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Some little changes on the interface
Movieteca is an Online Movie Manager, you can visit www.movieteca.com for more information.
This fellow helped run the place. "Used to be 80% league bowlers, 20% regular public" he says, "now it's reversed. Still made money. It was profitable depsite what people said. It was the land that got expensive. no sense relocating because no-one's going to drive to Westshore. So they sold it to Loblaw's"
Can we do the job in that timescale? Our project manager, he say yes!
Nodding flying pigs, intended for the back of the car. I just had to have one.
Hearts Manager Robbie Neilson after the Scottish Championship match at Cappielow on Tuesday 20th April 2021.
Arngrímur Fannar Haraldsson is Event Manager for Harpa. He has a B.S degree in Tourism from the University of Iceland and worked as sales manager for Icelandair Hotels between 2005 and 2007. Previous posts also include event management for Glitnir bank 2007- 2008 and business manager for Vodafone‘s corporate sector. Arngrímur has 20 years experience as a musician in Icelandic rock band Skítamórall as well as extensive experience in organising concerts and events
107x218mm
silk screen printing
Travel Manager is a wallet to properly keep your passport and other travel essentials such as e-tickets, transportation tickets, tiny note etc.
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The mission manager’s station aboard NASA’s DC-8 airborne laboratory. This station serves as one of the DC-8’s nerve centers. From here the mission manager can monitor and control power to the multiple instrument stations aboard the aircraft and relay messages to the cockpit.
Credit: NASA / Jim Yungel
NASA's Operation IceBridge is an airborne science mission to study Earth's polar ice. For more information about IceBridge, visit: www.nasa.gov/icebridge
LONDON, ENGLAND - MAY 06: (L) Arsenal Mens Manager Mikel Arteta and (R) Women's Manager Jonas Eidevall at Emirates Stadium after signing new contracts on May 06, 2022 in London, England. (Photo by Stuart MacFarlane/Arsenal FC via Getty Images)
November 8, 2013: Governor Cuomo inspects the start of formal construction on the New NY Bridge project and tours the construction site to see firsthand the progress of the new bridge to replace the Tappan Zee. The tour included a briefing from the project’s lead construction officials including New NY Bridge Project Manager Peter Sanderson, and was the first of monthly meetings that the Governor will receive moving forward to ensure that construction stays on track. Following the November 8th examination, the Governor announced that the project is on budget and on schedule, and has already helped grow the local economy by creating nearly 600 jobs and benefiting 500 companies, many of which are located in the Lower Hudson Valley.
King George V and his Racing Manager: A Conversation Piece at Aintree, c.1929–30
Oil paint on canvas
This work was made from a press photograph rather than a personal snapshot. It is a double portrait of King George V and Major F.H.W. Fetherstonhaugh, who was manager of the Royal Racing Stables, attending the Grand National at Aintree in 1927. The work was criticised at the time because of the informality with which it portrayed the King. However, Sickert valued the way that using an unposed photograph allowed a more nuanced portrayal of the relationship between the two men, unlike a formal portrait.
King George V and Queen Mary, 1935
Oil paint on canvas
King George V and Queen Mary was based on a press photograph of the royal couple. This unposed source means that the painting unusually includes a large white void in the centre of the composition. The figure of Queen Mary is cropped by the frame of the carriage, giving the effect of movement frozen in a film still.
From his initial interest in music halls, Sickert’s fascination with popular culture continued throughout the 1930s. He began to paint on a larger scale and use a brighter colour palette. Scenes from the theatre and stories in the popular press dominated his output. He would use black and white photographs as visual sources, which he translated into vivid colour on the canvas. Sickert was fascinated by how black and white photography’s flattened perspectives and stark tonal contrasts resulted in simplified forms. He retainedthese elements, creating almost abstract effects in his finished paintings.
Sickert also produced a series of works based on Victorian engravings, which he entitled ‘Echoes’. In contrast, his theatrical scenes were based on photographs taken himself or by his assistants during rehearsals, or on press cuttings. Here, he featured his favourite performers, such as Peggy Ashcroft and Gwen Ffrangcon-Davies, whom he painted repeatedly.
