View allAll Photos Tagged hardhat
A worker takes a breather in front of the graphic showing what this Millennium Tower project will look like when finished.
just found these at marksworkwearhouse today. they are supposed to be car airfresheners but they fit the pukifees perfectly and were only $5. they came in yellow and hot pink so i got one of each.
To the left, Takara's Destiny head is on a Phicen 4.0 small bust tan body. Sithlord MacGyver bikini, Soldier Story gloves. Coverall, boots, and hard-hat are ZC World. Sledgehammer is Dragon Models, I think.
To the right, Phicen's Fire Red Rose/Penelope is on a pale 4.0 small bust figure. SMcG bikini bottom, Soldier Story gloves, Flirty Girl boots. Safety vest and goggles are ZC World, and crowbar is 21st Century. The very observant may recognize the body and outfit.
Lego workers, Mr. Mustasch from 2008 (having a bad day) and Mr. Happy from the 80's (having a nice day!)
Circa mid-late 1990's. My friends Bob, Tracy and Tim, hamming it up just for the photo. I’m pretty sure that this was taken during one of the major unit maintenance turnarounds that all processing plants have. All three are wearing grey hardhats indicating that they all worked within the Maintenance organization.
Bob, a tall fellow at 6'-5", when routinely asked how tall he was his response would be "5 foot, 17." Some people, Bob said, might remark back to him, "You seem taller." :-)
From an article in The Hollywood Reporter
This is from a hardhat tour I took of the Experience Music Project in Seattle as it was nearing completion April, 2000.
Note the Guitar World Special Issue Sept. 1985, edited by yours truly, Noë the G.
I wrote about it in this article, which was syndicated by the BPI Newswire but has somehow disappeared from cyberspace. Now it's back.
Experience This / A first look at Paul Allen's ambitious rock'n' roll temple
The Hollywood Reporter
June 13, 2000
By Noë Gold
All photos by Noë Gold
The high walls of the Sky Church are rumbling, literally shaking with a presence that is not of this Earth.
On the physical plane, the cavernous exhibition hall sits in Seattle, a few yards from the terminus of the monorail that links the city's downtown to its monolithic Space Needle.
On the spiritual plane, Jimi Hendrix, the avatar of guitar-driven rock 'n' roll who first asked "Are You Experienced?" is very much in the house -- a gleaming, new house that media mogul Paul G. Allen has built to honor popular American music.
The Sky Church is the spiritual centerpiece of the soon-to-open Experience Music Project, a massive museum designed by famed architect Frank O. Gehry to enclose 140,000 square feet of free-flowing, music-related exhibits on a 35,000 square-foot plot of land carved out of the city's once-grand Seattle Center.
The references to the Seattle-born Hendrix are intentional. The museum's mission, its founders say, is to have people experience the music. Come June 23, the first paying guests will find out what's going on inside the twisted, sky blue and magenta-hued piece of architecture that has been under construction since 1997.
The Sky Church concept is taken from one of Hendrix's dreams, in which he described a place where all diverse people could come together to appreciate music. The space fulfills Hendrix's prophecy by doubling as a grand exhibition hall by day and a performance space at night.
The EMP itself can be described as a museum with aspects of a theme park, through which people will take a "ride" amid the cultural artifacts that celebrate the blues-based, soul-inflected, rockabilly roots of American music.
More than 800,000 are expected to visit the nonprofit facility each year, with top ticket prices set at $19.95.
The museum opens with a party that will include musical performances by James Brown, Metallica, Red Hot Chili Peppers, Eminem and Snoop Dogg, Alanis Morissette, Eurythmics and Bo Diddley. MTV and VH1 will televise much of the hoopla.
Jody Patton, the EMP's co-founder and executive director and Allen's sister, dates the museum's genesis to 1992, when she and her brother attended a Sotheby's auction of rock 'n' roll memorabilia.
"Paul was intrigued by the artifacts," she says, "and we did the bidding. When the pieces arrived, we gingerly unpacked these things and we were in awe of how the spirit of the person who used them becomes imbued in the personal article. Paul said, 'If I think this stuff is really neat, then other people will be moved as well.'"
In Allen's longhair days, he played a Fender guitar. The obsession continues, except today Allen owns the Stratocaster that Hendrix played at Woodstock in 1969. And a whole lot of other stuff -- 80,000 artifacts, in fact, now reside here. More than 1,200 of them will be on display at at any given time.
The EMP's Hendrix Gallery enshrines the contract signed by the musician for Woodstock, revered objects of Hendrix's outrageous clothing and Allen's version of pieces of the cross: fragments of a guitar Hendrix smashed and burned at 1967's Monterey International Pop Festival.
The Guitar Gallery gives museum-style prominence to artifacts of rock like an early electric lap steel guitar, a Gibson Flying V prototype and axes played by the likes of the Byrds' Roger McGuinn and bluesman Tampa Red. There is a trumpet from Quincy Jones' early days in Seattle and song lyrics by another Seattlite, the late grunge rocker Kurt Cobain. Bob Dylan's harmonica and Janis Joplin's pants are there, too.
A recent hard-hat tour reveals EMP is no mere memorabilia collection. Flat-screen monitors and interactive displays are everywhere. A snaking corridor leads to the "Crossroads" exhibit, the main exhibition area, where disparate musicians like Hendrix, hip-hop and Bing Crosby meet via multimedia.
Patrons can also wander into hands-on personal studios, where they can try their hands at keyboards, drums and guitars.
The facility is truly wired, with organizers especially proud of the flooring itself, a raised platform made of modular concrete slabs that can be removed and bolted down to give technicians access to miles of high-definition optical cable and ISDN lines.
