View allAll Photos Tagged foreshadowing
Pictured above: Megan Ball-Elutilo
On May 7, 2011, community members braved unusually cold weather for Hayward's second annual multigenerational poetry slam in the Hayward Public Library garden plaza. Following a series of free poetry slam workshops in March and April, led by Matt Blesse of the San Francisco-based Youth Speaks, many participants presented poems inspired by or about the Big Read selection In the Time of the Butterflies by Julia Alvarez. Lynn Roberts placed first in the poetry slam competition, followed by Judy Tomlinson in second place and Alison Diep, a 9th grade student from San Leandro, in third place.
Strong Women: A Poem by Megan Ball-Elutilo
Strong women
We are resilient
Like natures return to glory
Strong women
We are grounded
Like the sprawling, silent oak
Strong women
We roll temptation
In our hand
Like a ball of clay
Strong women
We foreshadow the future
Like the crystal ball
Strong women
We find our way
Like the path to the clearing
Strong women
We find our balance
Like the dancer’s final pose
Strong women
We bounce back
Like rain off the pavement
Strong women
We catch emotion
Like cups of the marigold
Strong women
We return to the center
Like concentric circles in a pond
Strong women
We are revolutionary
Like the spoken word artists
Mujeres con palabras
Strong women
We are gentle like the sip of tea
Guarded against the heat
Strong women
We covet our words
Like prayer beads
Strong women
We calm our inner voices
Like the zen chime
Strong women
We are guardians of the earth
Like spires of a church
Strong women
We give generously
like a blazing fire
Strong women
We are full of mercy
like a young child
Strong women
We bring family together
Like iyagba who passes
Along stories of rooted generations
Strong women
We spare no amount of love
Like ethereal guardian angels
Strong Women
We have the foresight
To return to whom we are
Copyright: Megan Ball-Elutilo
This series will be the last of my uploads for the trip I took to southern Burgundy in September 2023.
Listed as a Historic landmark in 1900, the Romanesque church in the out-of-the-way village of Gourdon is one of the secret wonders of Burgundy. Not particularly outstanding from the outside, its large silhouette nevertheless foreshadows an impressive interior, and indeed it is, with its combination of a whooping three-level, Cluny-inspired elevation, its three naves and its generalized system of groin vaulting. Its collection of sculpted capitals is also famous, as are the alfresco paintings that were discovered in the 1940s as the plastering that was applied to hide them in the 19th century began to peel away. More such discoveries were made in the 1970s and restoration lasted until the early 1990s.
Located on a hilltop in the département of Saône-et-Loire, Gourdon has been inhabited since time immemorial. Valuable traces of Roman presence were found in 1845 and promptly shipped to a museum in Paris (the Cabinet des Médailles) where the are still being exhibited to this day. A monastery was founded here very early on, as there is a written trace of a dependency of the Le Puy cathedral chapter in 534, but claims that it was “a Benedictine priory” seem to me a bit overambitious, in spite of my sympathies for that order: let’s not forget that Saint Benedict died only in 547 in Monte Cassino, and I doubt that his Rule was so well-known in Gaul in his own lifetime that it could have been adopted by a small religious establishment in Burgundy... The monastery did certainly exist, though, as Saint Gregory of Tours visited it in 570 and there met with Didier (or Desideratus). About this last figure, History hesitates between the quality of abbot (that would indeed rather be prior if Gourdon were a priory back then) and that of hermit. In any case, by 1104, when the completed parish church is mentioned (there remains no trace of the in-between period), there is no further mention of that monastery, which must have disappeared in the meantime; it was probably little more than a hermitage, as by Year 1000 the rule had been largely propagated by Saint Benedict of Aniane († 821) and Benedictine houses were flourishing all over the Western world. An already existing priory would most likely never have been so abandoned and shut down. No physical traces of that establishment were ever found by archæologists.
Since around 1100, the church has been left almost intact, except for the bell tower which collapsed in 1881 and was rebuilt in 1889, exactly as it was before.
