives were concerned that some affiliates might be unwilling to carry the series. At the beginning of the 1965 season, however, only four stations--in Georgia, Florida, and Alabama--declined the show. But the rest of the country was taken with the show's exotic locales and the authentic chemistry of the stars, and it became one of the ratings hits of that television season. I Spy finished among the twenty most-watched shows that year, and Cosby was honored with an Emmy award for outstanding actor in a dramatic series, as he would be again for the next two consecutive years. Although ostensibly focused on Culp's character, the show had clearly become a vehicle for his co-star.
Yet throughout the series' three-year run Cosby was repeatedly confronted with the question of race. For him it was enough that I Spy portrayed two men who worked as equals despite their different races; but critics took the show to task for not having a black character engage the racial issues that inflamed the country at that time. Cosby was relieved when the series ended, enabling him to concentrate on his family (he and wife Camille had two daughters by this time) and to return to live performing.[citation needed]
The Bill Cosby Show and the 1970s
He still pursued a variety of television projects: as a regular guest host on The Tonight Show and the star of an annual special for NBC. He returned with another series in 1969, The Bill Cosby Show, a situation comedy that ran for two seasons. Cosby played a physical education teacher at a Los Angeles high school (he had actually majored in physical education at Temple University); while only a modest critical success, the show was a ratings hit, finishing eleventh in its first season.
After The Bill Cosby Show left the air, Cosby returned to his education, actively pursuing an advanced degree in education from the University of Massachusetts. This professional interest led to his involvement in the PBS series The Electric Company, for which he recorded several segments teaching reading skills to young children. In 1972, he was back in prime time with a variety series, The New Bill Cosby Show, but this time he met with poor ratings, and the show lasted only a season. More successful was a Saturday morning show, Fat Albert and the Cosby Kids, hosted by Cosby and based on his own childhood, running from 1972 to 1979, then from 1979 to 1984 as The New Fat Albert and the Cosby Kids. Some schools used the program as a teaching tool, and Cosby himself wrote his thesis on it in order to obtain his doctorate in Education in 1977.
Also during the 1970s, Cosby and other African American actors, including Sidney Poitier, joined forces to make some successful comedy films which countered the violent "blaxploitation" films of the era. Uptown Saturday Night (1974) and Let's Do It Again (1975) were generally praised, but much of Cosby's film work has fallen flat. Mother, Jugs & Speed (1976) co-starring Raquel Welch and Harvey Keitel; A Piece of the Action, with Poitier; and California Suite, a compilation of four Neil Simon plays; were all panned. In addition, Cos (1976) an hour-long variety show featuring puppets, sketches, and musical numbers, was canceled within the year. Cosby was also regular on children's public television programs starting in the 70's, hosting the "Picture Pages" segments which lasted into the early 80s.
The Cosby Show and the 1980s
Cosby's greatest television success came in 1984 with the debut of The Cosby Show. For Cosby the new situation comedy was a response to the increasingly violent fare the networks usually offered. Cosby insisted on and received total creative control of the series, and he was involved in every aspect of the series. Not surprisingly, the show had parallels to Cosby's actual family life: like the characters Cliff and Claire Huxtable, Cosby and his wife Camille were college educated, financially successful, and had five children. Essentially a throwback to the wholesome family situation comedy, The Cosby Show was unprecedented in its portrayal of an intelligent, affluent, non-stereotypical African-American family.
Much of the material from the pilot and first season of The Cosby Show was taken from his then popular video Bill Cosby: Himself, released in 1983. The series was an immediate success, debuting near the top of the ratings and staying there for most of its long run. The familiar question of relevance came up again but was more or less drowned out by praise for the series. People magazine called the show "revolutionary," and Newsday concurred that it was a "real breakthrough." Cosby's formula for success, as had been the case throughout his career, was to appeal to the common humanity of his audience rather than to the racial differences that might divide it.
In 1987, Cosby attempted to return to the big screen with the spy spoof Leonard Part 6. Unfortunately, although Cosby himself was producer and wrote the story[2], he realized during production that the film was not going to be what he wanted and publicly denounced it, warning audiences to "stay away" on talk shows.
