Port des Saint-Pères 03/06/2016 19h19

The harbor along the Quai Malaquais seems nonexistent at the moment of the high water level. In the distance the Pont du Carrousel.

 

2016 European Floods

In late May and early June 2016 flooding began after several days of heavy rain in Europe, mostly Germany and France, but also Austria, Belgium, Romania, and Moldova. Beginning at the river Neckar, also the Danube, Rhine, Seine and their tributaries were affected by high water and flooding along their banks. At least 16 people have died to date.

In France, the river Seine burst its banks and one town was evacuated. Two people died in the floods. An 86-year-old woman was found dead in Souppes-sur-Loing, Seine-et-Marne, after her house was flooded. A 74-year-old man on horseback died in Evry-Gregy-sur-Yerre, south of Paris while crossing a flooded field.

Some areas reported the worst flooding ever seen in a century. In the department of Loiret, six weeks worth of rain reportedly fell in three days. Drivers on a highway had to be rescued by soldiers.

 

In Paris, boat cruises were cancelled. The Louvre museum barred public admission on 2 June to 3 June to preemptively secure the artwork in case of flooding caused by the river Seine. Flooding in Paris was expected to peak at around 6.30m over normal, higher than 6.18m high seen in 1982, but below the 1955 flood level of 7.12m, and the 1910 Paris flood which saw levels at 8.62m over normal.

[ Source and more Information: Wikipedia - 2016 European Floods ]

 

Le vent soufflait depuis deux jours sans discontinuité. Entêtant. Glacial. La température frôlait les −10 °C, mais le ressenti était bien en dessous.

J'avais réussi à obtenir la météo malgré un réseau presque inexistant. Les prévisions concordaient : la nuit allait offrir un ciel parfaitement dégagé. La lune se couchait à 4 h 18 et la nuit était complète jusqu’à 4 h 43. Cela laissait un créneau de 25 minutes pour photographier la Voie lactée.

Pas vraiment l’heure à laquelle on a envie de sortir par ce froid. L’idée de quitter la chaleur du refuge ne m’enchantait guère, mais l’envie de faire une image était plus forte. J’avais déjà la composition en tête. Une grosse incertitude subsistait : allais-je réussir une pose de 15 secondes par ce vent ? Le risque de bouger était élevé.

Pour maximiser mes chances, j’ai protégé l’appareil en interposant mon corps aux bourrasques.

Une nuit trop courte et une onglée plus tard… Voilà la photo !

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The wind had been blowing non-stop for two days. Relentless. Bitterly cold. The temperature was hovering around −10°C, but it felt much colder.

 

I had managed to get the forecast despite an almost nonexistent signal. The predictions were consistent: the night would offer perfectly clear skies. The moon was setting at 4:18 a.m., and full darkness would last until 4:43 a.m., leaving a 25-minute window to photograph the Milky Way.

 

Not exactly the kind of hour you feel like heading out in that kind of cold. The idea of leaving the warmth of the refuge didn’t thrill me, but the urge to capture an image was stronger. I already had the composition in mind. One big uncertainty remained: would I manage a 15-second exposure in that wind? The risk of camera shake was high.

 

To maximize my chances, I shielded the camera by placing my body between it and the gusts.

 

One too-short night and a bout of frostbite later… here’s the shot!

Por favor, no use esta imagen en su web, blogs u otros medios sin mi permiso explícito. © Todos los derechos reservados.

© Alejandro Cárdaba Rubio/2013

 

La Punta de San Lorenzo, situada en la costa sur de Madeira, ofrece unas excepcionales vistas de la costa. La vegetación en esta punta es casi inexistente, debido a la cantidad de sol que recibe, al contrario de lo que sucede en la mayor parte de la isla. No hay más que una fina hierba y pitas. Además, ésta es una zona de mucho viento, hasta el punto de que se han instalado motores de viento. Cuidado con acercarse demasiado a los acantilados, carecen de barandilla. Pasearse por los senderos de la costa es muy agradable. Pero lleva puesto un buen calzado, ya que los caminos están llenos de piedras.