The back of the church with its tiered roofs: transept, apse, apsidioles.
I took this picture when the smooth mirror of the lake started boiling foreshadowing the upcoming storm
Subject: Reh, Emma
Science Service
Type: Black-and-white photographs
Date: 1935
Topic: Journalism, Scientific
Local number: SIA Acc. 90-105 [SIA2009-2156]
Summary: As she was growing up in Washington, D.C., Emma Reh (1896-1982) contributed many prize-winning essays and drawings to local newspapers, foreshadowing a lifelong interest in communication. She joined the staff of Science Service around 1924 and continued as a frequent contributor throughout the 1930s, reporting on archeological excavations in Mexico, as well as the social and political situation in that country. In 1935, she began work for the Soil Conservation Service and then later at the United Nations' Food and Agriculture Organization, writing about food consumption and distribution problems
Cite as: Acc. 90-105 - Science Service, Records, 1920s-1970s, Smithsonian Institution Archivess
Persistent URL:Link to data base record
Repository:Smithsonian Institution Archives
An interesting ad for P•R•O, foreshadowing its future as Promaster. The presence of the "Quantaray Mini Auto" flash suggests continued relations with Ritz Camera, but this ad is also an early bit of national advertising for its own independent brands. The "member retailers" at this point might be anything from single mom-and-pop stores up to major mail-order giants and large chains.
Typographically, it seems the older P.R.O. and P-R-O variants are gone.
The view as we headed out on an airboat to tour some Louisiana swamps. By the end of the tour, the sky was raging. The folks at Airboat Adventures were awesome!
Estimated : € 6.000 - 10.000
Sold for € 20.468
- Concept car Unregistered
- Concept car prefiguring the Clio III RS
- Displayed at the 2005 Frankfurt Motor Show
- Superb special finish
- One-off vehicle with Renault Sport badging
Unveiled at the 2005 Frankfurt Motor Show, this Clio III RS Concept Car foreshadowed the production model, which went on sale in mid-2006. Finished in a beautiful shade of pearlescent red, this Renault Sport-badged model differed from the standard Clio III in several respects, including its wider wings, huge air intake with a mesh grille, rear diffuser, twin exhausts and 18in wheels.
The interior was also specially kitted out, with a red dashboard housing instruments with white dials, matching red trim and elegant front and rear bucket seats upholstered in red and grey leather. A panoramic glass roof filled the interior with light, but was not carried over to the production RS, on account of its weight and reduced rigidity in comparison with a steel roof.
Under the bonnet lurked a 2.0-litre 16-valve 4-cylinder engine developing 200bhp, mated to a six-speed gearbox, while the car was equipped with independent steering axis front suspension to curb torque steer.
This concept car entered the collection at the end of 2006, where it has remained on static display ever since. Heralding the future Clio III RS, this unique Renault Sport concept car, in excellent original condition, cannot be registered for road use, but is a very carefully and successfully executed prototype.
The style of the head foreshadows the final phase of Julio-Claudian portraiture, displaying an expressionistic naturalism well-suited to the upheavals of that period.
Acquired in 1952
Department of Greek, Etruscan, and Roman Antiquities
Left and right: from a legend rather than the Gospels, the risen Christ appearing first to his mother; in the centre, the Transfiguration, foreshadowing the bringing together of heaven and earth through Christ - transfigured to Peter, James and John, with Elijah and Moses immediately beneath him - on the tablets is written the first sentence of the Creed.
"The Church of England parish church of Saint Mary is renowned for its complete set of medieval stained glass, stone carvings and misericords. Built in the early 1490s, the church is an example of late Perpendicular Gothic architecture that is characterised by slim stone window mullions and light but strong buttresses. The style enabled larger windows than previously, allowing much more light into the building. Grade 1 listed by English Heritage, St. Mary's is of national historical and architectural importance because it houses the most complete set of mediaeval stained glass windows in the country, attributed to Barnard Flower, and its structure and details remains unaltered since originally built."