He also used press-cuttings as the source for images of royalty or historic events such as Amelia Earhart’s solo flight across the Atlantic in May 1932. Sickert’s use of photography is now recognised as a significant precursor of subsequent developments in art. Pop art’s transposition of found popular images is indebted to Sickert, as is the use of photography as source material by late 20th-century artists, such as Francis Bacon.
[Tate Britain]
Taken in the exhibition
Walter Sickert
(April – September 2022)
Walter Sickert is recognised as one of the most important artists of the 20th century, having helped shape modern British art as we know it. With ties to renowned painters from James Abbott McNeill Whistler to Edgar Degas, he strengthened the artistic connections between Britain and France and continues to influence contemporary painters to this very day.
The first major retrospective of Sickert at Tate in over 60 years, this exhibition explores how he had an often radical, distinctive approach to setting and subject matter. From working off detailed sketches to taking inspiration from news photography, these were the tools he used to depict his vision of everyday life.
A former actor, he had a flair and fascination for all things theatrical, including performers in music halls crafted on canvas, and nude portraits staged in intimate, domestic settings. His imagination was also fuelled by current events including the rise of celebrity culture, and he used this to create compelling narratives.
Much like the man, his art was complex. Creative and colourful, his body of work was ever-changing and can be interpreted in different ways. His own self-portraits, for example, showcase how he evolved throughout his career – from his beginnings as an actor and artistic apprentice, to becoming one of the most gifted and influential artists of his time.
[Tate Britain]
Katya working on a photo project for us. She is scanning some old photos of all the children and sorting them by year.
© 2015 Paul Chan - Canada. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
DVT 82146 with the DB Cargo Managers train, propelled by 67029 "Royal Diamond", passes Spittal as 1Z05 0933 Doncaster to Edinburgh Waverley.
Rik Bond, business manager at Ruggles Golf Course at Aberdeen Proving Ground, Md., and Dave Correll, a PGA professional, provided free hands-on golf instruction to approximately 15 members of the APG community on Saturday, May 12. Topics included proper club grip, stance and position, and many memorable quotes for golfers such as, "You have to learn to swing the club before you hit the ball!" For more information on APG North (Aberdeen) and APG South (Edgewood) golf courses, clinics, and lessons, call 410-278-5486.
This picture is #6 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at www.100Strangers.com.
This is Kevin. He is the shipping manager at a restaurant in Durham at Brightleaf Square. I was walking past this door, a service entrance, when I saw him. What a sweet guy. He wanted a few pictures taken with the menu for the restaurant. When he stood up to shake my hand, I couldn't believe how tall he was: 6'9". He got my email address so I can get the picture to him.
During the late 1920s and into the 1930s, at a time of huge expansion of the London Underground system, a series of "letters" to varous grades of administrative staff explaining issues of policy were issued. Starting in 1927, these 'personal' letters from the 'Operating Manager' blossomed into quite sizeable publications, complete with extensive maps, drawings and plans - especially of the massive schemes connected with the London Passenger Transport Board's "New Works Programme, 1935 - 40. This, the largest ever single investment programme initiated by the newly unified "London Transport" included the Central line extensions both east and west, the Northern line extensions, the Bakerloo's Stanmore branch works as well as the replacement of the capital's tramway system by trolleybuses. Most of the schemes were seriously interupted by the outbreak of war in 1939 and whilst some were re-started in post-war years others, most notably the Northern line extensions and the tram/trolleybus switch-over were mostly abandoned.