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The Punta de San Lorenzo, located on the south coast of Madeira, offers exceptional views of the coast. The vegetation in this tip is almost nonexistent, due to the amount of sunlight it receives, contrary to what happens in most of the island. There is only a thin grass and pitas. Moreover, this is a zone of high wind, to the extent that motors are installed wind. Beware of getting too close to the cliffs, no railing. Strolling along the paths of the coast is very nice. But wearing good shoes, because the roads are full of stones.

 

Más Información / More Information : www.easyviajar.com/portugal/la-punta-de-san-lorenzo-2140

It's been a couple of (long) years... With "stay home" orders, park closure and overcrowding, my visits to BPNP had been nonexistent. It was time to see if it still has a place in my heart ...

You ever see an old movie where a rolling window blind suddenly snaps open and startles everyone? That would be a good description of how spring has finally taken its rightful place here in Durham, North Carolina. The fresh green evident throughout this image was nonexistent a scant few days ago... it also makes obvious the overall condition of the Eno River, which is quite good. So much so that the loop parking area at the end of Cole Mill Road was nearly full. Everyone I met seemed to be taking full advantage of a beautiful day on the river.

 

While I am continuing photographing and documenting the wildflowers along the Eno River, the thought occurred to me that you may want to have a look at the river itself. This was taken just upstream from the old cabin across from the suspension bridge. The images in the links below were taken on the same day within minutes of this spot. Again, my point is not to just shoot pictures of flowers, but to find extraordinary compositions that express how such diversity indicates a healthy ecosystem.

This morning I was up with the sun and out for the best light of the day and I happened upon a pair of grebes on the lake. I didn't cross paths with them until around 8:00AM but I found them in one of the most ideal locations with lots of open water and some nice backdrops. With the winds being almost nonexistent and these little birds being very relaxed, I was able to get really close at just the right angle with the sun and just kind of park next to them. I only got one decent pic with the both of them in the frame but I'm totally stoked by what I ended up bringing home with me.

 

I realize that I've been really negligent of commenting to all of my contacts and for that I apologize. I've been packing as much fishing time into the last several weeks as possible since it won't be too much longer before the boat goes into dry-dock for the winter. I've also got a ton of backlog photos to post over the coming weeks but some have been sitting since May so who knows when I'll get around to it. I'll be back in commenting mode soon enough but, for the next couple of months I'll probably just post and run. Thanks for the comments and I'll do my best to visit your streams as soon as I can carve out some time for it.

 

This made Explore #341 on Thursday, September 22, 2011. Thanks everyone!

Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.

 

No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.

 

The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.

 

Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")

 

When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.

 

"Flo" is B-25J Mitchell 44-28834, a former USAF TB-25N trainer aircraft and later water bomber; it was eventually acquired by Grand Forks AFB and placed on display at the base airpark in 1986. The original "Flo" was 43-27889, which flew with the 321st Bomb Group, based in Italy during World War II; the pilot, John O'Keefe, was later the head of the Grand Forks Volunteer Association. "Flo" looks to be loosely based on a Varga Girl, dressed in a flimsy nightgown. (This is an accurate reproduction of the original nose art--"Flo" didn't get more clothes for a modern audience!)

"Maldito el soldado que vuelva las armas de la República contra su pueblo."

 

Simón Bolívar

 

O como dicen ahora, ¡Ya está bueno ya!

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El periodista Fernando Rospigliosi de El Comercio de Lima dice lo que debe ser obvio a todos:

 

Aunque desde diversos ángulos se intenta disfrazar la dictadura establecida por Hugo Chávez en 1999, en realidad es eso, una dictadura. En primer lugar, concentra todos los poderes y los usa descaradamente contra sus adversarios. El Ejecutivo, el Parlamento, el Poder Judicial y en general todas las instituciones están directa y totalmente controladas por el chavismo, como muestra el arbitrario y escandaloso encarcelamiento de Leopoldo López, que además está impedido de participar en elecciones desde el 2008.

