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Material Circulante: CP 1909 + 2 Sorefames
Hora: 12:00
Data: 18-10-2014
Local: Estação de Valença (PK 129 - Linha do Minho)
Serviço: PTG Tours
Wooden stairs that lead from the main walkway through Aberdeen Harbour and Footdee down to the beautiful sands of Fittie Beach, I use them every time I visit to access and leave the beach , today the light caressed them and gave me the opportunity to capture them with my Nikon.
Footdee is an area of Aberdeen, Scotland known locally as "Fittie". It is an old fishing village at the east end of the harbour. The name is actually folk etymology. Far from being "Foot of the Dee/Fit o the Dee", it is actually a corruption of a former dedication to a "St Fothan".
The area has had a settlement as far back as the Medieval times and the first recorded reference to the area of Fittie was in the year 1398. This village was slightly further North than where Footdee is now located. It would have been near to where the St Clement's Church is located.
Footdee is a particularly interesting example of a planned housing development purpose-built to re-house Aberdeen's local fishing community. Laid out in 1809 by John Smith, then Superintendent Of The Town's Public Works. Smith went on to establish himself as one of Aberdeen's key architects. Occupying an isolated spit of land to the SE of Aberdeen's city centre, its regimented squares have been described as a cross between the neo-classical aspirations of Aberdeen and the close-knit fishing communities of the north-east.
The two squares of 'Fish Town' (known as Footdee), originally contained 28 single-storey thatched houses although this increased when the later Middle Row (circa 1837) and Pilot Square (circa 1855) were added. The entrances on each of the North and South squares were filled in the 1870s by William Smith (son of John and architect of Balmoral Castle). He also added additional storeys to the East and West sides of South Square creating a tenement feel. This was an attempt to ease crowding resulting from an influx of fishing families from other less prosperous areas and to help try to enforce the 'one-house-one-family' rule.
The Town Council decided to start selling the dwellings to occupiers in 1880, beginning a period of incremental development and reconstruction. Additional storeys and dormers were added piecemeal by the new owners as funds allowed. The result is one of individuality expressed within the constraints of a strictly formal plan and is a contributing factor to the special architectural and historical interest of Footdee as a whole.
Throughout the 19th century, 'tarry sheds' were added to the communal land within the squares opposite each dwelling and now every dwelling has its own shed. Originally constructed from drift wood and other found materials, the sheds have been built and rebuilt in an idiosyncratic manner over the years in a variety of materials with rendered brick now predominating slightly (2006). Some timber built sheds remain, predominantly on the North side of North Square.
North Square Mission Hall occupies the central area of the North Square, reflecting its significance as an integral part of village life. The building is plain, with simple detailing throughout, and as such, responds sympathetically to its setting and context. Known locally as 'the schoolie' the hall was built for general as well as religious purposes and continues to operate as a multi-purpose meeting space.
The entire Footdee village was added to the statutory list in 1967 as a single entity. The village was subsequently given Conservation Area status in 1968. At resurvey in 2006, each building within the Conservation Area was re-assessed separately. Key examples, demonstrating both individual architectural interest and representing the history and development of the village as a whole, were selected for listing.
On an 1828 map, the new housing squares were specifically labelled 'Fish Town'. 'Footdee' referred to the larger area from St. Clement's Church to 'Fish Town'. Later, the name 'Footdee' was erroneously used to refer specifically to the housing squares, with 'Fish Town' becoming forgotten.
On Tuesday 25 September 2012, Footdee became covered in foam from the sea after experiencing strong wind and rain conditions. The effect was like a blanket of snow and this made the UK national news.
It’s that time of year … a Brandt’s Cormorant swims home to his mate with a bill full of nesting material.
Al día siguiente de despedir al Unamuno impar y de cazar el primer paso de material convencional a Mora la Nova, volví a Vilanova para cazar el primer paso de Talgo III a Sariñena, que vino con la 252.051, 4 mansos y 4 ramas.
The day after photographing the last odd Unamuno service and the first out of service conventional carriages transfer to Mora la Nova, I went back to Vilanova to catch the first out of service Talgo III passing to Sariñena, which came with the 252.051, four “manso”s and four racks.
Monday, 11 October 2021
081 sits in Sallypark with a materials train, while the Discover Waterford Hot Air Balloon (EI-ECC) flies overhead.
© Finbarr O'Neill
Sicalis flaveola (Saffron finch / Canario criollo)
The Saffron Finch is a tanager from South America. Typically nesting in cavities, the Saffron Finch makes use of sites such as abandoned nests, bamboo branches and under house roofs.
Wikipedia
Materials: oil on board. Dimensions: 73 x 103.2 cm. Inscriptions:H. Böhmer (lower left). Source artsalesindex.artinfo.com/auctions/Heinrich-Bohmer-537849.... I have changed the light and contrast of the original photo.
Materials: oil on panel. Dimensions: 74.6 x 59.9 cm. Nr.: 2443 (OK). Source: i2.wp.com/stepintothestory.ca/wp-content/uploads/2014/05/.... I have changed the light and contrast of the original photo.