In the 1990s and 2000s
After The Cosby Show went off the air in 1992, Cosby embarked on a number of other projects, including a notably scripted revival of the classic Groucho Marx game show You Bet Your Life (1992-1993) along with the ill-fated TV-movie I Spy Returns (1994) and The Cosby Mysteries (1994). In the mid 1990s, he appeared as a detective in black and white film noir-themed commercials for Turner Classic Movies. He also made appearances in three more films, Ghost Dad (1990), The Meteor Man (1993); and Jack (1996); in addition to being interviewed in Spike Lee's 4 Little Girls (1997), a documentary about the racist bombing of a Birmingham, Alabama, church in 1963. Also in 1996, he started up a new show for CBS, Cosby, again co-starring Phylicia Rashād, his onscreen wife on The Cosby Show (early on she replaced Telma Hopkins). Cosby co-produced the show for Carsey-Werner Productions. The show was based on a cynical British program called One Foot in the Grave, but Cosby lightened the humor. It centered on Cosby as Hilton Lucas, an iconoclastic senior citizen who tries to find a new job after being "downsized," and in the meantime, gets on his wife's nerves. Madeline Kahn costarred as Rashād's goofy business partner. Cosby was hired by CBS to be the official "spokesman" for the WWJ-TV during an advertising campaign from 1995-1998. In addition, Cosby in 1998 became the host of Kids Say the Darndest Things. After four solid seasons, Kids Say the Darndest Things was canceled. The last episode aired April 28, 2000. Cosby continued to work with CBS through a development deal and other projects.
His wellspring of creativity became manifest again with a series for preschoolers, Little Bill, which made its debut on Nickelodeon in 1999. The network renewed the popular program in November of 2000. In 2001, at an age when many give serious consideration to retirement, Cosby's agenda included the publication of a new book, as well as delivering the commencement addresses at Morris Brown College and at Ohio State University. Also that year, he signed a deal with 20th Century Fox to develop a live-action feature film centering on the popular Fat Albert character from his 1970s cartoon series. Fat Albert was released in theaters in December of 2004. In May of 2007 he spoke at the Commencement of High Point University.
Personal life
Cosby met his wife Camille while he was performing stand-up in Washington, D.C., in the early 1960s, and she was a student at the University of Maryland. They married on January 25, 1964, and had five children: daughters Erika Ranee, Erinn Chalene, Ensa Camille, and Evin Harrah, and son Ennis William. His son Ennis was shot to death while changing a flat tire on the side of a Los Angeles freeway on January 16, 1997.
In early 1997, fans were startled when a 22-year-old woman, Autumn Jackson, tried to extort $40 million from Cosby, claiming he was her biological father. He admitted to having a one-time fling with Jackson's mother and had provided money to the family until Jackson turned 18, though he disputed the paternity claim from the start. She was found guilty of extortion and sentenced to 26 months in prison; two accomplices were sentenced to five years and three months. The convictions were overturned in June 1999 on a technicality. The case was retried later, and the convictions were returned.
On November 8, 2006, the media reported that Cosby had settled a lawsuit with a woman alleging he had sexually assaulted her. The woman claimed that Cosby assaulted her at his mansion in Cheltenham in early 2004 after giving her some blue pills. The woman said the pills had rendered her semiconscious, and that the comedian molested her. She said she awoke to find her bra undone and her clothes in disarray. In and around the same time reports surfaced from 12 women alleging that they were sexually assaulted by Cosby, but none of the complainants elected to proceed with criminal charges.
Cosby is an active alumni supporter of his Alma Mater, Temple University, and in particular their men's basketball team, whose games Cosby frequently attends (particularly during the team's glory days under coach John Chaney, who is a close friend of Cosby).
Cosby is a huge Philadelphia Eagles fan. Recently, when both the Eagles' starting and backup quarterbacks were injured, Cosby sent some of his old football gear to head coach Andy Reid, joking he was ready to play if needed.
Cosby also attends many public events, such as the 100th Millrose Games at Madison Square Garden in New York on February 2, 2007.
Cosby enjoys cigars, a hobby he picked up from Groucho Marx, one of his comedy influences.
Cosby is also a noted pen collector, and often frequents several well-known fountain pen stores; he is the spokesperson for Fountain Pen Hospital.
Cosby is a vegetarian.
Cosby maintains a home in Shelburne, Massachusetts.
Bill Cosby also has been hosting the Los Angeles Playboy Jazz Festival since 1979.
Saturday pitlane atmosphere at the 2019 Spa Six Hours: Alan Greenhalgh's Ford Falcon in serious disarray.
Find more pictures and a comprehensive report at 8W.
Bad Landlords of the U.S.A. and Bad Landlords from Hell. Part 1.
December of 2007
WEB BROADCAST SERVICES
CHANNEL 14 NEWS
Allegations of Abuse Caught on Film
New developments have taken place at Executive Square House reportedly involving the same property manager, Odis Coleman.
Executive Square House was a major topic in a prior news report titled "Fires Rage in Hartford Connecticut" where a near disaster took place involving the reckless endangerment of 240 elderly and disabled tenants.
Tenants of Executive Square House filed complaints with authorities in 2005 regarding the reported fire hazards. Tenants took photographs of the actual hazards as proof of the reckless endangerment allegations.