 

En segundo lugar, no existe alternancia en el poder, los líderes gobiernan hasta su muerte o hasta que son derrocados, como en todas las dictaduras personalistas. Hugo Chávez modificó la Constitución y se hizo reelegir varias veces. Y quizás hubiera cumplido su promesa de gobernar hasta el 2030 si no hubiera fallecido en marzo pasado. Nicolás Maduro se mantendrá en el poder hasta que sea depuesto por el pueblo.

 

En tercer lugar, la libertad de expresión ha sido restringida hasta casi desaparecer. Los canales de televisión están controlados por el gobierno, los diarios que no se han doblegado están siendo asfixiados, los periodistas independientes son perseguidos. Y en situaciones de crisis como la actual el gobierno simplemente censura las emisiones, como ocurrió con el canal de cable NTN24, al que sacaron del aire.

 

En cuarto lugar, las Fuerzas Armadas y la Guardia Nacional están politizadas, tremendamente corrompidas y controladas por el chavismo. Adicionalmente, están los “colectivos chavistas”, matones paramilitares que atacan violentamente a los opositores. Y también la “milicia bolivariana”, que depende directamente del presidente de la República.

 

El servicio de inteligencia, Sebin, ha sido el responsable directo de varios de los asesinatos de manifestantes en los últimos días, a tal punto que Maduro tuvo que cambiar al director que apenas llevaba un mes en el puesto. El nuevo director es un general que ha sido el jefe de la milicia bolivariana.

 

Es decir, en Venezuela no existe ninguna de las cualidades que hacen que una democracia sea tal: división de poderes, balances y contrapesos; alternancia regular en el poder a través de elecciones libres y competitivas; libertad de prensa que permita fiscalizar al poder; institutos militares no politizados.

 

En suma, para todo efecto práctico, en Venezuela existe una dictadura. El hecho de que se realicen elecciones amañadas que siempre gana el oficialismo –salvo algunos gobiernos locales– no la convierte en una democracia. Muchos parecen haber olvidado que las dictaduras personalistas que proliferaron en América Latina los primeros 60 años del siglo XX realizaban puntualmente elecciones que indefectiblemente ganaban los dictadores, militares o civiles.

 

elcomercio.pe/opinion/columnistas/izquierdas-y-venezuela-...

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En su editorial de hoy, El Comercio de Lima nos advierte que:

 

Sea como fuere, el régimen chavista, que ya no posee los recursos para seguir comprando el nivel de apoyo que en otros tiempos tenían sus tropelías, está intentando encerrar las voces de Venezuela como en una caja hermética. Algo similar, esto es, al estado en que viven los cubanos desde hace décadas. Tendría que ser el deber de quienes en la región creemos en la democracia hacer todo lo que esté en nuestras manos para que las voces de la oposición se oigan, antes de que la caja logre cerrarse sobre ellas.

 

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The eloquence gets lost in translation, but the gist is that the soldier who takes up arms against his people is damned. Today, the Venezuelan opponents of the government are just saying "Enough is enough!"

 

What's it like in Venezuela now? There are so many issues and so many back stories that it's hard to put together a list that doesn't go on for pages. So here are two conditions that stand out from the rest:

 

> The independence of the judiciary has been severely compromised, to the point where it's nonexistent in high-stakes situations. If that had happened here, we never would have gotten rid of Nixon because no court would have ordered him to turn over the tapes that were his undoing.

 

So if we had Venezuela's judicial system, it's unlikely any court would overturn laws enacted by the ruling party and the president. For example, no court would gutted the Defense of Marriage Act (DOMA), and it's unlikely the courts would be overturning state laws that impede the recognition of same-sex marriage.

