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Okay! None of you asked for it but here it is! My thoughts on SHAZAM The Movie :)
Holy freaking cow! They did it! DC actually made my boy Billy B his own movie and it wasn’t absolute trash! :D
YEAH!
I absolutely loved it! If this is the road DC is going down, I’m all in! Bring on Hoppy The Marvel Bunny! Give me Uncle Marvel! I want it all! :P
Wow! They committed to the corny-ness of Captain Marvel but it wasn’t cheesy! They poked fun at how ridiculous it all was and put a lantern on the cheesiness and the dumb costume and the magic and the goofy nature of it all and it was perfect! :P
Plus I’ve got to give them credit for is that WB stuck to their guns and put this in the DCEU. Billy Batson and Jared Leto Joker are in the same universe and that’s just bonkers to me! :P
And I gotta say, Asher Angel’s “SHAZAM” has to be one of the best so far! He belts that magic word like there’s no tomorrow and I freaking loved it!
Also can we talk about Jack Dylan Grazer’s facial acting for a second? That kid is so expressive and he played Freddy so well! I gotta wonder though how he managed to get all of his fan gear though. Like does Aquaman have a PR guy in Philly that screen prints t-shirt’s for him? Do toy companies in the DCEU make replicas of throwing stars from all the other murderous vigilantes in the world?
Also can someone explain to me how Batman and Superman (two majorly controversial political figures in BvS) are now your average kids toy? Batman branded people like cattle and burned people alive! Superman destroyed a city and then got stabbed by cave troll! I find that they’re now a kids play thing much harder to believe than the magic doofus in red tights and a cape :P
Okay sorry, back on topic!
In a similar complaint I had with Aquaman, I feel like the pacing for the movie could have been a little better though. It wasn’t as bad as Aquaman clearly, but they could have cut some of the contrived Sivana origin stuff maybe, but I don’t know. Those scenes still had a purpose in the end so yeah it's a toss up.
I’ve read the New 52 book cover to cover on multiple occasions so where some of the story fluffing came in to play it felt jarring. It was inevitable to fill in the gaps and simplify the narrative but it still bugged me a little though.
Also, I really had a hard time buying the baby Billy scenes and his Mom. I get why they were there, but like, did they need to be? Like a few lines of dialogue would have also been fine, but I guess that final scene with his Mom was one of those pivotal points in the story too so I get it. It’s just that plot thread with his Mom may have been the weakest of the bunch but it was a necessary one. But naming her CC Batson was nice touch! :)
The rock of eternity set was incredible! From the Sins along the wall, to the big dumb lighting bolt poster! It wasn’t a kitschy/artsy version of the batcave or a spaceship fortress of solitude. It was the real deal! :D
And they freaking did Mister mind!!!! Oh my gosh!
Again, I need to reiterate that Will Smith’s Deadshot and Mister Mind now exist in the same universe what the actual heck! :P
Oh and I enjoyed the workaround when The Wizard referred to Black Adam and his people as just “The First Champion”. It worked and got the point across in a nice tidy way without saying “Hey remember like five years ago when we said we’d maybe kinda sorta cast Dwayne as The Reverse Shazam someday never?! ...uh yeah we’re not talking about that right now... he’s too busy hanging out with Jason and some other bald muscle-y fellas or like being a zoo keeper for a wolf with wings or something… yeah… we don’t know either...”
Can I say though, they made some bold choices with Dr Sivana! The dude is a super genius, so of course he’d find a way back to The Rock of Eternity! It was another neat work around from the source material for him to go head to head with The Wizard like that. Also this squeaky-clean glam and broody Sivana gave me the vibe that he belonged in a band and was “too cool for you” all the time.
I mean if we were to go comic book accurate Sivana, I still think either Wallace Shawn or Danny Devito would could have played him perfectly tbh, but over all, Mark Strong made an interesting new version out of him that I don’t really mind (though I still like his Sinestro WAAAAAY better!)
Another thing I really enjoyed about the movie was how the humor didn’t feel forced. It came up in good moments and didn’t kill the drama with quips, or wasn’t over saturated by lovey adored and never irritating topical 80s references.
“Stupid adult hands!” Loved it! :P
I also liked how they managed to squeeze in classic Batson phrases in an almost cynical way! Like bratty Billy would totally say Gee Whiz and Golly Mister ironically! It made so much sense and worked really well in execution!
Like yeah man... this movie just felt nice. Like it felt like what all these movies are trying to feel like. It was fun and emotional but dumb and also it new it was dumb but it still played with the genre in a fresh way. Here’s hoping we can get an appearance from Bulletman or some other Fawcett characters in the sequel :P
I know this ‘review’ was bit all over the shop but these are just the things I was thinking and I wanted to share them with you all! Plus, I’m just proud that one of my favorite superheroes got the best movie he could have gotten and that’s pretty great :)
ALSO HIS NAME IS CAPTAIN MARVEL AND I’LL FIGHT ANYONE WHO DISAGREES WITH ME! I MEAN IT’S THE CAPTAIN MARVEL FAMILY FOR CRYING OUT LOUD! THEN THERE’S CAPTAIN MARVEL JR AND MARY MARVEL AND UNCLE MARVEL! I MEAN UNCLE SHAZAM SOUNDS JUST AS DUMB BUT LIKE COME ON! THIS IS ANOTHER REASON WHY I HATE THE NEW 52 SO DARN MUCH! I MEAN FOR CRYING OUT LOUD BECK NAMED THE WIZARD SHAZAM! HE CALLS UPON HIM FOR THE POWERS OF HIS MAGIC! LIKE HOW WOULD BILLY EVEN INTRODUCE HIMSELF TO ANYONE EVER LIKE I MEAN COME ON DID ANYONE THINK THIS THROUGH?! BILLY BATSON IS AND WILL ALWAYS BE CAPTAIN MARVEL AND YOUR WRONG IF YOU TRY TO CORRECT PEOPLE ON THE INTERNET LIKE ME… oh wait
Okay I’m done. Review’s over! Go home!
SHAZAM! :D
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You should check out my Patreon if you want to see even more Brickheadz! I've shared a bunch of photos on how I built Tawky Tawny's head and torso, some photos of all my Marvel Family BHz, plus a photo of my entire BHz collection on display (like no joke, every single one of them)!
Besides that, there's other behind the scenes posts shared every single week, like stuff that's not Brickheadz if they aren't your jam :)
So check it out ya mooks!
Also tell me what you thought of SHAZAM the movie! Let me know if it was any good or not and that I'm not just being biased! :P
***
Patreon: andrewcookston
Instagram: a.cookston.photography
Twitter: @acookston_photo
Accession Number: 1972:0033:0032
Maker: Alexander Gardner (Scottish, 1821 - 1882)
Title: Lewis Payne, one of the Lincoln Conspirators before his execution
Date: 1865
Medium: albumen print
Dimensions: Image: 16.8 x 13.3 cm, Mount: 27 x 34.5 cm
George Eastman House Collection
About the Collection · Blog · Reproductions & Image Licensing
SS personal about to execute some Partisans after having a recon patrol attacked.
Not all fun and games children.
Execution on Gibbela
19 BBY "The blaster fire has stopped, the battlefield has gone silent, we've finally chased the CIS out of the farmland of Gibbela. With the news of both general grievous and count dooku's deaths this war's end is in sight. Now the only things left to do are informing commander chase of our imminent departure and prepare for my debriefing with the council. Hopefully this will be my last battle of this wretched war."
A week after making my first attempt to shoot the ideal morning FEC southbound at the MP 356.1 s-curve, the stars would align on Wednesday, September 16th, 2022. Florida East Coast Railway train 193-16, southbound empty limerock & hypercholrite solution traffic from Ft. Pierce, rolls down the grade along the curves past the North Miami Audi dealership with an unorthodox set of power, with 138 cars bound for FEC’s Medley Yard. Leading the train is #FEC713, another one of the railroads former-Union Pacific SD40-2s acquired in 2001, built as UP 3743 in 1980; Trailing is #FEC802 [ES44C4].
This locomotive duo had been captive on the 292/193 unit train for a little over two weeks then, running up to Ft. Pierce from Medley and back on overnight runs, avoiding many of the local photographers. However, the night before, in September 15th, northbound FEC 292-15 encountered a bad order on their train, involving one of their loaded limerock hoppers that suffered a chute malfunction. The bad ordered car dumped its entire load along the mainline. The train made it to Ft. Pierce late, and subsequently departed Ft. Pierce southbound closer to daylight. They would pass through North Miami at 08:09.
Continuing on with the previous post [“Practice”], the stars aligned on the 16th; the late-running 193-16, SD40-2 leader, a clear morning forecast, and no Brightline trains for another 30 minutes. Upon setting up at NE 141st St, only a half hour of waiting was required until the train arrived, with northbound BLF702-16 providing some warmup before the rock runner. Truly one of my favorite shots of the FEC down in South Florida.
•
North Miami, FL
FEC Mainline
09-16-2022 | 08:09
ID: FEC 193-16
Type: Unit Empty Rock
Direction: Southbound
Car Count: 138
1. FEC SD40-2 #713
2. FEC ES44C4 #802
•
© Vicente Alonso 2022
West Virginia State Penitentiary at Moundsville
A very interesting read from Wikipedia:
Design
The West Virginia State Penitentiary's design is similar to the facility at the 1858 state prison in Joliet, Illinois, with its castellated Gothic, stone structure, complete with turrets and battlements, except it is scaled down to half the size.The original architectural designs have been lost. The dimensions of the parallelogram-shaped prison yard are 82½ feet in length, by 352½ feet in width. The stone walls are 5 feet (1.5 m) thick at the base, tapering to 2½ feet at the top, with foundations 5 feet (1.5 m) deep. The center tower section is 682 feet (208 m) long. It lies at the western side of the complex along Jefferson Avenue and is considered the front, as this is where the main entrance is located. The walls here are 24 feet (7.3 m) high and 6 feet (1.8 m) wide at the base, tapering to 18 inches (460 mm) towards the top.
Founding
In 1863, West Virginia seceded from Virginia at the height of the American Civil War. Consequently, the new state had a shortage of various public institutions, including prisons. From 1863 to 1866, Governor Arthur I. Boreman lobbied the West Virginia Legislature for a state penitentiary but was repeatedly denied. The Legislature at first directed him to send the prisoners to other institutions out of the state, and then they directed him to use existing county jails, which turned out to be inadequate. After nine inmates escaped in 1865, the local press took up the cause, and the Legislature took action. On February 7, 1866, the state legislature approved the purchase of land in Moundsville for the purpose of constructing a state prison. Ten acres were purchased just outside the then city limits of Moundsville for $3000. Moundsville proved an attractive site, as it is approximately twelve miles south of Wheeling, West Virginia, which at that time was the state capital.
The state built a temporary wooden prison nearby that summer. This gave prison officials time to assess what prison design should be used. They chose a modified version of the design of Northern Illinois Penitentiary at Joliet. Its Gothic Revival architecture "exhibit[ed], as much as possible, great strength and convey[ed] to the mind a cheerless blank indicative of the misery which awaits the unhappy being who enters within its walls."
The first building constructed on the site was the North Wagon Gate. It was made with hand-cut sandstone, which was quarried from a local site.The state used prison labor during the construction process, and work continued on this first phase until 1876. When completed, the total cost was of $363,061. In addition to the North Wagon Gate, there was now north and south cellblock areas (both measuring 300 ft. by 52 ft. South Hall had 224 cells (7 ft. by 4 ft.), and North Hall had a kitchen, dining area, hospital, and chapel. A 4-story tower connecting the two was the administration building (measuring 75 ft. by 75 ft.) It included space for female inmates and personal living quarters for the warden and his family. The facility officially opened in this year, and it had a prison population of 251 male inmates, including some who had helped construct the prison where they were incarcerated. After this phase, work began on prison workshops and other secondary facilities
Operation
In addition to construction, the inmates had other jobs to do in support of the prison. In the early 1900s some industries within the prison walls included a carpentry shop, a paint shop, a wagon shop, a stone yard, a brickyard, a blacksmith, a tailor, a bakery, and a hospital. At the same time, revenue from the prison farm and inmate labor helped the prison financially. It was virtually self-sufficient. A prison coal mine located a mile away opened in 1921. This mine helped fill some of the prison's energy needs and saved the state an estimated $14,000 a year. Some inmates were allowed to stay at the mine's camp under the supervision of a mine foreman, who was not a prison employee.
Conditions at the prison during the turn of the 20th century were good, according to a warden's report, which stated that, "both the quantity and the quality of all the purchases of material, food and clothing have been very gradually, but steadily, improved, while the discipline has become more nearly perfect and the exaction of labor less stringent." Education was a priority for the inmates during this time. They regularly attended class. Construction of a school and library was completed in 1900 to help reform and educate inmates.
Cells where the prison's worst inmates were kept.
However, the conditions at the prison worsened through the years, and the facility would be ranked on the United States Department of Justice's Top Ten Most Violent Correctional Facilities list. One of the more infamous locations in the prison, with instances of gambling, fighting, and raping, was a recreation room known as "The Sugar Shack".
A notable inmate in the early 20th century was labor activist Eugene V. Debs, who served time here from April 13 to June 14, 1919 (at which time he was transferred to an Atlanta prison) on charges of violating the Espionage Act of 1917.
In 1929, the state decided to double the size of the penitentiary because overcrowding was a problem. The 5 x 7-foot (2.1 m) cells were too small to hold three prisoners at a time, but until the expansion there was no other option. Two prisoners would sleep in the bunks, with the third sleeping on a mattress on the floor. The state used prison labor again and completed this phase of construction in 1959. The construction had been delayed by a steel shortage during World War II.
In total, thirty-six homicides took place in the prison. One of the more notable ones is the butchering of R.D. Wall, inmate number 44670. On October 8, 1929, after "snitching" on his fellow inmates, he was attacked while heading to the boiler room by three prisoners with dull shivs.