The same property manager, Odis Coleman, using a supposed " inspection clause" of the tenants lease, is the subject of a new rash of complaints involving tenants and their relatives. The complaints graphically outline random unannounced forced entries of tenant’s apartments, searching closets, cabinets, bedrooms and bathrooms. Reportedly the property manager then proceeds to take pictures of tenant’s bathrooms and bedrooms in disarray as though they are in violation of some code when of course, they are not. The complaints also outline other unusual behavior as well as taking pictures of tenants with next to no clothes on, ramming tenants bare feet and limbs with doors upon forced entry and making swift hand arm gestures to see if the tenant will flinch or swing at him.
Video footage taken by a victimized tenant who has asked the sound track be muted and had previously been victimized shows the alleged property manager in their home after a forced entry, going from room to room in their home taking photographs of their belongings, bedrooms and bathrooms.
Reportedly the property manager Odis Coleman, has openly chosen to engage in open intimidation and retaliation against tenants entrusted to his care, and specifically targets those who he believes has filed complaints against him.
Executive Square House is subsidized low income housing for the elderly and chronicle disabled located in Wethersfield, Connecticut.
FIRES RAGE IN HARTFORD CONNECTICUT
THE CONTINUING SAGA OF BAD LANDLORDS
Hartford, Connecticut 2007
WEB BROADCAST SERVICES
CHANNEL 14 NEWS
Hartford Connecticut has had to respond to too many high-profile fires in its history.
Most notable is the 1944 circus fire that killed 168 and chronically disabled 373 more. Most were children.
Hartford Connecticut has also had to respond to too many high-profile fires involving the elderly.
The first is The Niles Street Convalescent Hospital Fire of December 24, 1945 which left 21 dead. The second is The Hartford Hospital Fire of December 8, 1961, which left 16 dead. This fire was the result of a flash fire in a trash chute.
The third is The Greenwood Health Center Fire, Hartford Connecticut, February 26, 2003, which left 16 dead.
Arson was supposedly to blame . This fire is the most famous, now known worldwide.
Among those killed was a 17 year old boy who had been in a coma; 23 more are now permanently disabled by high intensity burns and the inhalation of smoke and toxic fumes of burning plastics.
December 24 of 2006 marks the anniversary of Executive Square House, of Wethersfield Connecticut, a town adjacent to Hartford. Executive Square is where a near disaster took place involving an industrial sized waste container filed with flammable and highly flammable construction waste.
Fire Hazards Caught On Film.
Located behind Executive Square House, a 12 story apartment building that houses the elderly and disabled.
All flammable articles or highly flammable articles, the debris in the 30 ft long industrial container are located directly underneath tenants living and bedroom areas.
The property manager of Executive Square House responsible for the reckless endangerment of 240 elderly tenants, identified as Odis Coleman, is pictured.
Executive Square House is housing for the elderly and disabled, most are with income at the poverty level or below.
The reported reason the 22 ton industrial waste container filled with flammable construction waste was placed directly under tenants living and sleeping areas was to save money on construction costs.
Workers simply dragged waste through living rooms and threw it out windows, rather than having to walk to a container away from the building.
Fire Simulation images provide a graphic frame by frame, detailed list of events that show why things would so quickly lead to another Greenwood style death by smoke and flames disaster.
Unusually strong inward drafts in the building are created by hot air rising and the elevator bays present within the 12 story apartment structure, especially in the middle of winter.
With open windows, broken windows, open doors, open air conditioning sleeves mounted in the side of each apartment, if the container were to catch fire in the middle of the night, smoke and toxic fumes would be drawn into tenants sleeping areas quickly.
Many would perish as living and sleeping areas would be instantly flooded with dense toxic smoke, the same events that led to the 16 deaths at Greenwood Health Center and 16 more deaths at the Hartford Hospital fire. Smoke detectors give a degree of warning, but many have died in past fires nonetheless.
“Smoke was everywhere. An entire bedroom burst into flames. The roar and the flames were like a blast furnace. The screams, the screams, there were people on fire, some still in their beds. There were people on fire. I will never forget the sounds they made.” –E.M.T. Official, Greenwood Health Center.
Smoke produced from burning cardboard and treated wood contain many toxic gases. It is not only smoke. PVC pipe, present in the debris emits heated hydrogen chloride gas when burned. And there is polyurethane in the container from old couches and furniture.
With an ignition source, polyurethane catches fire and acts as its own accelerant, turning to a liquid, then giving off hydrogen cyanide and cyanide gas in the process.
That the container can catch fire from a greasy rag in the middle of the night was brought to the attention of many in authority, and ignored.
Greasy rags and other simple wastes are famous for spontaneous combustion, becoming self-igniting waste. The industrial container shown here contains not hundreds, but thousands of pounds of flammable debris. Industrial waste measuring in the tons that resided day after day, week after week, directly next to and underneath tenants living rooms and bedrooms.