 

> The regime prevents the press and TV from disseminating information about events, issues or people the president and those acting in his name don't want the public to know about.

 

If it were like that in the US, our campaigns would look very different. You would see very little of the opposition in the papers or on TV. You'd probably have to be present at an opposition campaign event to and witness it in person to find out what happened. PACs (assuming they still existed) would not be able to but air time for opposition issues. In contrast, the ruling party and the incumbent president would barrage the press and airwaves with campaign-related information and events.

 

And we would never have read about the Occupy Wall Street movement or the nationwide anti-war rallies that took place before Bush II began bombing Baghdad. But I can guarantee the president would have been on TV calling them "fascists" and "coup-plotters."

 

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Here's the only good article about the current situation in Venezuela that I've come across lately:

 

feministing.com/2014/02/20/toward-a-nuanced-feminist-disc...

Some More lego Star Wars characters for a series of stop motion movies I'm planning on making. As you can see, I've added another Metroid Character: Dark Samus.

 

Quarren Mercenary:

A Quarren Mercenary hired by the Disciples of Ragnos.

 

Quarren Slave:

A slave girl on Nar Shadaa.

 

Clawfish:

A Quarren criminal who has but one remaining facial tentacle. He always becomes enraged when asked about this. He follows our three heroes across the galaxy just so that he can beat the crap out of Ekrchry, who asked him why he has so few tentacles. He is similar to the "CHOCOLATE!!" guy from Spongebob Square Pants in this sense.

 

Sh'shak:

A S'krrr warrior-poet, who has left his home planet on a mission to find help destroying the Drog Beetle swarm, which has completely overtaken S'krrr.

 

Aj Clarke (Shirtless):

Self explanatory. Aj without a shirt on.

 

Jimmy Jango (Hatless):

Jimmy without a hat on.

 

Jodo Kast (No Helmet):

Jodo Kast was a member of Alliance SpecOps who became a bounty hunter in the time of the Galactic Civil War. In his suit of modified Mandalorian armor, Kast was sometimes mistaken for the infamous bounty hunter Boba Fett, a fact he capitalized on when possible. Valuing credits over ideals and loyalties, Kast worked for the Empire, Black Sun, the New Republic, or anyone who would pay him. Kast's impersonation of Fett eventually caught up with him, though, when the other bounty hunter sought to reclaim his own reputation. Fett baited a trap on Nal Hutta, using an alias to offer a bounty on a nonexistent man. When Kast came to Nal Hutta, Fett attacked and defeated him, leaving Kast to be killed by his own exploding jetpack.

 

Boba Fett (No Helmet/Before Sarlacc):

Boba Fett was a Mandalorian warrior and bounty hunter. He was a clone of the famed Jango Fett, created in 32 BBY as the first of many Fett replicas designed to become part of the Grand Army of the Republic, and was raised as Jango's son. Jango taught Boba much, training the latter to become a skilled bounty hunter as his father-figure was before him.

 

Boba Fett (No Helmet/After Sarlacc):

Boba is known to have obtained gruesome scars from his time spent in the Sarlacc. They cover most of his face. Those who saw his face and survived (before he fell into the sarlacc) wouldn't recognize him anymore, due to his acid-bleached skin and hair.

 

Dark Samus:

Dark Samus is a being of Phazon taking on the form of Samus Aran. She is following Samus, although Samus is unaware of this.

 

R5-D4:

R5-D4, also known as Red, was a part of the low cost Industrial Automaton R5 line, a line plagued with malfunctions. As a result, R5-D4 was owned by many beings and in a constant state of used sale. His programming became jealous of other droids that were capable of serving without failure and had loyal masters. He was also used intelligence gathering source by the Rebel Alliance.

 

Mammon Hoole:

Mammon Hoole was a Shi'ido scientist from Lao-mon during the reign of the Galactic Empire. He was the brother of Zak and Tash Arranda's father.

