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This image features the spiral galaxy NGC 691, imaged in fantastic detail using Hubble’s Wide Field Camera 3 (WFC3). This galaxy is a member of the NGC 691 galaxy group named after it, which features a group of gravitationally bound galaxies that lie about 120 million light-years from Earth.
Hubble observes objects such as NGC 691 using a range of filters. Each filter only allows certain wavelengths of light to reach Hubble’s WFC3. The resulting filtered images are colored by specialists who make informed choices about which color best corresponds to the wavelengths of light from the astronomical object that are transmitted by each filter. Combining the colored images from individual filters creates a full-color image. This detailed process provides us with remarkably good insight into the nature and appearance of these objects.
Text credit: European Space Agency (ESA)
Image credit: ESA/Hubble & NASA, A. Riess et al.; Acknowledgment: M. Zamani
For more information: www.nasa.gov/image-feature/goddard/2021/hubble-images-a-g...
Rowan features Alita sculpt and 4.1 Beauty Bust body in Latte resin.
The fashion is by L'Atelier de Paris. Rowan's boots are by Ursi Sarna. Cornrow hard cap wig by me.
The 3D wall elements of the diorama are by Julia Gartung and painted by me. Miniatures are Re-ment. The miniature cabinet is a Japanese antique and I collected the hardwood furniture when living in China in the past decade.
This image features IC 3476, a dwarf galaxy that lies about 54 million light-years from Earth in the constellation Coma Berenices. Whilst this image does not look very dramatic — if we were to anthropomorphise the galaxy, we might say it looks almost serene — the actual physical events taking place in IC 3476 are highly energetic. In fact, the little galaxy is undergoing a process known as ram pressure stripping, which is driving unusually high levels of star formation within regions of the galaxy itself.
We tend to associate the letters ‘ram’ with the acronym RAM, which refers to Random Access Memory in computing. However, ram pressure has a totally distinct definition in physics: it is the pressure exerted on a body when it moves through some form of fluid, due to the overall resistance of the fluid. In the case of entire galaxies experiencing ram pressure, the galaxies are the ‘bodies’ and the intergalactic or intracluster medium (the dust and gas that permeates the space between galaxies, and for the latter the spaces between galaxies in clusters) is the ‘fluid’.
Ram pressure stripping occurs when the ram pressure results in gas being stripped from the galaxy. This stripping away of gas can lead to a reduction in the level of star formation, or even its complete cessation, as gas is absolutely key to the formation of stars. However, the ram pressure can also cause other parts of the galaxy to be compressed, which can actually boost star formation. This is what seems to be taking place in IC 3476: there seems to be absolutely no star formation going on at the edge of the galaxy bearing the brunt of the ram pressure stripping, but then star formation rates within deeper regions of the galaxy seem to be markedly above the average.
[Image Description: A dwarf spiral galaxy. The centre is not particularly bright and is covered by some dust, while the outer disc and halo wrap around as if swirling water. Across the face of the galaxy, an arc of brightly glowing spots marks areas where new stars are being formed. The galaxy is surrounded by tiny, distant galaxies on a dark background.]
Credits: ESA/Hubble & NASA, M. Sun; CC BY 4.0
The imposing two-tone blue totally-restored vehicle, which was discovered in derelict state in Indonesia in the 1980s, was designed to revive Mercedes-Benz’s image as a luxury carmaker following the devastation of its German factories in World War II.
The car was actually a prototype model of a luxury coupe and never went into production because of Germany's involvement in World War II, which has led to the devastation of the company's factories and other industrial facilities in the country. With the evolution of a much more advanced powertrain components like the single overhead camshaft engine, the platform of the 1948 Mercedes-Benz W142 A320 prototype was no longer used and the car was sold to a Dutch businessman and brought the car to Indonesia.
The car remained there for almost 40 years before being discovered by chance by an Australian rare car antiques seeker and transported to Melbourne in the late 1980s. At that time it was in a very bad condition, badly painted red and in an absolutely unusable condition. After an expert assessment by specially invited director of the Mercedes-Benz Museum, Max-Gerritt von Pein, the car's authentic status was confirmed and this gave impetus to its complete restoration. Payne is amazed not only that the vehicle has survived, but that it has been preserved in its original form. The work to return the convertible to its original factory design involved complete disassembly, which revealed traces of the original two-tone blue paint under the door hinges, and after removing the vinyl trim, the original two-tone leather upholstery was also revealed. With the help of specialists from Melbourne, the one-of-a-kind was fully restored in early 2006 to bring it as close as possible to its original specification.
The Mercedes-Benz W142 A320 cabrio measures about 5.5 meters (18.04 feet) and has 142-inch long wheelbase. Outside, the rare Mercedes-Benz cabriolet features a sleek two-tone blue exterior color and a soft top roof. On the inside, the restored leather seats remains in tack. The car is equipped with a 59kW side-valve engine under its hood.
Although the car went through a complete restoration, it looks like the original Mercedes-Benz W142 A320 prototype model developed in 1948, according to Max-Gerritt von Pein, the head of Mercedes-Benz Museum who inspected the car.
The 1948 W142 therefore remained a one-off prototype and eventually escaped into private hands, surviving today as a unique example of what might have been.
Sources: newatlas.com ; shannons.com.au ; Techno Classica Essen 2012
Features:
-Custom painted Brick Affliction SCA Armor set.
-Custom sculpted pants pockets, knee pads, gloves, vambraces, and armored sleeves (done by me.)
I've been working on this guy on and off for a couple months now and finaly finished him! :)
Andrew (pecovam) put so much detail into these pieces and it was so much fun painting them! :D
I really like how this guy turned out and I hope you guys do too. :) (as usual, it looks sooooo much better in person :P)
Enjoy!
-John
ATLANTA, GEORGIA - OCTOBER 26: Lee "Faker" Sang-hyeok of T1 poses at the League of Legends World Championship Semifinals Features Day on October 26, 2022 in Atlanta, GA. (Photo by Fernando Decillis/Riot Games)
While several other familiar geothermal features in West Thumb Geyser Basin were showing muted colors on this cool, overcast day, this small, unnamed pool displayed a variety of colors from the pale aquamarine crystal clear water in the deep pool to an assortment of bacteria, algae, and other "extremophile" life forms in its shallower, cooler runoff. This striking feature is in the "Venting Pools" area of the basin.
*Features:
- 100% Mesh structure
- 100% seamlessly tillable, several buildings next to each other - sideways
- 100% original mesh and design made by myself
- Fully rendered textures with light and shadows for a realistic effect
- Exterior textures come with NORMAL MAPS.
- Contains 7 Template Textures with full perms (see details below). These textures are for personal use only and can't be shared.
Floor.
Ceiling.
Wall right side (Interior).
Wall left side (Interior).
Wall Middle (Interior).
Awning cloth (Both sides).
- The prefabs buildings come in four different exterior textures which are sold separately and also as a Fatpack.
Each pack contains six different building shapes.
See details bellow:
Size 11x11x10
Prim count 14
Size 11x11x15
Prim count 14
Size 11x11x20
Prim count 16
Size 11x11x10 With Awning
Prim count 20
Size 11x11x15 With Awning
Prim count 20
Size 11x11x20 With Awning
Prim count 22
- Footprint: 11x11 Without Awning
- Footprint: 11x14 With Awning
- Minimum Parcel Size Required: 512sq. meters
- Permissions
Copy / Modify / No Transfer
maps.secondlife.com/secondlife/Antares/138/96/2003
marketplace.secondlife.com/p/The-Village-Shops-Fatpack-Bo...
Features on J.B. Jackson and Howard Fogg, cover photograph by Jeff Brouws. More at: www.railphoto-art.org/railroad-heritage-47/
Пара интервью с вокалистом Felt.
• их главный хит Primitive Painters спродюсировал Робин Гатри из Cocteau Twins, и на бэк-вокале с его подачи там спела Elizabeth Fraser;
• сингл Primitive Painters попал на вершину UK Independent Singles Chart, чего не удалось достичь ни The Smiths, ни Cocteau Twins;
• когда песня взлетела в топы МакГи из Creation и Cherry Red решили снять видео на этот сингл, но МакГи (был на мели) не заплатил ребятам (Cherry и Creation изначально договаривали разделить расходы пополам), поэтому они смогли снять только полклипа (!), из-за этого Lawrence собирался уничтожить видео, к счастью копия была не только у него (группа как раз перешла из Cherry на Creation);
• Робин очень любил эту группу и старался им помочь по мере сил, но для сведения альбома они заставили их вокалиста (по имени Lawrence Hayward) подписать бумажку, что он никаким образом не будет вмешиваться в сведение записи, потому что были наслышаны о его характере, он очень страдал что не может повлиять;
• видео сняли спустя пару лет после выхода альбома, в доме Фила Кинга (в будущем басиста Lush и The Jesus and Mary Chain) в Hammersmith, он тогда играл в Felt; штатным басистом Felt был Marco Thomas, так что Phil King даже не отмечен ни на одной их пластинке, хотя и снялся в их самом популярном видео;
• Martin Duffy сыграл на клавишах на этой пластинке, когда ему было всего 18 (а пришёл он в группу вообще в 16 лет), после распада Felt он примкнет к Primal Scream (на днях скончался /RIP);
Felt discography
1982.01 — Crumbling the Antiseptic Beauty (Cherry Red)
1984.02 — The Splendour of Fear (Cherry Red)
1984.10 — The Strange Idols Pattern and Other Short Stories (Cherry Red)
1985.09 — Ignite the Seven Cannons (Cherry Red) - Primitive Painters отсюда
1986.06 — Let the Snakes Crinkle Their Heads to Death (Creation)
1986.09 — Forever Breathes the Lonely Word (Creation)
1987.06 — Poem of the River (Creation)
1988.05 — The Pictorial Jackson Review (Creation)
1988.07 — Train Above the City (Creation)
1989.11 — Me and a Monkey on the Moon (Creation)
compilation
1987.09 — Gold Mine Trash [Cherry Red]
1990.04 — Bubblegum Perfume [Creation]
1992.04 — Absolute Classic Masterpieces [Cherry Red]
1993.10 — Absolute Classic Masterpieces Vol. II [Creation]
1993.10 — Felt Box [Cherry Red]
2003.05 — Stains on a Decade [Cherry Red]
singles
1979 — Index
1981 — Something Sends Me to Sleep
1982 — My Face Is on Fire / Trails of Colour Dissolve
1983 — Penelope Tree
1984 — Mexican Bandits / The World Is as Soft as Lace
1984 — Sunlight Bathed the Golden Glow
1985 — Primitive Painters
1986 — Ballad of the Band
1986 — Rain of Crystal Spires
1987 — The Final Resting of the Ark
1988 — Space Blues
• Уникальный саунд Felt — заслуга гитариста Maurice Deebank (Lawrence его друг детства) и он покинет группу сразу после альбома «Ignite the Seven Cannons», 1985, он говорил в другом интервью, что на первых альбомах учил всех играть на инструментах, там все самоучки кроме него (и даже после его ухода, они играли так как он их научил), Maurice признавал что Lawrence великий поэт, но они разошлись т.к. парни перестали слушать его советы по поводу саунда, плюс им вскружил голову успех Primitive Painters — Джон Пил и все остальные там подпрыгивали от радости когда её включали и они реально остановились в полушаге от глобальной популярности, но эта же песня стала их последним большим хитом;
Phil King играл в группах:
The Servants (1986)
Felt (1986-1987)
Apple Boutique (1987)
Hangman's Beautiful Daughters (1987)
Biff Bang Pow! (1988-1989)
See See Rider (1989-1992)
Lush (1992-1997, 2015-2016)
The Jesus & Mary Chain (1997-1998, 2017-)
(удивительно конечно, что я посмотрел живьём и Lush и JAMC хотя даже и не мечтал о таком!)
Felt одна из самых недооценённых британских групп, как и McCarthy.
...
An interview with Lawrence: “‘Primitive Painters’ was this great big statement, Felt were going to be massive.”
— Michael Bonner @ Uncut, 24.07.2015
www.uncut.co.uk/features/an-interview-with-lawrence-primi...
— Where were Felt just prior to Ignite the Seven Cannons?
— Honestly there’s so much. I don’t want to blab on and on. Originally I wanted to continue with John Leckie after The Strange Idols Pattern. He didn’t want to do it. I was writing these trademark pop songs at the time, short 3-minute things. Leckie said, “They’re all the same, they just seem to start and then stop, there’s no beginning.” Things like that. He was reluctant to get involved. But I said, “These are just a few rough demos that you’re listening to, the songs are nothing like that really. They’re quite expansive, there’s a lot going on.” But he wouldn’t give it a chance. So he passed on it anyway. We were trying to get Tom Verlaine as well.
— Did you approach Verlaine?