The central crop of previously posted image of M27 / NGC 6853. More gamma and harsher curve were apllied. The major gain is a drastic increase of amount of the stars :)
Thin bluish bands (oxigen?) showed up, turning the "apple core" into "lemon" shape.
50 more subframes wouldn't hurt...
This Anti-Everything rifle is usually carried by a two man team. The digital imaging scope allows for the most accurate of shots. A custom tooled 55 cal round with an Iridium Iron Alloy tip for major armour busting.
Can be edited if people think it needs some changing.
These bags on shore contain material that had been dredged from canals in Zeeland and are waiting to be picked up for disposal.
The graceful, winding arms of the majestic spiral galaxy M51 (NGC 5194) appear like a grand spiral staircase sweeping through space. They are actually long lanes of stars and gas laced with dust. This sharpest-ever image, taken in January 2005 with the Advanced Camera for Surveys aboard the NASA/ESA Hubble Space Telescope, illustrates a spiral galaxy's grand design, from its curving spiral arms, where young stars reside, to its yellowish central core, a home of older stars. The galaxy is nicknamed the Whirlpool because of its swirling structure. The Whirlpool's most striking feature is its two curving arms, a hallmark of so-called grand-design spiral galaxies. Many spiral galaxies possess numerous, loosely shaped arms that make their spiral structure less pronounced. These arms serve an important purpose in spiral galaxies. They are star-formation factories, compressing hydrogen gas and creating clusters of new stars. In the Whirlpool, the assembly line begins with the dark clouds of gas on the inner edge, then moves to bright pink star-forming regions, and ends with the brilliant blue star clusters along the outer edge. Some astronomers believe that the Whirlpool's arms are so prominent because of the effects of a close encounter with NGC 5195, the small, yellowish galaxy at the outermost tip of one of the Whirlpool's arms. At first glance, the compact galaxy appears to be tugging on the arm. Hubble's clear view, however, shows that NGC 5195 is passing behind the Whirlpool. The small galaxy has been gliding past the Whirlpool for hundreds of millions of years. As NGC 5195 drifts by, its gravitational muscle pumps up waves within the Whirlpool's pancake-shaped disk. The waves are like ripples in a pond generated when a rock is thrown in the water. When the waves pass through orbiting gas clouds within the disk, they squeeze the gaseous material along each arm's inner edge. The dark dusty material looks like gathering storm clouds. These dense clouds collapse, creating a wake of star birth, as seen in the bright pink star-forming regions. The largest stars eventually sweep away the dusty cocoons with a torrent of radiation, hurricane-like stellar winds, and shock waves from supernova blasts. Bright blue star clusters emerge from the mayhem, illuminating the Whirlpool's arms like city streetlights. The Whirlpool is one of astronomy's galactic darlings. Located approximately 25 million light-years away in the constellation Canes Venatici (the Hunting Dogs), the Whirlpool's beautiful face-on view and closeness to Earth allow astronomers to study a classic spiral galaxy's structure and star-forming processes.
Maquinaria- perfiladora Matisa - Benidorm, diciembre 2015. En este caso, permaneció cuatro meses en la estación
Material Circulante: CPA 4007
Hora: 14:53
Data: 17-03-2017
Local: Quinta de S. Lourenço (PK 159 - Linha do Norte)
Serviço: Comboio Especial n.º 95209 (Entroncamento --» Pombal)
I am reworking the material for transparent parts in Blender Cycles. The set up is completely different and I have to re-assess all the hex values. Here is the current state.
Let me know which ones you would change if any.
FDNY 593 HAZ TAC Rescue Medics Ambulance HAZMAT Hazardous Material Fire Department New York Manhattan New York August 2013
Thanks for viewing my photos on Flickr. I can also be found on Twitter
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El Museo de Arte Africano Arellano Alonso de la Universidad de Valladolid, es una institución sin ánimo de lucro creada en el año 2004. Cuenta con una excepcional colección de arte procedente de África subsahariana donada por la Fundación Alberto Jiménez-Arellano Alonso, parte de la cual se exhibe en tres salas ubicadas en el Palacio de Santa Cruz. Además, periódicamente organiza actividades divulgativas y formativas encaminadas a acercar la cultura y el arte africano a todos los interesados en el continente africano.
Desde su apertura en 2004 se mostraron los dos tipos de arte. El gran prestigio de la colección de arte africano desembocó en la remodelación de las salas y desde el 21 de abril de 2010 las tres salas muestran gran parte de los fondos de la Fundación. En la exposición se recogen las culturas africanas más importantes en el trabajo del barro a lo largo de la historia. En el año 2012 se inauguró la tercera sala (Sala de San Ambrosio) bajo el nombre de “Reino de Oku”.
A partir de 2015 tomó el nombre de Museo de Arte Africano Arellano Alonso.