Via a modular data processing unit called a MEG, visitors can zoom in on various exhibits and receive data about what they are seeing. They can then download bookmarks that may be accessed later.
In researching his designs for the building, Gehry visited a music store and looked at guitars, bringing some home and deconstructing them. "It's not supposed to be a smashed-up guitar," says EMP's design and construction project manager, Paul Zumwalt, who created the Portland Trail Blazers' Rose Garden basketball arena, another Paul Allen edifice. "It's about the spirit of the music, with its flow and movement."
Originally, the monorail was supposed to stop short of the building. But when Gehry saw that the monorail bisected the site, he began to play.
Allen and his sister wanted an architectural design that "could literally express the way we respond to the music." And the music she was describing is anything but conventional. Allen used the word "swoopy."
Swoopy is what they got. There is not a right angle in the place. Neighbors who watched the building come together were mystified by what looked like a jumble of curved metallic sections reaching up into the sky.
"What appealed to me about Frank," Patton says of the architect," was his commitment to exploring the process. ... His designs go to a new place aesthetically -- the curves. It is a living, moving, organic thing."
Kind of like Electric Ladyland.
From an article in The Hollywood Reporter
Links referenced within this article
Find this article at:
doctornoemedia.blogspot.com/2013/02/experience-music-proj...
Now dig this ...
Little people, big world.
Don't worry, we'll take good care of your computer. It will be as good as new.
Netherlands, Rotterdam, Kop van Zuid, Wilhelminapier, Construction site of De Rotterdam, construction worker. (slightly cut from the bottom)
#13 of the Building the perfect beast set.
A construction workers placing the spacers (lange lijzen-bedankt Philip!) on the modular mold that will support the rebar structure. Shot during a shoot last Friday afternoon with Jaap
Original Caption: Raleigh Worley, a Section Foreman with Virginia-Pocahontas Coal Company Mine #4 near Richlands, Virginia. He Is a Member of the Mine Safety Team That Meets Regularly and Sharpens Its Skills in Competition Against Teams From Other Company Mines. He Lives in Richlands, 12 to 18 Miles From the Mine Where He Works. Worley Has Two Years of College Education and Is the Type of Person Who Probably Will Go Up the Company Ladder and Become a Supervisor 04/1974
U.S. National Archives’ Local Identifier: 412-DA-13939
Photographer: Corn, Jack, 1929-
Subjects:
Richlands (Tazewell county, Virginia, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/556391
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
You wear seatbelts, condoms, motorhelmets, hardhats and sunscreen?
You stop for red lights?
You use smartphones, GPS, child car seats and debit/credit cards?
So just put on that mouth cap and stop infecting others instead of organizing protests against it.
Your Freedom has been long lost, no mouthcap or curfew is going to change that anymore.
Look at Asian people who would wear mouth caps when feeling ill. They wear them to prevent the spread of any pathogens they might be carrying (with the protection of the respiratory tract from pollution and infection as a bonus). Why is such little gesture of altruism to much for so many people? Don't be one of those egotistical rotten apples who screw everything up for everyone.
Besides: not so long ago we would get fined for wearing a mask in public so let's rejoice and all wear masks!
Scan of an old slide.I remember this very well. This guy was very old when I saw him, and looked as if he'd been soaking in salt water for most of his life. He was a Greek sponge diver who went down and brought up sponges for the tourists. I don't know if the business was more than a tourist show, but he really did the hardhat dive.I was fascinated.
22-2650
Portræt, mennesker på arbejdspladsen.
Det Danske Stålvalseværk, Frederiksværk.
Portrait of a worker in the steel factory.
Fra Industrimuseet Frederiks Værks arkiv. www.indmus.dk
Studio H, our eldest, produced this from a shot we took several years ago just before we went one mile into a mine in the side of a mountain in Colorado. I wasn't walking well, so opted to stay in the mining car when the rest of the group got out to inspect the mine more closely.What I didn't anticipate was that the group walked around a bend and I was left in the blackest darkness I've ever known. Pretty soon I heard another mine train in the distance, growing closer and closer.....probably preparing to pull us back out. Not wanting to take anyone by surprise, I yelled out, "Yoo hoo" and I don't remember anything after that.
BN Auburn, 7/31/73; Former NP F3A 702, the Everett Turn power, waits for a motorcar to clear up in the Auburn, Washington yard. Dave Stanley photo ©2022
We have now entered Costa Rica.
During our ship's stop at Bellavista to clear Costa Rican customs and immigration I saw this dockworker resting in the shade between assignments (it was hot out in the sun!). He eventually got up to help our crew cast off our lines.
Circa 1989-90. I'm shielding my face from the camera in mock embarrassment as Bob strikes a goofy pose that would be revealed only as the camera strobe illuminated. Kurt took this particular shot.
It was during the night shift of the unit turnaround that this photo and others could be taken. There were longer unstructured periods of time during the night shifts. Normally when the unit is on line, this reactor vessel is filled with a certain catalyst and operates under very high pressure and temperature. In this case the vessel was completely isolated, emptied and cleaned for inspection.
I remember that Bob, Kurt and I had to climb down a temporary steel ladder that was suspended from the top opening of the vessel. I cannot recall with precision, but the descent to the bottom of this vessel where we took the photos was probably about 60 to 70 feet. You can see the type of ladder within the photo - two parallel steel bars with rungs welded between them. These days we would have had to wear a body harness with lanyard, and the single ladder probably would have been replaced with scaffolding constructed with landing platforms along the way.