— We did, yeah. He said – oh God, his quote was classic – he said he didn’t want to get involved himself because he felt the guitars were playing all the way through the songs. That’s the gist of it. They would start and continue, like a long solo. The songs, they weren’t arranged. Like most would start and then continue all the way through the song. That’s a lot to do with me, because Maurice [Deebank] is such a great guitarist that I encouraged him to play from beginning to end, especially on my songs. That’s something Tom Verlaine picked up on. It was a good criticism, I suppose, in a way, if you were trying to write conventional songs. But we weren’t. At the beginning of this chat my point would be that these people didn’t give us a chance to see what could happen in the studio with this.
— How did Robin Guthrie become involved?
— Cocteau Twins had approached us to play with them live because we were Robin’s favourite band. We didn’t know them, they got in touch with us, and Robin said they were doing a small UK tour – well, for them it was a massive tour. It was 5 days on the trot I think, or 6 days. They took us with them in their mini bus and they paid for everything. They were very kind to us, and we became great friends on this tour. So, I thought, “Maybe I’ll ask Robin because he seems to know what he’s doing in the studio.” He wasn’t known as a producer then, he’d only produced Cocteau Twins. Now he’s known as more of a producer. I wanted to work with a musician. Robin liked us a lot, and he agreed to do it as long as I wasn’t at the mixing. I had to sign a contract to say that I wasn’t allowed to be at the mixing, because he thought my presence was too overpowering. There could only be one person mixing the record, and that would be him.
— Is that just how he works or was that about you personally?
— That was about me personally, absolutely. Because I was in control of every asset of the band. I had a comment on everything, even a shoelace, for example. I was in to everything, and I was completely obsessed. I think he thought, if he was going to produce, he’d want to produce it his way. He’d probably heard stories of me in the studio before anyway.
— What sort of stories?
— I don’t know, the usual. You always hear stories about people in the studio that are kind blown up out of all proportion. I don’t know what he could have heard, there are so many. He’d probably heard that it’s very hard to work with me. I signed this piece of paper anyway. There was a production contract and there was an extra contract for me to sign saying that I wouldn’t be there at the mixing. I can’t go into the whole thing, we’d need a whole book. But, what happened was, as we were recording the album, I was more and more reluctant to go along with this. I wasn’t sure that I shouldn’t be there. It got to the point where we had 11 days to record and five or six days to mix. We did it in Palladium studios in Edinburgh. Robin knew the engineer, the guy who owned it. Jon Turner I think his name was.
— Do you remember when this was?
— Let’s remember the weather… I reckon it was spring. It was coldish but there wasn’t any snow or rain. I’d say spring we did it. Definitely spring, yeah. Loads of Eighties bands went to Palladium, especially Scottish bands. Paul Haig and people.
— What was it like?
— It was residential which is the first time I’ve done that, and I didn’t like that at all, being away from my own surroundings, and sharing a room, we were all sharing a room. Like a dormitory it was.
— Who did you share with?
— I had my own room. I think that was part of it. I had to have my own room. I think we threw someone else in together, three of them together, so that I could have my own room. I think that was my one diva moment. It was awful for me, it was in the middle of nowhere. About a 45 minute bus ride into Edinburgh. It was awful, in a country lane, there was like a tiny little village down the lane. I got attacked by a dog, had to go to hospital. Like a wolf it was. It attacked me one day.
— Why did it attack you?
— I don’t know, just saw I was scared. It didn’t attack anybody else. I was on my own. Had to go to hospital. I hated it. And also I hated the food, and the whole day was geared up to “Is he going to eat or not tonight?” It’s all like that.
— What kind of food did they serve, if you don’t mind me asking?
— I can’t remember. But I didn’t eat anything. I didn’t like any meals, it was always a big deal. His wife was cooking the meals for us, of course, and you tend to be polite in those situations, but I couldn’t eat the food. Robin, he thought it was wonderful that all this was going on, and he’d make a big show of it to the wife, “He’s not eating it again, he doesn’t like your food.” All this kind of stuff. He’s quite the joker, Robin is. Everything’s based around a joke and japes with him. He sort of revelled in my idiosyncrasies.
— I want to talk more about Robin in a minute. But this is Duffy’s first record. How did he come into the picture?
— He joined late ‘84, straight from school. When we did Ignite… he was probably 16.
— How did you find him?
— I put an advert in Virgin for a guitarist. This was during one of the periods where Maurice left. This guy who worked there came up to me and said, “Look, you’re in Felt aren’t you? I know this great keyboard player.” That was Martin. I rang him and it was as simple as that. That was it really. Very lucky. I was thinking about a keyboard player anyway, because Maurice is so hard to replace. I got Martin in, we worked on all songs that were on Ignite the Seven Cannons – apart from “Primitive Painters” and Maurice’s solo song. In between then and starting the album, Maurice rejoined. He’d always leave, then he’d rejoin. Me and Gary [Ainge] would carry on on our own for a few months, and then we’d come to a low point, go round to Maurice’s house and beg him. We’d stay up all night with him and plead with him to come back. He took a lot of persuading, he wasn’t bothered about being in a group at all. So anyway, the next time we got Maurice back, Martin was with us. One of the reasons Maurice was quite happy to come back was the fact that we had a keyboard player. He thought it would be better for the arrangements.
— This was Maurice’s final record, though?
— Every record he came in and left really. That’s why he’s never in a lot of interviews, because he’d left straight after recording. But what happened this time was he’d got married to a girlfriend, and what should have been his honeymoon was spent recording Ignite the Seven Cannons. When we delivered him back to his flat in Birmingham, he got out the van and said “I’m finished now, yeah that’s it, I’m finished.” I knew he meant it that time. He left soon as we’d finished recording.
— When did you start writing “Primitive Painters”?
— When Maurice rejoined, he bought the music for “Primitive Painters”. It wasn’t like a fully formed song, it was like a cyclical riff. We arranged it together, and I put the verses in so it was a joint collaboration. But he wrote all the music to that and he brought his instrumental track, “Elegance of an Only Dream”. I wanted there to be lots of Maurice songs on that record. But he wasn’t interested, or he just found it too hard to work on his own, I think. When we wrote the songs together, we would sit opposite each other, parallel to each other, in my bedroom or flats that we subsequently got, and we’d just sit there and work on them. I’d play the chord sequence while he’d work out his guitar parts. I think he liked the camaraderie of that better than sitting on his own in a cold room trying to come up with songs, which I didn’t have a problem with. The poet in the garret was made for me. I was quite happy to be on my own composing and writing the words and writing the music, just waiting for fame. I was very prolific, but Maurice wasn’t. He wrote I think one on the first album, “I Worship The Sun”, and he wrote a song called “Spanish House” on the third album, and “Primitive Painters” and the “Elegance…” song. I was quite happy for him to present a whole album worth of stuff. We were partners and it didn’t matter who wrote what bits. We were songwriters’ together, joint songwriters. And of course, he came up with the best song, “Primitive Painters”.
— Where did the lyrics come in, do you have books of lyrics?
— I was sitting in my kitchen in Moseley doing it. The lyrics, I don’t know how they come about. That would’ve been the last song on Ignite the Seven Cannons, because I had all the others written. So that would’ve been the last lyric I wrote. I can’t say there was any special moment that made me come up with it.
— Can you explain the song?
— “Dragons blow fire, angels fly, Spirits wither in the air/It’s just me I can’t deny I’m neither here, there nor anywhere”. It’s about wanting to be in a select group. “Primitive painters are ships floating on an empty sea, gathering in galleries”. Imagine groups of really cool kids hanging out in galleries, not pubs. That was my sort of conception.
— Was that you?
— Yeah, that’s me. I’d always find myself in a gallery on my own, y’know.
— Can you talk us through how you worked on the song in the studio?
— We’d work them up in a practise room. There was no improvising going on, so we knew exactly what we were doing. Then we set up like a band in the studio. They were layered afterwards. They were very simple, very traditional big group concepts, just like everyone did. You’d set up live and you’d get the bass and the drums and the keyboards down, and the rhythm guitar, and you’d layer it from there, adding lead guitar and vocals afterwards. It’s quite boring, that aspect of it. But it was done really quickly because we didn’t have enough time to ponder, so we just did them all live.
— What was Robin like in the studio as a producer?
— While I was there, he was capturing it all with the engineer. He didn’t make any arrangement suggestions because it was all set in stone before we got there. I was very pedantic like that. But he put effects to tape, which is something you don’t do.
— Could you explain what you mean?
— You should record everything dry, and then you decide what effects to put on afterwards so you have the choice. That’s why that album sounds so impenetrable and dense because all the effects went down, so by the time of the mixing there was nothing to change. I suppose that was the way he recorded the Cocteau Twins. It was a massive mistake, and I’m sure he would never do that now. Over the years I’ve collected some of the master tapes and on the reissues that are coming out, I’ve tried to extract the Cocteau Twins from my record. You can’t really hear Maurice’s guitar leads. Okay, skip forward to the end of the mixing when I finally got my tape. I was horrified, I would never have made a record like that. I was like beside myself with anguish. The thing was in those days, you couldn’t remix an album. But Robin quite rightly said “Primitive Painters” has to be the single. He went on and on about it, and he went to Cherry Red and he told them, he persuaded everyone. I didn’t think it was a single, I thought it was too long. I went with him to a studio in London and we remixed it together. And that’s why that’s the best song, ‘cause I was there in that mixing. I went with him to Barry Blue’s studio in Camden. Remember that guy Barry Blue? He had some hits in the ‘70’s? He was like a teenybopper. His studio in Camden was by the Roundhouse. We spent an afternoon there and we remixed “Primitive Painters”. I think we should’ve done an EP with Robin; that would’ve been the best outcome. It would’ve been a different story. But, anyway, we were lumbered with a whole album. And it was 11 tracks as well. That’s something I could never get my head around because I like everything symmetrical. That hurt me a bit, straight away, before I’d even listened to it.
— How did Liz Fraser come to be on the record?
— Liz came with Robin to work on her own lyrics and songs and that, so she’d be upstairs in the bedroom, in their room, working on her lyrics. She had a bed full of books that she was poring though, reading and writing. Anyway, when we’d recorded “Primitive Painters” and we listened back, Robin said “I’ve got a good idea.” He ran upstairs and he said to Liz, “I want you to sing this song.” He just played her the end section. I wrote the lyrics out for her on a piece of paper, she went in, listened to it once on headphones, and then just improvised around it. It was as real as that. It was a remarkable moment. When you listen back to something like that, we knew we’d got it.
— It was on the cusp between the 7-inch culture of the late ‘70’s and the 12-inch culture of the Eighties.
— Yeah, I wanted it to be a stand alone release like Wild Swans’ “Revolutionary Spirit” and Joy Division’s “Atmosphere” which were 12-inches. “Atmosphere” was on 7-inch, but that was that French label so it didn’t count. Songs that were too big to hold on 7-inch, they were big. Cherry Red wanted to do a 7-inch edit of “Primitive Painters”, but I wouldn’t let them.
— Talking of Cherry Red, what was your relationship like with them at that point?
— Michael Alway was the A&R guy who signed us to Cherry Red. He formed a new label with Geoff Travis and they went to Warners and they started Blanco Y Negro. He always promised that he’d take us with him. He took most of the Cherry Red rock stuff, and he left us behind, because Warners just wouldn’t entertain the idea of having Felt. So we were on a label that we didn’t want to be on. But we all made friends and we had two albums left to deliver so we did Strange Idols Pattern, and then Ignite the Seven Cannons. I’d been speaking to Alan McGee at this point so I knew we were going to Creation after this last album. There was no animosity there, we were all friends and I’ve never fallen out with them, we’d been friends for years and it was just business.
— You made a video with Phil King a couple of years later. How did that come about?
— We were on Creation when we did it. What happened was, I don’t know why but it was mooted that we should do a video for “Primitive Painters”. It got half made. Cherry Red and Creation were meant to pay for it together, pay half each. Cherry Red came up with their half because they initiated the project, and McGee didn’t pay his half. So we did half a video with Phil’s friend Danny. What you see on YouTube is half a video. We were meant to do another half and join it together, have stuff superimposed over the top, have extra scenes. But all you can see really is me and Phil in Phil’s house in Hammersmith, just standing around. It’s ridiculous. I was so embarrassed when it leaked out. So we put it to bed, and it lay there until somebody scooped it up and put it on YouTube or leaked it on a VHS probably first, it was probably a leaked VHS first.
— Yeah, it’s got that slight tracking wobble you get every now and again on VHS…
— I should’ve been more attentive and got hold of it and cut it up or something. I was very meticulous about ‘there’s no extra tracks’ and things like that, no demos or extra tracks hanging around. But with this for some reason it went wrong. I can’t remember why it was resurrected I’d say about a year and a half later. Maybe together McGee and Cherry Red were going to do something.