La colección reúne cerca de 130 esculturas realizadas con barro cocido, un material milenario y frágil, de conservación compleja y de difícil hallazgo. Algunas de las culturas representadas son: Cultura Nok, Ifé, Reino de Benín, Sokoto, Jukun, Komaland, Ashanti, Katsina, Dori, Mangbetu, Paré, Djenné, Ségou, Igno, Cham, Longuda, Bankoni, Yoruba, Agni, Mambila o Bura, entre otras y que están expuestas en la Sala Renacimiento y en el Salón de Rectores.
Los ejemplares datan desde el siglo V a.C. hasta el XX de nuestra era y algunos son piezas excepcionales como la única pareja conocida a nivel mundial de la cultura Jukun (de la que apenas hay una docena de piezas en el mundo), una de las pocas cabezas conocidas de la cultura del antiguo reino de Benín realizadas en terracota (fechada en el siglo XVI) o conjuntos significativos, como es el formado por catorce piezas de la cultura Nok, primer ejemplo de escultura figurativa en terracota del África negra, junto a la egipcia.
El principal elemento iconográfico de esta colección es la cultura humana: figuras que dan cobijo a espíritus, representan antepasados o constituyen imágenes de poder. Pequeñas humanas completas o incompletas son también las cuarenta piezas de una cultura que, en 1985, se puso al descubierto por unas excavaciones realizadas por la Universidad de Ghana en el norte del país y que pasó a denominarse como Komaland.
La otra parte importante de esta colección de arte africano está compuesta por esculturas realizadas en bronce u otros metales con una colección de monedas africanas tradicionales y objetos etnográficos. Parte de estos fondos, los de carácter etnológico, se encuentran expuestos en la galería de San Ambrosio donde también está expuesta la colección más reciente de la Fundación que recrea el Reino de Oku, situado al oeste de Camerún. Está compuesta por objetos vinculados al rey que utiliza durante las recepciones reales, fiestas o ceremonias rituales.
Fon Sintieh II es el monarca de Oku. En 2006, éste comenzó a negociar con Ramón Sanz para la firma de un acuerdo en el que se nombra a la Fundación Alberto Jiménez-Arellano Alonso " (...) su embajadora para la promoción de los valores culturales y artísticos en Europa". Además de dicho acuerdo, se ha producido la llegada de más de cien objetos de diferentes materiales a Valladolid y constituye la incorporación más reciente a las colecciones de arte africano de la Fundación Arellano Alonso. Estos objetos reflejan las tradiciones, creencias y organización social de este reino. Dichos objetos pueden visitarse en la exposición permanente "El Reino de Oku", en la Sala de San Ambrosio del Palacio de Santa Cruz de Valladolid.
Dentro de la muestra destacan las regalias, es decir, objetos cuyo uso está reservado exclusivamente al soberano. Son piezas, en su mayoría talladas en madera, que ponen de relieve el gran desarrollo de este arte que ha alcanzado, en general, en todo Camerún. Entre estas regalías destacan las camas de jefatura, los tronos rituales o los vestidos tradicionales que sólo el Fon (el Rey) puede vestir en determinadas ceremonias.
También llaman la atención las máscaras de algunas de las Sociedades Secretas tradicionales que aún cuentan con gran relevancia en la sociedad de Oku y cuyas actividades y objetos deben permanecer en el más estricto mistero. Las Sociedades son las encargadas de frenar los comportamientos antisociales que amenacen el bienestar general o atenten contra las costumbres tradicionales, manteniéndose así la armonía y la paz social. Los castigos son aplicados por sus "máscaras", que tienen una carga mágica, sinónimo de "medicina", que es lo que les da su poder y les dota de vida. Por eso "danzan" en ceremonias y rituales tradicionales de todo tipo (judicial, funerarios, entronizaciones...). Cuanto más agresiva sea su danza y más repulsivo sea su aspecto, mayor será su poder.
es.wikipedia.org/wiki/Museo_de_Arte_Africano_Arellano_Alonso
es.wikipedia.org/wiki/Anexo:Obras_del_Museo_de_Arte_Afric...
The Arellano Alonso Museum of African Art at the University of Valladolid is a non-profit institution created in 2004. It has an exceptional collection of art from sub-Saharan Africa donated by the Alberto Jiménez-Arellano Alonso Foundation, part of the which is exhibited in three rooms located in the Palacio de Santa Cruz. In addition, it periodically organizes informative and educational activities aimed at bringing African culture and art closer to all those interested in the African continent.
Since its opening in 2004, both types of art have been shown. The great prestige of the African art collection led to the remodeling of the rooms and since April 21, 2010, the three rooms show a large part of the Foundation's funds. In the exhibition the most important African cultures in the work of clay throughout history are collected. In 2012, the third room (Sala de San Ambrosio) was inaugurated under the name “Reino de Oku”.
From 2015 it took the name of Arellano Alonso Museum of African Art.