Greenwood Health Center had many fire retardant materials in use. The Center also had 12 nurses and aides on duty at the time of the fire, and they had numerous smoke detectors. Yet 10 died from smoke inhalation, 6 more died in the weeks to come. In the Hartford Hospital Fire of 1961, the cause of the fire was flammable waste in a garbage chute, which in turn resulted in a flash fire. Sixteen died in that blaze.
Thirty days prior to the blaze at Greenwood Center, the premises had undergone a thorough fire inspection by officials and found to be in compliance with fire codes.
As a matter of public record, the hazard of the container was reported to officials yet nothing was done. The property manager responsible for the placement of the container was also told by tenants to move the container a safe distance away from sleeping areas, yet the property manager reportedly refused.
The disaster at Greenwood was covered by the Hartford Courant city newspaper in one edition. The disasters at Greenwood and The Hartford Hospital and other fire disasters involving the elderly were covered by The USA TODAY nationwide newspaper in numerous editions
Concerned neighbors and tenants trying to protect their own home, and others very concerned for the safety and welfare of their parents have assembled with symbols and leaflets of protest in Connecticut. Pictured are some of the designs in protest of the near disaster that could have killed 240 persons at The Executive Square House Disaster.
I discovered this location while driving to the franco-cypriot school in Nicosia, Cyprus. These are governmental buildings next to the police academy. The complex is to be destroyed in the near future. I was interested in catching the effects of time on official government owned buildings.
A 'sold out' sign is seen beside information on Chelsea's next home fixture outside Chelsea's stadium, Stamford Bridge in London on March 10, 2022, as Chelsea's Russian owner Roman Abramovich was hit with a UK assets freeze and travel ban, throwing his plans to sell the European and world club champions into disarray. - Chelsea shirt sponsor Three announced Thursday it was suspending its deal with the Premier League club after the UK government slapped sanctions on Russian owner Roman Abramovich. (Photo by JUSTIN TALLIS / AFP)
Oil on canvas; 73 x 59 cm.
Jean-Baptiste Greuze was a French genre and portrait painter who initiated a mid-18th-century vogue for sentimental and moralizing anecdotes in paintings.
Greuze studied first at Lyon and afterward at the Royal Academy in Paris. He first exhibited at the Salon of 1755 and won an immediate success with his moralizing genre painting of Father Reading the Bible to His Children (1755). Although Greuze’s attention at this time was fixed on a less-pretentious type of genre painting in which the influence of 17th-century Dutch masters is apparent, the favorable attention he received turned his head and established the lines of his future career.
In 1755 Greuze left for Italy but remained impervious to the influence of Italian painting. In 1759 he became acquainted with Denis Diderot, who encouraged his inclination toward melodramatic genre, and throughout the 1760s Greuze reached new heights of popular acclaim with such works as The Village Betrothal (1761) and The Father’s Curse and The Prodigal Son (both c. 1765).
Greuze submitted to the Salon in 1769 a large, rather dreary historical painting, Septimius Severus Reproaching Caracalla, which he hoped would gain him admission to the academy as a history painter. But the academy would admit him to membership only as a genre painter, and so the resentful artist exhibited his works to the public only in his own studio for the next 30 years. In addition to moralizing genre, he painted young girls in poses of feigned innocence and calculated disarray.
Throughout the 1770s Greuze was kept busy painting moralizing pictures, but by the 1780s his work had gone out of fashion and his income was precarious. By 1785 his once-considerable talent was exhausted. The reaction against his sentimental genre paintings resulted in critical neglect of his drawings and portraits, in which Greuze’s superb technical gifts are displayed with great integrity.
I discovered this location while driving to the franco-cypriot school in Nicosia, Cyprus. These are governmental buildings next to the police academy. The complex is to be destroyed in the near future. I was interested in catching the effects of time on official government owned buildings.
you know those days when the dishes keep piling up in the sink, and your ironing board doubles as a kitchen table?
Hungarian forces begin the extermination of POW's, civilians and enemy partisans. After the awful event and killing of the King Austin. In regal disarray, his brother Grant is now the immediate ruler at 47 years old. He has been moved to a secretive location. Hungarian forces recapture the part of Kiev lost and put the people in shock as public executions become commonplace.
This poem is on Love in particular and Women in general.. this is not my personal view , I have decided to say and be a different character with my uncharacterless poems.I am offline .. online is a desultory disillusion,
I am alliteratively taking hormonal shots.. so as not to think like a woman..
I only hope I dont end up with boobs hanging without a hammock on the precipice of my testerides.. my word for balls..engenderedly endangered species.
This is also not because my frozen tears have started to melt.
This is not because of senti-Mental machinations..
This is not about being hemlocked between a Muse and a sodomic shitting Sado -masochistic Crow..