— Where do you think now the song fits into your body of work? Is it a song you still feel proud of?
— Oh yeah, oh wow. It was great that we went back – at that time you never went back and revisited anything – and we spent an extra afternoon getting it right and perfecting it. It was this great big statement, Felt were going to be massive. I was prone to short pop songs. My thing was, I’m going to break in to the mainstream by doing a short pop song. I was totally off the mark. We nearly had a hit single with a six-minute track that was not a traditional pop song, let’s put it that way. I reckon that if it would’ve been in the ’90s, it would’ve been a Top 10 song – because the independent movement was ready to promote songs like that. In 1985, there was no apparatus for a song like that, to take it to the mainstream. Even The Smiths would only get to 23, and the Cocteaus would only get to 38. I’m really proud of the song, I’m really proud that Maurice got his moment. I’m proud of the fact the Cocteaus are on it. I suppose it was the high point of the first days of Felt wasn’t it?
...
Trash ascetic. The minimally-monikered Lawrence - driving force behind Felt, Denim, and now Go-Kart Mozart - lives like a monk but dreams of pop stardom, drawing inspiration from the 'middle-of-the-road underground'
• The Guardian, 8 Jul 2005
www.theguardian.com/music/2005/jul/08/1
When the cult pop star Lawrence was 12, he saw a film of Gary Glitter disposing of his old life as Paul Gadd by putting all of his possessions on to a boat on the river Thames and floating them downstream. "I said to myself, 'I'm going to do that one day,'" says Lawrence, who began the process by disposing of his surname. "I'm going to put one life away in a box and start a new one."
Although he hasn't quite reached Glitter's levels of fame or infamy, Lawrence has succeeded in reinventing himself several times. For most of the 1980s, he was the sensitive leader of the influential indie band Felt. Then he re-emerged in the 1990s with Denim, whose wry wit and celebration of 1970s pop culture proved too far ahead of its time for commercial success. Now he is back with Go-Kart Mozart, and a roster of perfectly formed pop songs that he hopes will be recorded by some of the biggest stars of the day. He's setting his sights on Charlotte Church, but whether she will add Um Bongo (about the Rwanda genocide), and Transgressions (about a trend for spraying Lynx body lotion on to your tongue for a cheap high) to her repertoire remains to be seen.
"I got a letter from a fan the other day who said that I was the only true talent left, now that Stephen Duffy is writing for Robbie Williams," says Lawrence, who lives in near poverty in a featureless flat in Victoria. "But I'd love to write for Robbie Williams! I think I write hit singles anyway; it's just taken me a long time to master them because I'm a slow learner. I couldn't tie my own shoelaces until I was 12."
Lawrence manages the unlikely feat of existing as both pop star and monkish hermit. He eats as little as possible because he believes that creativity comes from being hungry - if pushed, he will admit to pigging out on the occasional sausage roll from a stall on Victoria station - yet he is in love with glamour. He likes the Norwegian singer Annie because "she's a gorgeous girl and I'm into beauty. I could never listen to that big fat oaf from Pop Idol [Michelle McManus] because she's over-indulged herself. My whole thing is about not doing things, about being as thin and as minimal as possible. Ideally I'd like to wear brown robes, eat a bowl of rice a day, and go into a trance as I stare at beautiful album covers."
Then there are the records. In the corridor of the tiny flat Lawrence has a shelving unit with his French pop and 1970s glam albums. He's heavily into what he calls the underground middle-of-the-road scene. He has two copies of his favourite ones in mint condition "just in case", and visitors are only allowed to touch them once they have donned special protective gloves. "I don't want fingerprints on the laminated covers," he explains. Asked about his prized albums, he presents the solo debut by the 1960s/70s Israeli pop star Abi and 1973's Aquashow by obscure glam rocker Elliot Murphy.
Lawrence plays an emotional version of David Bowie's Life on Mars by British choral group the King's Singers and follows it with 1973's Dee Doo Dah by the actress and singer Jane Birkin. "And get ready for this," he says, unsheathing a poster of Michel Polnareff depicting the flamboyant French star proudly displaying his bottom. The poster was banned in 1972 and Polnareff was fined 10 francs for every copy printed. "I go mad on Polnareff. In the 1970s, he moved to the penthouse suite of a hotel in Los Angeles and as far as I know he's still there."
His only other significant possession is a book collection, shelved under a durable polythene dust cover and containing true-life accounts by heroin addicts, a few cult novels like Hunger by Knut Hamsun and Ask the Dust by John Fante, and an entire set of the Skinhead novels; the violent pulp books written by Richard Allen in the early 1970s. "I would say that real accounts by junkies are my favourites, and I'm not into fiction. I have everything by Jack Kerouac but his novels are about real life anyway."
Lawrence does dream of riches, despite currently living as an ascetic. "I love prison cells - if I had the money I would definitely build one of those cement beds that extend from a wall - but I'd really love a circular penthouse flat in Mayfair," he says. "I have a jewel case full of hits ready for ransacking, but I'm also in the market for a rich wife. She can be late 20s to early 30s and if her dad's in Who's Who, that's a bonus."
...
‘I’d rather be a tramp than reform my old bands’: Lawrence on life as British music’s greatest also-ran
• The Guardian, 27 Jul 2022
www.theguardian.com/music/2022/jul/27/lawrence-interview-...
His fans range from Charlie Brooker to Jarvis Cocker, yet the auteur behind Felt, Denim and Mozart Estate never found fame. He explains why it was all Princess Diana’s fault
The most uncompromising figure in British pop has an urgent question: “Do you need the loo?” This is Lawrence (no surnames, please), the mastermind responsible for the coruscating beauty of Felt, the knowing glam-rock of Denim and the bargain-bin ear-worms of Go-Kart Mozart, now renamed Mozart Estate. As we walk to his high-rise council flat in east London, I promise him that my bladder is empty. “Are you sure?” he persists in his Midlands lilt. “Do you want to try going in the cafe?” No one is allowed near his toilet. “A workman was round the other day, and he used it without asking. Oh God, it was ’orrible!”
Lawrence is wearing his trademark baseball cap with its blue plastic visor and a vintage-style blue Adidas jumper. His skin is pale and papery, his eyes small but vivid. He is 60 now and has been dreaming of pop stardom since he was a child. “I used to sit in the bath and pretend I was being interviewed: ‘So what’s it like to have your third No 1 on the trot?’”
Only one of his songs has ever charted: Denim’s It Fell Off the Back of a Lorry, straight in at No 79 in 1996. Summer Smash, a BBC Radio 1 single of the week, might have made good on its lyrics (“I think I’m gonna come / Straight in at No 1”) if its release in September 1997 had not been scrapped following a certain Parisian car crash. As Lawrence shows me around his ramshackle flat, which he has been decorating for the past 12 years or so, I spot a grotesquely bad portrait of Diana, Princess of Wales stowed in one corner. “My story is pinned to hers forever,” he says glumly.
We perch on wooden stools in the cluttered, dimly lit living room. Around us are piles of books and vinyl, assorted knick-knacks (feather duster, magnifying glass) and a mustard-coloured Togo chair – a rare extravagance – still in its plastic wrapping. The white blinds are pulled down; a leak has stained them urine-yellow like a child’s mattress. “I don’t think anyone’s had as much bad luck as me,” he says. “It just goes from one disaster to another.”
And yet Lawrence of Belgravia, the 2011 documentary about him which is now being released on Blu-ray, remains stubbornly inspiring. It’s the story of a born maverick who refuses either to abandon his dreams of success or lower his standards to make them a reality. “You see so many musicians reforming their old bands,” he says. “I can’t do that. You’ve got to move forward.” He knows what it’s like to be disappointed by your idols – “I couldn’t get over it in the 1980s when Lou Reed had a mullet” – and is determined never to sully his own legacy, no matter how much cash he is offered. “I’d rather be a tramp than reform Felt or play my old songs,” he says.
He has put his lack of money where his mouth is. “There came a point where I learned to live on nothing. I’d have two pence in my pocket, and I’d find a bench on the King’s Road hoping someone would sit next to me so I could ask for a cigarette. No one ever did because I looked so rough.”
Lawrence of Belgravia alludes to addiction issues and legal woes: we glimpse bottles of methadone and piles of court letters. At the start of the film, he is evicted from his previous flat. But it is still a fond and hopeful study of someone for whom fame – as symbolised by limousines, helicopters and Kate Moss – has never lost its allure. “It’s such a shame it hasn’t happened to me,” he says. “I’d love to try fame on for size, see what it’s like.” How close has he come? “There was a period in the 1990s when I could get a taxi. That was as good as it got. There’s a fame ladder and I’m near the bottom. I always have been, and I accept that.”
The documentary has helped a bit. “It’s a proper film, and that took me up a couple of rungs,” he says. “It legitimised me.” He has rarely wanted for respect: he counts Jarvis Cocker and Belle & Sebastian’s Stuart Murdoch among his fans; Charlie Brooker chose Denim’s The New Potatoes, with its Pinky & Perky vocals, as one of his Desert Island Discs. He has also started being recognised in the street – “which shows you’re getting somewhere”. But he has a little grumble: “The people who come up to me are all listening to my stuff on Spotify. I tell them: ‘Buy a bloody record!’ Some of them haven’t got a turntable, so I say, ‘Put it on the wall.’”
His hard-luck story began when Felt failed to win favour with the DJ John Peel. “If you were an indie band in the 1980s, you couldn’t make it without Peel’s support,” he says. When Lawrence formed Denim in the early 1990s, he seemed ideally placed to ride the incipient Britpop wave. “Except I made one super error,” he points out. “I thought live music was over, so we didn’t play live at first.’” He believed it would add mystique if fans couldn’t see Denim in the flesh. “I wanted to be a cartoon band. But it turned out to be the beginning of the live boom. Indie suddenly went mainstream. I didn’t spot that coming.”
If the hard-gigging likes of Blur stole a march on Lawrence, it was another Damon Albarn outfit that pipped him to the post with the “cartoon band” idea. “I couldn’t believe it when Gorillaz happened,” he splutters. “I was like, ‘That’s what I wanted to do!’”
Soon after the Summer Smash debacle, Denim were dropped by EMI. “We had to go down to making records for nothing, getting favours from friends.” Go-Kart Mozart was intended as a stop-gap but the songs, many of them musically upbeat and lyrically harsh (When You’re Depressed, Relative Poverty, We’re Selfish and Lazy and Greedy), have kept on coming for more than two decades. The name-change to Mozart Estate reflects, says Lawrence, “the tougher times we live in”.
Even he was taken aback while checking the lyric sheet for the new Mozart Estate album Pop-Up, Ker-Ching and the Possibilities of Modern Shopping, which is to be released in January. “Every song has something ’orrible,” he says. One track features the line, “London is a dustbin full of human trash.” Another is called I Wanna Murder You. “I’m never going to get any PRS money for that,” he says. “Still, it’s very catchy. Breaks into a lovely chorus.”
It’s all too much for some people. When the first Go-Kart Mozart album came out, he received a call from Alan McGee, his Creation boss from the Felt days. “Alan said, ‘What’s this song Sailor Boy, then? Jean Genet going down on you? I don’t get it, Lawrence. I don’t get what the fuck you’re doing!’” He looks pleased as punch.
Paul Kelly, the director of Lawrence of Belgravia, thinks the singer is in a healthier and more optimistic state now than during the making of the film. Production took eight years, largely because Lawrence kept disappearing for months on end. “First I’d be frustrated, then I’d worry,” says Kelly. “When he finally turned up, he’d act as though nothing had happened. He has that disarming personality so you always forgive him. I think he had a fear that when we were finished, there’d be nothing else. He didn’t want to let the film go.”
These days, Lawrence has fingers in umpteen pies (Felt reissues, a limited-edition folder of collectible bits-and-pieces and a 10-inch EP, all ahead of the new album). He is bubbling with ideas: he wants to write a play for the Royal Court, collaborate with Charli XCX, be directed by Andrea Arnold. “Do you know her?” he asks hopefully. “I want to be in one of her films and write a song for it.”
His greatest enthusiasm is reserved for the larger-than-life-sized pink marble bust which the sculptor Corin Johnson is making of him: “He came up to me at a gig and said, ‘I’d like to do a statue of you.’” A month’s worth of sittings later – including one spent with straws in his nostrils while his head was encased in plaster of Paris – and it’s almost ready. Nick Cave, one of Lawrence’s heroes, has been working in the same yard on a ceramics project about the devil. “He keeps saying, ‘When are you going to bloody finish that?’”
Even on Lawrence’s rinky-dink, old-school mobile phone, which is no bigger than a Matchbox car, the pictures of the bust look imposing. A hood is yanked up over his baseball cap, sunglasses are clamped to his face, his expression is surly and defiant: it’s a literal monument to his artistic purity. “This should push me a few rungs up the fame ladder,” he says, marvelling at his marble doppelganger. I think he’s in love.