Source: Wikipedia
1953 Cadillac Le Mans at the Pebble Beach Concours d'Elegance
To foreshadow Cadillac's look for the mid-1950s, GM styling produced this handsome, short-wheelbase two-seater roadster. This one originally built for Fisher Body President J. E. Goodman, was the second of four prototype cars to be made drivable by GM. It was updated with 1959 body panels, quad headlights and revised tailfins, a detachable hardtop, a new 390-cubic-inch V-8 engine, and a low-profile Harrison radiator. It was initially Sea Mist Green, then was repainted and reupolstered in matching Silver-Grey
Owner: General Motors Company
Monterey, CA
Halloween in the mid to late 80's. This is my cousin Robynne. I think this my be a bit of foreshadowing for the goth look she started using in highschool.
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Die Tote Stadt (The Dead City) is a 1920's opera by Erich Wolfgang Korngold with a libretto by Paul Schott. It's set in Brugge, and it would have been a less dead city if the protagonist would have stopped bumping off his friends... I didn't listen to it. Korngold ended up in Hollywood and wrote scores for a number of successful movies.
On this trip, it was a first for us to fly out of Billy Bishop Airport. But it was also our first flight on the Airbus A220. There are lots of pluses with this airplane, (possibly more on-board luggage capacity), clean, unscratched airplane windows, and a stunning on-board entertainment system. But you pay with less headroom above the seats, smaller storage under the seat in front of you, and seats that aren't as cushy.
From Wikipedia:
The Airbus A220 is a family of narrow-body, twin-engine, medium-range jet airliners. The airliner was designed by Bombardier Aerospace and originally marketed as the Bombardier CSeries. Bombardier sold the CSeries airliner program to Airbus and it is now marketed by Airbus Canada Limited Partnership, a joint venture between Airbus and the Quebec government's investment arm Investissement Québec.
The 108 to 133-seat A220-100 (ex CS100) made its maiden flight on 16 September 2013, was awarded an initial type certification by Transport Canada on 18 December 2015, and entered service on 15 July 2016 with Swiss Global Air Lines. The 130- to 160-seat A220-300 (ex CS300) first flew on 27 February 2015, received an initial type certification on 11 July 2016, and entered service with launch customer airBaltic on 14 December 2016. Early operators recorded better-than-expected fuel burn and dispatch reliability, as well as positive feedback from passengers and crew.
Airbus acquired a 50.01% majority stake in the CSeries program in October 2017, with the deal closing in July 2018. As part of the deal, Bombardier retained a 31% stake in the aircraft and Investissement Québec 19%. In August 2019, Airbus opened a second assembly line for the aircraft at its Mobile, Alabama factory. In February 2020, Bombardier exited the programme; Airbus increased its share to 75% while Investissement Québec held the 25% balance.
Watercolor, gouache and photographic Van Dyke print on paper.
I don't exactly remember the dimensions... 8" x 22"? Something like that.
Prints available here: www.kellymckernan.bigcartel.com
It was a busy Friday night and we pulled our mini van off the side of Highway 2 South near Olds, Alberta. I set up my tripod on the shoulder and captured this odd sunset -- intrigued by the light shining though the barn. There was a tap on my shoulder -- an RCMP Police Office, I think mostly wanting to look through the camera to see what the photo was going to look like. It reminds me of the story, "Something wicked this way comes."
www.youtube.com/watch?v=RjV_7aptx2M
Poor Boy Blues - Gare du Nord
Foreshadowing current reality
:-)
A blue shadow
A poor boy
A few good friends
So lucky
g
Montreal
Is this a foreshadowing of things to come? Let’s hope so! It was a spectacular debut for Forgeline-equipped teams, at the 2017 IMSA Continental Tire Sports Car Challenge season opener at Daytona International Speedway this past weekend! Porsche Caymans on Forgeline wheels swept all three spots on the GS class podium, and two of three spots on the ST class podium! In the GS class, we congratulate Bodymotion Racing on their GS class victory and CJ Wilson Racing for their 2nd & 3rd place finishes. And in the ST class, we congratulate Murillo Racing and RS1 for their respective 2nd and 3rd place finishes. What a great way to start the 2017 racing season!