Letter No. 23, dated 26 April 1938, is a detailed description of the North London Electrification Scheme that involved both new works in tune to connect the existing Highgate and Northern City branches to the existing mainline Alexandra Palace, High Barnet and Edgware branches of the LNER along with electrification of these steam operated branches. The works also saw an intended extension of the existing Edgware branch north to a new terminus at Bushey Heath along with a new depot at Aldenham. Although much work started, including the Bushey Heath extension and works to the Alexandra Palace via Finsbury Park branches, these were formally abandoned in the 1940s - partially due to parlous state of the UK's post-war economy as well as the new 'Green Belt' planning legislation that nailed any major new suburban developments north of Edgware. The link at low level of the tube north of Archway at Highgate and out to East Finchley did come into use and the whole branch to High Barnet was converted along with a stub of the Edgware branch to Mill Hill East. Although East Finchley station was reconstructed along "LT" lines no other major reconstructions took place and indeed the original GNR stations still mostly serve the Tube to this day. The depot at Aldenham was built and after wartime use as a factory it became, instead, London's second major bus overhaul works.
The opening page shows some of the NWP's schemes as well as the level of investment - £45,000,000 in 1938 was a staggering sum of money. Diagram 5 shows the proposed layout of the alterations to Highgate station. Here, the topographical conditions made it impossible to have cross-platform interchange on the same level as the new tube line that ran directly underneath the existing LNER station required a sufficient gradient to rise from the existing tube terminus at Archway (then known as Highgate) to reach the surface on approach to East Finchley and the Wellington Sidings. The tube station and platforms, along with the ticket hall under the reconstructed LNER 'surface' platforms opened on 19 January 1941 as part of the what was to become incomplete Northern line extensions as planned here. The site of the station is complicated by its location in a deep cutting and so the set of escalators leading to and from the main entrance hall on Archway Rd, shown here, were planned. Wartime economies and post-war austerity saw this element of the scheme 'watered down' and eventually in 1954 a single up escalator was provided in this location.
The 'surface' LNER - later British Railways - platforms were intended to transfer to LT operation when the later parts of the scheme to include the line towards Fisnbury Park and Alexandra Palace were completed. However, by the late 1940s, London Transport's intentions changed and they declined to proceed with this element of the original plan. A vestigal steam train service limped on until 3 July 1954 when it was withdrawn and the surface platforms closed off. The concrete structures still stand, abandoned. The tracks were used for freight until 1964 and the transfer of LT rolling stock until 1972. The surface tracks were lifted by 1974.
Keith is our DSM (Deputy Stage Manager.) Here he is, on 'the book' (the document that has all the libretto, music, lighting cues, stage directions, flying cues, calls for the cast and crew) running the show - making sure everything works. Cans on. Tea mug to hand. Jelly babies on the desk (just in case.) Focussed on the task. He is very, very good at it.
He's a fascinating character, direct, abrupt, insulting, funny and very insightful. I am always fascinated at the dynamics of his interactions during the get-in and setup (and often during the run) with Jean (our director), David (our lighting designer) and Peter (who amongst many other things designs and builds the sets.) To hear them argue, curse (not Jean - obviously), cajole, shout, rant and rage for the first time, you would wonder that they achieve anything or would ever work together again. Of course, once you've seen it as many times as I have, been insulted by Keith as much as I have (mostly justified) and drunk as many glasses of wine together with them (a mere fraction that Keith and David manage) and are possessed with the knowledge that they've been doing so together for over twenty years, it is a joy to behold. One of the highlights of the week. Especially if there's someone new, jaw dropped on the floor, to smile at - and then reassure.
Keith is far from garrulous, especially in company, but he has his moments, and I love spending time with him. His reassuring presence, backstage calls, concern for our safety as performers, insults, cutting remarks, monosyllabic grunts and most of all his sheer professionalism and dependability make him a man I am proud to call my friend.
If that isn't impressive enough, he's also one of the people responsible for making sure that the mobile phone in your pocket actually works. His day job (with Alcatel) is designing and specifying standards defining network protocols for mobile phone operation, primarily working on Voice over IP in both the 3rd Generation Partnership project and the Internet Engineering Task Force.