...
📼 Felt - Primitive Painters [feat Elizabeth Fraser] (1985)
Producer: Robin Guthrie (Cocteau Twins)
video 1987 - Lawrence Hayward & Phil King (in Phil’s house in Hammersmith)
These sold pretty in Greece badly unfortunately, this example features what I think is an Irmscher bodykit. Its visiting from Skopje, Macedonia
Since the Spyrius faction of Classic Space never got a big flagship, I decided to build them one for SHIPtemeber 2023. The Spyrius Primus is the Spyrians' mothership where they bring all of the technology they steal from the other Space factions to bring them back to their home planet. It has the same kind of saucer shape as their other ships which allows them to be undetectable by the Space Police's radar. It is equipped with a powerful triple engine and two quad-laser cannons for defense and quick getaways. It features interior for the bridge, cargo bay, and the hallways. The bridge can serve as a detachable escape pod. The ring was inspired by Chris Wight’s Steampunk Mega Wheel Design. Thanks to Diego from 1980somethingspace.com for the Spyrius background.
Architectural Significance
Design Features
Significant buildings:
There are no individual significant buildings as such in Finn Slough. The importance of the built form in this area stems from the cluster arrangement of the structures, their history as a group, and their development over time. There are no exact dates available for the construction of the individual homes, only that the majority of them were built between the first settlement of the area and approximately 1940. New additions have continued the pattern of incremental development and have retained the overall vernacular character of the buildings.
Overall built form:
The site has a linear boardwalk spine on Whitworth Island, with houses on either side connected to the boardwalk by gangplanks. The buildings can be accessed by boat from the river or on foot by a wooden footbridge from the dyke to the boardwalk. Buildings on the north side are accessed from Dyke Road. The majority of the buildings are one or two storey wood frame dwellings and fishery-related buildings with fairly steep pitched gable roofs. Many of them are on stilts. They have evolved from the early “scow houses” which were rectangular structures on floating barges, and used as dwellings by local fishermen.
Aesthetic qualities:
Although the structures at Finn Slough are rough and vernacular in nature, they still demonstrate a degree of aesthetic quality through a consistent massing and scale of buildings, their clustering along the slough and along a central corridor, and through a rhythm of rooflines, dock structures, and hydro poles. As well, there is a consistency in building materials, and in the muted natural colours of the buildings and the landscape which makes the area particularly attractive.
Source: www.richmond.ca/plandev/planning2/heritage/HeritageInv/de...
Paxton’s Tower,
Llanarthne,
Carmarthenshire.
TAKEN - Sat 30th Oct'21
The tower is 36 feet high. The lower part of the tower is triangular in shape with a turret at each corner. On the first floor there is a banqueting room. Coloured glass from one of the windows can now be seen in the Carmarthen Museum at Abergwili. On the second floor there is a hexagonal prospect room surrounded by roof terraces. The windows to the prospect room are now bricked up. There is currently public access to the first floor banqueting room via stairs in one of the corner turrets.
She features all the necessary details, seating for 2 figs, and got an openable front trunk.
Can be built in 4 colors:
Dark Bluish Gray
Light Bluish Gray
White
Reddish Brown
Instagram:
The primary historic post office in downtown Macon is the William Augustus Bootle Federal Building and U.S. Courthouse, located at 475 Mulberry Street. Originally completed in 1908, it served as the city's main post office and federal courthouse for decades.
Architecture & Design
Style: The building is a premier example of Beaux Arts Classicism, designed by James Knox Taylor, the Supervising Architect of the U.S. Treasury.
Exterior: Its facade is clad in white Georgia marble with a rusticated first floor and monumental paired columns.
Interior: The original postal lobby features verde marble pilasters, terrazzo floors with brass dividers, and richly detailed plaster ceilings. Some of the original octagonal postal tables remain in place today.
Key Historical Milestones
1896: Planning began due to Macon's rapid growth requiring a larger postal and judicial facility.
1905–1908: Construction took three years, replacing an older courthouse that was demolished in 1906.
1917 & 1934: The building underwent significant expansions to accommodate growing needs while maintaining its original architectural style.
1972: It was officially listed on the National Register of Historic Places.
1998: The building was renamed to honor Judge William Augustus Bootle, a pivotal figure in the Civil Rights Movement who issued landmark rulings desegregating the University of Georgia and Macon’s public services.
Current Use
Today the building serves as the headquarters for the U.S. District Court for the Middle District of Georgia. It also houses the U.S. Marshals Service and offices for the Eleventh Circuit Court of Appeals.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/William_Augustus_Bootle_Federal_Bui...
www.google.com/search?q=history+of+post+office+building+d...
www.google.com/search?q=history+of+post+office+building+d...
© All Rights Reserved - you may not use this image in any form without my prior permission.
This full set features fully furnish Chapel for your wedding ceremony and the fully furnish reception building for some fun dancing time.
Market Place: marketplace.secondlife.com/p/P-Pillows-The-Couture-Glass-...
Inworld Store: maps.secondlife.com/secondlife/Bisque%20Shores/100/189/28
One of the unique features of Shepparton was the establishment of the International Village project conceived in 1974 but not opened until 1982. Apart from spaces for immigrant groups space was also assigned to the Yorta Yorta, Bangerang and some other Aboriginal people. The number of Bangerang from Echuca to Shepparton were estimated at 1,200 people in 1841. With financial assistance from the state government, Shepparton City, the Australian Council etc money was obtained to have an architect designed an octagonal cultural centre. It was sited at the entrance to the International Village which closed in 1996. Now it has become the Bangerang Cultural Centre, the first Aboriginal managed museum in Victoria. The Aboriginal residents of Shepparton were for decades confined to a shanty Aboriginal Mission village on the banks of the Goulburn River between Shepparton and Mooroopna called Cummerangunja. After years of flooding and poor conditions the Yorta Yorta people walked off the village site in 1939 in protest about the conditions and their treatment. 200 people walked to the River Murray and crossed into NSW. Most ended up settling at Echuca or returning to Shepparton. A new village called Rumbalara with improved living conditions was built by the Victorian government in 1958. It is now owned and operated by the local Aboriginal community and it includes a medical centre and welfare services for the 6,000 residents who identify as Aboriginal. In Queens Park there is a bronze statue of Yorta Yorta man William Cooper who founded NAIDOC week and the Australian Aborigines league. There is also an Aboriginal Street Art project in Fryers Street between Maude and Corio Streets. The murals were painted by well-known artist Adnate and they depict the late William Cooper( mentioned above), the late Pastor Sir Douglas Nicholls who was the first and so far only Aboriginal governor of an Australian state- South Australia and local elders Aunty Margaret Tucker, and Nora Charles. Elsewhere in Shepparton at 67 Welsford Street is a mural painted by Adnate of Aunty Briggs and Aunty Morgan.
The Crypt,
St. Mary’s Cathedral,
Sydney, Australia.
Architects: Hennessy & Co.
Construction: Kell & Rigby
St Mary’s Cathedral was built between 1865 and 1882, with additions to the Cathedral as late as 2002.
It was re-built to replace the original Cathedral that was gutted by fire.
William Wardell was the architect who designed the Gothic Cathedral.
The main facade was based on the Notre Dame in Paris and the overall design is similar to Lincoln Cathedral in England.
The Crypt
Located below St Marys Cathedral is a magnificent sanctuary known as The Crypt.
The Crypt is the resting place of the deceased Archbishops of Sydney.
One of the features of The Crypt is the beautiful terrazzo and mosaic floors.
The quality of the workmanship is superb, and the materials are of the highest quality, producing work that would be difficult to reproduce in the modern era.
Symbolism plays an important role in the design of the intricate floor.
The floor is dominated by a huge Celtic Cross amidst a mix of complex swirls and geometric shapes.
The Melocco Bros were responsible for the elegant artwork of The Crypt’s floor.
Peter Melocco drew inspiration from The Book of Kells, an illuminated manuscript of The Gospels.
The Story of Creation is featured, also the Virgin Mary is depicted symbolically.
The Hardman Bros designed and constructed the fine stained glass windows that adorn the walls.
The Kelly Memorial Chapel Altar features a bas relief made of marble, depicting Jesus Christ’s burial.
The ornate ceiling features some paintings of native flora.
The Polding Altar is made of fine marble, and shows scenes of Jesus’s final days.
The stained glass windows highlight the life of the Virgin Mary.
The slabs placed above the graves of former Catholic leaders are works of art with delicate inscriptions.
The lower floor features a living room, foyer, kitchen, and dining room while the upper floor features a bedroom. The first floor worked out well design-wise, but the second floor is an absolute mess due to all the supports / arches / beams needed to hold the roof together. Speaking of the roof, both sections aren't very pretty, but it works... at the cost of taking a whole bunch of upstairs space on the inside, as you can see.
Maria Ariana is a hybrid OOAK doll. She has a SIS Trichelle head on a Made to Move Barbie body. She is a full repaint and represents some of the beautiful Morenas/ Hispanic women with darker skin tones & features of the world. Maria Ariana has deliberate dark and dramatic eyes and a subtle muted lip color.She is artistically anatomically correct.
The Former Marine Police Headquarters Compound (前水警總部), constructed in 1884, is located in Tsim Sha Tsui, Kowloon, Hong Kong. The site is now officially renamed as 1881 Heritage.
The main building was originally a two-storey structure; an extra storey was added to the Main Building in the 1920s.
Redevelopment
The Government announced, on 23 May 2003, that Flying Snow Limited, a subsidiary of Cheung Kong Holdings, has won the 50-year land grant at a tendered price of $352.8 million from six proposals for the tender.
The approval allows the developer to preserve and redevelop the historical building into a heritage tourism facility. Flying Snow will transform the building into a heritage hotel with food and beverage outlets, and retail facilities.
The project is the first attempt by the Tourism Commission to engage the private sector to preserve antiquities by revamping them into a tourist attraction. The project opened as 1881 Heritage in 2009.
Please view in large size^^
1881 Heritage，項目前身是前香港水警總部），位於香港九龍尖沙咀廣東道2號A，於1884年至1996年曾是香港警隊水警總區總部，並於1994年成為香港法定古蹟。目前該建築物由長江實業改建成酒店，並設有小型商場，命名為1881 Heritage，於2009年11月11日正式開幕。
I love the green plants along the white picket fence
7 Days of Shooting - Week 15 (w/b 15th October) Barrier: What barriers divide the area where you live, work or visit? Perhaps you have a garden wall, or an ornamental gate. For this week, show us those barriers, including fences, walls, & gates.
Hologram showing on New coins, British legal tender as of 28/3/17 .
The new coin has a number of features that make it much more difficult to counterfeit.
12-sided – its distinctive shape makes it instantly recognisable, even by touch.
Bimetallic – it is made of two metals. The outer ring is gold coloured (nickel-brass) and the inner ring is silver coloured (nickel-plated alloy).
Latent image – it has an image like a hologram that changes from a ‘£’ symbol to the number '1' when the coin is seen from different angles.
Micro-lettering – it has very small lettering on the lower inside rim on both sides of the coin. One pound on the obverse “heads” side and the year of production on the reverse “tails” side, for example 2016 or 2017.
Milled edges – it has grooves on alternate sides.
Hidden high security feature – a high security feature is built into the coin to protect it from counterfeiting in the future.
"Casa Cuseni is a house-garden-museum, with countless delightful works of art of all shapes and types: here a table lamp with the features of a beautiful girl, in Art Nouveau style."
“Casa Cuseni è una casa-giardino-museo, con innumerevoli deliziose opere d'arte di ogni foggia e tipo: qui una lampada da tavolo con le fattezze di una bella fanciulla, in stile liberty.”
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".
This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.
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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.
Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).
Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.
Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.
…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.
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Today the Cow Tower stands in the north-east corner of Norwich like a lost red brick Roman 'Pharos' or lighthouse, yet it has two possible claims to fame. Firstly it may be Britain's oldest 'pillbox' or defensive bunker for the firing guns, secondly it represents one of the first extensive uses of structural brick in Britain. Externally it resembles a Martello Tower or a Pictish broch; it even has the same tapering sides as both types of buildings. Yet other features, such as the cross-shaped gun loops, place it firmly in the Medieval period.
www.flickr.com/photos/barryslemmings/albums/7215766430910... to see the full set.
The Cow Tower was built between 1398 and 1399. Norwich was a prosperous city in the late 14th century, with a population of around 5,000 involved in key medieval industries and forming a centre for international trade. Between 1297 and 1350 the city had erected a semi-circle of defensive stone walls and ditches which assisted with collecting taxes, advertised the status of Norwich as a great city and also defended it against invasion or civil disorder. Remember that the Peasants' Revolt of 1381 was within living memory when Cow Tower was built and Norwich had suffered during that.