Allards featured large American V8 engines in a light British chassis and body, giving a high power-to-weight ratio and foreshadowing the Sunbeam Tiger and AC Cobra of the early 1960s.
January 22, 2017 - Bottlenose Dolphins Selection – Taiji, Japan
Day Three; the nightmare hasn’t ended.
The day started early again as the first of the skiffs arrived at 06:51am, followed by the others, full of trainers, by 07:00am. The boats drove straight through the pod; a scene that would foreshadow the rest of the day.
By 07:35, during the first of the group selections, a young dolphin thrashed itself so hard against the side of the skiff that it bled. 3 days without food, left in the freezing cold and shallow water, these dolphins were frightened and exhausted.
We noted the first 2 skiffs leaving with 2 dolphins each at 09:21am. They were slung up onto the sides of the boats and dragged through their family, away to their morbid new “home,” alone, hungry and scared. The skiffs continued to plough straight over the families as they were frantically thrashing.
At 11:19am, 3 very small baby dolphins were put into slings and dragged past their frantic mothers, taking the abduction count up to 41 over the past 2 days of selection. There was horrific sights of trainers separating a mother and baby as the mother dove head-first toward the skiff in order to be by her child. The laughing and talking from the trainers rang out through the cove as we watched a complete decimation of a family unravel before our eyes. We were watching a mother’s worst nightmare. We were watching a helpless being have her only friend and companion torn from her.
The hunters took a moment for lunch before resuming, stealing another 6 small bodies for slave labour at around 1pm. At 1:46pm, the last of the babies were stolen for the day, taking the total count up to 53; that was 30 yesterday and another 23 today.
The process of assessing, marking, terrorising and torturing continued until we noticed the tarps start to be withdrawn at around 2:30pm
Another 7 gruelling, nightmarish hours saw the end to the third day. Unfortunately, we are sad to announce that the process isn’t over. The - once - super pod of 200 dolphins will spend yet another night netted into the cove, awaiting scrutiny and invasion of their sacred bodies and that of their children’s, before either being rejected as “not beautiful enough,” or abducted for their profitability potential.
This is all done in the name of marine park revenue. Aquariums, zoos and marine parks alike who keep once wild animals, all play a part in the horrific, six-monthly dolphin hunt that occurs here in Taiji. The captive industry is responsible for the heartache of mothers having their babies dragged away in front of their own eyes. The captive industry is responsible for thousands upon thousands of deaths of innocent animals. The captive industry is responsible for the decimation of the ocean’s diverse and rich ecology. Say no to marine park tickets. Animals behind glass didn’t wilfully give up their free lives.
Sites for more information :
Sea Shepherd Cove Guardians Page (official)
www.facebook.com/SeaShepherdCoveGuardiansOfficialPage
Cove Guardians
www.seashepherd.org/cove-guardians
Photo: Sea Shepherd
It’s late on a warm Saturday afternoon. A slight breeze has kicked in bringing with it a cool foreshadowing of the approaching evening. The sun is low on the horizon and the shadows lay long on the street. As I’m walking along, as if from nowhere, an old and rustically charming building unexpectedly whispers something to me. I don’t understand the words, in truth there can be no words, but I’m suddenly reminded of somewhere I’ve been…or dreamt of being. Maybe it’s the charming colors; or the reflections of the trees in the upper windows; or perhaps it’s just the lazy empty feel it exudes in the waning moments of the afternoon. I can’t put my finger on it. So I go with that for now. But I take a second to steal the moment in a picture….just in case.
Shot along Broadway in old town Redwood City CA
Taken as we departed Sydney for Fiji, little did we know that the dark skies foreshadowed Cyclone Pam that would dance around Fiji and give us a very entertaining time!
So far I have a couple of these in the "Domestic Bliss" series. It's sort of a 50s or earlier feel, but with a dark foreshadowing, like the way we take something, use it for how it was never intended, and become lazy and something else.