This is dedicated to all women, who love me , use me ..abuse me, accuse me, those who also unuse me.. even those wont go the full way refuse me.. finger fucked to defuse me.. those when I am coming rush to powder say excuse me... box and under the belt bruise me... God only knows why the fuck they choose me...
women one gloved an apron crochet
a kitchenette that is risque
they who chop and barbecue our balls each day
saute wetlipped gourmet
garnish it with lime juice corriander leaves
serve it to their pet dog on a silver tray
our hearts ripped out
served to distempered pussy
on her birthday
cybernetic one sided love
in disarray
their arrows
that on our multicolored ass
ricochet
megalomaniac comments
sounds cliche
straight to the maincourse
without foreplay
her idea of a Roman Holiday
wasted verse silent from her end
my love making no headway
as i shatter my head
at colaba causeway
My studio has been in disarray for a few months now. I finally had time to redress most of my pullips and rearrange things so I could display the new additions I got over the holidays.
I discovered this location while driving to the franco-cypriot school in Nicosia, Cyprus. These are governmental buildings next to the police academy. The complex is to be destroyed in the near future. I was interested in catching the effects of time on official government owned buildings.
Few estates of the American South typify the antebellum experience more than Monmouth. Its story is a tale of the Old South and of the New South, of transition and transformation, and of the many men, women, and children who called Monmouth their home from1818 to the present. Monmouth evolved from rough timber, mortar, nails, and brick to a stately antebellum, suburban villa built from the labor of human hands both free and enslaved. Over the span of more then 190 years of existence, Monmouth witnessed generations of births and deaths, as the home and workplace of slaves, tenant farmers, wet nurses, American statesmen and businessmen, plantation mistresses, and enterprising housewives—all contributing to its historic saga as one generation passed from view and the next took its place.
Antebellum Monmouth was a grand estate house embellished with the finest furnishings and landscaped gardens tended by enslaved servants, field hands, stock minders, and gardeners. All of this changed, however, with the coming of the Civil War to Natchez, and Monmouth thereafter experienced the plight of numerous southern estate villas when their once wealthy owners could no longer afford the trappings of the elite. For years after the Civil War, Monmouth survived as but a memory of its notable history, as its once impressive structure and gardens fell into ruin and disarray—overrun at times with vermin, vagrants, and weeds. In the 1980s, a new Monmouth emerged from the ruins to become a fully restored historic site and a small luxury hotel. This is the history of that journey.
Historical Text Developed by Cynthia J. Parker
Oil on canvas; 55.5 x 46 cm.
Jean-Baptiste Greuze was a French genre and portrait painter who initiated a mid-18th-century vogue for sentimental and moralizing anecdotes in paintings.
Greuze studied first at Lyon and afterward at the Royal Academy in Paris. He first exhibited at the Salon of 1755 and won an immediate success with his moralizing genre painting of Father Reading the Bible to His Children (1755). Although Greuze’s attention at this time was fixed on a less-pretentious type of genre painting in which the influence of 17th-century Dutch masters is apparent, the favorable attention he received turned his head and established the lines of his future career.
In 1755 Greuze left for Italy but remained impervious to the influence of Italian painting. In 1759 he became acquainted with Denis Diderot, who encouraged his inclination toward melodramatic genre, and throughout the 1760s Greuze reached new heights of popular acclaim with such works as The Village Betrothal (1761) and The Father’s Curse and The Prodigal Son (both c. 1765).
Greuze submitted to the Salon in 1769 a large, rather dreary historical painting, Septimius Severus Reproaching Caracalla, which he hoped would gain him admission to the academy as a history painter. But the academy would admit him to membership only as a genre painter, and so the resentful artist exhibited his works to the public only in his own studio for the next 30 years. In addition to moralizing genre, he painted young girls in poses of feigned innocence and calculated disarray.
Throughout the 1770s Greuze was kept busy painting moralizing pictures, but by the 1780s his work had gone out of fashion and his income was precarious. By 1785 his once-considerable talent was exhausted. The reaction against his sentimental genre paintings resulted in critical neglect of his drawings and portraits, in which Greuze’s superb technical gifts are displayed with great integrity.
Muni car #1057 rolls along The Embarcadero in San Francisco during Muni Heritage Weekend 2013.
This streetcar is painted to honor Cincinnati, which ran PCC streetcars from 1939 to 1951. Cincinnati was unique among North American streetcar systems in requiring two overhead wires for streetcars, one to supply electrical power, the other to provide a ground and complete the circuit. This arrangement grew from an early and (pardon the pun) groundless fear of electrocution from the standard streetcar practice of returning current through the tracks (trolley buses use two wires because they run on rubber tires, and have no tracks to use as ground). The uniqueness of Cincinnati’s PCCs extended to the paint scheme, an eye-popping canary yellow with three bold green stripes around the body. Only PCCs got this treatment in Cincinnati—buses and older streetcars were painted a prosaic transit orange.