The collection gathers around 130 sculptures made with fired clay, an ancient and fragile material, of complex conservation and difficult to find. Some of the cultures represented are: Culture Nok, Ifé, Kingdom of Benin, Sokoto, Jukun, Komaland, Ashanti, Katsina, Dori, Mangbetu, Paré, Djenné, Ségou, Igno, Cham, Longuda, Bankoni, Yoruba, Agni, Mambila o Bura, among others and which are exhibited in the Renaissance Hall and in the Rectors' Hall.
The specimens date from the 5th century B.C. until the 20th of our era and some are exceptional pieces such as the only world-known pair of the Jukun culture (of which there are only a dozen pieces in the world), one of the few known heads of the culture of the ancient kingdom from Benin made in terracotta (dated in the 16th century) or significant ensembles, such as the one made up of fourteen pieces from the Nok culture, the first example of figurative terracotta sculpture from Black Africa, together with the Egyptian one.
The main iconographic element of this collection is human culture: figures that shelter spirits, represent ancestors or constitute images of power. Complete or incomplete little humans are also the forty pieces of a culture that, in 1985, was uncovered by excavations carried out by the University of Ghana in the north of the country and which was renamed Komaland.
The other important part of this collection of African art is made up of sculptures made in bronze or other metals with a collection of traditional African coins and ethnographic objects. Part of these collections, those of an ethnological nature, are on display in the gallery of San Ambrosio where the Foundation's most recent collection that recreates the Kingdom of Oku, located in the west of Cameroon, is also exhibited. It is made up of objects linked to the king that he uses during royal receptions, parties or ritual ceremonies.
Fon Sintieh II is the monarch of Oku. In 2006, the latter began to negotiate with Ramón Sanz for the signing of an agreement in which the Alberto Jiménez-Arellano Alonso Foundation is named "(...) its ambassador for the promotion of cultural and artistic values in Europe". In addition to this agreement, the arrival of more than one hundred objects of different materials has taken place in Valladolid and constitutes the most recent addition to the Arellano Alonso Foundation's African art collections. These objects reflect the traditions, beliefs and social organization of this kingdom. These objects can be visited in the permanent exhibition "The Kingdom of Oku", in the San Ambrosio Room of the Palace of Santa Cruz de Valladolid.
Within the exhibition, regalia stand out, that is, objects whose use is reserved exclusively for the sovereign. They are pieces, mostly carved in wood, that highlight the great development of this art that has reached, in general, throughout Cameroon. These royalties include chiefdom beds, ritual thrones or traditional dresses that only the Fon (the King) can wear in certain ceremonies.
The masks of some of the traditional Secret Societies that still have great relevance in Oku society and whose activities and objects must remain in the strictest mistero are also striking. Societies are responsible for stopping antisocial behaviors that threaten the general welfare or violate traditional customs, thus maintaining harmony and social peace. Punishments are applied by their "masks", which have a magical charge, synonymous with "medicine", which is what gives them their power and gives them life. That is why they "dance" in traditional ceremonies and rituals of all kinds (judicial, funeral, enthronements ...). The more aggressive your dance is and the more repulsive your appearance, the greater your power.
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Material Circulante: CP 1944 + 3 Sorefames
Hora: 13:01
Data: 30-06-2012
Local: Estação de Elvas (PK 264 - Linha do Leste)
Serviço: Comboio Especial n.º 13854 (Badajoz --» Entroncamento) [PTG]
Obs: Foto tirada do Forte da Graça.
#AbFav_TEXTURES
During the studio session with the materials I've collected over the years.
Not only is the feel important and the visual quality important, but I also like the smell of materials...
This is a shimmering piece of organza.
It's an ongoing process that you are witnessing, the creative struggles of a photographer, tee hee.
Photography has changed, one used to have ideas and be creative BEFORE, arrange and set everything up, do the shoot on the day, adrenaline pumping stuff... then... at last, the results, that was about it, maybe a little bit of retouching!
NOW, that's when it starts for most, no prints, a screen and a whole new skill: 'photoshopping', a lot more work than it used to be, from scanning my negs on 'high res' to finish, much more time-consuming than the wet darkroom, he?
I'm not complaining just stating a fact and reviewing a situation.