Made in Adobe Illustrator CS2 with a G5.
This series will be the last of my uploads for the trip I took to southern Burgundy in September 2023.
Listed as a Historic landmark in 1900, the Romanesque church in the out-of-the-way village of Gourdon is one of the secret wonders of Burgundy. Not particularly outstanding from the outside, its large silhouette nevertheless foreshadows an impressive interior, and indeed it is, with its combination of a whooping three-level, Cluny-inspired elevation, its three naves and its generalized system of groin vaulting. Its collection of sculpted capitals is also famous, as are the alfresco paintings that were discovered in the 1940s as the plastering that was applied to hide them in the 19th century began to peel away. More such discoveries were made in the 1970s and restoration lasted until the early 1990s.
Located on a hilltop in the département of Saône-et-Loire, Gourdon has been inhabited since time immemorial. Valuable traces of Roman presence were found in 1845 and promptly shipped to a museum in Paris (the Cabinet des Médailles) where the are still being exhibited to this day. A monastery was founded here very early on, as there is a written trace of a dependency of the Le Puy cathedral chapter in 534, but claims that it was “a Benedictine priory” seem to me a bit overambitious, in spite of my sympathies for that order: let’s not forget that Saint Benedict died only in 547 in Monte Cassino, and I doubt that his Rule was so well-known in Gaul in his own lifetime that it could have been adopted by a small religious establishment in Burgundy... The monastery did certainly exist, though, as Saint Gregory of Tours visited it in 570 and there met with Didier (or Desideratus). About this last figure, History hesitates between the quality of abbot (that would indeed rather be prior if Gourdon were a priory back then) and that of hermit. In any case, by 1104, when the completed parish church is mentioned (there remains no trace of the in-between period), there is no further mention of that monastery, which must have disappeared in the meantime; it was probably little more than a hermitage, as by Year 1000 the rule had been largely propagated by Saint Benedict of Aniane († 821) and Benedictine houses were flourishing all over the Western world. An already existing priory would most likely never have been so abandoned and shut down. No physical traces of that establishment were ever found by archæologists.
Since around 1100, the church has been left almost intact, except for the bell tower which collapsed in 1881 and was rebuilt in 1889, exactly as it was before.
In most Romanesque churches with historied capitals, you will find one representation of the sin of Lust: a woman having her breasts being bitten by snakes is a classic one.
1964 Cevrolet Corvair Greenbrier Sports Wagon
Display Condition: Last Used
The Greenbrier Van foreshadowed the arrival of the first "mini-van" produced in North America in 1983. The Greenbrier was manufactured from 1961 to 1964 and used a rear-mounted aluminium block, air-cooled engine similar to Volkswagen vans produced at the time.
Chevrolet's research fround that the Volkswagen owners were happy with the size and configuration of their vans, but found them underpowered. Chevrolet attempted to rectify this by outfitting the Greenbrier with a standard six-cylinder 95 horsepower engine.
Manufacturer: General Motors of Canada Limited, Oshawa, Ontario
Engine: 163.6 cubic inches
Configuration: 6 cylinder opposed, OHV, air-cooled
Bore and Stroke: 3.438 x 2.938 inches
Brake Horsepower: 95 horsepower @ 3600 rpm
Transmission: manual 4 forward speeds/1 reverse
This to me is almost like a sense of foreshadowing is playing into this shot. The smoke just starting to emerge in the background as the subject prepares.
Creature from the Black Lagoon, 1954
Most monster movie fans have believed for decades that the design of the Creature was the work of Bud Westmoore, but that is not the case. The Creature's "gill-man" design actually came off of the pen of artist Milicent (Millicent) Patrick. Although the fetching young illustrator never got her name in the films credits she was paraded from film screening to film screening in hopes that her model-like good looks would drum up more publicity for the film. Her contribution to the history of monster films has never been fully given the credit that it so deserves. Unfortunately there a far too many such "unknown heroes" in the genre of horror and sci-fi films.The Creature's appearance was based on old
seventeenth-century woodcuts of two bizarre
creatures called the Sea Monk and the Sea
Bishop. The Creature's final head was based on
that of the Sea Monk, but the original discarded
head was based on that of the Sea Bishop.