In 1983, convicted multiple murderer Charles Manson requested to be transferred to this prison to be nearer to his family. His request was denied.
1979 prison break
On Wednesday, November 7, 1979, fifteen prisoners escaped from the prison. One of the escapees was Ronald Turney Williams, serving time for murdering Sergeant David Lilly of the Beckley Police Department on May 12, 1975. He managed to steal a prison guard's service weapon in the escape, and upon reaching the streets of Moundsville, encountered twenty-three-year-old off-duty West Virginia State Trooper Philip S. Kesner, who was driving past the prison with his wife.
Trooper Kesner saw the escapees and attempted to take action against them. The prisoners pulled him from his car and Williams shot him. Trooper Kesner returned fire at the fleeing suspects despite being mortally wounded.
Williams remained at large for eighteen months, sending taunting notes to authorities and making the FBI's Ten Most Wanted List. During that time, he murdered John Bunchek in Scottsdale, Arizona during a robbery and was connected to crimes in Colorado and Pennsylvania. After a shootout with federal agents at the George Washington Hotel in New York City in 1981, he was apprehended and returned to West Virginia to complete several life sentences. Arizona had sought his extradition for his execution, but as of 19 January 2018 he remains in West Virginia custody.
At the time, Marshall County Sheriff Robert Lightner was very critical about poor police communications during the break. The sheriff's office and local police did not learn about the escape from the state police. They first heard of it over the police scanner. "It was a good twenty minutes before we knew about the escape. If somebody had notified us, there's a good chance that the sheriff's department and the Moundsville police could have been on the scene while all the prisoners were still on the block." He was also critical of the four-state manhunt that followed, when convicted murderers David Morgan and Ronald T. Williams, along with convicted rapist Harold Gowers, Jr., remained at large. "Communications have been very poor. I think they should keep the local law enforcement officers more informed I have no idea what they're doing, what they've found."
1986 riot
January 1, 1986 was the date of one of the most infamous riots in recent history.[citation needed] The West Virginia Penitentiary was undergoing many changes and problems. Security had become extremely loose in all areas. Since it was a "cons" prison, most of the locks on the cells had been picked and inmates roamed the halls freely. Bad plumbing and insects caused rapid spreading of various diseases. The prison was holding more than 2,000 men and crowding was an issue. Another major contribution to the riot's cause was the fact that it was a holiday. Many of the officers had called off work, and prisoners planned to conduct their uprising on this specific day.
At around 5:30 pm, twenty inmates, known as a group called the Avengers, stormed the mess hall where Captain Glassock and others were on duty. "Within seconds, he (Captain Glassock), five other officers, and a food service worker were tackled and slammed to the floor. Inmates put knives to their throats and handcuffed them with their own handcuffs."Although several hostages were taken throughout the day, none of them was seriously injured. However, over the course of the two-day upheaval, three inmates were killed for an assortment of reasons. "The inmates who initiated the riot were not prepared to take charge of it. Danny Lehman, the Avengers' president, was quickly agreed upon as best suited for the task of negotiating with authorities and presenting the demands to the media." Yet, Lehman was not a part of the twenty men who began the riot. Governor Arch A. Moore, Jr. was sent to the penitentiary to talk with the inmates. This meeting set up a new list of rules and standards on which the prison would build. National and local news covered the story, as well as the inmates meeting with Governor Moore.
Decommissioning
Toward the end of its life as a prison, the facility was marked by many instances of riots and escapes. In the 1960s, the prison reached a peak population of about 2,000 inmates.[4] With the building of more prisons, that number declined to 600 – 700 inmates by 1995. The fate of the prison was sealed in a 1986 ruling by the West Virginia Supreme Court which stated that confinement to the 5 x 7-foot (2.1 m) cells constituted cruel and unusual punishment. Within nine years, the West Virginia State was closed as a prison. Most of the inmates were transferred to the Mt. Olive Correctional Complex in Fayette County, West Virginia.A smaller correctional facility was built a mile away in Moundsville to serve as a regional jail.
Executions
The original Old Sparky on display
From 1899 to 1959, ninety-four men were executed at the prison. Hanging was the method of execution until 1949, with eighty-five men meeting that fate. The public could attend hangings, which were public until June 19, 1931. On that date, Frank Hyer was executed for murdering his wife. When the trap door beneath him was opened and his full weight settled into the noose, he was instantly decapitated. Following this event, attendance at hangings was by invitation only. The last man executed by hanging, Bud Peterson from Logan County, was buried in the prison's cemetery because his family refused to claim his body.
Beginning in 1951, electrocution became the means of execution. The electric chair, nicknamed "Old Sparky", used by the prison was originally built by an inmate there, Paul Glenn. Nine men were electrocuted before the state prohibited capital punishment entirely in 1965. The original chair is on display in the facility and is included in the official tour.
The prison has been featured in a variety of books, films, television shows, songs and video games.
Novels
Moundsville native Davis Grubb has written a couple of novels with Moundsville as the setting, Fools' Parade (also known as Dynamite Man from Glory Jail) and The Night of the Hunter. The penitentiary was featured as a significant part of each plot.
Film
These works by Grubb have been adapted as major motion pictures. The Night of the Hunter was adapted into a film by Charles Laughton and James Agee in 1955. It stars Robert Mitchum and Shelley Winters. Fools' Parade, starring James Stewart, Kurt Russell, and George Kennedy, was adapted into a film in 1971.
Prison scenes in the 2013 film Out of the Furnace were filmed on site at the penitentiary.[19]
Television
Many ghost-themed or science fiction television shows have visited the prison:
* ABC Family’s Scariest Places on Earth originally aired on October 29, 2002.
* A&E's Paranormal State originally aired on January 12, 2010.
* Discovery Channel's Ghost Lab originally aired on November 20, 2010.
* MTV's Fear allowed six college students to experience the so-called "haunted prison" for themselves in the 2000 pilot episode.
* Syfy's The Dresden Files. (Exterior images)[citation needed]
* Syfy's Ghost Hunters episode 303, originally aired on October 25, 2006.
* Syfy's Stranded, a paranormal reality show, featured the prison in the first season's third episode on March 13, 2013.[20]
* Syfy's Warehouse 13. (Exterior images)[citation needed]
* Travel Channel's Ghost Adventures originally aired on October 31, 2008.
* Destination America's Ghost Asylum, which originally aired on May 17, 2015.
* Netflix’s Mindhunter, which originally aired on October 13, 2017.
Songs Edit
The prison is mentioned in the song "You Missed My Heart" by Mark Kozelek and Jimmy LaValle on their 2013 collaboration Perils from the Sea. Kozelek also references Wheeling, West Virginia in his lyrics to the song.
1994, Soweto, South Africa --- South African police arrest a Zulu man suspected of being a sniper, a few weeks before South Africa's free elections of April 1994. Severe conflicts between the Zulu Inkatha Freedom Party and the African National Congress broke out during preparations for the election --- Image by � David Turnley/CORBIS
It is a place with an ominous ambience if you know what happened here. Just below the top of Gallowhill, deep in the woodland is a place of execution. It is said that the gallows were situated on a flat ledge just below the summit of the hill which has commanding views across the Moray Firth, and is the highest point for miles.
This was where many a person who upset the local landowners met their end, their corpses dangling from a gallows would have been visible for miles around. Details are sketchy, but the hill and woodlands are named after the execution site.
There are natural woodlands around the hill, mainly ancient caledonian pines and birches with oaks near the foot but with occasional examples all the way up to near the summit. Much has been planted now, with an array of giant alien commercial species and a wide range of more ornamental varieties closer to the ruined castle of Redcastle.
Redcastle claimed to be the oldest inhabited castle until it was abandoned as giant cracks appeared in the walls and it was deemed too expensive to repair or stop it from toppling into the gully behind. But it is clinging on gamely and still stands. It is from this ancient stronghold that local justice was meted out.
I found the flat place below the summit. It is now covered in birch, with the odd magnificent old pine. Whether the gallows was constructed or they just used a convenient tree - a common practice in the highlands (there is a fantastic gallows tree in Drumnadrochit, beside the Benleva Hotel, for example) is unclear.
The flat place is like a 100 yard long ledge, around the south side of the summit. It has a slight corner in the middle and I thought that would make the best location if deterent visibility was key. As I walked further along I saw an old pine. Bearing in mind that it can be difficult to age old pines, some really old ones are short and stunted and some young ones can be really tall. Perhaps nature has provided the perfect natural hanging tree?
I had done a photo like this almost 2 years ago that was inspired by terra kate and wanted to redo it, I'll try to find the first one and post it in the comment box!
published on vogue
www.vogue.it/en/photovogue/Portfolio/717048e6-3e03-404c-9...
126/365
Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.
The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.
The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.
Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961.
One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.
The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.
Once more, the engine was based on that of a Cadillac.
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.
This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.
Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the , and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.
Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).
Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.
The model shown here is the rare 'GlassRoof' Hardtop model. This features the outer bows from the standard hardtop, augmented by a third, central bow, tied to the front header bow, and two transverse bows to the side bows. The rear window remained glass, though to a different design to the regular hardtop, while the four glass panels in the roof were actually poly-carbonate (a type of very hard plastic), to improve roof durabaility. The panels were also heavily tinted to reduce heat build up in the cabin.
This metallic earth-orange 'GlassRoof' was one of 18 models built, and the 3rd V12 engined model.
This Lego miniland-scale Ralston Tigre MkIII B GlassRoof Hardtop (1964) has been created for Flickr LUGNuts' 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.
[Cadillac V12 engine information taken from 'thetruthaboutcars.com']
www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...
Back in 1853 Anders Gustav Pettersson brutally murdered his employer Hugo Fredrik Jaedren at the gates to the Näringsberg estate, together with a compatriot. They were arrested the following day. The trial took place at Tingshuset in Västerhaninge, and two years later Anders Gustav Pettersson became the last person to be executed at this galgsten in Jordbro. He was beheaded. My third photo from today's Thursday Walk for Utata.
Flickering Executions Shadows Of Madness.
Экстремальные философия непрекращающиеся пресловутые пламенные вдохов рассчитывается жалкие действия,
Folgen atemlos Gefühle Einbildungen Diminutiv Beteuerung der Verhöhnung des Schneid absteigend,
horreurs hideuses dévastatrices dissolutions saignantes structures vives Bouffons pestilence empêché mascarade,
ornamente îngrozitoare meditatii nervoase arestat gaieties camere writhed teribil emoții delirante,
absconditus est vera lux aeterna fornace ferrea vincula angitur tenebris domos dira tormenta muta metu immortalis mortis legibus sulphureo,
opprivende visjoner sturen alder ruinerende oppgaver dele ønsker forferdelige skyer skjelvende røster tårevåte leksjoner vises,
ζοφερή τύψεις σφύριγμα έρημο τρομακτική εγκαταλείψει τα μάτια τεράστια τεράστια αναφιλητό αιωνιότητα ζηλεύει κρησφύγετα καταβροχθίζοντας ελπίδες,
深淵悲しげな谷を叫ん都市を研削振子住民透明認識ヒトへの感染が満たさ.
Steve.D.Hammond.
OM-2n | 50mm
"There are no extra pieces in the universe. Everyone is here because he or she has a place to fill, and every piece must fit itself into the big jigsaw puzzle." Deepak Chopra
© copyrighted
From the archives, taken a few years ago with my trusty D7000. A sunset game of basketball on Clapham Common.
台南五月的黃金雨 - 阿勃勒 / 生命的傳承 - 多花多果多籽
The golden rain of the Tainan May - Cassia fistula / Transmission of life - Much more flowers and more fruit seeds
La lluvia de oro de la Tainan mayo - fístula de la casia / Transmisión de la vida - Mucho más flores y más semillas de frutas
台南の5月の黄金の雨 - 阿勃は彫ります / 生命のは伝承します - 多く多い果実の多い実を使います
Der goldene Regen des Tainans Mai - Kassiefistel / Weitergabe des Lebens - viel mehr Blumen und Fruchtsamen
La pluie d'or de la Tainan mai - Cassia fistule / Transmission de la vie - beaucoup plus de fleurs et plus de graines de fruits
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2015/06/27 安平古堡 Fort Zeelandia performances
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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
THE DRUNKEN MUSE
The story "Drunken Muse" was audio recorded on a hidden voice recorder during the conversations about two decades ago. The story-teller didn't know or consent to the recording.
en.wikipedia.org/wiki/Tape_recorder
en.wikipedia.org/wiki/8-track_tape
en.wikipedia.org/wiki/Compact_Cassette
The audio tapes on compact cassettes were never used. The records were partially damaged and lost.
Herewith the unedited transcript version.
medium.com/paul-jaisini-paints-invisible-paintings/paul-j...
I am so pumped to get back to painting as I return to the second year of the art school after a full year suspension. As always it is like time-travel culturally speaking, like walking right into the middle ages going through the antique building’s portal.
Art studios are the huge L-shaped lofts with super tall ceilings 20 feet no less with the wall to wall windows so that sunlight illuminates the space from south and east side designed for the purpose so that one could paint there from morning till sunset.
In a studio there are classical gypsum sculptures, expensive copies of Venus de Milo, David, Laocoön and the others. In the art studio there stood the noses, eyes, lips, feet, and palms on the wood shelves.
Sketching the gypsum body parts helps you to build the classic academic base on which stands the whole modern and contempo art. This sort of teaching is specific for the art schools that preserve the traditions they had been founded on. There is only few art schools like this and of this caliber left now. Could be that this is the only legendary school that continues to function as if nothing had changed in the world. In the rest of the world with billions of some art classes nobody knows what does the old tradition of art school is for, its totally unfashionable.
Studying classic art (en.wikipedia.org/wiki/Academic_art) here is the foundation for creativity in any of the art styles.