I've been trying to get a good shot of Keith for some time. He's not a fan of the camera (the crew rarely are) and so I have to catch him unawares. Here he is, focussed on the task at hand, lit by spill from the stage, his working light (and a bit of bounce off the paper) and backlit by the blue 'safe' lighting.
This one is for my Chinese friends. Here is a member of the Chinese diaspora in Russia. It's one of two shots of Chinese people in all of the 2,000 photos that SPG shot, or rather, those are the only two that survive. Taken between 1905 and 1915, according to LOC, but my guess is around 1912.
The LOC title is – "Tea factory in Chakva. Chinese foreman Lau-Dzhen-Dzhau."
What SPG identifies as Chavka, Temples.ru says is now called Chavki, and you can find it on Google Earth in the Republic of Georgia. Close by, that is slightly north and west of this location, are hills apparently still covered with tea plantings. I suspect that Chavka was originally just the name of the mansion and the estate, and that over the course of the twentieth century, a small town grew up around the tea plantations. But this is all guesswork. Another picture taken by SPG – and I have placed a copy next after this shot – is titled, "Lau-Dzhen-Dzhau's house," and it is a mansion, viewed through an arcade of trees, and overlooking the sea.
According to Wikipedia (citing the Great Russian Encyclopedia – which is online, but not, alas, in English), industrial tea production began in 1885, so it's quite possible that, a mere 30 or so years later, production was still expanding, new plantations still being established. Then as now, Russians drink lots of tea, so we can assume an expanding market, so long as the home-grown product can compete with imports in point of price. In the same SPG album are pictures of various phases of tea production, including some shots of the (mostly female) pickers, and cases of packed tea, and what looks like a tea-mixing and tasting station inside the factory.
So here is Lau Dzhen-Dzhau, a middle-aged guy, an expert tea plantation manager, imported from China to assist in getting the factory at Chavka up and running. He looks to be closing in on forty, so perhaps born around 1872-75, and now firmly settled in mid-career. He wears what I at first thought was one of the ubiquitous service medals handed out by the Tsarist government, but after poking around on the internet, it's clear that this is no ordinary award. For one thing, it's not a medal at all, but a cross, and an internet search shows that what it most closely resembles is the Order of St Stanislaus (second class). These were generally given out to civil servants. It's a red-ish-purple-ish cross, with gold infilling between the arms, and a circular tablet (alas, unreadable) at the centre. Both St Staislaus and St Anna had four classes of award, as well as both military and civilian versions; the military versions were distinguished by diagonally crossed swords, which Lau's award lacks, meaning it is a civilian award. The point is, that this is a prestigious thing, leading me to think that Lau is perhaps a fairly highly placed – or at the very least, highly thought of – addition to the Imperial Civil Service. Which in turn might mean that government money was part of the funding for the Chavka plantation, encouraging industry, Russian economic autarky, that sort of thing. Would that be a Stolypin kind of thing to do? Perhaps.
Note that Lau's clothes are probably not the ones he wears to do his daily work. Both pants and jacket have clear fold lines in them, that is, they have been stashed in a drawer somewhere for a considerable time, and only brought out to have his picture taken. The pants appear quite rough, probably duck cotton, and the jacket looks like a "chinese" one, quilted, perhaps, and with a high collar that seems to be somewhat of an uncomfortable fit for Lau around his neck, so once again, this is SPG making sure his subjects express their "proper" ethnicity. The boots however, their shine testifying perhaps to the excellence of Lau's servants, look pure Russian to me, so I would think that Lau would look quite different should you pass him on the seafront at Batumi, taking the evening air, watching the sun go down.
And of course, like most of SPG's subjects, we know nothing of his past or his future. Did he manage to get out of Batumi before the revolution, only to end up in China just as it too, began to disintegrate? Maybe, before the war, before the Revolution, Russia looked more stable than China, which had been in turmoil since at least the mid-1890s; a nice place to raise your kids, perhaps.
The plants around him are a combination of young bushes newly planted and bushes that might soon be ready to harvest, though I can't say for sure, since I have no idea how bushy a tea bush must be to be pickable.