Here we have several shots of Milicent Patrick. Patrick was the person responsible for the look and design of the "Creature From the Black Lagoon".
Universal was already famous for iconic "monster" movies. Frankenstein and Dracula became part of the culture. Creature from the Black Lagoon (CBL) is mostly in the same vein of monster-horror flick, but with a little science in its fiction. Unlike magical or demonic monsters, this one is supposedly a "natural" anomaly of evolution. CBL is often classified as sci-fi, so it's worthy of inclusion here.
Budget-wise, CBL is a B movie, but it's a cut above the usual B crowd. The acting was reasonable. The cinematography was impressive. The only "special" effect was the creature's costume. While the Creature is, in many people's mind, THE icon for man-in-rubber-suit monster costumes, something about the creature found resonance in movie-goers. He was strong enough to merit two sequels.
The producers tapped Jack Arnold for director. Arnold, who directed It Came From Outer Space had an excellent eye. His use of many camera locations, angles, framing and cuts, he lets the camera become invisible. Viewers are in the scene, not simply watching it.
The actors didn't get in the way of the story. Richard Carlson was already a big name in the sci-fi movie world. It Came From Outer Space, Magnetic Monster, and Riders to the Stars. Richard
Denning was a hunky star of many westerns and detective movies. He would go on to star in a few more sci-fi films. The female lead, Julie Adams was perfect as the beautiful damsel. The supporting cast were a little quirky at times, but not as stiff and wooden as second-teir actors tend to be.
Synopsis
A old archeologist, working in the remote Amazon, finds the fossilized hand -- somewhat humanoid, but obviously aquatic. He shows it to some other scientists who agree to mount an expedition to find the rest of the skeleton. While Dr. Maia was doing all this, a creature with the same kind of hand tears up his camp and kills his two native helpers. The scientists spend many days digging and sifting, but come up empty. They decide to go further upstream to the Black Lagoon to search. There, they encounter the Gill-Man. The two scientists are at odds over what's best -- capture the creature alive, kill it and bring it back, study it and leave, etc. All this debate becomes moot when the creature begins killing off crew members. The creature barricades the entrance to the lagoon so the ship cannot leave. The expedition becomes a battle for survival. They manage to drug and capture the creature, but it escapes its cage-tank. It kills Dr. Williams. It then captures the beautiful woman, taking her to his cave lair. The men follow, find her and the creature. After taking several bullet hits, the creature staggers away and dives into the lagoon. The final image is of the creature floating downwards, limp and lifeless.
Why is this movie fun?
This is one of those cultural icon movies that even non-fans of sci-fi know. In that regard, watching it like seeing a celebrity in person. Arnold does a good job with pacing and keeping tension up. It's interesting that the creature gets his own theme music, of sorts. Arnold that the same ascending three note phrase, "do da DEEEEE!" accompany each appearance. The creature's mixture of vulnerability and apparent invincibility, kept you off guard. Spear gun hits or bullets seemed to almost take him down, but not quite.
Dueling Scientists -- Dr. Reed (Carlson) represents the "good" side of science. He wants to study the creature, but not interfere or harm anything. He wants to expand the field of knowledge for altruistic reasons. Dr. Williams (Denning) represents the dark side of science. He's focused on the fundraising potential, the economic cost of expeditions. When confronted with the creature, he's all for killing it (not so much for the safety of the others) in order to bring it back for exhibition. This dualism of scientists is somewhat two-dimensional, but works as a sub-theme.
Many B-grade sci-fi films show their low-budget monster as little as possible. CBL breaks that rule in a big way. Viewers get several partial views right away (the hand) and not too far into the film, a full view of him. Since the producers didn't cheap out on the gill-man's costume, viewers aren't let down. He looks, moves and acts much one would think a gill-man would.