The smell of art is what defines the studio but not from human presence, something like an aroma reminiscent of the eastern market where smoke from hookaahs mix with the oil vapors, exotic fragrance from candles and spices. The Art Studios were never renovated since the times they were built over 150 years ago. The wood floors are saturated with art oils as if the floor is waxed with the organic oils from nuts, linen ( linseed oil, poppy seed oil, and so forth.) Adding to the mix the varnishes used by painters (pine wood varnish, Dammar varnish and others) It makes this ART SMELL to be the most intoxicating and ever-lasting musk.
en.wikipedia.org/wiki/Oil_painting
en.wikipedia.org/wiki/Oil_painting - Ingredients
en.wikipedia.org/wiki/Studio - Art_studio
The instance you enter the studio space you feel the belonging to a knighthood and the whole art history. You are the undivided part of those people who left their creation imprints.
Super pumped up after the long break up with the arts after my full year of non-stop party marathons I had returned to the bohemian life style.
Actually my other life style wasn't any different from the bohemian.
The only difference is that there is some meaning in the bohemian life style, something to create, to shape. Not just spend time doing sports and girls but something on a whole 'nother level only with the same sub text and by far more emotionally connected.
The bohemian I think is much more my thing, that fits me as a person. Maybe because my old man is the greatest sculptor.
He is color blind so apparently I took up the torch, I have a very special sense for color.
en.wikipedia.org/wiki/Sculpture
en.wikipedia.org/wiki/Bohemianism
en.wikipedia.org/wiki/Color_blindness
There could be an inborn human predicament or inborn genius.
I returned into the world to kiss its ground. I like everything about it, the babeville and its fashion circus.
The art students are known to come up with endless varieties of how to be stylish.
Take me for example, I am chilling in a suit jacket. It was professionally hand-tailored out of a denim Pajamas with stripes and starry silk underlining.
This “look” is completed by my python leather jeans. And over that an authentic LONG military Germany Waffen Elite Officer black Leather Coat from the WWII, only it is without a Swastika.
I never part with my large portfolio and a Field Easel.
EASEL
About 700 students attend the studies. The art school accepts only the best of best with few exception such as the kids of celebrity artists, writers and musicians and people who had real power in the city.
I wasn't enrolled for money or the A-lister parents, but for my talents. The Art specialty (painting, drawing, sculpture) teachers here are the world-wide recognized contemporary artists.
In a matter of my working ethics these important artists would point at me as the example of how fast I work, how well I sketch in color, how I always choose the most unexpected and unusual angle for my composition and so on...
en.wikipedia.org/wiki/Composition_(visual_arts)
name banner gif
Optical illusion geometric gif
(portraiture, still-life, and landscape)
en.wikipedia.org/wiki/Still_life
en.wikipedia.org/wiki/Portrait
en.wikipedia.org/wiki/Landscape_painting
en.wikipedia.org/wiki/Figure_drawing
en.wikipedia.org/wiki/Figure_painting
I never work on an académie (live drawing of a model, live painting of a model) the given eighty -- ninety hours. My whole process is about six -- nine hours to fully complete the work so I get out of the studio for some action and fun.
I’m probably the strongest in the class. My art professors know I don’t need to be there to distract the others.
When I’ve got nothing to do I start banging the head against the wall. Still I am criticized SUPER harshly for cutting the classes.
At this point I am not aware of the inner workings of “THE SYSTEM”.
I call suitcase with a secret compartment.
At the grade shows I only see the bad grades on my best artworks.
There is another side of the coin. It revealed in the future when I got to befriend a secretary at the Dean’s office. It was about the time of my graduating year.
The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about.
That was how the art school’s system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible.
I am harshly criticized for cutting a lot of classes.
There is another side of the coin. It will be revealed in the future when I got to befriend a secretary at the Dean's office. It was about the time of my graduating year.
The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about.
That was how the art school's system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible.
Willing or not but the doubts get in my head. I was thinking (rather frantically) that maybe I’m all just misguided. I will work to beef up my skills unable to accept that I am not really a “genius” artist. The bad grades were corrupting my vision.
Totally clueless that these bad grades in my case were used as "disciplinary measures" for my behavior of anarchy. These grades had nothing to do with my artworks.
And yet my best drawings and paintings are graded the lowest. At the same time the art professors are taking my works home. I always find empty walls where my works were displayed for the semester shows.
Sooner or later the missing artworks got me enraged. My classmates tell me the back story on what REALLY had happened.
All the art professors usually go the painting major's finals. So they just took my artworks right off the wall.
Ever since I heard this back story I flaunt how IDGAF to even pick up my works with the bad grades after the finals end.
Like a bunch of some doomsday looters in sight of an electronic store the art students same as the teachers vultured my artworks. Later some of my paintings and drawings were seen at the school's museum, especially the paintings.
The story of the artworks snatched off my exhibit wall developed further.
In the art school the art teachers are the privileged kind who exhibit regularly. All are the accomplished artists with big names.
Another thing about my artworks (no longer mine and in someone else's possession) is the story that involves someone with the top art rep being the art dynasty. Even so it happed that the leading art professor nicknamed Molly (for her annoying facial mole) used my art stuff to have her son who studied same years as me, just never expelled, to apply to an art academy with the highest qualification requirements. Molly's son portfolio sucked. To get him qualified to apply she gave her son all of my artworks she collected.
The juice was given to me by the reliable sources. The story was concurred by the eye--witnesses the students who were applying to the same academy together with Molly's son. Some of these students knew my work by the style, special color palette and the brushwork.
They all knew that Molly's son was using my artworks. He only had to forge his signature and remove mine.
en.wikipedia.org/wiki/Study_(art)
My drawings, sketches, paintings, watercolors are in "wide" use by others.
I tell that to describe the routine of my life.
It could explain why I was expelled three times for the chronic absence, for sabotaging the lectures -- getting my classmates to leave the studio and go to the movies or to the beach.
Fast forward to that event of the breaking point when I started to work systematically.
I was sucked into work as if a drug addiction. I was penetrating deeper to the very core of creativity. Reading books, going to the museums, working in the field, working in the museums to copy masters. I completely forgot all about life around me.
Practically I was devoured and digested with my nails and hair by that devil called the academic art. It sucked out the leftovers of my soul.
I stayed in the studio after the classes to work. There were only few students like this, spiritually close to me. To them it was their life style since the day they had entered the art school unlike me. Whenever I'd get bored with art I'd quit working and just leave without asking permission.
Now as if something had hit me hard and I started to really work. Most art students here typically come from such backgrounds when they did their baby steps and studied in the children's (secondary) art school from an early age and tutored by art teachers at home
I had a tendency to take on a higher complexity unprepared without the experience of any art school training (the eight years on a daily basic with teachers and methodical practice.)
As long as I remember myself I was drawing, during my school years, on the notebooks, with chalk on the asphalt, with stick on the sand. I did it subconsciously, not knowing what I was doing.
IDK, could be due to the several bad bike accidents when my head ended up hitting the brick...
Why did my brain moved into the direction of noticing those things that normal people should not be noticing? That the leaves on the trees are not at all green, but violet.
The falling shadows from the street lights are not at all outlined by black, the contours are the absolute blue.
The trees look like people.
There are so much more shades of colors that language could articulate.
Stuff like this filled up my head so that there was no place left for just a thought about girls, more so even the thoughts to manipulate my body functions. For instance using the
bathroom. I almost peed my pants. Truthfully I was on the edge of madness.
I remember how I hallucinated during my work imagining that someone had come into my studio and I spoke to "the guest." My brain was ill, there was no escape from that hell.
en.wikipedia.org/wiki/Violet_(color)
Once I was walking on a street without any awareness. My mind was no longer in command of anything accept the obsession with my painting. As I was pushing the limits of what was humanly possible in a matter of progress from the previous stage when I could draw and paint with intuitive results now I considered as totally armature waste of art materials. My condition would be hard to describe since I could hardly remember what was it like during that madly intense period. I know that I was working non--stop and did make some major break through. It worked but at the same time the progress turned its evil side, I wasn't able to stop even for a brief moment. Something happened to my otherwise incorruptible memory that I could only remember few things from that period. And one of those things was my death walk through the city streets on a day I was supposed to disappear.
When I realized that I was walking automatically, blind and incredibly
avoiding the cars, for the first time I felt the fear of madness that can easily take my life. It wasn't something I would fear if I was in my other life when loosing it would be quite an ordinary thing and not due to my lost mind.
Whatever it was I survived with no chances to stay alive that day. I had more chances to live on when I was shot at execution style, when I was drowning in bad storm, climbing on a building like a cat, and on many others such occasions.
Some guardian angel was looking over me as I came to the final moment of certain death, blind, deaf, disoriented and delusional.
As we finished with draperies, still life, gypsum figures we moved on to the nude. To draw and paint from the live sitter, male or female model.
There comes an old fat hag to be posed before the artists. She will be POSING even during the breaks. She sits professionally without a slight move of her flab folds for us to draw her “forms”. ‘assume it was done for the boys not to get distracted with the female anatomy.
The models with “rounded” forms were chosen so we would study the reflects and double reflects on a “sphere-like” and “cylinder-like” forms.
There would be plenty of the cast shadow (a type of shadow that is created on a form), and a drop shadow ( below the image).
en.wikipedia.org/wiki/List_of_human_positions
en.wikipedia.org/wiki/Figure_study
The working objective was to concentrate on the drawing’s construction.
When we’d get a young female model, she’d be so skeletal that we studied the skeleton. This type of models was as unattractive as the fat ones.
The art students without an eye for a drawing and technique produced their works of caricature quality. With the lost proportions the models looked like animals, skinny chickens or fat frogs.
For me it was a serious job, body didn’t exist. I x-rayed the flubs of fat to see the bones to connect them to muscles, to build a form.
en.wikipedia.org/wiki/Caricature
en.wikipedia.org/wiki/Skeleton
en.wikipedia.org/wiki/Human_skeleton
The illness I call the overdose had progressed and my end was near.
Homies who knew me used to say that I was cracked.
When I moved from the classicism to modern (I refused to see any modern or contemporary art, never wanted to see it, or ever saw it) I entered the Modern art on my own, as my foot stepped into the forth dimension.
I entered the world of mad pressure. Good I stepped in it one foot yet.
I was sleeping in the studio right on the floor near my work and placed an electric heater near by.
It was impossible to heat up whole place where fifty heavy-duty easels only took a quarter of the studio space.
In the center there was a huge round stage made from a special hard wood to hold any number of models when needed for the multiple human-figure compositions.
The place was full of easels, portable and the large for the field. The chairs, tables, palettes, boxes with paint, cases with paper and lots of other art stuff piled up into mountains.
The parquet floor was always covered in fresh oil paints even though the teachers tried in vein to prove a fact that working neatly was by far more productive.
We had a dormitory built same year as the art school which was 150 something years ago.
If you stayed late in the studio that was forbidden, you couldn't get to the dorm.
A guard at the main door was a real watch dog, he faithfully guarded the pathway knowing every student's face.
The dorm was occupied by those who couldn't pay for a room or the apartment in the city.
Ten beds were squeezed in a dorm room.
This part of the antique building was never renovated probably b/c it was planned to be turned into more art studios.
But since there were out of town students who had no place to live they were given a place in this dorm.
The beds were of a good prison-like quality so the survival was possible. Another thing is what was happening in the dorm.
On a typical day nobody there had any money left after the expensive art materials. Not a penny to get high. Alcoholic liquid (40-60%) was soaked into the bread.
From one bite of that bread you could instantly drop dead as if your legs got cut off by a train.
The receptors inside the nose absorb the fumes to hit right into the brain, this way the booze doesn't ever enter the digestive system and blood.
It kills or makes one go bonkers.
Some pissheads in desperation poured vodka into a wine bottle cap to inhale it like coke. After one cap screw it was a total alchoholocaust.
There were many ways of economizing: to use a medical thin rubber tube to suck the drink very slowly, one bottle would
serve four alkies.
It was the usual schizophrenic day for me. I had my dose of coffee and ate on a way to the studio.
Those days I didn't miss a class afraid to get expelled for the last and final time.
I couldn't understand this thing about my artworks. Why did my classmates literally begged on their knees to have the C-graded artworks I was never satisfied with.
It became my trade mark to give away all of my stuff left and right. I didn't know why I let go of my drawings and paintings so easy. Now I regret that. It would be interesting to see the growth.
Once I happened to tell a guy from my class who worked very hard on his drawing (he wasn't a good draftsman): "Oh Wow! you are doing a lot of progress, buddy, congrats!" I looked at his portfolio and pointed at a piece: "This drawing here is really mature and quite interesting, you achieved volume and air in just a linear drawing."
The guy suddenly goes red, stares at me wide-eyed with anger or confusion I couldn't quite understand...
"Am I saying something wrong?" I asked.
"You're fucking dissing me!" He answered.
"Why?" I wondered.
"This is YOUR drawing," Was the answer: "I took it, that is when I asked you and you gave it to me, don't you remember?"
I didn't recognize, didn't see my signature, as it was overlapping the drawing.
The guy was holding a grudge for this but it didn't turn him into one of my enemies.
At some point I am thankful to the teachers for their sneaky methods and experience on how to tame the most unruly and bring them into the art's stable. On the other hand these people were like sadistic fascists who used their special gases on me experimenting, would I survive it and live on.
The bohemian hyped up life only started after the classes at about seven in the evening. This part of the artist's life was full of sex, booze, and drugs, more sex booze drugs and orgies. The art youth was progressive, the sex - communal with the conveniently shared girlfriends and boyfriends.
Strangely the good times didn't concern me anymore now.
There was a small group of idiots who followed their criteria of achievement: to draw and paint a vase with flowers so that it comes to life, right out of the canvas to the carrying hands of the one who painted it. The flowers turned alive would be given to the girl/boyfriend.
The madness of the 4th dimension.
The art group was lead by me and another guy soon (one month later) to disappear forever for the reasons unknown.
After the classes me and few others searched for a studio. Found it. Not my studio. Any studio with the door unlocked.
As usual I would set a still life. Take off my nazi coat.