 

Grand Admiral Thrawn:

Mitth'raw'nuruodo, better known by his core name Thrawn, was a male Chiss who served in the Imperial Navy and became the only non-Human Grand Admiral. He was regarded as the best military strategist in the navy, and despite the Empire's strict non-Human policies, rose to a position of power.

 

DV-9:

DV-9 (Deevee) was a research droid built by the anthropologist Mammon Hoole as an assistant. After the destruction of Alderaan, he spent most of his time as a personal tutor for Hoole's niece and nephew, Tash and Zak Arranda much to his dismay.

 

Sava Brec Madak:

Sava Brec Madak was an alias used by Boba Fett when dealing with the House Benelex on Paquallis III. Fett used the identity to hire Jodo Kast to capture Satnik Hiicrop on Nal Hutta. Unknown to the Benelex Guild or to Kast was that the entire operation was an elaborate setup wherein Fett would find and kill Kast.

 

Satnik Hiicrop:

"It's called a hologram. This is called a trap. And I'm calling you dead."

Satnik Hiicrop was a fictional name created by Boba Fett to lure Jodo Kast into a trap on Nal Hutta in order to take revenge for Kast's capitalization on Fett's identity. A hologram was used to create the illusion of Hiicrop actually being real. The story of Hiicrop was actually mimicking that of Kast's—He was a man who had done Sava Brec Madak (or Boba Fett) many wrongs by stealing both his business and his name. Hiicrop was about to be captured by Kast when the hologram faded and Fett stepped out of the shadows.

 

Nodon (Shirtless):

Yes, he is wearing pants.

 

Nonak (Shirtless):

Yes, he is wearing pants.

Nightmares in which you cease to exist and are left behind in the deep, numbing cold....

I was visiting with Jeanette, a classmate of mine, on campus when he approached, trailing his rollerboard suitcase, and asked for directions to a city information bureau. He had a British accent and friendly manner. He had just gotten off the bus from Buffalo and had walked a couple of blocks to where we met. He is visiting Toronto from Coventry England. Jeanette was just on her way to meet a friend so I told him I would give him directions. He seemed an interesting fellow so we stood on the street chatting for a few minutes. He was surprised (and pleased) that I knew of Coventry because, as he said, many people draw a blank when he mentions it. It is famous for its cathedral, among other things. (en.wikipedia.org/wiki/Coventry) We shook hands. Meet John from Coventry.

 

John is 84 and is retired from a career in the plastics manufacturing industry. “Do you know of bakelite?” he asked. “Yes, I do.” “Well my career didn’t have anything to do with bakelite” he said with a wry smile, but with other forms of plastic. “Were you a chemical engineer?” I asked, trying to get a handle on his expertise. “Well, you’re glorifying me just a bit” he said. Call it a “production manager.”

 

John has arrived in Toronto to spend the final week of his holiday getting to know this part of Canada. He started out in New York before going to Buffalo prior to his arrival in Toronto. He had the name and address of a hostel to stay at but wanted to get to the visitor’s bureau for maps and other suggestions for his week in the city. I told him there is an office nearby and said I would walk him over but first I wanted to invite him to join my Human Family photography project. “Sure” he said. “I’d be glad to.” I asked him if he’s ever heard of Humans of New York. “Can’t say that I have” he replied. “Good” I continued, because this isn’t quite the same.” We laughed as I got even with him for his use of bakelite as an example of what he had not worked with. John had that friendly, dry wit which we often associate with the British.