Have a wonderful day and thank you for your time, Magda, (*_*)
For mor of my other work visit here: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
portrait, woman, material, shimmering, organza, blond, black-background, studio, colour, design, horizontal, "Magda Indigo", eyes
"Imagine" is a song written and performed by the English musician John Lennon. The best-selling single of his solo career, its lyrics encourage the listener to imagine a world at peace without the barriers of borders or the divisiveness of religions and nationalities, and to consider the possibility that the focus of humanity should be living a life unattached to material possessions.Lennon and Yoko Ono co-produced the song and album of the same name with Phil Spector. Recording began at Lennon's home studio at Tittenhurst Park, England, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July.Lennon and Ono co-produced the song and album with Phil Spector, who commented on the track: "We knew what we were going to do ... It was going to be John making a political statement, but a very commercial one as well ... I always thought that 'Imagine' was like the national anthem."[14] Lennon described his working arrangement with Ono and Spector: "Phil doesn't arrange or anything like that—[Ono] and Phil will just sit in the other room and shout comments like, 'Why don't you try this sound' or 'You're not playing the piano too well'... I'll get the initial idea and ... we'll just find a sound from [there]."[15]
Recording began at Ascot Sound Studios, Lennon's newly built home studio at Tittenhurst Park, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July.[15] Relaxed and patient, the sessions began during the late morning, running to just before dinner in the early evening. Lennon taught the musicians the chord progression and a working arrangement for "Imagine", rehearsing the song until he deemed the musicians ready to record.[4] In his attempt to recreate Lennon's desired sound, Spector had some early tapings feature Lennon and Nicky Hopkins playing in different octaves on one piano. He also initially attempted to record the piano part with Lennon playing the white baby grand in the couple's all-white room. However, after having deemed the room's acoustics unsuitable, Spector abandoned the idea in favour of the superior environment of Lennon's home studio.[5] They completed the session in minutes, recording three takes and choosing the second one for release.[16] The finished recording featured Lennon on piano and vocal, Klaus Voormann on bass guitar, Alan White on drums and the Flux Fiddlers on strings.[17]
Issued by Apple Records in the United States in October 1971, "Imagine" became the best-selling single of Lennon's solo career.[18] It peaked at number three on the Billboard Hot 100[19] and reached number one in Canada on the RPM national singles chart, remaining there for two weeks.[20] Upon its release the song's lyrics upset some religious groups, particularly the line: "Imagine there's no heaven".[21] When asked about the song during one of his final interviews, Lennon said he considered it to be as strong a composition as any he had written with the Beatles.[7] He described the song's meaning and explicated its commercial appeal: "Anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic, but because it is sugarcoated it is accepted ... Now I understand what you have to do. Put your political message across with a little honey."[22] In an open letter to Paul McCartney published in Melody Maker, Lennon said that "Imagine" was "'Working Class Hero' with sugar on it for conservatives like yourself".[23] On 30 November 1971, the Imagine LP reached number one on the UK chart.[24] It became the most commercially successful and critically acclaimed album of Lennon's solo career. One month after the September release of the LP, Lennon released "Imagine" as a single in the United States; the song peaked at number three on the Billboard Hot 100 and the LP reached number one on the UK chart in November, later becoming the most commercially successful and critically acclaimed album of Lennon's solo career. Although not originally released as a single in the United Kingdom, it was released in 1975 to promote a compilation LP and it reached number six in the chart that year. The song has since sold more than 1.6 million copies in the UK; it reached number one following Lennon's death in December 1980.BMI named "Imagine" one of the 100 most-performed songs of the 20th century. The song ranked number 30 on the Recording Industry Association of America's list of the 365 Songs of the Century bearing the most historical significance. It earned a Grammy Hall of Fame Award and an induction into the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. A UK survey conducted by the Guinness World Records British Hit Singles Book named it the second best single of all time, and Rolling Stone ranked it number 3 in their list of "The 500 Greatest Songs of All Time". Since 2005, event organisers have played it just before the New Year's Times Square Ball drops in New York City. Dozens of artists have performed or recorded versions of "Imagine", including Madonna, Stevie Wonder, Joan Baez, Elton John, and Diana Ross. Emeli Sandé recorded a cover for the BBC to use during the end credits montage at the close of the 2012 Summer Olympics coverage in August 2012. "Imagine" subsequently re-entered the UK Top 40, reaching number 18.A 1971 Billboard advertisement for "Imagine"
Lennon and Ono co-produced the song and album with Phil Spector, who commented on the track: "We knew what we were going to do ... It was going to be John making a political statement, but a very commercial one as well ... I always thought that 'Imagine' was like the national anthem."Lennon described his working arrangement with Ono and Spector: "Phil doesn't arrange or anything like that—[Ono] and Phil will just sit in the other room and shout comments like, 'Why don't you try this sound' or 'You're not playing the piano too well'... I'll get the initial idea and ... we'll just find a sound from [there]."Recording began at Ascot Sound Studios, Lennon's newly built home studio at Tittenhurst Park, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July. Relaxed and patient, the sessions began during the late morning, running to just before dinner in the early evening. Lennon taught the musicians the chord progression and a working arrangement for "Imagine", rehearsing the song until he deemed the musicians ready to record. In his attempt to recreate Lennon's desired sound, Spector had some early tapings feature Lennon and Nicky Hopkins playing in different octaves on one piano. He also initially attempted to record the piano part with Lennon playing the white baby grand in the couple's all-white room. However, after having deemed the room's acoustics unsuitable, Spector abandoned the idea in favour of the superior environment of Lennon's home studio. They completed the session in minutes, recording three takes and choosing the second one for release. The finished recording featured Lennon on piano and vocal, Klaus Voormann on bass guitar, Alan White on drums and the Flux Fiddlers on strings.Issued by Apple Records in the United States in October 1971, "Imagine" became the best-selling single of Lennon's solo career It peaked at number 3 on the Billboard Hot 100. It reached number 1 in Canada on the RPM national singles chart, remaining there for two weeks.[16] Upon its release the song's lyrics upset some religious groups, particularly the line: "Imagine there's no heaven". When asked about the song during one of his final interviews, Lennon said he considered it to be as strong a composition as any he had written with the Beatles. He described the song's meaning and explicated its commercial appeal: "Anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic, but because it is sugarcoated it is accepted ... Now I understand what you have to do. Put your political message across with a little honey." Lennon once told Paul McCartney that "Imagine" was "'Working Class Hero' with sugar on it for conservatives like yourself".[19] On 30 November 1971, the Imagine LP reached number one on the UK chart.[20] It became the most commercially successful and critically acclaimed album of Lennon's solo career.