Set my next canvas on the easel to start quick sketching.
Out of nowhere shows up some dude who was a new student, he was much older, about twenty three, somewhere from Texas and just plain untalented.
He wanted to hang around with "the power-group" to learn.
There were few girls with the ambition to reach the level of a manly hand in creation.
We all usually worked in grave silence and even a slight noise would be extremely annoying.
If a brush would fall it seemed the atomic bomb had exploded somewhere near. We would exchange vicious cursing at the jittery creaking sneezing noise maker.
When you are focusing intensely and can't quite catch the brush stroke to complete the shaping of a form so that the image would turn real and come out of the flat surface the nerves are high strung to the limit.
The last months I just never left the studio, didn't even come outside. Slept on my German coat in the corner. It was veiled with the drapery. I'd wake up in the morning. The doorman was already used to give me the keys knowing that I sleep and work there. It came with a warning that if I am discovered I must tell any story and solemnly kept the secret.
The memories from those years distract me from telling what I want. It's about the event that had closed for me the entry into the forth dimension.
That day I was getting upset over some stupid teases: "What had happened to you!"
Whether the bros wanted to elevate my mental state, or they needed to get my works it had really caused me distraction. I was focusing on my work. Suddenly I hear the sounds of music in the studio. It jumped me: “Are you out of your fucking minds? That asshole doorman will come here."
"No he ain’t gonna."
"Why?"
"He is passed out, we had to carry him away." Was the answer.
"What is going down?" I worried.
"Not much, nothing is going down, we just want some fun. The way it is on here is so buzz-killing."
Was it some holiday, I didn’t know. Holidays passed by me, I didn’t smoke or drink and only worked. What they were saying didn’t reach me.
“Shut down the music. You’re gone but I must sleep here."
"Why must you sleep here?" Asked Lorenzo (nick-named after his personal preferences of the Benzos)
"Hmm, I guess there will be no way of working today?" I asked.
"Working, way working, you gonna make me some home works," Assured me the dude nicknamed Kuz. "For that I will make your sculpture complete."
As interesting as it was to play with the real forms in sculpting I disliked dealing with the clay. Those times I believed the painting to be so much more in gradations, possibilities and complexity. Now I changed my mind to consider any art media possess the unlimited possibilities.
I agreed. Suddenly the guys were fixing to leave and I had to ask: "So? Who will finish building up the sculpture if you're leaving?"
"No worries, will build it up, brb just a quick run for some booze before the stores closed up."
"What booze? Get out of here go to another studio. I work, don’t mess me up."
"No biggie, son, you can rest for once."
It was pointless to argue, they'd already been drunk and I was only getting nervous. My work wasn’t going good at all. I have changed the lighting set up many ways in vein.
Suddenly, out of nowhere Muse appears. A young, very-very attractive girl about eighteen. The returned gang introduced her to me:
"J-Sin, meet her... lets say Nicky."
"Eh, hello Nicky, who and what are you?" were my greetings.
She smiled to everyone and answered: "I will be posing for you today."
"We agreed about everything, will pay the price,” –explained Lorenzo barely moving his tongue, "She is gonna be happy!"
His bag full of bottles made loud clanking noise.
When the drunks got them out I counted six.
“Yes, this is going to be a wild night.” I was thinking what to do now. I approached the model, took off her coat and hanged it, removed her blouse and explained that she can go behind the curtain.
"Hey, hey! What curtain son, what’s with you? She is from the med school, our people!"
I heard the Kuz's inebriated voice. "She is THE model!"
"What -- nude?" I wondered.
"And what did you think, she'd sit covered up in here?" They burst into laughter.
Suddenly I feel elated with the anticipation of the new and amazing subject for the work. I was fed up with the poor set up and the struggle to "find" the good lighting for the gypsum head. How wonderful it turned out that I could make some picturesque oil sketches.
When the model took off her bra, her young breasts, her nipples instantly distract my attention from work.
Shit, I couldn’t focus. Since we hadn’t a glimpse at such models it was too interesting. Could be that something about this evening or the environment was different. First time in a long while the music was playing, the glasses jingled and filled up with wine.
As she posed we were all doing the quick sketching. She removed everything except her panties.
The drunken assholes wouldn’t let me focus.
"Let me finally have a chance to work." I yelled getting distracted.
They seemed to try bargaining: "We brought you the model, hey girl turn around!" Kuz pulled up her skirt and slapped her buddy. "Look at these buns, you've got to do another
drawing for the semester show."
"Boys, you are so bad!" She giggled to Kuz. "I will spank you for being soooo bad!" And she was laughing in most contagious sexy trills of her childish capricious voice.
I didn’t understand what these die--hard drunks were doing at the art school, without any talent or interest in art. My former palls in another life that was long forgotten. Today the serious artists who always worked together with me had left the moment this bad company swam by.
Now I was looking at their watery eyes winking at the model. They caressed her things as she reclined on the wooden stage to rest. I wanted to figure out why did they distract me even more now?
I was the same age as the model. I didn’t see her body, to me now it was the model for painting.
It was getting late when the cold winds penetrate the place from the drafty wall size windows. I put on my sweater in the starting freezer. The one meter or the three feet and 33/8 inch walls are like the thermos to absorb and hold the cool temperature. I looked at the laughing bunch who labored on my sculpture.
One was drawing a huge flying dick with wings with a charcoal right on a white wall.
I had finished sketching the figure. I came up to the stage to set up the heater. I asked the model if she could sit some more taking breaks whenever she needs to move.
When she looked at me she was constantly smiling.
"Sure she’ll sit! And she'll lay, right, sweet buns?"
I held my breath working imagining how awesome would be to have such a model every day. With a shaky hand I was working fast as a machine expecting any minute now she would say that she is too cold to sit another minute and she leaves, its all over. I will have to kill her and sit her lifeless body on a chair to complete my work.
“Shit! Shit! Shit!"
The heater I placed caused the red reflexes on the body. I was painting and had to get the color right. So I removed the heater. The model immediately complained about the cold. Kuz brought her a glass of wine asking me why did I remove the heater.
From wine her face flushed red. I tried to adjust the color scale, laying brushstrokes over the whole figure.
Meanwhile the music turned up it was getting real loud.
The model took her break.
I walked after her studying her forms.
"Is something wrong?" She asked.
"Its all right, could you turn this way."
"Oh, I see. Same in our med school, the nut cases," She openly declared to the others when I was on a floor looking from a lower viewpoint.
"Who is this?" She asked: "What kind of a mental is he?"
"Its a disease, but it will pass" – was the answer for her. "Sometimes it is terminal. Not his tho, his will pass, he loves the young girls very much…"
Something from the stupid jokes had reached me.
"Hon, now he needs the medical attention. You are the medic? We are forever in debt to yous for allowing us come to the mortuary and for helping with the dead bodies... What we have here is a zombie. You are the goddess who saves the body as your calling."
What I heard was polluting my pure artistic brain with that life I refused. Now I was paying attention not to the mammary glands but to her breasts. Her back muscles are slightly weak. As I looked over the skeleton the muscles slowly disappeared. No matter how hard I tried to focus my x-rays were weakened. Maybe the electricity turned off inside my head.
"Pour me some," I asked.
Six months of my immaculate virginity and celibacy was broken by a wine glass. The red wine like the blood of innocents was running in my throat filling up the brain that shortly was boiling with vigor. So I said:
"Could you please remove your panties?"
"It wasn’t the deal," protested the model with her eyes glowing like honey.
Lorenzo interrupted her:
"For god’s sake, take of your panties, what is it to you, aren't you a medic?"
"I thought someone here was shy, as for me" She lustfully licked her lips. "Well, of course its nothing."
"Who is shy?" Asked someone.
"Him the weirdo!" She giggled in a very cute bubbly little voice.
"Are you shy?"
"It seems it was me who asked her to remove the panties." I explained.
She just jumped right out of her panties not without pleasure it seemed.
I imagined how to position her, what pose should she take.
"Hey!" I asked Kuz to pour me another glass. He was cheering me on yet reminding that I should first finish the drawing.
"Later," I mumbled turning to the model: "Would you please sit on a chair and spread your pretty legs a little, as much as you wish."
"Hey, Alex, so he is normal?" She asked.
I was far away from normality. A actual girl weaved from the reality. But the process was a transformation with splitting dimensions.
She was turning more real when I touched her to show how to position her legs.
I glimpsed at the red pubic hair seeing the pink flesh of her vaginal lips.
I couldn't focus on my work. Could the “female anatomy” destroy the temple of magic I was erecting for the eight months?
I returned to my easel and continued working. She was fidgeting changing poses uncomfortable this something hurting that... But it was only natural, she was sitting naked on a plain hard wooden chair. She was sliding from one side of the chair to another. I was buzzed from wine and couldn’t work, but I tried to complete my work just to annoy these assholes who screwed up my day. First work was washed off with turpentine and I wiped up the canvas dry with a rag.
I was sketching now not with a charcoal but brushing in umber. It resulted in an interesting tonality and I was captured again. The model squirming on her hard chair complained.
"Yo, why don’t you lay her down, what is she suffering for?" Asked Alex, "Lay her the fuck down, why not."
Right! I thought a little and told her to lay on the stage. Underneath her I spread some drapery.
After few wine glasses I took off my sweater, my cheeks were on fire. Hers too. I unbuttoned my shirt, my blood was boiling, the body was washed with the warmth.
The heater was moved away.
"So true that wine warms you up," she said to Alex.
"Jay, so tell me how to lay her down there. Sit, sit, you poor thingy, I'll assist you" And he jumped on the stage. "Do you want her legs spread this way?" he asked opening
up her legs so that her whole anatomy was showing.
"Is this ok for you?" He winked at me: "Is it good?"
"Oh no, can’t show it like this at the mid-semester show." Thinking some I added: " Let it be, lift her leg a little higher, like this. Turn her head down."
"Like this?" He kissed her on the lips.
"Alex, the fuck you're doing, I don’t have any time."
"Work, keep drawing, go on!" he said. "We won’t disturb you."
I was outraged after I just washed everything off my canvas ready to work, but this wasn't going anywhere. I kept asking Alex what did he mean by not disturbing me when he messed everything up. I heard the girls laughing trills. "For real, he is ill!"
"The sick can be cured." Insisted Alex. "Will hill him." He slurred.
Of course, I own them my very life. If it weren't for them –- that’s it, finito.
Kissing her on the lips and winking at me Alex continued bugging me: “Is this right?”
For like ten minutes I was staring in the infinity in the emptiness… Then I yelled: "Why are you sucking her? Get away from her, let her lay there quietly."
Only to hear some nonsensical mumbling.
"But I want you to work on the position, is this position right?"
"Right, just fuck off of her."
Meanwhile Kuz, I noticed, was taking off his pants. He said: “Let him go fuck himself. Motherfucker is gonna fuck us up today, if he doesn’t want it, so fuck it.”
Now I thought I knew what they wanted from me.
I saw Alex’s naked butt as he laid on the stage, banging the girl and his ass wiggled.
I started sketching their nude asses.
My consciousness was still in the process of transforming.
I thought of how interesting were their poses.
Lorenzo came up to me and took the brushes from my hands placing all in my field easel he closed up.
"Listen, J-man, you’re being a fucking buzzkill. Go draw some vases, fuck off to another studio. You don’t want it. For free?"
I didn't understand him what did he mean. He explained:
"What do you see Alex is doing right now?"
"He is fucking his girlfriend." I said.
Lorenzo continued:
"Whose girlfriend? What we have here is a
scientist, from the med school who is helping us in our artistic quests, to understand the core of anatomy not only from the outside but from the inside. I recommend you, in order to comprehend, as you must know, you can only know the truth from the inside, experiencing the inside, to understand the outside. That’s why I seize the brushes. Here is another glass of wine. Drink!"
I looked at him as a doctor listening to his drunken bullshit.
"The most important thing for you is to understand from the inside. See, you can’t understand it from the outside, it’s not how things are done."
"Yes knowing the internal anatomy helps, take a muscle, body doesn’t exist without muscles." I agreed.
"Hell yeah, yeah… ha ha…that’s what I am going about. Look how Alex is working how he is learning."
I looked at the bare ass's motions back and forth, at the girl who was lifting her legs and actively moving her hips. Alex jumped off, wiped up his cock with the drapery, he also wiped out the girl. “Who is next?”
Kuz was kissing her from one side, when Lorenzo said:
"He worked very hard today, he must learn from the inside. You see, because he just can’t break through the inside."
When Kuz was mounting her, Lorenzo spanked him loudly:
"You can wait, the man needs the muse, get it? Understanding the Muse comes only from the inside.." They all bust into laughter.
Lorenzo nearly helped my cock inside the girl cheering on: "Just do it, little one, everything is gonna be great. Honey, turn him back into a soldier that we've lost."
"The man is gone, the man known yesterday is not the man you meet, forever, around the corner, in London or in the street..." chanted Nick appearing from nowhere. He continued slurring his poems.
Hearing the noise I didn’t know what’s going on as I kissed her breasts.
"Feel the forms." I heard the racket near by as I was buzzing off the wine and licking the girl's body. On the other side Lorenzo had joined in groping her breasts. To be more at ease I moved her body closer to the stage’s edge. I was on top.
I didn't hear any sounds of music, the entry door was covered with the draperies as the orgy just steamed up for the whole night.
I woke up on the stage from loud knocking.
The art students asked me what happened to the busted still life set.
I exhaled my dragon breath to hear no more questions. Took my coat and left the building. Walking the street I met Alex.
"Your face is not yet blushed, your eyes are a bit foggy, can’t say anything after the sleepless night. Like Cures Like."
He grinned getting money out of his pocket. "Let us get some treatment."
We walked to the known spot for aching heads gathering.
Photograph taken at an altitude of Seventy metres at 11:56am on a summer morning on Tuesday 16th June 2022, off Hythe Avenue and Chessington Avenue in Bexleyheath, Kent.