Gunpowder weapons had begun to be introduced into England in the early 14th century, initially being used as battlefield or siege weapons but rapidly being adapted for defensive purposes from the 1360s. Although they were expensive, by the 1380s their potential value in defending castles and city walls was well understood and specialised features had begun to be built. By 1385 Norwich had fifty artillery pieces for use along its walls. In Kent, at Bodiam, Cooling and the West Gate at Canterbury, gun loops had been added to new buildings between 1380 to 1385. Firearms were here to stay. Cow Tower is a logical development. A free-standing tower just for gunpowder weapons.
The stone walls of Norwich describe a rough letter 'C' with a bend in the River Wensum covering the north-east gap in the 'C'. The tower stands in the middle of this gap. When first built Cow Tower was called the Dungeon (from Donjon) but was then called the "tower in the Hospital meadows", as the surrounding land was then part of St Giles' Hospital. It was intended to function as a specialised artillery and handgun tower, housing gunpowder weaponry capable of suppressing attackers on the far side of the river and disrupting any assault river crossing.
There are fragmentary references to an earlier tower in the area, responsible for collecting tolls and acting as a prison. This prison function could be the origin of the 'Dungeon' name but it is unclear if this was on the same site as the Cow Tower or merely refers to a different tower in the general area. Although the Cow Tower was not directly attached to the city walls, a protective timber palisade did link the tower with the city wall to the north-west, and ran south to meet Bishop Bridge. With the eye of faith today it is still just possible to see an raised bank fringing the river to the south of Cow Tower which was either the earth revetment to this palisade or else a simple earth bank to prevent flooding. It may even have functioned as both. The present footpath runs along the top of it and is about seven feet above the adjacent former meadow, now a sports field.
The city's accounts show details of payments for the construction of the tower between 1398 and 1399, including charges for 36,850 bricks, stone, sand, lime, a hoist and various equipment. One reason for the tower's height is that it stands on low-lying meadow facing a steep rise about 300 metres away on the other side of the Wensum. The city fathers may have feared that an attacker would set up camp on this rise and use artillery to bombard the city. In 1549 Robert Kett exploited this very weakness when he led an uprising in Norfolk. His army camped on the north-east side of the river, overlooking Cow Tower. Two rebel attacks were then made across the river into the hospital meadows, in an attempt to take nearby Bishop Bridge. Kett had brought artillery, which he turned on the Cow Tower, damaging the latter's parapets. The rebellion failed and the tower does not seem to have required extensive repairs. The hill opposite is now called Kett's Hill.
Cow Tower is a three-storey circular building with a protruding stair turret at the rear, the main building being 11.2 metres across and 14.6 metres tall, tapering towards the top. The walls, 1.8 metres thick at the base, are made of a core of flint rubble stone, faced on the inside and outside with brick. Various putlog holes can still be seen in the walls.
The brickwork, particularly on the stairwell, is well executed. Archaeologist T. P. Smith considers the tower to feature some "of the finest medieval brickwork" in England. It is the earliest known use of brick in an external load-bearing capacity in Norwich. The use of brick in this sort of fortification was both prestigious and practical, as brick absorbed the impact of artillery fire better than stone.
The quatrefoil gunports in the lower levels could have been used for both handgonnes and crossbows with some overlapping fields of fire. The roof was reinforced with large timber joists and could have supported heavier bombards; the tower's considerable height would allowed these bombards to reach across the river to the higher ground (Kett's Hill) which overlooks the city.
The parapet was crenellated with nine wide splayed embrasures and those embrasures facing out across the river were constructed flush with the floor of the roof, giving the bombards plenty of room to fire and the ability to depress to hit the river in front of the tower itself. Cow Tower has a simple ground floor entrance next to the stairwell turret and – while this is relatively poorly defended – objects could have been dropped from the roof on to anyone trying to force these doors. This is not a castle, it was a local defence 'hard point' capable of proving a severe nuisance to an attacker… and thus my analogy to a modern pillbox in the opening paragraph.
The interior has fireplaces and toilets. The ground floor may have formed a dining area with the floors above being used for military purposes and sleeping. The walls of the ground floor have curious diagonal chasing and sockets cut into them. These may have contained timbers to support brickwork that in turn supported the first floor or they are the remains of a magazine retrofitted in the tower in the 16th century.
Cow Tower is managed by English Heritage and Norwich City Council. The tower is now only a shell as the floors and the roof have been lost. The interior is visible through an iron gate. The riverside walk goes past and around it.
Hunter Valley Gardens is in the heart of Hunter Valley wine country, located in Pokolbin, NSW, Australia. It opened in 2003 and is now open every day of the year except Christmas Day.
The gardens span across 14 hectares of land, containing 10 differently themed gardens, accommodation, a shopping village, rides/events and dining. The gardens are a popular venue in the Hunter Valley for weddings and events.
Hunter Valley Gardens is the largest display garden in the Southern Hemisphere.
Hunter valley gardens was developed and created by the Roche Group, when founder Bill Roche retired he decided that he would finally make his lifelong ambition a reality, building a garden that would be enjoyed for generations to come. Starting construction in 1999, the team of 40–50 landscape gardeners, engineers and architects completed the gardens and it was opened in October 2003 by the premier of New South Wales.
The gardens are composed of ten individually themed gardens, influenced by different locations around the world, containing both native and exotic flora . The display gardens are divided by eight kilometres of wheelchair accessible walking paths.
There are over six thousand trees, six hundred thousand shrubs and one million ground-covers populating the gardens.
The themed gardens are;-
•Border Garden- The Border Garden is designed to imitate the classic French Parterre style of garden, with surrounding manicured box hedging, intertwined with Hill's Weeping figs and European boxwood to make interesting shapes and designs. Hand-carved Indian Marble water features and statues that represent the four seasons are displayed throughout the Border Garden.
•Chinese Garden- Patrons enter the Chinese Garden by crossing green Chinese slate and walking through a traditional Moon gate which is flanked by two bronze Temple Guardians. Slow growing grass, rugged rocks and raked decorative gravels are some of the traditional elements to the garden. Some of the many featured plants include Azaleas, Camellia sasanqua, Conifer, Bamboo , Cumquats, Persimmons and Mulberries.
•Formal Garden- Influenced by garden designs of France and England, the Formal garden is one of the largest of its type in Australia. Manchurian Pear Trees border the garden with 3000 bushes of Chameleon roses, a variety of topiary and manicured lawns making up the features of the garden. A Wishing Fountain can also be found in the Formal Garden, with all the proceeds donated to charity.
•Indian Garden- The Indian Garden carries aromas of India, having Curry plants filling the garden with their scent when you enter through the 160-year-old antique Indian Gates with two bronze elephants standing guard. Paths accompanied with Lilly pilly hedges lead to a mosaic of pebbles and ground-covering plants and a garden design, containing Purple Ajuga and Variegated Dwarf Agapanthus. An Indian Tea House with traditional Indian embellishments has an area to sit allowing the visitors to view the garden and topiary elephants.
•Italian Grotto- The Italian Grotto features a statue of Saint Francis of Assisi and is lined with pink Wisterias, red Bougainvillea, lemon, orange and olive trees, lavender, and cascading Geraniums and Pelargoniums.
•Lakes Walk- The Lakes Walk is surrounded by one and a half kilometres of pathways with the waterway being lined by perennial borders, and containing the Lakes Rotunda. This garden is a common place for weddings to be held.
•Oriental Garden- Influenced by Japanese and Korean gardens , the Oriental Garden contains a two-story traditional Japanese pagoda that is surrounded by a koi pond. Zoysia Tenuifolia (Korean velvet grass) fills the garden, mounding itself around rocks and pavers.
•Rose Garden- In the shape of a corkscrew to honour the neighbouring Hunter Valley vineyards, the Rose Garden contains over 8000 roses, including: Blue Moon, Bonica, Charles De-Gaulle, Double Delight, Fragrance, Freesia and Marlena. The middle of the garden displays thirteen bronze statues of Imelda Roche and her twelve grandchildren.
•Storybook Garden- The Storybook Garden contains many statues and murals of nursery rhyme characters including Jack and Jill, Humpty Dumpty, Little Bo Peep and Alice in Wonderland.
•Sunken Garden- The Sunken Garden features a 10-meter high waterfall with a pergola on top as well as a display of evergreen and deciduous trees, shrubs, flowers and pathways surrounded with hundreds of roses
Image availabe for purchase from www.ballaratheritage.com.au
Information from the Australian Heritage Places inventory
Port Campbell National Park
Source: Go to the Register of the National Estate for more information.
Identifier: 3778
Location: Great Ocean Rd, Port Campbell
Local
Government: Corangamite Shire
State: VIC
Country: Australia
Statement of
Significance: The rugged coastline with sheer cliffs and rocky island stack formations contributes to the outstanding scenery of the park. There are a large number of these formations including London Bridge, the Twelve Apostles, Loch Ard Gorge, the Blowhole and the Arch. They graphically represent the geomorphological processes of coastal erosion that are constantly taking place.
The area has representative communities of coastal heath, grass and scrub vegetation on calcareous soils. Morning flag (ORTHROSATHUS MULTIFLORUS) grows here.
Significant fauna of the area includes a small colony of fairy penguins, the only penguins native to the mainland and nesting sites for muttonbird (PUFFINUS TENUIROSTRIS). Ninety one species of bird have been recorded in the park eg. swamp harrier, Australian gannet, white goshawk, singing honey eater.
Between 1855-1908 there were five shipwrecks off the park coastline. In 1878 the Loch Ard went down, losing fifty lives. A small cemetery near the Gorge still remains.
Description: Port Campbell National Park is a linear coastal reserve between Peterborough and Princetown on the south western coast of Victoria. The Park's sheer cliffs, gorges, arches and offshore stacks form one of the most scenic and best known sections of coastline in Australia. Marls (calcareous silts) and marine limestones of the Miocene Port Campbell Limestone are overlain by Pleistocene dune limestone in the place. The dominant coastal landform is precipitous and undercut cliffs up to 60 metres in height. Erosion of the cliffs by strong wave action is guided by vertical joints in the limestone, producing elongated bays and narrow gorges including caves between rectilinear promontories such as Loch Ard Gorge and the Grotto. These promontories pass through various stages of evolution under the influence of marine erosion. Caves are the first features to form, followed by arches, and when these collapse, isolated stacks, such as the Twelve Apostles, remain. The stacks are then gradually worn down to offshore platforms of limestone. Horizontal notches occur on the exposed cliffs and stacks where softer material is eroded from between harder bands of rock. Shore platforms are uncommon, but narrow benches at the base of cliffs occur where harder rock has developed.
The cliffs are backed by an undulating plateau of red-brown clay and Pleistocene dune calcarenite. The larger streams that dissect the plateau have cut down to sea level. These include the Curdies River, Port Campbell Creek, and Sherbrooke River. Smaller streams that cross the plateau emerge from the cliffs as waterfalls. Another feature of the plateau are the circular sinkholes that are often filled by ponds and swamps. In some cases these sinkholes have intersected areas of cliff recession such as caves.
Few beaches occur along the Port Campbell coast, and those that are present are usually narrow and backed by steep cliffs. Beaches are more extensive where there are sandy calcarenite dunes on the cliff crest. A sandy barrier occurs at the mouth of the Curdies River which separates the lagoon from the sea during times of low river flow.
Port Campbell National Park contains several broad vegetation communities, some of which are the largest and most important areas of native vegetation remaining between Portland and the Otways. The first line of vegetation along the seaward edge of the coast mainly consists of tussock grasslands and shrublands. The grasslands are dominated by blue tussock-grass POA POIFORMIS, cushion bush CALOCEPHALUS BROWNII, black-anther flax-lily DIANELLA REVOLUTA, coast saw-sedge GAHNIA TRIFIDA, coast sword-sedge LEPIDOSPERMA GLADIATUM and Australia salt-grass DISTICHLIS DISTICHOPHYLLA. Further inland are shrublands of coast beard-heath LEUCOPOGON PARVIFLORUS, coast daisy-bush OLEARIA AXILLARIS and coast everlasting HELICHRYSUM PARALIUM.
Soils on the coastal plateau that include a hardpan support species-rich closed heaths. These communities are dominated by scrub sheoke ALLOCASUARINA PALUDOSA, prickly tea-tree LEPTOSPERMUM CONTINENTALE, manuka L. SCOPARIUM, silver banksia BANKSIA MARGINATA, common heath EPACRIS IMPRESSA, prickly moses ACACIA VERTICILLATA and dusty miller SPYRIDIUM PARVIFOLIUM. The diverse understorey includes bare twig-sedge BAUMEA JUNCEA, sword-sedges LEPIDOSPERMA spp., bog-sedges SCHOENUS spp., and grass-trees XANTHORRHOEA spp. These communities may include an overstorey of messmate EUCALYPTUS OBLIQUA and shining peppermint E. WILLISII on better soils, or swamp gum E. OVATA and tree everlasting OZOTHAMNUS FERRUGINEUS on wetter sites.