Recognition and criticism
The John Lennon Peace Monument, Liverpool, England
Rolling Stone described "Imagine" as Lennon's "greatest musical gift to the world", praising "the serene melody; the pillowy chord progression; [and] that beckoning, four-note [piano] figure" Included in several song polls, in 1999, BMI named it one of the top 100 most-performed songs of the 20th century.] Also that year, it received the Grammy Hall of Fame Award and an induction into the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Triple J ranked it number 11 on its Hottest 100 of All Time list. "Imagine" ranked number 23 in the list of best-selling singles of all time in the UK, in 2000.[32] In 2002, a UK survey conducted by the Guinness World Records British Hit Singles Book ranked it the second best single of all time behind Queen's "Bohemian Rhapsody".[33] Gold Radio ranked the song number 3 on its "Gold's greatest 1000 hits" list.
Rolling Stone ranked "Imagine" number 3 on its list of "The 500 Greatest Songs of All Time", describing it as "an enduring hymn of solace and promise that has carried us through extreme grief, from the shock of Lennon's own death in 1980 to the unspeakable horror of September 11th. It is now impossible to imagine a world without 'Imagine', and we need it more than he ever dreamed." Despite that sentiment, Clear Channel Communications included the song on its post-9/11 "do not play" list.On 1 January 2005, the Canadian Broadcasting Corporation named "Imagine" the greatest song in the past 100 years as voted by listeners on the show 50 Tracks. The song ranked number 30 on the Recording Industry Association of America's list of the 365 Songs of the Century bearing the most historical significance. Virgin Radio conducted a UK favourite song survey in December 2005, and listeners voted "Imagine" number 1.[38] Australians selected it the greatest song of all time on the Nine Network's 20 to 1 countdown show on 12 September 2006. They voted it eleventh in the youth network Triple J's Hottest 100 Of All Time on 11 July 2009.Jimmy Carter said, "in many countries around the world—my wife and I have visited about 125 countries—you hear John Lennon's song 'Imagine' used almost equally with national anthems." On 9 October 2010, which would have been Lennon's 70th birthday, the Liverpool Signing Choir performed "Imagine" along with other Lennon songs at the unveiling of the John Lennon Peace Monument in Chavasse Park, Liverpool England. Beatles producer George Martin praised Lennon's solo work, singling out the composition: "My favourite song of all was 'Imagine'". Music critic Paul Du Noyer described "Imagine" as Lennon's "most revered" post-Beatles song. Urish and Bielen called it "the most subversive pop song recorded to achieve classic status."Fricke commented: "'Imagine' is a subtly contentious song, Lennon's greatest combined achievement as a balladeer and agitator."Authors Ben Urish and Ken Bielen criticised the song's instrumental music as overly sentimental and melodramatic, comparing it to the music of the pre-rock era and describing the vocal melody as understated. According to Blaney, Lennon's lyrics describe hypothetical possibilities that offer no practical solutions; lyrics that are at times nebulous and contradictory, asking the listener to abandon political systems while encouraging one similar to communism. Author Chris Ingham indicated the hypocrisy in Lennon, the millionaire rock star living in a mansion, encouraging listeners to imagine living their lives without possessions. Others argue that Lennon intended the song's lyrics to inspire listeners to imagine if the world could live without possessions, not as an explicit call to give them up Blaney commented: "Lennon knew he had nothing concrete to offer, so instead he offers a dream, a concept to be built upon."Blaney considered the song to be "riddled with contradictions. Its hymn-like setting sits uncomfortably alongside its author's plea for us to envision a world without religion." Urish and Bielen described Lennon's "dream world" without a heaven or hell as a call to "make the best world we can here and now, since this is all this is or will be." In their opinion, "because we are asked merely to imagine—to play a 'what if' game, Lennon can escape the harshest criticisms".Former Beatle Ringo Starr defended the song's lyrics during a 1981 interview with Barbara Walters, stating: "[Lennon] said 'imagine', that's all. Just imagine it."