Cincinnati’s streetcar governance was also unusual. The system was owned by a private company, the Cincinnati Street Railway Co. (CSR), but the City of Cincinnati had direct control over routes and operations under the franchise it granted.
In 1939, CSR purchased three modern streetcars — competing PCCs from St. Louis Car Co. and Pullman-Standard, plus a Brilliner — to compare their features. It then bought 26 PCCs from St. Louis Car in 1940 and 25 more that were delivered in 1947. CSR wanted 50 PCCs in that post-war order, but the City government, which favored buses, cut the order in half.
Then, with the paint on the new PCCs still shiny, the city force conversion of the Madisonville line to trolley buses in July 1947 - one of the earliest abandonments of a PCC route in America - and followed with demands for more conversions.
By 1950, with its finances in disarray, CSR decided to sell its PCCs, half of which were just three years old. Toronto bought all but the Pullman-Standard demonstrator, which, along with the single Brilliner, joined older Peter Witt style streetcars in running out the clock. It was the only time that PCCs were outlasted in regular service by old-fashioned streetcars.
Cincinnati’s last streetcar line, the 78-Lockland, was abandoned on April 29, 1951. But on February 17, 2012, as part of the current streetcar renaissance in America, Cincinnati broke ground on a new streetcar line, connecting downtown with the Over-the-Rhine neighborhood and uptown communities surrounding the University of Cincinnati. The new line will use modern, Portland-style streetcars.
Its vivid color makes No. 1057 one of the most photographed streetcars on the F-line.
I discovered this location while driving to the franco-cypriot school in Nicosia, Cyprus. These are governmental buildings next to the police academy. The complex is to be destroyed in the near future. I was interested in catching the effects of time on official government owned buildings.
I discovered this location while driving to the franco-cypriot school in Nicosia, Cyprus. These are governmental buildings next to the police academy. The complex is to be destroyed in the near future. I was interested in catching the effects of time on official government owned buildings.
I discovered this location while driving to the franco-cypriot school in Nicosia, Cyprus. These are governmental buildings next to the police academy. The complex is to be destroyed in the near future. I was interested in catching the effects of time on official government owned buildings.
Skin: Belleza - Ria Tan 3 BR
Eyes: Lovely Disarray - Cosmic Spiral Eyes
Eyeliner: Glam Affair - Couture Eyeliner (No.3)
Eyeliner: Lovely Disarray - Liner Set #2 (tight line)
Hair: Taketomi - Kana_Bento **Kustom9**
Collar: Luck Inc - Bound Collar (Black Mamba)
Headband: LouLou&co - Elfy Headband v1 **100 Block**
Top: American Bazaar - Clubbing Top (Black) **100 Block**
Skirt: American Bazaar - Jazy Skirt (Black) **100 Block**
Tattoo: Identity - Body Shop - One Piece - Orocum Profecy I **100 Block**
Shoes: REIGN - Bow Peeps (Black) **100 Block**
Nails: [Shock] - Slink Glam Rock Nails **100 Block**
Teeth: Illmatic - The Perfect Teeth
Piercing: Pekka - Radioactive Unisex Piercing (Black)
Hands: Slink - Mesh Hands (Casual)
Feet: Slink - Mesh Feet (High)
Cuffs: *Boom* - Fearless Cuffs (Black)
Belly Piercing: Scrub - Death In My Belly Piercing
Belt: LouLou&Co - Asteroid Belt (Black)
My studio has been in disarray for a few months now. I finally had time to redress most of my pullips and rearrange things so I could display the new additions I got over the holidays.
New York National Guard Soldiers assigned to Joint Task Force COVID-19 at the memorial plaque dedicated to John Jacob “Rifle Jack” Peterson at Croton Point Park, Croton-on-Hudson, N.Y., on March 4, 2021. John Jacob “RIFLE JACK” Peterson was a Revolutionary War patriot of African and Kitchawan descent whose heroism helped repel British forces in Croton, New York. His actions threw Benedict Arnold’s treasonous plans into disarray and led to the capture of Major Andre. His heroism inspired the erection of a memorial plaque at Teller's Point Croton. (U.S. Army National Guard Photo by Spc. Marla Ogden)
I've spent quite a bit of timing watching ospreys, and one thing I'm usually amazed at is how efficient they are. Seemingly every time, they get their fish. Yet one particular osprey has made me wonder. At Marymoor, there's an osprey who I commonly see that almost every times comes up empty. Why is this?
To understand this further, we must remember that during nesting season the male generally hunts, while the female takes care of the kids, keeps the nest in order, cooks, pays the bills, does the laundry, and on the whole ensures that the existence of all matter doesn't fall into disarray and chaos.