AN IN DEPTH LOOK AT CORVUS CORONE & OBSERVATIONS ON MY RESIDENT THREE
LEGEND AND MYTHOLOGY
By Paul Williams
Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.
In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.
In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds.
There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.
The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had become a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada.
Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five-day dances seeking trance, prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.
Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows.
Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god).
The raven appears in almost every skaldic poem describing warfare. Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.
In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors.
It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.
In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.
The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug
In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys.
In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow").
Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow-coloured crows became forever black after shedding their colourful plumage over the other animals of the world.
In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.
In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:
1 Crow Meaning: To carry a message from your near one who died recently.
2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.
3 Crows Meaning: An upcoming wedding in your family.
4 Crows Meaning: Symbolizes wealth and prosperity.
5 Crows Meaning: Diseases or pain.
6 Crows Meaning: A theft in your house!
7 Crows Meaning: Denotes travel or moving from your house.
8 Crows Meaning: Sorrowful events
Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolizes potentially bringing good news and positive change to those who see it.
This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....
There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders.
The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.
The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.
TAKING A CLOSER LOOK
So, let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.
Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice).
Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.
Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone
Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories.
Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old.
The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!
They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern.
There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.
Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence.
Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1.
That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, intraneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.
A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events.
They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans,and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans.
Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.
Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.
Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally.
They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!
Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades. Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!
They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.
In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain.
Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.
OBSERVATIONS ON THE PAIR IN MY GARDEN
Known mostly for my landscape work, Covid-19 changed everything for me photographically speaking thanks to a series of lock downs which naturally impeded my ability to travel. I began to spend more time on my own land, photographing the wildlife, and suddenly those wildlife photographs began to sell worldwide in magazines and books.
Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed around mid May 2021 when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food. Naturally I named her Sheryl (Crow).
Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. I named him Russell (Crow). By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed.
Sheryl was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first, I used silent mode to reduce the noise, but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames, and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.
Russell would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat.
I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....
I swear she was expressing happiness, joy even....
On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.
A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds.
They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.
I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with its mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance.
What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from its mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation.
The juvenile also liked to gather up peanuts (monkey nuts) and bury them in the grass. On one occasion I witnessed a pair of rumbunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.
Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum. Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time.
In October 2021, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months. The two adults are still here in December and now taking the food that I put out to help all birds survive in the winter months. They also have a pair of Magpies to compete with now.
Late February 2022 and Cheryl and Russell and their youngster are still with me, still dominant in the area and still taking raw chicken, hotdogs, biscuits and fat balls that I put out for them. Today I saw them mating for the first time this year in the tree and the cycle continues.
By October 2022 the pair had successfully reared a new baby who we nicknamed Baboo, and the other youngster flew the coup. The three now recognised our car returning from weekends away, and were enjoying sausages, hotdogs, raw chicken, fish and especially cheese, but life was hard as they aged with daily morning and evening tussles in the air with invaders and intruders hoping to take their land.
Russell picked up an injury during one fight and hobbled about for a few weeks before fully recovering, though a slight limp remained long-term, but Sheryl was visibly ageing and struggled at times to gain height from a vertical ground take off. I placed a garden chair near the house and she would often jump onto the top and then onto the fence and then the roof in stages.
Baboo became the dominant garden watcher, swooping in to take advantage of the food I put out, though he now faced competition from a gaggle eight resident Magpies, and gulls which seemed to have adopted the area, and brave enough to snatch food from under his nose and eat on the grass in his presence. The three crows still held on to our garden and the territory and loved cheese, hot dogs, raw chicken, fish fingers and digestive biscuits and also mixed nuts, crusty bread and cakes and fat from steak or gammon plus fish skin from salmon or haddock. But by December 13th 2022, feeding became almost impossible as Black headed gulls (Chroicocephalus ridibundus), Herring Gulls (Larus argentatus) and Common Gulls (Larus canus), seemed to take up residence, swooping from nowhere in dozens as soon as I tried to feed the crows and Magpies. I had to wait until any of my three crows were nestled in the Chestnut tree which seeps into my garden, before throwing food out to them, watching as they grabbed what they could, followed by the resident Magpies, before the gulls began to swoop once more!
The three crows could recognise my car and know if we were returning home, and call each other, and wait for me to feed them. They enjoyed Tesco finest mince pies, tinned Salmon steaks, fatballs and raw meatballs over the festive period, and Sheryl particularly loved her mature cheddar cheese in large chunks. Into February, March and April 2023 and the morning skirmishes with bands of four or more outsider crows grew in regularity and intensity. Russell and Sheryl are by now getting older, at least into their third year, probably fourth or more, and the battles must have been getting harder to win.
Corvus Corone.... magnificently misunderstood by some!
Paul Williams June 4th 2021 (Updated on April 3rd 2023)
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DDC-With An X In It.
She amazes me, at 12 she can still run and catch the ball like she did when she was much younger. Her eye and mouth coordination is still very good.
Yes Folks: it’s another Train image and I wasn’t going to post this because it is just that: yet another Train photo! But – well: do please read on, because this details how NOT to plan a “photo shoot”...!
Saturday the 18th October was THE day when Steam Incorporated would follow up their recently successful “Daffodil Express”, this time with a “Grand Circle” Tour that would take the train south from its base at Paekakariki down to Wellington, and then north-east up the Hutt Valley line, through the Rimutaka Tunnel and north to Woodville. From there, it would then travel west through the spectacular Manawatu River Gorge to Palmerston North, and then south (finally) back to Paekakariki. And although the pre-Journey advertising announced that the train would be Diesel-hauled, there was every expectation that Steam Incorporated’s 1957-vintage Da Class EMD-built locomotive would haul the train (as it had done in other years!).
Saturday dawned bright and clear, and so, armed with my trusty Canon (and a few pieces of left-over Pizza from the night before for sustenance), I set off for nearby Wallaceville... and this was when things began to go pear-shaped...:
Pear Shape One: access to my pre-planned Viewing Spot had been fenced off. With Time ticking by, I had to turn to Plan B – a return to Trentham (4 kilometres to the south) and hope that this Excursion was running a little bit late because I was now cutting things very fine!).
Pear Shape Two: as I crossed the railway line at Trentham (using the Lights and Bells-controlled pedestrian crossing), the nearby road crossing bells began to clang out their warning: clear the way; a train is coming!
Pear Shape Three: even from a distance, I could tell that the lead locomotive was not the vintage Da (which turned out to be the trailing locomotive), but rather a ‘common’ ol’ ‘used every day' Dc belonging to KiwiRail...! But: the advertising had been right: the train was Diesel-hauled...!
Pear Shape Four: as I cleared the crossing, I realised that the camera wasn’t turned on, the Light Metre was way, way out, the shutter speed was set woefully slow – and the Excursion was coming up very, very quickly... “Don’t panic, Captain Mainwaring! Don’t panic!”.*
I managed a hurried shot, but alas: there just wasn’t time to focus on the trailing locomotive (The vintage First Generation Da) before the train swept by with horns wailing!
So no: this wasn’t a successful Expedition simply because I was too nonchalant and thus planned it badly, I didn’t check the original Site for fences, I didn’t allow myself the time I should have to get the camera (and myself) ready at the alternative site – and (because this Excursion (unlike the Daffodil Express) was actually running on time), my “gamble” that it would be late went out the window...!
And the left-over Pizza? Well, it was tasty enough (even though cold) but because it was a Distraction (albeit a tasty distraction), it also contributed to the poor execution of the little planning that I’d done...!
In short: it was a bad morning at the Office, but we live to try again - next year!
* A quote from the popular 1980s British sit-com “Dad’s Army”!
French postcard by Salut. Photo: Paramount / Fox, 1998. Publicity still for Titanic (James Cameron, 1997).
Kate Winslet (1975) is often seen as the best English-speaking film actress of her generation. The English actress and singer was the youngest person to acquire six Academy Award nominations, and won the Oscar for The Reader (2008).
Kate Elizabeth Winslet was born Reading, England, in 1975. She is the second of four children of stage actors Sally Anne (née Bridges) and Roger John Winslet. Winslet began studying drama at the age of 11. The following year, Winslet appeared in a television commercial for Sugar Puffs cereal, in which she danced opposite the Honey Monster. Winslet's acting career began on television, with a co-starring role in the BBC children's science fiction serial Dark Season (Colin Cant, 1991). On the set, Winslet met Stephen Tredre, who was working as an assistant director. They would have a four-and-a-half-year relationship, and remained close after their separation in 1995. He died of bone cancer during the opening week of Titanic, causing her to miss the film's Los Angeles premiere to attend his funeral in London. Her role in Dark Season was followed by appearances in the made-for-TV film Anglo-Saxon Attitudes (Diarmuid Lawrence, 1992), the sitcom Get Back (Graeme Harper, 1992), and an episode of the medical drama Casualty (Tom Cotter, 1993). She made her film debut in the New Zealand drama film Heavenly Creatures (Peter Jackson, 1994) . Winslet auditioned for the part of Juliet Hulme, an obsessive teenager in 1950s New Zealand who assists in the murder of the mother of her best friend, Pauline Parker (played by Melanie Lynskey). Winslet won the role over 175 other girls. The film included Winslet's singing debut, and her a cappella version of Sono Andati, an aria from La Bohème, was featured on the film's soundtrack. The film opened to strong critical acclaim at the 51st Venice International Film Festival in 1994 and became one of the best-received films of the year. Winslet was awarded an Empire Award and a London Film Critics' Circle Award for British Actress of the Year. Subsequently she played the second leading role of Marianne Dashwood in the Jane Austen adaptation Sense and Sensibility (Ang Lee, 1995) featuring Emma Thompson, Hugh Grant and Alan Rickman. The film became a financial and critical success, resulting in a worldwide box office total of $135 million and various awards for Winslet. She won both a BAFTA and a Screen Actors' Guild Award, and was nominated for both an Academy Award and a Golden Globe. In 1996, Winslet starred in Michael Winterbottom's Jude, based on the Victorian novel Jude the Obscure by Thomas Hardy. She played Sue Bridehead, a young woman with suffragette leanings who falls in love with her cousin (Christopher Eccleston). She then played Ophelia, Hamlet's drowned lover, in Kenneth Branagh's all star-cast film version of William Shakespeare's Hamlet (1996). In mid-1996, Winslet began filming James Cameron's Titanic (1997), alongside Leonardo DiCaprio. She was cast as the passionate, rosy-cheeked aristocrat Rose DeWitt Bukater, who survives the 1912 sinking of the RMS Titanic. Against expectations, Titanic (1997) became the highest-grossing film in the world at the time and transformed Winslet into a commercial movie star. Young girls the world over both idolized and identified with Winslet. Despite the enormous success of Titanic, Winslet next starred in were two low-budget art-house films, Hideous Kinky (Gillies MacKinnon, 1998), and Holy Smoke! (Jane Campion, 1999). In 1997, on the set of Hideous Kinky, Winslet met film director Jim Threapleton, whom she married in 1998. They have a daughter, Mia Honey Threapleton (2000). Winslet and Threapleton divorced in 2001.
Since 2000, Kate Winslet's performances have continued to draw positive comments from film critics. She appeared in the period piece Quills (Philip Kaufman, 2000) with Geoffrey Rush and Joaquin Phoenix, and inspired by the life and work of the Marquis de Sade. The actress was the first big name to back the film project, accepting the role of a chambermaid in the asylum and the courier of the Marquis' manuscripts to the underground publishers. Well received by critics, the film garnered numerous accolades for Winslet. In Enigma (Michael Apted, 2001), she played a young woman who finds herself falling for a brilliant young World War II code breaker (Dougray Scott). She was five months pregnant at the time of the shoot, forcing some tricky camera work. In the same year she appeared in Iris (Richard Eyre, 2001), portraying novelist Iris Murdoch. Winslet shared her role with Judi Dench, with both actresses portraying Murdoch at different phases of her life. Subsequently, each of them was nominated for an Academy Award the following year, earning Winslet her third nomination. Also in 2001, she voiced the character Belle in the animation film Christmas Carol: The Movie, based on the Charles Dickens classic novel. For the film, Winslet recorded the song What If, which was a Europe-wide top ten hit. Winslet began a relationship with director Sam Mendes in 2001, and she married him in 2003 on the island of Anguilla. Their son, Joe Alfie Winslet Mendes, was born in 2003 in New York City. In 2010, Winslet and Mendes announced their separation and divorced in 2011. In the drama The Life of David Gale (Alan Parker, 2003), she played an ambitious journalist who interviews a death-sentenced professor (Kevin Spacey) in his final weeks before execution. Next, Winslet appeared with Jim Carrey in Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004). In this neo-surrealistic indie-drama, she played Clementine Kruczynski, a chatty, spontaneous and somewhat neurotic woman, who decides to have all memories of her ex-boyfriend erased from her mind. The film was a critical and financial success and Winslet received rave reviews and her fourth Academy Award-nomination. Finding Neverland (Marc Forster, 2004), is the story of Scottish writer J.M. Barrie (Johnny Depp) and his platonic relationship with Sylvia Llewelyn Davies (Winslet), whose sons inspired him to pen the classic play Peter Pan, or The Boy Who Wouldn't Grow Up. The film received favourable reviews and became Winslet's highest-grossing film since Titanic.