The gill-man is not simply a killing machine type of monster. His curiosity with (attraction to) Kay makes him more complex. In the swimming sequence (a strong foreshadow of the swimming girl scene in Jaws), he swims along with her, unseen, in a sort of parallel dance. He, the ancient, strong and primal male matching moves with the lithe, beautiful, innocent female. Some suggest that the gill-man's popularity was how well he echoed the adolescent male condition: awkward, unattractive, misunderstood, full of rage, attracted to beautiful women, but insecure approaching them. The big scene, in which the gill-man grabs Kay off the boat and swims her down to his cave lair is easily a young male fantasy.
CBL has the classic they're-after-our-women scene. It lives up to the poster art. The gill-man grabs the woman and runs (swims) off with her. He carries her in his arms toward his lair. Unlike other versions of this classic image, the gill-man appears to actually want the woman.
The American Federation of Labor (AFL) convention opens at the Willard Hotel in Washington, D.C. October 2, 1933
The convention occurred against the backdrop of a foundering economy during the Great Depression, the election of Franklin Roosevelt the previous November and rising influence of the Communist Party and other radical elements among workers.
John L. Lewis, the president of the United Mine Workers, argued that unions would not survive unless they organized the masses of workers in basic industry. Lewis proposed they be organized along industrial lines, like his own union, instead of craft lines like the building trades.
In response the convention approved organizing workers along industrial lines into locals directly affiliated with the AFL but made no promises to keep them that way.
In fact, such successful organizing drives resulted in the AFL dissolving hundreds of such so-called federal unions, breaking their members up into craft unions that claimed jurisdiction in 1934-35.
While the AFL was angering workers by diluting their bargaining power, left wing elements waged three successful militant strikes in 1934.
These were the Minneapolis Teamsters Strike of 1934, the leadership of which included some members of the Trotskyist Communist League of America; the 1934 West Coast Longshore Strike, the leadership of which included some members of the Communist Party USA; and the 1934 Toledo Auto-Lite strike, which was led by the American Workers Party. Victorious industrial unions with militant leaderships were the catalyst that brought about the rise of the CIO.
The AFL authorized organizing drives in the automobile, rubber, and steel industries at its convention in 1934 but gave little financial support or effective leadership to those unions.
The AFL's timidity succeeded only in making it less credible among the workers that it was supposedly trying to organize. That was especially significant in those industries, such as auto and rubber, in which workers had already achieved some organizing success, at great personal risk.
Shortly after the 1935 AFL convention, Lewis convened a group within the AFL to organize along industrial lines. The AFL treated the group as an enemy and in November of 1936 the Congress of Industrial Organizations was founded independent of the AFL.
In 1937 the rump group had won significant victories at General Motors and U.S. Steel and workers in basic industry flocked to the new umbrella organization.
The AFL also added members during this period and union membership peaked in the United States in the early 1950s at about 35% of the workforce. The AFL and CIO merged in 1955.
The bold and decisive leadership provided by the CIO garnered the support of millions of workers and helped lead the way to the greatest percentage of union membership in U.S. history.
Union membership in the private sector dropped to 6.4% in 2016 and overall union membership, including government workers, was only 10.7% in 2016.
For more information and related images, see flic.kr/s/aHskfX57Ls
The photographer is unknown. The image is an ACME News Service photograph obtained via an Internet sale.
Legend has it that a young Lawrence of Arabia traveled this underwater stream in Oxford.
The legend is disputed, some think it was impossible to go through in 1908. In the '30s it was dredged, yielding a Victorian era punt with three skeletons.
A modern explorer, Alan Trinder, recalls "My lasting memory of that trip is the number and size of rats we encountered."
www.oxfordmail.net/community/memorylane/display.var.99368...
Millard Sheets was a member of the church, and he led a team of artists and architects who designed this new building in 1955. Sheets integrated mosaics, woodwork, stained glass and ceramic elements into the whole, foreshadowing the use of many of these materials in his commercial commissions.
DSCF5865
The drawing of the breathing tube belongs to the systems to submerge in and remain underwater. Even if this idea is not new, in Leonardo's drawing, it's possible to find details in which he foreshadows the modern solution.