 

As we moved out of the direct afternoon sunlight to a rather grungy nearby loading dock which offered diffuse light, John said he had been interested in photography in past years. “Have you ever worked with wet plates?” Wow. I feel that my past experience with developing 35mm black and white film sets me apart from most people I know and here’s a guy who has worked with wet plates! Photos taken, we continued to chat and he was a fascinating man. “What has been your biggest surprise so far on this trip?” I asked. “I had no idea that Buffalo had a load of Frank Lloyd Wright homes so that was a fantastic treat. I had architecture student flatmates when I was in school and some of it rubbed off on me. I really appreciate architecture.” (en.wikipedia.org/wiki/Frank_Lloyd_Wright) I asked if he’d seen Niagara Falls and he said “Oh yes. I couldn’t be that close to the Falls without taking the boat tour and getting myself soaked in the spray!” I asked if he traveled a lot and he said “There were a number of years when I was unable to travel, so now I’m trying to make up for it.” What a guy.

 

When I asked about the greatest challenge he’s faced in life he said “I can’t really give you an answer to that one so I’ll just take a pass.” “How about a message to share through my project?” “Well” he said, “don’t give people advice because given a bit of encouragement they can usually figure things out for themselves using their own resources.” A most interesting message. “What did you like most about your career in the plastics manufacturing industry?” “I’d say the greatest satisfaction was in getting people to do what they really didn’t want to do” he said. “Oh, so you’re a very persuasive guy?” “No, you don’t get it” he said. “You don’t persuade; you encourage them to come up with the idea themselves and volunteer to do it!” I couldn’t help laughing. What an interesting and clever fellow.

 

I asked if he had an email address to send his photo to and he said “I’m afraid not. My cyber footprint is nonexistent but thank you anyway.”

 

I walked John over to the travel bureau, only to discover it had been moved to Union Station about a mile away. “That’s fine” John said. “Just point me in the right direction and I’ll be fine. My suitcase just follows along quietly on its wheels.” I walked him to Yonge Street and pointed him south. It was time for me to head for home and for John to find his map and accommodations for the night. I hope I’ve got half that much spirit of adventure when I reach 84.

 

Thank you John for the friendly chat and for taking part in the Human Family project. Enjoy your stay in Toronto and safe travels back to Coventry.

 

This is my 78th submission to The Human Family on Flickr.

 

You can view more street portraits and stories by visiting The Human Family.

New York City Transit Authority (NYCTA) R32 car 3694, marked for the nonexistent X route, is the lead unit on a southbound refuse train, seen crossing onto the seldom used express track on the Culver Line. This train operates daily from Coney Island Yard to Jamaica, collecting garbage bins from stations along the way. The equipment used varies, on this day being an uncommon arrangement of R32s on the front and an R127 refuse motor on the rear.

 

R32 (X) (Budd, 1964-1965)

4th Ave-9th St Station

Culver Line - IND

Hiroshima Electric Railway Co., Ltd. (Hiroden): the city of Hiroshima has the largest tram network in Japan, with 35.1 km of standard gauge tracks, electrified at 600 V DC. This network can be divided into two parts: the urban one, with 19.0 km o tracks, and the suburban light rail line of Miyajima (16.1 km). The rolling stock consists of almost 300 vehicles and, unlike most Japanese tram networks, there are a large number of long articulated trams.

 

Public transportation in Japan is extraordinary. The impressive professionalism of its workers is fundamental to its operation.

 

And I want to reflect on this. During my trip, I observed that all public transportation systems have a large number of employees. A huge number! This is a fundamental difference compared to European services, where the presence of staff at stations, on trains, and on trams is increasingly smaller, or even nonexistent. It's true that the sheer volume of Japanese transportation can only function with such efficiency thanks to the large number of employees. But it's equally true that the staff reductions we experience in the West only create more problems.

 

Here we see a worker who wouldn't exist in Europe. This is the guard who protects the entrance and exit of the trams at the Hiroden-honsha-mae depot, as they have to cross the sidewalk. A job that wouldn't exist in our unfortunate ultra-liberal culture.