In 2005, Kate Winslet played a satirical version of herself in an episode of the comedy series Extras by Ricky Gervais and Stephen Merchant. While dressed as a nun, she was portrayed giving phone sex tips to the romantically challenged character of Maggie. Her performance in the episode led to her first nomination for an Emmy Award. In the musical romantic comedy Romance & Cigarettes (John Turturro, 2005), she played the slut Tula, and again Winslet was praised for her performance. In Todd Field's Little Children (2006), she played a bored housewife who has a torrid affair with a married neighbor (Patrick Wilson). Both her performance and the film received rave reviews. Again she was nominated for an Academy Award for Best Actress, and at 31, became the youngest actress to ever garner five Oscar nominations. Commercial successes were Nancy Meyers' romantic comedy The Holiday (2006), also starring Cameron Diaz, and the CG-animated Flushed Away (2006), in which she voiced Rita, a scavenging sewer rat who helps Roddy (Hugh Jackman) escape from the city of Ratropolis and return to his luxurious Kensington origins. In 2007, Winslet reunited with Leonardo DiCaprio to film Revolutionary Road (2008), directed by her husband at the time, Sam Mendes. Portraying a couple in a failing marriage in the 1950s, DiCaprio and Winslet watched period videos promoting life in the suburbs to prepare themselves for the film. Winslet was awarded a Golden Globe Award for Best Actress for her performance, her seventh nomination from the Golden Globes. Then she starred in the film adaptation of Bernhard Schlink's 1995 novel The Reader, (Stephen Daldry, 2008), featuring Ralph Fiennes and David Kross in supporting roles. Employing a German accent, Winslet portrayed a former Nazi concentration camp guard who has an affair with a teenager (Kross). As an adult, he witnesses in her war crimes trial. While the film garnered mixed reviews in general, she earned her sixth Academy Award nomination for her role and went on to win the Best Actress award, the BAFTA Award for Best Actress, a Screen Actors' Guild Award for Outstanding Supporting Actress, and a Golden Globe for Best Supporting Actress.
In 2011, Kate Winslet headlined in the HBO miniseries Mildred Pierce, based on James M. Cain's 1941 novel and directed by Todd Haynes. She portrayed a self-sacrificing mother during the Great Depression who finds herself separated from her husband and falling in love with a new man (Guy Pearce), all the while trying to earn her narcissistic daughter's (Evan Rachel Wood) love and respect. This time, Winslet won an Emmy Award, a Golden Globe Award and a Screen Actors Guild Award. Roman Polanski's Carnage (2011) premiered at the 68th Venice Film Festival. The black comedy follows two sets of parents who meet up to talk after their children have been in a fight that day at school. Jodie Foster, John C. Reilly and Christoph Waltz co-starred in the film. In 2012, she was appointed a Commander of the Order of the British Empire (CBE). In Jason Reitman's big screen adaptation of Joyce Maynard's novel Labor Day (2013), she starred with Josh Brolin and Tobey Maguire. Winslet received favorable reviews for her portrayal of Adele, a mentally fragile, repressed single mom of a 13-year-old son who gives shelter to an escaped prisoner during a long summer week-end. For her performance, Winslet earned her tenth Golden Globe nomination. Next she appeared in the science fiction film Divergent (Neil Burger, 2014), as the bad antagonist Jeanine Matthews. It became one of the biggest commercial successes of her career. This year, Winslet also appeared alongside Matthias Schoenaerts in Alan Rickman's period drama A Little Chaos (2014) about rival landscape gardeners commissioned by Louis XIV to create a fountain at Versailles. Next she can be seen in the crime-thriller Triple Nine (John Hillcoat, 2015), the sequel in the Divergent series: Insurgent (Robert Schwentke, 2015) and in The Dressmaker (Jocelyn Moorhouse, 2015). Since 2012, Kate Winslet is married to Ned Rocknroll, a nephew of Richard Branson; The couple's son have a son, Bear Blaze Winslet. They live in West Sussex.
Sources: Tom Ryan (Encyclopedia of British Film), Sandra Brennan (AllMovie), Wikipedia, and IMDb.
The photographer captures the actual moment of the condemned's reaction to being riddled with bullets.
TE939 (LK58KHD) seen at Barnet Hospital standing, these E400s are the oldest double deckers in Metrolines fleet and are soon to be withdrawn
KIDWELLY was originally the name of the district which included part of the coastlands lying between the estuaries of the Towy and the Loughor. In 1106, after the death of Howell ap Gronw, Henry I granted these lands to his minister, Roger, Bishop of Salisbury, who erected a castle at the mouth of the Gwaendraeth Fach. This formed one of a series of Norman strongholds designed to secure their newly won conquests in South Wales and to command the passage of the rivers across which the road to the west passed. A mention of the hall of the Castle in a document of 1115 or earlier shows that the building of Kidwelly must have been practically completed by that year. During the rising which followed the death of Henry I, the Battle of Maes Gwenllian was fought a short distance away from the castle (1136). The account speaks of Maurice de Londres, Lord of Kidwelly, and Geoffrey, Constable of the Bishop, as leaders of the Norman army. Maurice, who is mentioned for the first time in connection with this district, already possessed Ogmore in Glamorgan, where his father William de Londres appears to have been one of the original conquerors. The coupling of the two names suggests that Roger of Salisbury, while retaining possession of the castle, had granted the lordship of the district to Maurice de Londres, who probably acquired the castle also when the bishop died in the following year.
The Welsh chronicles record that, in 1190, the Lord Rhys built the castle of Kidwelly. This entry probably reflects a native conquest of the settlement, but the Normans must have recovered it before 1201, when Meredith, son of Rhys, was slain by the garrison of the castle. In 1215 Rhys Grug, another son of the Lord Rhys, captured Kidwelly and burnt the castle. He remained in possession until 1220, when Llywelyn the Great forced him to restore these conquests. The male line of the de Londres had become extinct during these troubles, and Kidwelly had passed to an heiress, Hawise. In 1225 she married Walter de Braose, who died during the campaign of 1233-4. Kidwelly Castle was by that date again in the possession of the Welsh as a result of the rising of 1231, when Llywelyn the Great, previously a supporter of the royal authority, had turned his arms against Henry III. Hawise de Londres, left a widow, was unable to regain possession of Kidwelly which, in 1242, was still held by Rhys's son Meredith. Two years later Hawise married Patrick de Chaworth, who seems to have recovered these lands soon after this date. The Welsh rising of 1257 involved the destruction of the settlement at Kidwelly, but the invaders failed to capture the castle. Patrick was slain during the campaign of the following year, and the wardship of his lands was granted to Hawise during the minority of their son Payn.
Payn de Chaworth must have attained his majority about 1270, as in that year he and his younger brother Patrick took the Cross. Hawise survived until 1274, and her death was soon followed by that of her two sons, Payn in 1279 and Patrick four years later. The elder brother died childless, and the younger left only an infant daughter, Matilda, who inherited Kidwelly and Ogmore. In 1291 the marriage of the young heiress was granted to the king's brother, Edmund, Earl of Lancaster, for the use of his second son, Henry, the union being celebrated in 1298.
The prominent part taken by Thomas, Earl of Lancaster, in the civil wars of Edward II's reign led to his execution after the Battle of Boroughbridge in 1322, but the forefeited title and estates were later restored to his younger brother, Henry. The extinction of the male line in 1361 caused a temporary partition of the Lancastrian possessions, but on the death of the elder co-heiress, Matilda, in the following year, the whole inheritance fell to her sister Blanche, wife of John of Gaunt, who became Earl and later Duke of Lancaster. On the accession of Henry IV, Kidwelly, together with the other Lancastrian possessions, passed into the hands of the Crown, and was of little importance during the fifteenth century. Henry VII granted the castle to Sir Rhys ap Tudor, whose grandson Rhys ap Griffith forefeited it in 1531. Later it was again alienated and passed to the Earls of Cawdor. The castle had long ceased to be habitable, but certain repairs were carried out during the nineteenth century. In 1927 the owner placed the ruins under the guardianship of the Commissioners of Works (now the Department of the Environment).
Since that date extensive works of preservation have been undertaken. In 1930 and 1931 excavations were carried out by Sir Cyril Fox and the writer in order to recover the earlier history of the castle. The results are embodied in the present guide, and the interesting series of relics recovered may be seen in the National Museum of Wales.
PERIODS OF CONSTRUCTION
THE earliest remains at Kidwelly, dating from the beginning of the twelfth century, are the semi-circular moat surrounding the castle together with the rampart under the outer curtain, the true meaning of which was revealed by the investigations of 1930-1. Of the hall mentioned in the deed of 1115 and the other buildings of the twelfth century no trace remains, though it is possible that an extensive search under the 2ft to 7ft of debris with which the whole interior of the castle was levelled in the early fourteenth century would lead to the recovery of their plan. The only tangible relic of Norman buildings is a small capital belonging to an attached column and probably forming part of a fireplace. This was found walled into the masonry of the hall of c1300, and may be ascribed to a date at the end of the twelfth century. The ramparts and moats surrounding the northern and southern outworks cannot be exactly dated, but analogy with other sites shows that they may well belong to this early period.
The oldest surviving masonry is that of the towers and the curtain enclosing the inner ward. This occupies a rectangular area with a circular tower at each angle. There are two gates, on the south and north sides, each protected by a portcullis. The erection of these defences within the circuit of the original bank and stockade marks the beginning of the refortification of the castle in accordance with the ideas of the late thirteenth century. The awkward way in which the two western towers are brought close to the foot of the earlier bank can only be understood when the pre-existence of this defence is realised, while the simple character of the gates, so different from the elaborate gatehouses of the normal concentric castle, must be similarly explained. The south-east tower was designed for occupation, but the hall and other structures of the earlier castle probably remained in use. Most of the dressed stonework of this period has disappeared, but the few remaining details are of thirteenth-century character, and this taken in conjunction with the plan suggests that the construction of the inner ward was carried out by Payn de Chaworth, c1275.
The replacement of the older buildings by a new hall, solar and kitchen and the erection of a chapel, form the next stage in the development of the castle. The different character of the masonry and the unusual position of the best-appointed private apartments in the southeast tower behind the screens of the hall prove that these additions were planned and built after the completion of the inner ward. The mouldings of the doors and windows belonging to this stage are all of late thirteenth- century character, and none need be earlier than 1300. The absence of glass grooves in the trefoiled lancet windows of the hall and chapel is also an early feature. It is perhaps unlikely that an extensive building programme would have been carried out during the minority of Matilda de Chaworth (1283-98), and a date before the death of her father Patrick is earlier than the architectural evidence would justify. The work should therefore in all probability be attributed to c1300, directly after the marriage of Matilda to Henry of Lancaster.
The design of the inner ward at Kidwelly presupposes an outer defensive zone, and the replacement of the original stockade with a stone curtain followed the completion of the living-quarters. The main gatehouse, the lesser northern gate, the outer curtain with its four flanking towers, and the mantlet between the north-eastern tower and the chapel, are part of a single design intended to bring Kidwelly into line with other concentric castles of this period. The position of the elaborate gatehouse, which could in case of need act as a separate defensive unit, on the line of the outer instead of the inner curtain is an abnormal feature imposed by the pre-existing layout of the site. The new masonry curtain of the outer ward was higher than the original stockade and necessitated the addition of a further storey to the towers of the inner ward in order that they might still command the outer defences. The details of this reconstruction are all of early fourteenth-century character, and the fortification of the outer ward must have been carried out during the first quarter of that century. On the completion of this work the surplus material from the bank and other rubbish was used to level up the interior of the castle, which it now covers to a depth varying from 2ft to 7ft. The closing of the open gorges of the towers of the outer curtain marks the last stage in the military development of Kidwelly and may also be ascribed to the fourteenth century. The existing gate in the south wall of the town also appears to be of fourteenth-century date, and it might be expected that the erection of these walls would have followed rather than preceded the reconstruction of the castle. But grants of murage in 1282 suggest an earlier date, and the solution of this problem must await further research.
There is reason to think that the great gatehouse may have stood unfinished through most of the fourteenth century and that the opening of a quarry `for the work of the new tower', recorded in 1388-9, may mark the beginning of the works needed to complete it. Ten years later, between 1399 and 1401, when the lord of the castle had become king in the person of Henry IV, there is another record of nearly £100 being spent ‘on the new work of the tower over the gates of the castle’, the near completion of which at this time can be inferred from an order of 1402 for it to be roofed in lead. But in the autumn of the following year the castle was besieged by the Welsh rebels, aided by a naval force from France and Brittany, and subsequent documents leave very little doubt that they succeeded in setting fire to the gatehouse and inflicting serious damage to it; so much so that between 1408 and 1422 a further £500-£600 had to be spent on it, and only in the latter year was it finally roofed with lead shipped from Bristol. A superficial indication of the new work may be seen in the patches of thin flat slabs which contrast with the irregularly coursed boulders of the original masonry. To it belong the triple machicolis high up on the outward face, the upper part of, the wall towards the courtyard, all the square-headed windows, the rectangular stair turret at the north-west corner, and the stone vaults inserted at different levels in the flanking towers as a protection against fire.
The last significant addition to the castle, probably made towards the end of the fifteenth century, was a large hall placed on the west side of the outer ward. This was connected with a kitchen in the south-west corner of the inner ward by the enlargement of a thirteenth century embrasure so as to form a passage-way. Buildings placed against the outer curtain reflect the increased complexity of life in the Tudor period, but the provision of an entirely new hall and kitchen suggests that the earlier hall was already ruinous.
KIDWELLY is one of the Norman foundations strung out along the coastal plain of South Wales. There is no evidence of any occupation before the grant to Roger, Bishop of Salisbury, and even if a small Celtic settlement existed, it has been without influence on the subsequent development of the site. Like many other Norman settlements which were then continually threatened by a hostile attack from the mountains, Kidwelly stands at the head of an estuary where the river was still navigable at high tide. This situation ensured a line of communications when the castle was surrounded and the roads cut by a Welsh rising.
THE SETTLEMENT
The settlement consists of two parts, the castle and the walled town on the west bank, and the priory church with the new town on the other side of the river. The two are joined by a two-arched bridge of fourteenth- or fiftecnth-century date. This carried the great road to West Wales, probably replacing an earlier structure. Modern development has greatly altered the appearance of the new town, the last of the picturesque medieval houses having recently been destroyed (1931). The priory church of St. Mary was founded by Bishop Roger before 1115, and became a cell of the abbey of Sherborne. Such foundations are typical of the Norman settlements in South Wales, the alien monks being introduced as a counterpoise to the patriotic sentiments of the native monasteries which too often served as focuses of anti-Norman feeling. The present building dates from the fourteenth century.