The male tends to reach his perch around 7:30, which is late by bird standards. Typically male ospreys stay up late watching the game with other ospreys, then catch up on shows. So, he wakes up late and heads to his perch. Now, there are tons of fish in the river, but if the osprey heads back too soon, what will happen? Well, naturally he'll be asked to help with the kids, nest, food, and laundry.
Of course, in an ideal world the male osprey would just stay on his perch and perhaps tune in for the European Cup, but he can't because every so often the female leaves her nest to see what's taking him so long. Therefore, he dunks himself in the river ever so often so she can see that he's indeed wet and engaged in a very challenging task.
Muni car #1057 rolls along Market Street in San Francisco during Muni Heritage Weekend 2013.
This streetcar is painted to honor Cincinnati, which ran PCC streetcars from 1939 to 1951. Cincinnati was unique among North American streetcar systems in requiring two overhead wires for streetcars, one to supply electrical power, the other to provide a ground and complete the circuit. This arrangement grew from an early and (pardon the pun) groundless fear of electrocution from the standard streetcar practice of returning current through the tracks (trolley buses use two wires because they run on rubber tires, and have no tracks to use as ground). The uniqueness of Cincinnati’s PCCs extended to the paint scheme, an eye-popping canary yellow with three bold green stripes around the body. Only PCCs got this treatment in Cincinnati—buses and older streetcars were painted a prosaic transit orange.
Cincinnati’s streetcar governance was also unusual. The system was owned by a private company, the Cincinnati Street Railway Co. (CSR), but the City of Cincinnati had direct control over routes and operations under the franchise it granted.
In 1939, CSR purchased three modern streetcars — competing PCCs from St. Louis Car Co. and Pullman-Standard, plus a Brilliner — to compare their features. It then bought 26 PCCs from St. Louis Car in 1940 and 25 more that were delivered in 1947. CSR wanted 50 PCCs in that post-war order, but the City government, which favored buses, cut the order in half.
Then, with the paint on the new PCCs still shiny, the city force conversion of the Madisonville line to trolley buses in July 1947 - one of the earliest abandonments of a PCC route in America - and followed with demands for more conversions.
By 1950, with its finances in disarray, CSR decided to sell its PCCs, half of which were just three years old. Toronto bought all but the Pullman-Standard demonstrator, which, along with the single Brilliner, joined older Peter Witt style streetcars in running out the clock. It was the only time that PCCs were outlasted in regular service by old-fashioned streetcars.
Cincinnati’s last streetcar line, the 78-Lockland, was abandoned on April 29, 1951. But on February 17, 2012, as part of the current streetcar renaissance in America, Cincinnati broke ground on a new streetcar line, connecting downtown with the Over-the-Rhine neighborhood and uptown communities surrounding the University of Cincinnati. The new line will use modern, Portland-style streetcars.
Its vivid color makes No. 1057 one of the most photographed streetcars on the F-line.
Drink cooler at the Sheetz store at the intersection of US 70 and NC 568 in Goldsboro, North Carolina. I found it notable that the store was out of a lot of product. However, I wasn't able to determine whether this was caused by a supplier issue, or if it was just due to the popularity of certain items. We did not see this occur at other Sheetz locations that we visited on this day.
More at The Schumin Web:
www.schuminweb.com/life-and-times/north-carolina-and-hamp...
Ben Schumin is a professional photographer who captures the intricacies of daily life. This image is all rights reserved. Contact me directly for licensing information.
I discovered this location while driving to the franco-cypriot school in Nicosia, Cyprus. These are governmental buildings next to the police academy. The complex is to be destroyed in the near future. I was interested in catching the effects of time on official government owned buildings.
This Bugatti Type 101 C Antem Coupé is considered as "The Last True Bugatti".
Despite its years of glorious success, both on and off the racetrack, Bugatti entered the post-war years in financial disarray. Ettore’s death in 1947 split what could be recovered of the Bugatti enterprise into two camps along the lines of the families of his two marriages. Yet, out of this disorder, the allure of the Bugatti automobile emerged, not only from its honoured tradition, but also from, it seems, a sense of duty felt by the family, the workers, and the designers who had laboured under le patron’s influence.
Four years passed in which the family partially settled its differences and the Molsheim works were rebuilt. But the automobile remained central to the Bugatti tradition, and general manager, Pierre Marco, along with Roland Bugatti – the youngest of Ettore’s children from his first marriage – created the Type 101. This new model was largely based on the pre-war Type 57, including the 3.3-litre dual overhead-camshaft straight eight-cylinder engine and solid axle suspension. The improvements included a downdraught Weber carburetor to replace the obsolete prewar Stromberg and an electric Cotal gearbox.