The catchments of some of the larger streams include open forests of swamp gum and rough-barked manna-gum E. VIMINALIS ssp. CYGNETENSIS, with a heath and bracken PTERIDIUM ESCULENTUM dominated understorey. These forests may grade into riparian communities dominated by swamp gum, manna gum E. VIMINALIS, mountain grey gum E. CYPELLOCARPA, and blackwood ACACIA MELANOXYLON. The understorey includes a number of damp forest shrubs such as hazel pomaderris POMADERRIS ASPERA and musk daisy-bush OLEARIA ARGOPHYLLA.
The native mammal fauna of the Port Campbell includes eastern grey kangaroo MACROPUS GIGANTEUS, swamp antechinus ANTECHINUS MINIMUS, white-footed dunnart SMINTHOPSIS LEUCOPUS, echidna TACHYGLOSSUS ACULEATUS and broad-toothed rat MASTACOMYS FUSCUS. The avifauna includes a mix of species associated with the coast, estuaries, heathlands, open forests, and surrounding farmland. Some characteristic birds include the rufous bristlebird DASYORNIS BROADBENTI, ground parrot PEZOPORUS WALLICUS, little penguin EUDYPTULA MINOR, short-tailed shearwater PUFFINUS TENUIROSTRIS, Australasian gannet MORUS SERRATOR, grey goshawk ACCIPITER NOVAEHOLLANDIAE, peregrine falcon FALCO PEREGRINUS, striated thornbill ACANTHIZA LINEATA, singing honeyeater LICHENOSTOMUS VIRESCENS, white-eared honeyeater L. LEUCOTIS and beautiful firetail STAGONOPLEURA BELLA. The inlets along the coast support a variety of waterbirds and shorebirds.
Reptiles found in the place include the swamp skink EGERNIA COVENTRYI, glossy grass skink PSEUDEMOIA RAWLINSONI, jacky lizard AMPHIBOLURUS MURICATUS, White's skink EGERNIA WHITII, blotched blue-tongued lizard TILIQUA NIGROLUTEA and lowland copperhead AUSTRELAPS SUPERBUS. Eight species of frogs have been recorded in the park, including the smooth frog GEOCRINIA LAEVIS and southern toadlet PSEUDOPHRYNE SEMIMARMORATA.
#5: As of 10/8/17, under Flickr's popularity rankings of my 500+ pics, this is listed as #5 in "interestingness."
I've been engaging in some short, private crossdressing opportunities at home recently, after acquiring and trying out some new clothes, shoes, and accessories. This is the 66th pic posted from this recent CD activity, and taken just a few weeks ago.
As usual, I really enjoy color-coordinating attractive/sexy/cute outfits, and this one features a spaghetti-strap low-cut tan velvet dress with pink lace, topped with a blush-pink open cardigan, and accompanied by pink suede high heel booties (not seen here), and a complementary belt, purse, tights, and jewelry.
More about this and other new 2017 pics was written up recently in a descriptive Update provided in my profile or "About" page here on Flickr. It details some choices made for these 2017 pics.
Let me know your thoughts... :-)
Leadenhall Market dates back to the 14th century and is situated in what was the centre of Roman London. Originally a meat, poultry and game market, it now features a variety of vendors as well as commercial shops, restaurants, cafes and pubs.
Emily Inez Denny, ca. 1890
Museum of History and Industry (MOHI), Seattle.
There are some features of our surroundings that time can't change. Visitors to Seattle, if they're observant and the clouds lift, will see the same brilliant mountain range to the west as the one in this work painted 132 years ago. They're the Olympic Mountains in what is now Olympic National Park on the - wait for it - Olympic Peninsula in Washington state.
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Short Version
The Battle of Seattle is the name given to the day when the Native peoples in the area attacked the newly arrived settlers who took refuge in the blockhouse or on the USS Decatur anchored in Elliott Bay.
The warship proceeded to fire shells toward the land. There were only two casualties for the settlers and the exact number of casualties the Native peoples suffered is unknown.
The artist, Emily Inez Denny (1853-1919), was a child during the Battle of Seattle and painted this scene many years later, fusing her memories with family tradition.
Denny's interpretation emphasized the settlers' vulnerability and fear, and eliminated the Decatur's sailors and Marines, on the one hand, and Native people, on the other.
digitalcollections.lib.washington.edu/digital/collection/...
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Extended Version
The Battle of Seattle was a January 26, 1856 attack by Native American tribesmen upon Seattle, Washington.
At the time, Seattle was a settlement in the Washington Territory that had recently named itself after Chief Seattle (Sealth), a leader of the Suquamish and Duwamish peoples of central Puget Sound.
European-American settlers were backed by artillery fire and supported by Marines from the United States Navy sloop-of-war Decatur, anchored in Elliott Bay (Seattle's harbor, then called Duwam-sh Bay).
They suffered two fatalities. It is not known if any of the Native American raiders died. The contemporary historian T. S. Phelps wrote that they later "would admit" to 28 dead and 80 wounded. T
he battle, part of the multi-year Puget Sound War or Yakima Wars (1855-1858), lasted a single day.
The Seattle settlement of the time was located roughly in the area of Seattle's Pioneer Square and its neighborhood. T. S. Phelps's memoir of the time described the settlement as:
…on a point, or rather a small peninsula, projecting from the eastern shore, and about two miles (3 km) from the mouth of Duwamish River, debouching at the head of the bay. The northern part of this peninsula is connected with the mainland by a low neck of marshy ground, and about one-sixteenth of a mile from its southeastern extremity a firm, hard sand-pit nearly joined it to the adjacent shore, severed only by a narrow channel through which the surplus waters of an inclosed swamp escaped into the bay. The south and west sides rose abruptly from the beach, forming an embankment from three to fifteen feet high; and proceeding thence northerly, the ground undulated for an eighth of a mile, when it gradually sloped towards the swamp and neck.
At the intersection of the latter with the main, and overlooking the water, rose a mound about thirty feet above the level of the bay; and to the eastward through a depression in the hills, and passing the head of the swamp, was a broad Indian trail leading to Lake Duwamish [now Lake Washington], distant two and a half miles.
Phelps remarks that the tailings from Henry Yesler's recently erected mill were steadily filling in the marshy land at the north of the head or peninsula where the settlement was located. He described the arrangement of the troops arrayed in defense on the nights before the battle:
The divisions… nightly occupied the shore, vigilantly guarding the people as they slept, and resting only when the morning light released them from the apprehended attack.
… [They] were distributed along the line of defense in the following order: The fourth, under Lieutenant Dallas, commencing at Southeast Point, extended along the bay shore to the sand-bar, where, meeting with the right of the first division, Lieutenant Drake, the latter continued the line facing the swamp to a point half-way from the bar to a hotel situated midway between the bar and Yesler's place, and there joined the second, under Lieutenant Hughes, whose left, resting on the hotel (see Mother Damnable), completed an unbroken line between the latter and Southeast Point, while the howitzer's crew, Lieutenant Morris, was stationed near Plummer's house, to sweep the bar and to operate wherever circumstances demanded. The third division, Lieutenant Phelps, occupied that portion of the neck lying between the swamp and mound east of Yesler's place, to secure the approaches leading from the lake, and the marines, under Sergeant Carbine, garrisoned the block-house.
The divisions, thus stationed, left a gap between the second and third, which the width and impassable nature of the swamp at this place rendered unnecessary to close, thereby enabling a portion of the town to be encompassed which otherwise would have been exposed.
The distance between the block-house and Southeast Point, following the sinuosities of the bay and swamp shores, was three-quarters of a mile, to be defended by ninety-six men, eighteen marines, and five officers, leaving Gunner Stocking, Carpenter Miller, Clerks Francis and Ferguson, and fifteen men with Lieutenant Middleton, to guard the ship.[3]
Prelude
Washington Territory Governor Isaac Ingalls Stevens' ambitious treaty-making during 1854 and 1855 has been held to be the cause of the Puget Sound War.
The battle was part of a Native American uprising in resistance to the pressure to cede land for reservations determined by territorial officials.
There had been a series of skirmishes in the region over the previous several months, beginning October 28, 1855. There had been fighting between federal troops and natives in southern King, Thurston and Pierce counties. Five days before the attack on Seattle, Governor Stevens had declared a "war of extermination" upon the Indians.
The sloop Decatur had been called to Puget Sound both because of the trouble with local natives and to deter frequent raids by an alliance of the northern Haida from the Queen Charlotte Islands and the Tongass group of the Tlingit, from what was then Russian America.
Captained by Isaac L. Sterret, the vessel struck an uncharted reef near Bainbridge Island on December 7, 1855, and was heavily damaged. (According to naval custom, the reef was named Decatur Reef.) They limped into Seattle for repairs, which lasted until January 19. Sterret was temporarily taken off active duty December 10, although later returned to active duty. However, on the day of the battle, Decatur was commanded by Guert Gansevoort.
Decatur lay at anchor in deep water, in a position from which it had total command of the settlement with 16 shipborne 32-pounders firing fuzed shells. To the defense on land, the ship contributed two nine-pounder cannon and 18 stands of arms.
About this time, the raiders were attacking the White River settlers to the southeast. Survivors fled to Seattle. There they joined the fifty or so Seattle settlers. Assisted by marines from the Decatur, they had constructed a blockhouse from lumber originally intended for shipment to San Francisco.
Days before the battle (January 21), Territorial Governor Stevens arrived in Seattle aboard U.S.S. Active, and discounted rumors of war.
Almost immediately upon his departure, reports from friendly natives warned that the governor had been completely mistaken and that an attack was imminent. These reports have been variously credited to Chief Seattle, his daughter Princess Angeline, or another chief, Sucquardle (known also as "Curley" or "Curly Jim").
David Swinson "Doc" Maynard, reputed to have had far more than the usual concern for the natives' rights and well-being, evacuated 434 friendly natives to the west side of Puget Sound (at his own expense and with the assistance of his wife).
To some extent, the settlers had organized for their defense as volunteers under a Captain Hewett. However, this company of volunteers had disbanded and re-formed several times over the months leading up to the battle.
On the evening of January 22, with Decatur having taken a commanding position, the militia leaders declared that "they would not serve longer while there was a ship in port to protect them". Phelps writes that "a more reckless, undisciplined set of men has seldom been let loose to prey upon any community than these eighty embryo soldiers upon Seattle… after much rough argument about thirty of their number became partially convinced that their individual safety depended upon unity of action under a competent leader, and they finally consented to form a company, provided Mr. Peixotto would consent to serve as captain. That gentleman accepted the honor…"
Emily Denny mentions the company as being captained by Hewitt and including William Gilliam as 1st Lieutenant, D.T. Denny as Corporal, and Robert Olliver as Sergeant. Phelps names both Hewitt and Peixotto as captains.
Phelps lists the hostile natives as including the "Kliktat" (Klickitat and Spokane), "Palouse" (Palus), Walla-Walla, "Yakami" (Yakama), Kamialk, Nisqually, Puyallup, "Lake" (Duwamish-related, living near Lake Washington), "and other tribes, estimated at six thousand warriors, marshaled under the three generals-in-chief Coquilton, Owhi, and Lushi, assisted by many subordinate chiefs."
They had failed to recruit warriors from any of the several tribes or nations from the Olympic Peninsula, nor did they succeed in winning the Snoqualmie over to their cause. Although the Snoqualmie chief Patkanim was strongly opposed to the European-American settlers, he allied with them in this war.
Two hostile chiefs—Phelps says Owhi and Lushi (presumably, Leschi), other sources say Owhi and Coquilton—disguised themselves as friendly Indians and reconnoitered the situation the night before the battle.
Phelps describes this in some detail: he was the sentry whom they tricked with a plausible story.
According to Phelps' account, at least two native chiefs were playing a double game. Curley Jim had been considered friendly enough by the settlers to be allowed to remain within their encampment; conversely, his nephew Yark-eke-e-man had been considered one of the hostile force.
According to Phelps, the nephew intended to betray the native attack. Curley Jim left the settlement in the company of his visitors, and they parleyed around midnight at the lodge of a chief named Tecumseh; Yark-eke-e-man and several "chiefs of lesser note" were also present.
They set out a plan to kill all of the settlers and U.S. military; Curley requested that his friend Henry Yesler be allowed to live, but accepted being overruled in the matter.
They resolved to attack in a few hours, around 2 a.m.; Phelps wrote that that plan would have succeeded, since no defender was planning for a pre-dawn assault. But Yark-eke-e-man convinced the raiders to try a mid-morning attack, using a small decoy force to draw the Decatur's men out of the well-defended areas to do battle on First Hill.