From the bridge the road to the castle leads through the defences of the old town. The walls have mostly disappeared, but the main gateway, apparently of early fourtheenth-century date, still spans the road. The line of the defences can still be traced by the earthen bank which preceded the walls. It encloses about eight acres including the castle which it surrounds on all sides except the east. A transverse ditch running west from the castle moat divides it into two nearly equal halves, of which it is probable that only the southern was walled. The defences consist of an earth bank and ditch except on the east, where the steep scarp above the river formed a natural protection. The date of these ramparts is not certainly known, but as the walling of the southern part is to be connected with grants of murage, c1280, and the erection of the gatehouse during the following century, there is good reason for suggesting that they form part of the original Norman settlement.
Although the medieval buildings within the walls have been replaced with modern houses, the line of the existing roads probably follows the original layout. Another feature of exceptional interest is the ruins of the medieval mill which with the contemporary weir and leat can be traced on the low ground between the old town and the river. At a comparatively modern date this was replaced by a more efficient type of mill, which in its turn is now disused.
THE CASTLE
After passing through the south gate of the town the road crosses the settlement and turning to the right reaches the gatehouse of the castle. The original bridge has been replaced by a causeway, the outer end of which starts from a small knoll. Trial excavations failed to recover the plan of the structure which this represented, and as the castle stood within the walled settlement, it is possible that the builders considered a barbican unnecessary.
The gatehall was closed at each end by a double gate preceded by a portcullis. On entering the outer ward the inner gate is seen in the centre of the south curtain of the inner ward. It is a simple structure, a mere arch through the curtain defended by a gate and a portcullis. The inner ward is rectangular with a circular tower at each angle. The earlier hall and solar lie on the east side, with the kitchen between the former and the gate. Behind the hall is the chapel, contained in a bastion projecting down the steep scarp above the river. A later kitchen occupies the south-west corner of the courtyard. The outer defences form a semi-circle based on the river. The masonry curtain and towers date from the fourteenth century, but they follow the lines of the original rampart which was disclosed by the 1931 excavations, and which can still be traced on the north and west sides. The Tudor hall standing free on the west side and several later buildings have encroached on the already restricted area of the outer ward. On the east, where the outer defences do not surround the inner ward, a small mantlet joins the north-east tower and the chapel.
The earlier domestic buildings
The thirteenth-century domestic buildings occupy the whole of one side of the inner ward. The hall and the solar together form a long range connecting the two eastern towers which are of slightly earlier date. The principal chambers were on the upper floor, below which were low rooms probably used as storehouses. The latter were lighted by narrow widely splayed windows looking on to the courtyard. The present divisions date from the period when the castle was put to base uses, as does the doorway piercing the east curtain and leading to the mantlet and the chapel. The entrance from the courtyard appears to be original. The upper part of the building is almost entirely destroyed. In the outer wall of the solar two trefoiled lancets and a fireplace with quoins and a hood of dressed Sutton stone are preserved. The splay of another window opening into the courtyard can be traced in the west wall, while a recess in the same side marks the position of the door leading into the hall. At the other end of this wall, where it joined the south curtain, the jamb of the doorway leading to the kitchen is visible. The kitchen is a small room with a large fireplace in the thickness of the south curtain. Outside the walls of the kitchen an irregular block of masonry marks the base of the stairs leading up to the hall. The exact position of the screens cannot be determined. From the passage behind them are doors leading to the chapel and the rooms below it, while further entrances give access to the tower.
The south-east tower
The south-east tower consists of five storeys. The lowest, a basement lighted by narrow loops, is reached by a door from the storeroom under the hall. The next stage, which has two narrow windows and a fireplace with quoins and hood of Sutton stone, seems originally to have been intended for residence, though after the hall was erected its position would suggest that it served as a buttery. This is confirmed by the contemporary blocking of the archway leading directly from the entrance passage to the circular staircase by which the upper rooms are reached. Like the ground floor, the next two storeys of this tower are decently appointed and seem to have been the private apartments of the castle. One of the narrow windows on the first floor was widened in Tudor times, the jambs of Sutton stone being replaced with a more perishable sandstone. The highest stage is a fourteenth century addition, the earlier battlements being traceable about eight feet below the existing parapet.
The chapel
The chapel is in two stages, the semi-octagonal eastern end rising above massive spurs. The clerestory has an unbroken range of trefoiled lancet windows. They are rebated for shutters, but there is no groove for glass. In the lower stage a double piscina and a wide sedile occupy the angle south of the altar. On this side of the building a small rectangular projection forms a sacristy, of which the groined vault is covered with a cruciform roof of stone. Below the chapel are two further storeys. The upper is reached by stairs descending from the passage behind the screens. It has a fireplace on the north side. The small room under the sacristy probably formed the living-quarters of the priest, for whom a garderobe was contrived in the south wall of the main room. The lowest storey was reached by a stair in the thickness of the north wall. The northern entrance to the room below the chapel is later.
The north-east tower
The arrangement of this tower differs little from that already described. From the ground floor a narrow passage leads to the outer face of the east curtain. This was designed to give access to the mantlet, and was formed by an alteration of the passage which had led to the wall walk along the eastern curtain. The addition of the hall and the consequent heightening of the curtain has blocked this passage. Here, as in the other towers, access to the wall walk on the remaining sides is obtained from the first floor. The curtain between the two northern towers is pierced by a small postern, closed by a gate and portcullis, and by two embrasures.
The north-west tower
The inner side of this tower is recessed so that on plan it appears heart-shaped instead of circular. In this and the following tower the higher level of the courtyard prevented the provision of a separate entrance to the basement, which must have been reached by a trapdoor. The upper part of this tower is particularly well preserved. Not only can the main battlements be traced, but some of those surrounding the small turret which covers the stairs are still in position.
The south-west tower
This tower is distinguished from the others by the flat saucer vaults with which each stage is covered. At some period, probably in the sixteenth century, the bottom of the circular staircase was blocked so that access to the upper rooms could only be obtained from the wall walk. This corner of the inner ward is occupied by the Tudor kitchen, which will be described in connection with the hall of that period. Above the inner gate the south wall walk passes through a small ruined chamber from which the portcullis was worked.
The gatehouse
The gatehouse is a building of three storeys. The plan is rectangular with two semi-circular towers flanking the entrance, while an elliptical projection on the eastern side commands the defences above the river. The ground floor is occupied by small vaulted chambers lighted by narrow loops through the outer walls. Below the rooms in the two flanking towers are vaulted cellars similarly lighted and approached by stairs opening out of the gate passage. Originally the upper storey was reached by a circular stair leading out of the front room on the west side of the gate, but this was replaced in the early fifteenth century rebuilding by a more convenient staircase in an added turret at the north-west angle.
The principal chambers were on the first floor. The inner side formed the hall lighted by windows with cusped heads looking into the courtyard. Early in the fifteenth-century these were enlarged and traces of the hood-mould surmounting the new rectangular-headed windows can be seen. Originally this hall could only be reached by the inconvenient stairs already mentioned, but later, probably as part of the general remodelling of the gatehouse, a wide external stairway was added leading up from the outer ward and entering the hall by a doorway inserted behind the screens. To the east of the hall lay the vaulted kitchen with a large fireplace and oven. The towers were occupied by two smaller rooms, while a third filled the space to the west of the hall. From the kitchen a door led to the wall walk along the eastern ramparts, while that to the west was reached from a small lobby opening out of the narrow room beyond the hall. Above the hall and stretching over the vault of the kitchen was the solar, reached originally by a small staircase contrived in the inner wall of the hall. The rest of this storey contained three smaller rooms corresponding to those on the floor below. With the exception of the solar all the rooms on the highest storey are covered with flat stone vaults, but the former, like the hall and the smaller chambers on the first floor, had wooden ceilings. From the hall the circular stairs in the added northwest turret led up to the solar and the roof.
The outer curtain
The curtain enclosing the outer ward follows the crest of the earlier rampart, on which it is built with very shallow foundations. There is a smaller gatehouse with two flanking towers through which the northern outworks could be reached. The western curtain between the two gates was reinforced by three semi-circular towers, while a fourth covered the north-eastern angle of the defences. There is evidence that the shallow foundations built on the top of an artificial bank were already giving trouble during the Middle Ages, and that the western and north-eastern towers with a portion of the adjacent curtain had collapsed before 1500. The latter was replaced by a thinner wall built slightly behind the line of the fourteenth-century curtain, but the slight wall closing the gorge was considered sufficient to replace the former. Access to the wall walk was through the gatehouses or by stairs leading up from the west side of the outer ward. The northern gatehouse is too far ruined to allow its internal arrangement to be reconstructed, but like the towers it was of three storeys. Of the latter that on the south-west is the best preserved. Originally this must have had a half-timbered inner wall, but during the fourteenth or fifteenth century this was replaced by a stone wall which projects beyond the inner face of the curtain. The ground floor was entered from the outer ward, but the upper floors could be reached from the wall walk. The presence of a fireplace on the first floor shows that the towers were intended for occupation.
The later domestic buildings
Changes carried out towards the close of the fifteenth century, probably by Sir Rhys ap Tudor, included the provision of more spacious buildings in the outer ward. On the west side a large hall with a high-pitched roof was erected parallel to the inner curtain. Of this only the two gables and the base of the side walls remain. The kitchen to serve this new hall was placed in the south-west angle of the inner ward, a passage being driven through the curtain by the enlargement of one of the original embrasures. The kitchen, a simple rectangular building, has two large fireplaces occupying the whole of each end of the room.
To the same period belong the buildings standing against the east, north and west curtains of the outer ward. The purpose of the first, a large chamber which is very similar in appearance to the late, hall, cannot be determined. The building to the west of the north gate has a large oven built in the thickness of the side wall and was the bakehouse. The remaining structure by the south-west towers has two long narrow rooms, one of which is provided with a fireplace.
The invading Normans took only a few years to conquer England after the Battle of Hastings in 1066. But Wales held out for two-and-a-half centuries.
Kidwelly Castle is a symbol of this enduring conflict. And it was here in 1136 that a warrior princess turned herself into one of Welsh history’s greatest heroines.
Gwenllian was authentic Welsh royalty – sister of the northern prince Owain Gwynedd and wife of Gruffudd ap Rhys, lord of Deheubarth. But she definitely didn’t live the life of a pampered princess.
Under constant threat from the Normans she was forced to hide away in the deep forests, where she raised four sons. Her husband was busy building an army and plotting lightning raids. But he chose the wrong time to head north for help.
In his absence Maurice de Londres, lord of Kidwelly Castle, began to gather forces for a counter-attack. He had to be stopped. So Gwenllian donned her battledress and entered the field herself.
She was ‘like some second Queen of the Amazons’, said the admiring historian Gerald of Wales. Some call her the Welsh Boudicca – the only woman to lead a medieval Welsh army into battle.
But they were no match for the Normans. She was captured and beheaded for treason. It’s said a spring welled up where she died – still known as Maes Gwenllian, or the Field of Gwenllian.
Her death wasn’t in vain. She inspired a popular uprising that swept the Normans out of West Wales. Finally true poetic justice was achieved by her youngest son, Rhys ap Gruffudd, who was just four years old when his mother died.
The Lord Rhys, as he was later known, captured Kidwelly Castle in 1159 and was recognised by King Henry II as the undisputed ruler of the region. But his death in 1197 provoked a power struggle. Just four years later the castle was back in Anglo-Norman hands.
You can pay tribute to brave and beautiful Princess Gwenllian at her monument near the castle gatehouse. You might even spot the headless ghost that’s reputed to stalk the grounds.
Carmarthenshire is a county in the south-west of Wales. The three largest towns are Llanelli, Carmarthen and Ammanford. Carmarthen is the county town and administrative centre. The county is known as the "Garden of Wales" and is also home to the National Botanic Garden of Wales.
Carmarthenshire has been inhabited since prehistoric times. The county town was founded by the Romans, and the region was part of the Kingdom of Deheubarth in the High Middle Ages. After invasion by the Normans in the 12th and 13th centuries it was subjugated, along with other parts of Wales, by Edward I of England. There was further unrest in the early 15th century, when the Welsh rebelled under Owain Glyndŵr, and during the English Civil War.
Carmarthenshire is mainly an agricultural county, apart from the southeastern part which was once heavily industrialised with coal mining, steel-making and tin-plating. In the north of the county, the woollen industry was very important in the 18th century. The economy depends on agriculture, forestry, fishing and tourism. West Wales was identified in 2014 as the worst-performing region in the United Kingdom along with the South Wales Valleys with the decline in its industrial base, and the low profitability of the livestock sector.
Carmarthenshire, as a tourist destination, offers a wide range of outdoor activities. Much of the coast is fairly flat; it includes the Millennium Coastal Park, which extends for ten miles to the west of Llanelli; the National Wetlands Centre; a championship golf course; and the harbours of Burry Port and Pembrey. The sandy beaches at Llansteffan and Pendine are further west. Carmarthenshire has a number of medieval castles, hillforts and standing stones. The Dylan Thomas Boathouse is at Laugharne.
Stone tools found in Coygan Cave, near Laugharne indicate the presence of hominins, probably neanderthals, at least 40,000 years ago, though, as in the rest of the British Isles, continuous habitation by modern humans is not known before the end of the Younger Dryas, around 11,500 years BP. Before the Romans arrived in Britain, the land now forming the county of Carmarthenshire was part of the kingdom of the Demetae who gave their name to the county of Dyfed; it contained one of their chief settlements, Moridunum, now known as Carmarthen. The Romans established two forts in South Wales, one at Caerwent to control the southeast of the country, and one at Carmarthen to control the southwest. The fort at Carmarthen dates from around 75 AD, and there is a Roman amphitheatre nearby, so this probably makes Carmarthen the oldest continually occupied town in Wales.