All together, only six official Type 101's were built, and the Van Antem coupé presented here (Chassis N°101504) on the Zoute Concours d'Elegance 2012 is considered by many to be the most striking. It was bodied by Van Antem in Neuilly-sur-Seine, near Paris, for the 1951 Salon de l’Automobile in Paris. It was on display together with a Gangloff drophead coupé before returning to Molsheim, where it was eventually road-registered and likely used by Rene Bolloré, the next husband of Ettore Bugatti’s widow Geneviève Delcluze. It was purchased late in 1958 by Gene Cesari who visited Molsheim with well known car collector Jean DeDobbeleer and, after several meetings, became the company’s North American representative. He finally collected the car in New York City before it was sold to Robert Stanley, prominent businessman and head of International Nickel Co.
Chassis N°101504 then became an important part of the fabled collection of casino magnate Bill Harrah before being sold to prominent French automobile proponent, Jacques Harguindeguy. From there it was acquired by film star Nicolas Cage, who said of this car, “I think Bugattis are the zenith of automobile design and I am particularly impressed by the Van Antem.” Cage sold the car to collector Gene Ponder in 2002 before it was acquired by the O’Quinn Collection in 2006.
The apartment therapy efforts on the kitchen are complete! The window gives a snapshot into the dining room - currently still in a bit of "outbox" disarray...
RCA Corporation, founded as the Radio Corporation of America, was an American electronics company in existence from 1919 to 1986.
The RCA trademark is used by Sony Music Entertainment and Technicolor, which licenses the name to other companies such as Audiovox and TCL Corporation for products descended from that common ancestor.
__________________________________________________________
David Sarnoff, whose ambition and business acumen had helped RCA become one of the world's largest companies, turned the company over to his son Robert in 1970. David died the next year, aged 80.
On 17 September 1971, the NBC Nightly News read a news bulletin issued by the RCA Board of Directors just minutes before the broadcast, announcing the Board's decision to cease operation of its general-purpose computer systems division (RCA-CSD). This marked a milestone in RCA's move away from technology and into a diversified conglomerate. (The introduction by IBM of the 370 series required RCA to make a substantial new investment in its computer division, and the Board decided against making that investment.)
During the late 1960s and 1970s, RCA Corporation, as it was now formally known, ventured into other markets. Under Robert Sarnoff's leadership, RCA diversified far beyond electronics and communications, in a broader American corporate trend toward "conglomerates." The company acquired Hertz (rental cars), Banquet (frozen foods), Coronet (carpeting), Random House (publishing) and Gibson (greeting cards), yet slipped into financial disarray, with wags calling it "Rugs Chickens & Automobiles" to poke fun at their attempt at becoming a conglomerate.
Robert Sarnoff was ousted in a 1975 boardroom coup by Anthony Conrad, who resigned a year later after he admitted failing to file income tax returns for six years. RCA maintained its high standards of engineering excellence in broadcast engineering and satellite communications equipment, but ventures such as the NBC radio and television networks declined.
In about 1980, RCA corporate strategy reported on moving manufacture of its television sets to Mexico. RCA was still profitable in 1983, when it switched manufacturing of its VHS VCRs from Panasonic to Hitachi.
Forays into new consumer electronics products lost money. The SelectaVision videodisc system, not to be confused with the same trademark that RCA applied to its VCRs, never developed the manufacturing volumes to substantially bring down its price, could not compete against cheaper, recordable videotape technology, and was abandoned in 1985 for a write-off of several hundred million dollars.
In 1984, RCA Broadcast Systems Division moved from Camden, New Jersey, to the site of the RCA antenna engineering facility in Gibbsboro, New Jersey. In the years that followed, the broadcast product lines developed in Camden were terminated or sold off, and most of the buildings demolished, except for a few of the original RCA Victor buildings that had been declared national historical buildings. For several years, RCA spinoff L-3 Communications Systems East was headquartered in the building, but has since moved to an adjacent building built by the city for them. The building now houses shops and luxury loft apartments.
Takeover and break-up by GE
Business and financial conditions led to RCA's takeover by GE in 1986 and its subsequent break-up. GE sold its 50% interest in then-RCA/Ariola International Records to its partner Bertelsmann and the company was renamed BMG Music, for Bertelsmann Music Group.
GE then sold the rights to make RCA- and GE-branded televisions and other consumer electronics products in 1988 to the French Thomson Consumer Electronics, in exchange for some of Thomson's medical businesses.
RCA Laboratories was transferred to SRI International as the David Sarnoff Research Center, subsequently renamed Sarnoff Corporation. Sarnoff Labs was put on a five-year plan whereby GE would fund all the labs' activities for the first year, then reduce its support to near zero after the fifth year. This required Sarnoff Labs to change its business model to become an industrial contract research facility.
The only RCA unit which GE kept was the National Broadcasting Company. GE sold the NBC Radio Network to Westwood One and all of its radio stations to various owners.
For information on the RCA brand after 1986, see RCA (trademark).
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