There are no reliable estimates of the size of the attacking force. Isaac Stevens (who was not present), wrote to Washington that settlers estimated that 200 to 500 Indians had taken the field against them. Phelps put the number of enemy at 2,000, but (write Crowley and Wilma) "frontier military officers often inflated the number of opposing forces to reinforce their accomplishments (or to minimize their failures)."
Community college historian Murray Morgan writes that early "reports seem to have multiplied by ten the actual numbers. There could not have been more than one hundred and fifty."
Many settlers resided on scattered claims divided by thick forest, because to establish a land claim, settlers had to live on it. Some settlers doubted that the Indians would attack, and had to run for the blockhouse on the morning of the battle.
The first fatality of the engagement was Jack Drew, a deserter from Decatur killed in friendly fire. When he attempted to enter a cabin through a window, he was shot dead by fifteen-year-old Milton Holgate.
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Because the natives' only common language was Chinook jargon, a trade language that many of the white settlers also spoke, the settlers were able to hear and understand the attackers' shouted orders "and revealed many incidents of the battle they were anxious to conceal."
An Indian known as "Jim", a relative of Curley's who died a few months later in a hunting accident, evaded Curley's vigilance and warned Dr. Williamson of the impending attack.
Williamson sent a messenger to Yesler, who informed Gansevoort, and Decatur's troops abandoned their breakfast and returned to the positions they had held by night. 52 women and children found refuge on board Decatur, and others on board the barque Brontes. The non-combatants of the friendly tribes took to their canoes to get out of the way.
Curley's sister (and Yark-eke-e-man's mother) Li-cu-mu-low ("Nancy"), whom Phelps describes as "short, stout, and incapable of running," warned as she headed for her canoe that the Kliktat were gathered around Tom Pepper's house, which was in the forest, near the crest of First Hill.
Decatur fired off a howitzer shell in that direction, the first shot of the battle. Phelps and a few others had been trying unsuccessfully to rouse the volunteers from their torpor. At the sound of the howitzer shell, they rushed as one for the blockhouse. There "Sergeant Carbine several times charged them out of one door, to return as often by the other, till, wearying of the trouble, he left them to cower behind the wooden bulwarks, protected from the bullets of the foe."
The third division, contrary to orders, charged up the trail that led towards the lake. This charge met with success, as they pushed the attackers back without taking any casualties themselves. Klakum held a position behind a tree, and shot at Peixotto standing on the block-house steps, but missed and killed a boy, Milton G. Holgate, who was standing a few steps higher. It was the second death of a European American caused by another white.
On the south end, settlers on the peninsula faced off against natives on the mainland with a slough dividing them. Phelps describes "the incessant rattle of small-arms, and an uninterrupted whistling of bullets, mingled with the furious yells of the Indians," but there were few casualties.
A settler was killed when he ducked from behind a stump to get some drinking water;Clarence Bagley, quoting William Bell two days after the event, says the casualty was Christian White; Phelps, writing 17 years later, says it was Robert Wilson.
Hans Carl, an invalided sailor on Decatur, died shortly thereafter, but for reasons unrelated to the battle.
Aftermath
News of the attack spread rapidly. By 4 p.m. it was known in Bellingham. At noon the day after the battle, Active steamed into Elliott Bay, Governor Stevens aboard. Stevens was, in Phelps's words, "at last compelled to acknowledge the presence of hostile Indians in the Territory." Active headed south in the direction of Steilacoom, which seemed the most likely next target of an attack, dropping the governor at Olympia, the capital, on the way.
Yark-eke-e-man reported that the hostile chiefs were ill-provisioned. Confident of victory, they expected to provision themselves from the settlers' supplies. They spent the next several weeks scouring the land for food.
Two days after the battle, Coquilton threatened, through a messenger, "that within one moon he would return with twenty thousand warriors, and, attacking by land and water, destroy the place in spite of all the war-ship could do to prevent."
The threat was taken seriously, and leaders decided to improve Seattle's defenses. Henry Yesler volunteered ship's cargo of house lumber, and on February 1 Decatur's divisions began a two-week project to erect a defensive palisade: two fences five feet high, placed eighteen inches apart, and filled in with well-tamped earth, 1,200 yards (1,100 m) long, and enclosing a large portion of the town.
A second block-house was also erected, and an old ship's cannon, plus a 6-pounder field-piece borrowed from Active, were to serve as its artillery.
Trees and undergrowth were removed (variously attacked with levers, axes, and shovels, or burned in place) to provide an esplanade and enable Decatur's howitzer to sweep the shores.
Much brush was also cleared from the town's inland edges, to reduce the cover for future attacks. On February 24, USS Massachusetts arrived and on March 28 USS John Hancock.
The fortified town did not have to face a second battle. Defeat in the Battle of Seattle had discouraged the hostile natives, and they did not again amass a comparable force.
Furthermore, Governor Stevens had convinced Patkanim and his men to take on the role of bounty hunters, paying them handsomely for collecting the scalps of leaders of the hostile tribes.
Morgan does not describe the battle as a victory for the Americans.
Rather, he writes that "both sides were dismayed, the whites by the realization that the enemy really would attack a town, the Indians by their first experience with exploding shells rather than cannonballs."
Also by Stevens's order, a court-martial was convened at Seattle on May 15 for the trial of Klakum and twenty other Indians. The military officers acquitted them, deeming their actions as having been legitimate warfare against recognized combatants, not criminal acts. They were released after a declaration of peace. It was certainly not the end of violence between settlers and natives in the region, but it was the end of outright war.
Nine days after the battle, Chief Leschi and Chief Kitsap, along with a group of 17 Indians, appeared at the home of John McLeod near the Nisqually River.
McLeod was a former employee of the Hudson's Bay Company, had a Nisqually wife, and was trusted by the hostile Indians.
Leschi said that neither he nor his band had taken part in the attack on Seattle, and he thought the attack had been foolish. Leschi asked for John Swan, another trusted white man, to visit Leschi's camp on the Green River for a peace conference.[9] When Swan did visit Leschi's camp a few days later, he counted about 150 warriors, or men of fighting age. Nearly all were from west of the Cascades, with only 10–20 from the east.
Casualties
Jack Drew, a deserter from the Decatur, was shot and killed by young Milton Holgate, a settler's son, when he tried to enter the latter's cabin.
Holgate was killed by friendly fire, and another settler died in the battle: Christian White or Robert Wilson (see above). One sailor, Hans Carl, died later of causes unrelated to the battle.
Phelps characterizes the low casualties as "incredible" and "miraculous", given that "one hundred and sixty men were for seven hours exposed to an almost uninterrupted storm of bullets".
The casualties on the native side are unknown. Phelps claimed personally to have seen ten men die from one shell. He said that the natives later admitted to 28 dead and 80 wounded, but said that the native women "secret[ed] the dead beyond all chance of discovery." No Indian bodies were found on the battlefield.
According to Seattle lore, decades after the battle, Seattle's future fire chief Gardner Kellogg was excavating his house and found a shell from Decatur that had buried itself without exploding.
He stuck it under a stump that he was trying to burn out and went off to lunch. Dexter Horton stopped by to warm the seat of his pants at the fire, and as it exploded, nearly became the last casualty of the battle of Seattle.
Notable architectural features include the conspicuous columns, the horseshoe-shaped arches, and the innumerable murqarnas embellishing the ceilings. The dome, arches and walls give a grand ambiance to the mosque. The first-class sound system is discreetly hidden. The ablution room and a vast public hammam are in the basement, with its own entrance. Tadelakt, a plastering technique which adds egg yolks and black soap into mixed plaster, was used in the hammam baths
Taken @Casablanca, Morocco, North Africa
The only cool functionality besides lighting was this working hangar lift :D
WAY too many over achievers had cool features this year, I felt I had to put SOMETHING in, even this little feature takes up an incredible amount of space, so you guys (you know who yo uare), bravo for your insane skills to fit in oh so much more....
Today's airbrushed style pinup photo features Kayla in this original 'nose art' from my own 1944 GPW Jeep known as 'Picture Perfect'! Modelled after an early 1944 pinup piece by J. George Janet found in the magazine 'Fun Frolic', in this variation I replaced the radio she's holding with an accurate Pre-Anniversary Speed Graphic (circa 1939) and lowered the red outfit to just high waisted bottoms. Kayla was kind enough to model this pose for me during our recently pinup shoot in early October 2021. This pinup will make it's way onto the windshield of my 1944 Jeep in the coming days!
Did you know you can order many of the pinups you see posted on here? Check out the Dietz Dolls online store where you can find military pinups, classic pinups, the propaganda pinup poster series, and lots more in sizes ranging from 8x10 prints to 24x36 posters! Don't see a pinup in the store that you want to purchase? Contact me and let me know! www.dietzdolls.com/catalog
Model: Kayla
Photographer: Britt Dietz
Online Pinup Print and Poster Store: www.dietzdolls.com/catalog
© Dietz Dolls Vintage Pinup Photography: www.dietzdolls.com
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#pinup #pinupmodel #pinupart #vintagepinup #retropinup #1940s #1940spinup #vintage #retro #girl #model #photography #pinupphotography #legs #pinupgirl #ww2 #worldwar2 #military #militarypinup #ww2pinup #camera #vintagecamera #speedgraphic #jeep #gpwjeep #fordjeep #willysjeep #ww2jeep #noseart
AN IN DEPTH LOOK AT CORVUS CORONE
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 became 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 symbolises 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, interneuronal 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 to 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
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 towards the end of May 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.
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. 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. She 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.
The big fella 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....
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 it's 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 it's 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 and bury them in the grass. On one occasion I witnessed a pair of rambunctious 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, 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.
Corvus Corone.... magnificently misunderstood by some!
Paul Williams June 4th 2021
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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***** Selected for sale in the GETTY IMAGES COLLECTION on June 29th 2021
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Photograph taken at an altitude of Sixty two metres at 11:02am on a beautiful summer morning on Tuesday 8th June 2021, off Chessington Avenue in Bexleyheath, Kent.
Here we see a large adult Carrion crow (Corvus corone), a passerine bird of the family Corvidae and the genus Raven (Higher classification: Corvus), which is native to western Europe and eastern Asia. It can grow to twenty inches in length with a wingspan of up to thirty nine inches. This one keeps the magpie's and Jackdaw's in their place, as top of the food chain, afraid of nothing.They can reach a length of 47cm with a 104cm wingspan and a weight of up to 650g, and in the UK they are in the Green conservation list status with over one million breeding territories.
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Nikon D850 Focal length 460mm Shutter speed: 1/640s Aperture f/8.0 iso200 Hand held with Tamron VC Vibration control set to ON in position 1 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (4470k) Colour space: RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
LATITUDE: N 51d 28m 28.42s
LONGITUDE: E 0d 8m 10.54s
ALTITUDE: 62.00m
RAW (TIFF) FILE: 130.00MB NEF FILE: 90.0MB
PROCESSED (JPeg) FILE: 32.50MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Note the accumulation of iron (redox feature) and areas of reduction (gray color) from the lower subsoil of an Augusta soil.
For a detailed description of the soil, visit:
soilseries.sc.egov.usda.gov/OSD_Docs/A/AUGUSTA.html
Redoximorphic features (RMFs) consist of color patterns in a soil that are caused by loss (depletion) or gain (concentration) of pigment compared to the matrix color, formed by oxidation/reduction of iron and/or manganese coupled with their removal, translocation, or accrual.
For more information about describing and sampling soils, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/field...
or Chapter 3 of the Soil Survey manual:
www.nrcs.usda.gov/sites/default/files/2022-09/The-Soil-Su...
For additional information on "How to Use the Field Book for Describing and Sampling Soils" (video reference), visit:
www.youtube.com/watch?v=e_hQaXV7MpM
For additional information about soil classification using USDA-NRCS Soil Taxonomy, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/keys-...
or;
www.nrcs.usda.gov/resources/guides-and-instructions/soil-...
For more information about Hydric Soils and their Field Indicators, visit:
www.nrcs.usda.gov/resources/guides-and-instructions/field...
Striking features on this gorgeous girl. 😊
Opisthoncus quadratarius. 💛
Victoria Point SE QLD Australia.
Adult Female that lives in my grandma's pot plant on the balcony. She's a little shy at first but friendly. With patientce and a gentle touch I managed to get her in position for a couple of snaps. She sat pretty chilled for the whole time.