Carmarthenshire has its early roots in the region formerly known as Ystrad Tywi ("Vale of [the river] Tywi") and part of the Kingdom of Deheubarth during the High Middle Ages, with the court at Dinefwr. After the Normans had subjugated England they tried to subdue Wales. Carmarthenshire was disputed between the Normans and the Welsh lords and many of the castles built around this time, first of wood and then stone, changed hands several times. Following the Conquest of Wales by Edward I, the region was reorganized by the Statute of Rhuddlan in 1284 into Carmarthenshire. Edward I made Carmarthen the capital of this new county, establishing his courts of chancery and his exchequer there, and holding the Court of Great Sessions in Wales in the town.
The Normans transformed Carmarthen into an international trading port, the only staple port in Wales. Merchants imported food and French wines and exported wool, pelts, leather, lead and tin. In the late medieval period the county's fortunes varied, as good and bad harvests occurred, increased taxes were levied by England, there were episodes of plague, and recruitment for wars removed the young men. Carmarthen was particularly susceptible to plague as it was brought in by flea-infested rats on board ships from southern France.
In 1405, Owain Glyndŵr captured Carmarthen Castle and several other strongholds in the neighbourhood. However, when his support dwindled, the principal men of the county returned their allegiance to King Henry V. During the English Civil War, Parliamentary forces under Colonel Roland Laugharne besieged and captured Carmarthen Castle but later abandoned the cause, and joined the Royalists. In 1648, Carmarthen Castle was recaptured by the Parliamentarians, and Oliver Cromwell ordered it to be slighted.
The first industrial canal in Wales was built in 1768 to convey coal from the Gwendraeth Valley to the coast, and the following year, the earliest tramroad bridge was on the tramroad built alongside the canal. During the Napoleonic Wars (1799–1815) there was increased demand for coal, iron and agricultural goods, and the county prospered. The landscape changed as much woodland was cleared to make way for more food production, and mills, power stations, mines and factories sprang up between Llanelli and Pembrey. Carmarthenshire was at the centre of the Rebecca Riots around 1840, when local farmers and agricultural workers dressed as women and rebelled against higher taxes and tolls.
On 1 April 1974, under the Local Government Act 1972, Carmarthenshire joined Cardiganshire and Pembrokeshire in the new county of Dyfed; Carmarthenshire was divided into three districts: Carmarthen, Llanelli and Dinefwr. Twenty-two years later this amalgamation was reversed when, under the Local Government (Wales) Act 1994, the original county boundaries were reinstated.
The county is bounded to the north by Ceredigion, to the east by Powys (historic county Brecknockshire), Neath Port Talbot (historic county Glamorgan) and Swansea (also Glamorgan), to the south by the Bristol Channel and to the west by Pembrokeshire. Much of the county is upland and hilly. The Black Mountain range dominates the east of the county, with the lower foothills of the Cambrian Mountains to the north across the valley of the River Towy. The south coast contains many fishing villages and sandy beaches. The highest point (county top) is the minor summit of Fan Foel, height 781 metres (2,562 ft), which is a subsidiary top of the higher mountain of Fan Brycheiniog, height 802.5 metres (2,633 ft) (the higher summit, as its name suggests, is actually across the border in Brecknockshire/Powys). Carmarthenshire is the largest historic county by area in Wales.
The county is drained by several important rivers which flow southwards into the Bristol Channel, especially the River Towy, and its several tributaries, such as the River Cothi. The Towy is the longest river flowing entirely within Wales. Other rivers include the Loughor (which forms the eastern boundary with Glamorgan), the River Gwendraeth and the River Taf. The River Teifi forms much of the border between Carmarthenshire and Ceredigion, and there are a number of towns in the Teifi Valley which have communities living on either side of the river and hence in different counties. Carmarthenshire has a long coastline which is deeply cut by the estuaries of the Loughor in the east and the Gwendraeth, Tywi and Taf, which enter the sea on the east side of Carmarthen Bay. The coastline includes notable beaches such as Pendine Sands and Cefn Sidan sands, and large areas of foreshore are uncovered at low tide along the Loughor and Towy estuaries.
The principal towns in the county are Ammanford, Burry Port, Carmarthen, Kidwelly, Llanelli, Llandeilo, Newcastle Emlyn, Llandovery, St Clears, and Whitland. The principal industries are agriculture, forestry, fishing and tourism. Although Llanelli is by far the largest town in the county, the county town remains Carmarthen, mainly due to its central location.
Carmarthenshire is predominantly an agricultural county, with only the southeastern area having any significant amount of industry. The best agricultural land is in the broad Tywi Valley, especially its lower reaches. With its fertile land and agricultural produce, Carmarthenshire is known as the "Garden of Wales". The lowest bridge over the river is at Carmarthen, and the Towi Estuary cuts the southwesterly part of the county, including Llansteffan and Laugharne, off from the more urban southeastern region. This area is also bypassed by the main communication routes into Pembrokeshire. A passenger ferry service used to connect Ferryside with Llansteffan until the early part of the twentieth century.
Agriculture and forestry are the main sources of income over most of the county of Carmarthenshire. On improved pastures, dairying is important and in the past, the presence of the railway enabled milk to be transported to the urban areas of England. The creamery at Whitland is now closed but milk processing still takes place at Newcastle Emlyn where mozzarella cheese is made. On upland pastures and marginal land, livestock rearing of cattle and sheep is the main agricultural activity. The estuaries of the Loughor and Towy provide pickings for the cockle industry.
Llanelli, Ammanford and the upper parts of the Gwendraeth Valley are situated on the South Wales Coalfield. The opencast mining activities in this region have now ceased but the old mining settlements with terraced housing remain, often centred on their nonconformist chapels. Kidwelly had a tin-plating industry in the eighteenth century, with Llanelli following not long after, so that by the end of the nineteenth century, Llanelli was the world-centre of the industry. There is little trace of these industrial activities today. Llanelli and Burry Port served at one time for the export of coal, but trade declined, as it did from the ports of Kidwelly and Carmarthen as their estuaries silted up. Country towns in the more agricultural part of the county still hold regular markets where livestock is traded.
In the north of the county, in and around the Teifi Valley, there was a thriving woollen industry in the nineteenth and early twentieth centuries. Here water-power provided the energy to drive the looms and other machinery at the mills. The village of Dre-fach Felindre at one time contained twenty-four mills and was known as the "Huddersfield of Wales". The demand for woollen cloth declined in the twentieth century and so did the industry.
In 2014, West Wales was identified as the worst-performing region in the United Kingdom along with the South Wales Valleys. The gross value added economic indicator showed a figure of £14,763 per head in these regions, as compared with a GVA of £22,986 for Cardiff and the Vale of Glamorgan. The Welsh Assembly Government is aware of this, and helped by government initiatives and local actions, opportunities for farmers to diversify have emerged. These include farm tourism, rural crafts, specialist food shops, farmers' markets and added-value food products.
Carmarthenshire County Council produced a fifteen-year plan that highlighted six projects which it hoped would create five thousand new jobs. The sectors involved would be in the "creative industries, tourism, agri-food, advanced manufacturing, energy and environment, and financial and professional services".
Carmarthenshire became an administrative county with a county council taking over functions from the Quarter Sessions under the Local Government Act 1888. Under the Local Government Act 1972, the administrative county of Carmarthenshire was abolished on 1 April 1974 and the area of Carmarthenshire became three districts within the new county of Dyfed : Carmarthen, Dinefwr and Llanelli. Under the Local Government (Wales) Act 1994, Dyfed was abolished on 1 April 1996 and Carmarthenshire was re-established as a county. The three districts united to form a unitary authority which had the same boundaries as the traditional county of Carmarthenshire. In 2003, the Clynderwen community council area was transferred to the administrative county of Pembrokeshire.
Prior to the Industrial Revolution, Carmarthen and Wrexham were the two most populous towns in Wales. In 1931, the county's population was 171,445 and in 1951, 164,800. At the census in 2011, Carmarthenshire had a population of 183,777. Population levels have thus dipped and then increased again over the course of eighty years. The population density in Carmarthenshire is 0.8 persons per hectare compared to 1.5 per hectare in Wales as a whole.
Carmarthenshire was the most populous of the five historic counties of Wales to remain majority Welsh-speaking throughout the 20th century. According to the 1911 Census, 84.9 per cent of the county's population were Welsh-speaking (compared with 43.5 per cent in all of Wales), with 20.5 per cent of Carmarthenshire's overall population being monolingual Welsh-speakers.
In 1931, 82.3 per cent could speak Welsh and in 1951, 75.2 per cent. By the 2001 census, 50.3 per cent of people living in Carmarthenshire could speak Welsh, with 39 per cent being able to read and write the language as well.
The 2011 census showed a further decline, with 43.9 per cent speaking Welsh, making it a minority language in the county for the first time. However, the 2011 census also showed that 3,000 more people could understand spoken Welsh than in 2001 and that 60% of 5-14-year-olds could speak Welsh (a 5% increase since 2001). A decade later, the 2021 census, showed further decrease, to 39.9% Welsh speakers -- the largest percentage drop in all of Wales.
With its strategic location and history, the county is rich in archaeological remains such as forts, earthworks and standing stones. Carn Goch is one of the most impressive Iron Age forts and stands on a hilltop near Llandeilo. The Bronze Age is represented by chambered cairns and standing stones on Mynydd Llangyndeyrn, near Llangyndeyrn. Castles that can be easily accessed include Carreg Cennen, Dinefwr, Kidwelly, Laugharne, Llansteffan and Newcastle Emlyn Castle. There are the ruinous remains of Talley Abbey, and the coastal village of Laugharne is for ever associated with Dylan Thomas. Stately homes in the county include Aberglasney House and Gardens, Golden Grove and Newton House.
There are plenty of opportunities in the county for hiking, observing wildlife and admiring the scenery. These include Brechfa Forest, the Pembrey Country Park, the Millennium Coastal Park at Llanelli, the WWT Llanelli Wetlands Centre and the Carmel National Nature Reserve. There are large stretches of golden sands and the Wales Coast Path now provides a continuous walking route around the whole of Wales.
The National Botanic Garden of Wales displays plants from Wales and from all around the world, and the Carmarthenshire County Museum, the National Wool Museum, the Parc Howard Museum, the Pendine Museum of Speed and the West Wales Museum of Childhood all provide opportunities to delve into the past. Dylan Thomas Boathouse where the author wrote many of his works can be visited, as can the Roman-worked Dolaucothi Gold Mines.
Activities available in the county include rambling, cycling, fishing, kayaking, canoeing, sailing, horse riding, caving, abseiling and coasteering.[7] Carmarthen Town A.F.C. plays in the Cymru Premier. They won the Welsh Football League Cup in the 1995–96 season, and since then have won the Welsh Cup once and the Welsh League Cup twice. Llanelli Town A.F.C. play in the Welsh Football League Division Two. The club won the Welsh premier league and Loosemores challenge cup in 2008 and won the Welsh Cup in 2011, but after experiencing financial difficulties, were wound up and reformed under the present title in 2013. Scarlets is the regional professional rugby union team that plays in the Pro14, they play their home matches at their ground, Parc y Scarlets. Honours include winning the 2003/04 and 2016/17 Pro12. Llanelli RFC is a semi-professional rugby union team that play in the Welsh Premier Division, also playing home matches at Parc y Scarlets. Among many honours, they have been WRU Challenge Cup winners on fourteen occasions and frequently taken part in the Heineken Cup. West Wales Raiders, based in Llanelli, represent the county in Rugby league.
Some sporting venues utilise disused industrial sites. Ffos Las racecourse was built on the site of an open cast coal mine after mining operations ceased. Opened in 2009, it was the first racecourse built in the United Kingdom for eighty years and has regular race-days. Machynys is a championship golf course opened in 2005 and built as part of the Llanelli Waterside regeneration plan. Pembrey Circuit is a motor racing circuit near Pembrey village, considered the home of Welsh motorsport, providing racing for cars, motorcycles, karts and trucks. It was opened in 1989 on a former airfield, is popular for testing and has hosted many events including the British Touring Car Championship twice. The 2018 Tour of Britain cycling race started at Pembrey on 2 September 2018.
Carmarthenshire is served by the main line railway service operated by Transport for Wales Rail which links London Paddington, Cardiff Central and Swansea to southwest Wales. The main hub is Carmarthen railway station where some services from the east terminate. The line continues westwards with several branches which serve Pembroke Dock, Milford Haven and Fishguard Harbour (for the ferry to Rosslare Europort and connecting trains to Dublin Connolly). The Heart of Wales Line takes a scenic route through mid-Wales and links Llanelli with Craven Arms, from where passengers can travel on the Welsh Marches Line to Shrewsbury.
Two heritage railways, the Gwili Railway and the Teifi Valley Railway, use the track of the Carmarthen and Cardigan Railway that at one time ran from Carmarthen to Newcastle Emlyn, but did not reach Cardigan.
The A40, A48, A484 and A485 converge on Carmarthen. The M4 route that links South Wales with London, terminates at junction 49, the Pont Abraham services, to continue northwest as the dual carriageway A48, and to finish with its junction with the A40 in Carmarthen.
Llanelli is linked to M4 junction 48 by the A4138. The A40 links Carmarthen to Llandeilo, Llandovery and Brecon to the east, and with St Clears, Whitland and Haverfordwest to the west. The A484 links Llanelli with Carmarthen by a coastal route and continues northwards to Cardigan, and via the A486 and A487 to Aberystwyth, and the A485 links Carmarthen to Lampeter.
Bus services run between the main towns within the county and are operated by First Cymru under their "Western Welsh" or "Cymru Clipper" livery. Bus services from Carmarthenshire are also run to Cardiff. A bus service known as "fflecsi Bwcabus" (formerly just "Bwcabus") operates in the north of the county, offering customised transport to rural dwellers.
Carmarthenshire has rich, fertile farmland and a productive coast with estuaries providing a range of foods that motivate many home cooks and chefs.