Stivan, a small settlement on Adriatic Sea island Cres in Kvarner bay, is an almost abandoned place. Incredibly stony ground, almost nonexistent arable soil, not close enough to the sea shore to be of interest for tourists, offers little to survive. Some old fig trees and olive trees and sheep, this is all one can rely on. But it is situated in a great landscape, in an open, rather flat (as the whole south part of the island) Mediterranean landscape, harsh, wind-swept and sunny, with mild spring and autumn climate and hot summers. Yet, 200 years ago men was capable not only to survive here but also to live full lives and to build large stony farmhouses like this one on my pictures. Now it is a ruin worth nothing, defeated by time and overtaken by Wulfen's Spurge (Euphorbia wulfeni).

Vitis (grapevine) is a genus of 81 accepted species of vining plants in the flowering plant family Vitaceae. The genus consists of species predominantly from the Northern Hemisphere. It is economically important as the source of grapes, both for direct consumption of the fruit and for fermentation to produce wine. The study and cultivation of grapevines is called viticulture.

 

Most cultivated Vitis varieties are wind-pollinated with hermaphroditic flowers containing both male and female reproductive structures, while wild species are dioecious. These flowers are grouped in bunches called inflorescences. In many species, such as Vitis vinifera, each successfully pollinated flower becomes a grape berry with the inflorescence turning into a cluster of grapes. While the flowers of the grapevines are usually very small, the berries are often large and brightly colored with sweet flavors that attract birds and other animals to disperse the seeds contained within the berries.

 

Grapevines usually only produce fruit on shoots that came from buds that were developed during the previous growing season. In viticulture, this is one of the principles behind pruning the previous year's growth (or "One year old wood") that includes shoots that have turned hard and woody during the winter (after harvest in commercial viticulture). These vines will be pruned either into a cane which will support 8 to 15 buds or to a smaller spur which holds 2 to 3 buds.

 

Description

Flower buds are formed late in the growing season and overwinter for blooming in spring of the next year. They produce leaf-opposed cymes. Vitis is distinguished from other genera of Vitaceae by having petals which remain joined at the tip and detach from the base to fall together as a calyptra or 'cap'. The flowers are mostly bisexual, pentamerous, with a hypogynous disk. The calyx is greatly reduced or nonexistent in most species and the petals are joined together at the tip into one unit but separated at the base. The fruit is a berry, ovoid in shape and juicy, with a two-celled ovary each containing two ovules, thus normally producing four seeds per flower (or fewer by way of aborted embryos).

 

Other parts of the vine include the tendrils which are leaf-opposed, branched in Vitis vinifera, and are used to support the climbing plant by twining onto surrounding structures such as branches or the trellising of a vine-training system.

 

In the wild, all species of Vitis are normally dioecious, but under domestication, variants with perfect flowers appear to have been selected.

 

The genus Vitis is divided into two subgenera, Euvitis Planch. have 38 chromosomes (n=19) with berries borne on clusters and Muscadinia Planch. 40 (n=20) with small clusters.

 

Wild grapes can resemble the single-seeded Menispermum canadense (moonseed), which is toxic.

 

Species

Most Vitis species are found mostly in the temperate regions of the Northern Hemisphere in North America and eastern Asia, exceptions being a few in the tropics and the wine grape Vitis vinifera which originated in southern Europe and southwestern Asia. Grape species occur in widely different geographical areas and show a great diversity of form.

 

Their growth makes leaf collection challenging and polymorphic leaves make identification of species difficult. Mature grapevines can grow up to 48 centimetres (19 inches) in diameter at breast height and reach the upper canopy of trees more than 35 metres (115 feet) in height.

 

Many species are sufficiently closely related to allow easy interbreeding and the resultant interspecific hybrids are invariably fertile and vigorous. Thus the concept of a species is less well defined and more likely represents the identification of different ecotypes of Vitis that have evolved in distinct geographical and environmental circumstances.