Nikon D810, AF-S 60mm f/2.8G ED, Neewer LED with diffuser. 📷
Explanation: A dramatic study in contrasts, this colorful skyscape features stars, dust, and glowing gas in NGC 6914. The complex of nebulae lies some 6,000 light-years away, toward the high-flying northern constellation Cygnus and the plane of our Milky Way Galaxy. With foreground dust clouds in silhouette, both reddish hydrogen emission nebulae and dusty blue reflection nebulae fill the 1/2 degree wide field. The view spans nearly 50 light-years at the estimated distance of NGC 6914. Ultraviolet radiation from the massive, hot, young stars of the extensive Cygnus OB2 association ionize the region's atomic hydrogen gas, producing the characteristic red glow as protons and electrons recombine. Embedded Cygnus OB2 stars also provide the blue starlight strongly reflected by the dusty clouds. (text apod.nasa.gov/apod/ap110304.html )
This picture was photographed on June, 29 and July 5-7, 2013 in the Crimea during the festival of amateur astronomy, "Southern Nights 2013" (height of 600 m. above sea level)
Equipment: home assembled reflector 10" f/3.8, mount WhiteSwan-180, camera QSI-583wsg, Tevevue Paracorr-2. Off-axis guidecamera SX Lodestar.
LRGB filter set Baader Planetarium.
L: 37x600 sec., bin.1, Ha= 7*1800 sec. bin1. RGB: 17*450-600 sec. each filter, bin.2.
16,75 hours total.
FWHM 2.16"-2.69" , sum in L channel - 2.46"
Processed Pixinsight 1.8, Fitstacker and Photoshop CS6.
My latest creation features some Indian paisley print cotton taken from a multi-panel skirt and a paisley silk tie top. I thought about using the same material for the top but it is quite an open fabric, which gives it a lovely transparency, but it doesn't handle so well with a fitted design. My next thought was to use a plain silk fabric as I did with the Chrysalis dress but then I had a look through my stash of silk ties and found this tiny paisley. I really like the fact that both fabrics are paisley but on a very different scale so they combine especially well. Silk is much tougher at withstanding intense shaping and moulding for the top. Finally for the tiny straps I created a crochet chain and threaded it into the top securing it with invisible nylon thread and passed some tiny amber beads onto each end of each strap as a little embellishment.
Rayna Eye Candy is the third of my Raynas to feature in my 'Rayna Retrospective'. One more to go before Wild Feeling arrives!
Blondie is an American comic strip created by cartoonist Chic Young. Distributed by King Features Syndicate, the strip has been published in newspapers since September 8, 1930. The success of the strip, which features the eponymous blonde and her sandwich-loving husband, led to the long-running Blondie film series (1938–1950) and the popular Blondie radio program (1939–1950).
Chic Young drew Blondie until his death in 1973, when creative control passed to his son Dean Young, who continues to write the strip. Young has collaborated with a number of artists on Blondie, including Jim Raymond, Mike Gersher, Stan Drake, Denis Lebrun, and John Marshall. Through these changes, Blondie has remained popular, appearing in more than 2,000 newspapers in 47 countries and has been translated into 35 languages. Since 2006, Blondie has also been available via email through King Features' DailyINK service.
Overview
Originally designed to follow in the footsteps of Young's earlier "pretty girl" creations Beautiful Bab and Dumb Dora, Blondie focused on the adventures of Blondie Boopadoop—a carefree flapper girl who spent her days in dance halls. The name "Boopadoop" derives from the scat singing lyric that was popularized by Helen Kane's 1928 song "I Wanna Be Loved by You."
Marriage
On February 17, 1933, after much fanfare and build-up, Blondie Boopadoop marries her boyfriend Dagwood Bumstead, the son of a wealthy industrialist. The marriage was a significant media event, given the comic strip's popularity.[3] Dagwood's upper-crust parents strongly disapprove of his marrying beneath his class, and disinherit him. The check Dagwood uses to pay for his honeymoon bounces, and the Bumsteads are forced to become a middle-class suburban family. The catalog for the University of Florida's 2005 exhibition, "75 Years of Blondie, 1930–2005", notes:
Blondie's marriage marked the beginning of a change in her personality. From that point forward, she gradually assumed her position as the sensible head of the Bumstead household. And Dagwood, who previously had been cast in the role of straight man to Blondie's comic antics, took over as the comic strip's clown.
Setting
"Dagwood Bumstead and family, including Daisy and the pups, live in the suburbs of Joplin, Missouri," according to the August 1946 issue of The Joplin Globe, citing Chic Young.
Cast of characters
Blondie Bumstead (née Boopadoop): The eponymous leading lady of the comic strip. Blondie is a smart, sweet, and responsible woman. She can be stressed at times when raising her family and because of Dagwood's antics, and despite being usually laid-back and patient, Blondie does get upset sometimes. She is also extremely beautiful with gold hair, gentle curls, and a shapely figure. A friend once told Dagwood that Blondie looked like a 'million bucks'. In 1991, she began a catering business with her neighbor, Tootsie.
Dagwood Bumstead: Blondie's husband. A kind yet naïve man whose cartoonish antics are the basis for the strip. He is a big fan of football and has a large, insatiable appetite for food (but he remains slender). Dagwood is especially fond of making and eating the mile-high Dagwood sandwich. He celebrates even the most insignificant holidays, and approaches Thanksgiving (a holiday known for lavish dinners) with the same reverence most people reserve for Christmas. His continuous antagonistic and comical confrontations with his boss Mr. Dithers, for numerous reasons including Dagwood's laziness and silly mistakes, is a subplot that gets considerable attention in the strip. Another subplot deals with Dagwood and his neighbor Herb. He can also often be seen napping on his couch.
Alexander Bumstead: the elder child of Blondie and Dagwood who is in his late teens, formerly referred to by his pet name "Baby Dumpling". As a child, he was very mischievous and precocious. As a teenager, he is athletic, levelheaded and intelligent. Despite resembling his father, he is more down-to-earth like his mother.
Cookie Bumstead: the younger child of Blondie and Dagwood who is in her early teens. Cookie is portrayed as a teenage girl whose interests include dating, hanging out with friends, and clothes. Her appearance has changed the most compared to the other characters, as a child (1940s-late 1950s) she originally had long curly hair with a black bow holding a long curl on the top of her head, as a young teen (late 1950s-1960s) she wore her hair in a ponytail with curly bangs, as an older teen (1970s-1990s) she wore her hair long with a black headband and later (2000s) dropped the hair band and wore her hair with bangs, barretes and flipped to the sides. Her current hairstyle is long with bangs and flipped at sides.
Daisy: The Bumsteads' family dog whose best friend is Dagwood and who frequently changes her expression in response to Dagwood's comments or other activities. She, in the later years of the comic, gave birth to puppies.
Mr. Beasley the Postman: The Bumsteads' mailman who Dagwood seems to always collide with and knock down as Dagwood hurriedly leaves the house.
Mr. Julius Caesar Dithers: Founder of the J.C. Dithers Construction Company and Dagwood's boss. He dictates to his employees and believes the best thing in life is money. Although it usually does not seem like it at the workplace, Mr. Dithers still is a good-hearted man.
Mrs. Cora Dithers: Mr. Dithers' wife. She usually gets into fights with him as she exerts control of her husband. She is great friends with Blondie.
Herb Woodley: Dagwood's best friend and next-door neighbor.
Tootsie Woodley: Herb's wife and Blondie's best friend. Tootsie and Blondie can empathize with one another as women, mothers, and particularly as spouses of eccentric husbands. In 1991, she joined Blondie in starting a catering business.
Elmo Tuttle: A kid in the neighborhood who has a friendship with Dagwood (whom he calls "Mr. B"), but sometimes annoys him. His last name was originally "Fiffenhauser."
Lou the Diner Counterman: The owner and cook of Lou's Diner, where Dagwood goes on lunch hours. Dagwood sometimes suggests new specials for the diner. Lou is covered with tattoos and always has a toothpick in his mouth.
Claudia and Dwitzell: The carpoolers with Dagwood and Herb. Claudia is a lawyer; no occupation has been identified for Dwitzell, sometimes called "Dwitz".
The Bumstead family has grown, with the addition of a son named Alexander (originally "Baby Dumpling") on April 15, 1934, a daughter named Cookie on April 11, 1941, a dog, Daisy, and her litter of five unnamed pups. In the 1960s, Cookie and Alexander grew into teenagers (who uncannily resemble their parents), but they stopped growing during the 1960s when Young realized that they had to remain teenagers to maintain the family situation structured into the strip for so many decades.
Dagwood is the office manager at the office of the J. C. Dithers Construction Company under his dictatorial boss—Julius Caesar Dithers. Mr. Dithers is a "sawed-off, tin pot Napoleon" who is always abusing his employees, both verbally and physically. He frequently threatens to fire Dagwood when Dagwood inevitably botches or does not finish his work, sleeps on the job, comes in late, or pesters Dithers for a raise. Dithers characteristically responds by kicking Dagwood in the backside and ordering him back to work. The tyrannical Dithers is lord and master over all he surveys, with one notable exception—his formidable and domineering wife, Cora.
Blondie and Dagwood's best friends are their next-door neighbors Herb and Tootsie Woodley, although Dagwood and Herb's friendship is frequently volatile. Lou is the burly, tattooed owner of Lou's Diner, the less-than-five-star establishment where Dagwood often eats during his lunch hour. Other regular supporting characters include the long-suffering mailman, Mr. Beasley; Elmo Tuttle, a pesky neighborhood kid who often asks Dagwood to play; and a never-ending parade of overbearing door-to-door salesmen.
Running gags
Dagwood has created a typical Dagwood sandwich in this April 17, 2007 strip.
There are several running gags in Blondie, reflecting the trend after Chic Young's death for the strip to focus almost entirely on Dagwood as the lead character:
Dagwood often collides with Mr. Beasley the mailman while running out the front door—late for work.
Other variations of the late-for-work gag: Dagwood keeping his car pool waiting, running after their car or stuck in traffic. In earlier decades, he had been late for the bus or, even earlier in the strip's run, late for the streetcar.
The famous, impossibly tall sandwiches Dagwood fixes for himself, which came to be known colloquially as the "Dagwood sandwich".
Dagwood in his pajamas, having a midnight snack—with most of the refrigerator contents spread out on the kitchen table, (or balanced precariously on his extended arms, on the way to the table.)
Dagwood's propensity to nap on the couch during the day, often interrupted by Elmo, who wants to ask him a question; or Blondie, who has a chore she wants him to do.
Dagwood singing in the bathtub, or interrupted (usually by family members or Elmo) while he's trying to relax in the tub.
Dagwood contends with brazen or obnoxious salesmen at his door, selling undesirable or impossible-looking items.
A variation of the above has the salesmen calling on the telephone.
Dagwood and Herb Woodley spending some weekend time together, which usually escalates into a brawl.
Dagwood demanding a raise from Dithers and failing to get it every time.
Dagwood caught goofing off or sleeping at his desk in the office.
Mr. Dithers firing Dagwood for being incompetent or physically booting him out of his office.
Dagwood getting a menu suggestion from Lou, the wry, blunt, and/or sarcastic diner counterman.
The Christmas shopping gag, where Dagwood is shown carrying Christmas packages that completely cover up his face and upper body.
Herb borrowing small items—tools, small appliances, books, and (more recently) videos—from Dagwood, then never returning them. Occasionally, Herb will loan a borrowed item to a third party, which is then usually passed on to a fourth or fifth party, etc.[7]
Dagwood's hobby is household carpentry, but unfortunately his projects don't turn out well. Once, he built a small cabinet for Blondie, actually accomplishing all construction steps perfectly; but the result still fails because it doesn't fit in the space Blondie intended for it. Mostly, he is producing sawdust.
Colonel Potterby and the Duchess
From 1935 to 1963, Young also drew a topper, Colonel Potterby and the Duchess, a pantomime strip displayed beneath Blondie each Sunday.
Grand phare marais de Flandre
Characteristics of the lighthouse
Main Features
Situation:: Saint-Laurent-de-la-Prée
Longitude latitude :
45 ° 57'57 '' N - 01 ° 04'22 '' W
45 ° 57'50 '' N - 01 ° 03'58 '' W
Listed monument:-
Guarded:no.
Visitable:no.
NGA / Admiralty: 1400/1257- 1404 / 1257.1
Construction
Year of construction :1869 and 1952.
Materials :Concrete
Color :white, red top.
Height:Forward: 9 m
Height: Rear: 21 m.
Shape:square base.
Housing:no.
Lighting
-
Coded :QR
Color :Red.
Visibility: Forward: 20 miles.
Visibility: Rear 20 miles.
Lamp height: Forward: 8 m
Lamp height: Rear: 21 m.
First lighting:1952.
History
This alignment allows the approach to the Charente estuary and access to the port of Rochefort passing between the island of Aix and the island of Oléron.
In October 1869, the two fires were put into service. The front light is a square tower 8.20 m high. The rear light located at 600 m, is placed at a height of 13.8 m. The lights are fixed.
They were electrified in 1938 (later) and 1939 (earlier). They were destroyed in August 1944.
They were rebuilt in 1952. The two fires are a square tower, the front is 9 m high and the rear is 21 m high.
They are both shimmering continuous red.
The values given in the table concern first the front light then the rear light.