Seen at the "Machines of Leonardo da Vinci" exhibit in Florence, Italy. The exhibit housed over 40 models of mechanical, building, flying and war machines. They were replicated exactly from his codices by florentine artisans under engineer supervision.
Allards featured large American V8 engines in a light British chassis and body, giving a high power-to-weight ratio and foreshadowing the Sunbeam Tiger and AC Cobra of the early 1960s.
66.5¢ a Gallon for Regular. 67.5¢ for "Ethyl." The pumps didn't even have a 3rd digit! Nobody would have believed that gas would ever be over a dollar!
(Ironic Foreshadowing Pause)
I paid $3.62 a gallon when I filled up tonight. Many are paying $4 and more.
1961 Chevrolet Corvette
Chassis No. 10867S103251
By 1961, the Corvette had evolved into a very credible sports car. Styling was carefully updated under GM design chief Bill Mitchell with a subtle new grille design, while the new rear end treatment foreshadowed the upcoming Sting Ray with a neat ducktail design incorporating four cylindrical taillights. In addition, the growing list of standard equipment now included a tachometer, seat belts, sun visors, dual exhaust, carpeting, an electric clock, outside rearview mirror and an aluminum radiator.
This brawny 1961 Corvette displays an older, yet very well presented resto-mod refinish in silver and white side coves over black interior upholstery. A white vinyl top, cowl hood, vintage Firestone Firehawk radials, steel wheels and chrome wheel covers complete the presentation.
Cabin amenities include a tachometer, clock, defroster, AM/FM radio with premium sound system, and Hurst t-handle shifter. The car’s small-block V8 engine mated to a four-speed manual transmission provides more than enough power to get this vette up and going in a hurry!
The older restoration has begun to show its age in areas, but remains well suited for continued use as an attention grabbing weekend cruiser. This Corvette is sure to please its new owner with a great combination of timeless styling, performance and modern upgrades.
Desirable Early Solid-Axle Corvette!
Classic Resto-Mod!
Beautiful Presentation & Well Outfitted!
Between 1622 and 1625, Gian Lorenzo Bernini sculpted a Baroque, life-sized marble entitled Apollo and Daphne. Apollo clutches Daphne’s hip pursuing her as she flees trying to escape him. Apollo desperate and longing wears a laurel crown foreshadowing Daphne’s metamorphosis into the laurel tree. Daphne is portrayed halfway through her metamorphosis into the laurel tree with her arms already transforming into its branches as she flees and calls to her Father to save her from Apollo.[2]
Artists such as Antonio and Piero del Pollaiolo often manipulated scenes from famous Greek mythology into the setting of their time periods. In Pollaiolo's painting Apollo and Daphne, both Apollo and Daphne are shown dressed in Renaissance garments as Daphne is in the midst of transforming into the laurel tree.
The myth of Apollo and Daphne has been examined as a battle between chastity (Daphne) and sexual desires (Apollo). As Apollo lustfully pursues Daphne, she is saved through her metamorphosis and confinement into the laurel tree which can be seen as an act of eternal chastity. Daphne is forced to sacrifice her body and become the laurel tree as her only form of escape from the pressures of Apollo’s constant sexual desires. Apollo takes Daphne’s eternal chastity and crafts himself a wreath out of her laurel branches turning her symbol of chastity into a cultural symbol for him and other poets and musicians.
Valley Arts Council President Rich DiCarlo presents Naugatuck resident Martha Struber with the Best in Show award Thursday at the council's 'Delicious II' opening reception at Marco Pizzeria and Restaurant in Derby. Her acrylic painting was 'Coke Foreshadowing.'
Quite an oldie actually, but I liked the way it applied to the way I'm currently feeling. It's kinda grainy, and really dark, but I didn't want to fix the exposure, because, right now, I sort of FEEL like I'm in the dark, and that the window is my only source of light. It's kinda creepy how I took this like, two months earlier, on the same day as today. Sort of like foreshadowing. Eep.