en.wikipedia.org/wiki/Imagine_(John_Lennon_song)
Comment Imagine de John Lennon est devenu un hymne universel…Par Daniel Ichbiah Article écrit pour le magazine STARfan - janvier 2011
"Dans de nombreux pays du monde et j'en ai visité près de 125, vous pouvez entendre 'Imagine' presque aussi souvent que l'hymne national."Ainsi s'est exprimé l'ancien président américain Jimmy Carter en 2006.Comment la chanson de Lennon a-t-elle acquis ce statut mythique ?Au moment de sa sortie en 1971, le single Imagine a connu un joli succès. C'était une chanson agréable avec un jolie partie de piano, une mélodie agréable et un tempo lent.Tandis que la chanson passe alors sur les ondes du monde entier, peu d'attention est réellement prêtée à ses paroles. Or, "Imagine" , sous des dehors romantiques et calmes, est une chanson fortement subversive. Lennon y distille des propos qui vont à l'encontre des principales valeurs de la société Américaine..
"Imaginez qu'il n'y ait pas de pays"
"Ce n'est pas si difficile"
"Rien qui nécessite de tuer et de mourir"
"Et pas de religion non plus".
C'est dans un livre de poèmes publié par Yoko Ono, Grapefruit, que Lennon a dit avoir trouvé l'inspiration pour "Imagine". L'artiste japonaise y distillait des instructions pour une nouvelle vie, telles que "imagine que tu es un fruit."
"Imagine" se classe n°3 au hit parade américain et l'album atteint même la position n°1. Cet hymne à la paix atteint la troisième position du hit parade américain et lui permet de renouer avec le succès. Pourtant, sur le moment, son message semble se diluer dans la quiétude des harmonies. Une jolie chanson, voilà tout.
C'est au fil du temps que "Imagine" va acquérir un statut particulier. Plus le temps passe et plus il semble qu'elle représente davantage qu'une chanson, qu'elle soit un hymne à part entière avec un message transcendant le temps…
Le 8 décembre 1980, Lennon est interviewé par Dave Sholin, un DJ de la station RKO. Au même moment, un désaxé fait le guet devant l'immeuble Dakota où réside le couple Lennon, son revolver enfoui dans une poche de sa parka. Au terme d'un cheminement intérieur chaotique, Chapman a fini par se persuader qu'il lui fallait éliminer John…C'est en quittant ce monde que Lennon révèle combien il était précieux. Quelques jours après sa disparition, cent mille fans se réunissent dans Central Park et devant l'immeuble Dakota dans un ultime hommage au Beatle disparu. Tous chantent l'hymne pour la paix "Give peace a chance". 10 minutes de silence sont observées et des milliers de ballons blancs sont libérés dans le ciel.Pour sa part, la ville de New York tient à célébrer la mémoire de Lennon à plus grande échelle. À Central Park, près de l'immeuble où habitait Lennon, une mosaïque est placée sur le sol avec ce mot "Imagine".
En Angleterre, le single était sorti en 1975 mais n'avait atteint que la 6ème position. Peu après la mort de Lennon en 1980, il ressort et se classe classe n°1 durant trois semaines. Il n'est délogé que par Lennon lui-même et le single "Woman".
En 1982, WABC, l'une des principales radios américaine - elle est née en 1921 - décide de changer de format et de ne plus diffuser de chansons, uniquement des talk-shows. Un long débat est organisé en interne afin de décider de la toute dernière chanson qui sera jouée par la station. C'est "Imagine" qui est choisi.Au cours de l'année 1988, le film Imagine : John Lennon retrace l'histoire du chanteur et remet la chanson au goût du jour. Il inclut une séquence où Lennon interprète ce titre sur son grand piano blanc Steinway.
Dans le très populaire film Forrest Gump qui sort en 1994, grâce à la magie de l'image de synthèse, Tom Hanks se retrouve face à John Lennon dans un show télévisé et le chanteur parle d'un endroit où il n'y aurait "pas de possessions", "pas de religions". La référence à la chanson fétiche de Lennon apparaît explicite.
Plus les années s'écoulent et plus il apparaît que la popularité de "Imagine" est devenue universelle et ne cesse de grandir. À l'occasion du changement de millenium, alors que les classements se multiplient, il va progressivement ressortir que"Imagine"occupe une place particulière dans le cœur du public.En 2002, Guiness World Records organise une enquête pour connaître le single préféré des britanniques. "Imagine" termine n°2 derrière "Bohemian Rhapsody" du groupe Queen.Le 9 décembre 2004, le magazine Rolling Stone publie sa liste des 500 meilleures chansons de tous les temps. "Imagine" y est classé à la 3ème position derrière "Like a Rolling Stone"de Bob Dylan et "Satisfaction" des Rolling Stones, loin devant la première chanson des Beatles figurant dans ce classement, "Hey Jude" qui est à la 8ème position.Au Canada, un sondage est mené la même année afin de déterminer la meilleure chanson des 100 dernières années. C'est "Imagine" qui arrive en tête. Un an plus tard, Virgin Radio conduit un sondage auprès du public britannique et là encore, c'est "Imagine" qui se classe n°1, devant "Hey Jude" des Beatles. En Australie, rebelotte : le 12 septembre 2006, "Imagine" est votée meilleure chanson de tous les temps."La chanson fait par ailleurs l'objet de très nombreuses reprises et assez souvent au cours d'occasions de soutien à une cause humanitaire. Le 21 septembre 2001, Neil Young l'interprète au cours d'un télethon organisé au profit des victimes de l'attaque sur les deux tours. Madonna intègre la chanson "Imagine" au programme de son Re-invention Tour de 2004 et la chante lors d'un concert en aide aux victimes du tsunami, le 15 janvier 2005 à Londres, concert auquel participent Norah Jones, Mary J. Bilge, Elton John, Lenny Kravitz, Stevie Wonder… Pour l'occasion Madonnna cite Lennon parmi les personnalités auxquelles elle aimerait ressembler. La chanson est également reprise par Liza Minelli, Randy Crawford, Jack Johnson, Herbie Hancock et le groupe A Perfect Circle.Fait rare, la chanson obtient une reconnaissance de la part de politiciens et gouvernants. Le 8 décembre 2000, une statue de John Lennon est inaugurée au Havana Park de Cuba et pour l'occasion le président Fidel Castro rend hommage au chanteur en indiquant :"Je partage totalement ses rêves".
En 2003, pour célébrer le 80ème anniversaire de Shimon Peres, Bill Clinton chante"Imagine"en compagnie de 40 enfants israéliens et 40 enfants arabes. Trois ans plus tard, un autre ancien président américain, Carter déclare qu'au cours de ses parcours dans le monde, c'est "Imagine" qu'il entend le plus souvent, davantage que l'hymne national du pays !Lennon qui souhaitait laisser derrière lui un message de fraternité universel pouvait-il rêver mieux ?Daniel Ichbiah
Material Circulante: CP 1413 + 3 Schindler
Hora: 11:28
Data: 21-10-2017
Local: Durrães (PK 65 - Linha do Minho)
Serviço: Comboio Especial n.º 13813 (Porto - Campanhã --» Valença) [PTG 2017]
Material Circulante: CP 9004
Hora: 15:59
Data: 05-05-2017
Local: Estação de Eirol (PK 23 - Linha do Vouga)
Serviço: Comboio de Ensaios n.º 22001 (Aveiro - Vouga --» Sernada do Vouga) [Ensaios da CP 9004]
Material Circulante: UTD 592.227
Hora: 11:08
Data: 16-10-2014
Local: Carapeços (PK 55 - Linha do Minho)
Serviço: Comboio n.º 31305 (Contumil --» Valença) [Ensaio das UTD 592.2]
Built by Shamsu'd-Din Iltutmish himself in 1235, the tomb of Iltutmish lies to the northwest of the Quwwatu'l Islam Mosque of New Delhi. Though, there was a gap of only five years between the constructions of Sultan Ghauri's tomb and this tomb, it is much different and serves as an example of development phase in Indo-Islamic architecture. Unlike his predecessors, Iltutmish abstained from using the material obtained from the demolition of temples. However, the arches and semi-domes of this tomb were built in the indigenous architectural style. The tomb chamber has a red sand stone cenotaph in its centre.
Originally, this cenotaph was covered by a dome, which fell, only to be replaced by Feroze Shah Tughluq. However, even the second dome could not survive long and only its ruins can be seen now. There are three 'mehrabs' in the west that were used for offering prayers. The tomb has plain and stark exteriors, but its interiors are lavishly ornamented with geometrical and arabesque patterns in Saracenic tradition. Along with this, ancient Hindu motifs, such as wheel, bell-and-chain, tassel, lotus and diamond, can also be seen here. It was these carvings that led Fergusson to remark that this tomb is 'one of the richest examples of Hindu art applied to Mohammedan purposes'.
Materials: oil on panel. Dimensions: 31.2 x 38.7 cm. Inscriptions: M HOBEMMA (lower centre). Auctioned by Christie’s, in London, on July 8, 2021. Source: www.christies.com/img/LotImages/2021/CKS/2021_CKS_20053_0...(meindert_hobbema_a_wooded_river_landscape_with_a_punt_deventer_in_the113618).jpg. I have changed the light and contrast of the original photo.
Material Circulante: CP 9004
Hora: 13:46
Data: 05-12-2019
Local: Azurva (PK 30 - Linha do Vouga)
Serviço: Comboio n.º 32301 (Aveiro - Vouga --» Sernada do Vouga)
Materials: oil on canvas. Dimensions: 47 x 73.5 cm. Inscriptions: A.V.K (lower left). Source: upload.wikimedia.org/wikipedia/commons/e/e0/Adriaen_van_d.... I have changed the light and contrast of the original photo.
Materials: oil on canvas. Dimensions: 75 x 91 cm. Inscriptions: C Springer 1840 (lower right). Autctioned by Sotheby’s, in London, on June 11, 2012. Source: www.sothebys.com/content/dam/stb/lots/L12/L12101/750L1210.... I have changed the light and contrast of the original photo.