 

The exact number of species is not certain. Plants of the World Online states 81 species are accepted, but lists 84. More than 65 species in Asia are poorly defined. Approximately 25 species are known in North America and just one, V. vinifera has Eurasian origins; some of the more notable include:

 

Vitis aestivalis, the summer grape, native to the Eastern United States, especially the Southeastern United States

Vitis amurensis, native to the Asian continent, including parts of Siberia and China

Vitis arizonica, The Arizona grape is native to Arizona, Utah, Nevada, California, New Mexico, Texas, and Northern Mexico.

Vitis berlandieri, native to the southern North America, primarily Texas, New Mexico and Arkansas. Primarily known for good tolerance against soils with a high content of lime, which can cause chlorosis in many vines of American origin

Vitis californica, the California wild grape, or Northern California grape, or Pacific grape, is a wild grape species widespread across much of California as well as southwestern Oregon

Vitis coignetiae, the crimson glory vine, a species from East Asia grown as an ornamental plant for its crimson autumn foliage

Vitis labrusca L., the fox grapevine, sometimes used for winemaking and for jam. Native to the Eastern United States and Canada. The Concord grape was derived by a cross with this species

Vitis riparia, the riverbank grapevine, sometimes used for winemaking and for jam. Native to the entire Eastern United States and north to Quebec

Vitis rotundifolia (syn. Muscadinia rotundifolia), the muscadine, used for jams and wine. Native to the Southeastern United States from Delaware to the Gulf of Mexico

Vitis rupestris, the rock grapevine, used for breeding of Phylloxera resistant rootstock. Native to the Southern United States

Vitis vinifera, the European grapevine. Native to the Mediterranean and Central Asia.

Vitis vulpina, the frost grape, native to the Eastern United States, from Massachusetts to Florida, and west to Nebraska, Kansas, and Texas Treated by some as a synonym of V. riparia.

 

Plants of the World Online also includes:

Vitis acerifolia Raf.

Vitis amoena Z.H. Chen, Feng Chen & WW.Y. Xie

Vitis baihuashanensis M.S.Kang & D.Z.Lu

Vitis balansana Planch.

Vitis bashanica P.C.He

Vitis bellula (Rehder) W.T.Wang

Vitis betulifolia Diels & Gilg

Vitis biformis Rose

Vitis blancoi Munson

Vitis bloodworthiana Comeaux

Vitis bourgaeana Planch.

Vitis bryoniifolia Bunge

Vitis × champinii Planch.

Vitis chunganensis Hu

Vitis chungii F.P.Metcalf

Vitis cinerea (Engelm.) Millardet

Vitis davidi (Rom.Caill.) Foëx

Vitis × doaniana Munson ex Viala

Vitis erythrophylla W.T.Wang

Vitis fengqinensis C.L.Li

Vitis ficifolia Bunge

Vitis flavicosta Mickel & Beitel

Vitis flexuosa Thunb.

Vitis girdiana Munson

Vitis hancockii Hance

Vitis heyneana Schult.

Vitis hissarica Vassilcz.

Vitis hui W.C.Cheng

Vitis jaegeriana Comeaux

Vitis jinggangensis W.T.Wang

Vitis jinzhainensis X.S.Shen

Vitis kaihuaica Z.H.Chen, Feng Chen & W.Y Xie

Vitis kiusiana Momiy.

Vitis lanceolatifoliosa C.L.Li

Vitis longquanensis P.L.Chiu

Vitis luochengensis W.T.Wang

Vitis menghaiensis C.L.Li

Vitis mengziensis C.L.Li

Vitis metziana Miq.

Vitis monticola Buckley

Vitis mustangensis Buckley

Vitis nesbittiana Comeaux

Vitis × novae-angliae Fernald

Vitis novogranatensis Moldenke

Vitis nuristanica Vassilcz.

Vitis palmata Vahl

Vitis pedicellata M.A.Lawson

Vitis peninsularis M.E.Jones

Vitis piasezkii Maxim.

Vitis pilosonervia F.P.Metcalf

Vitis popenoei J.L.Fennell

Vitis pseudoreticulata W.T.Wang

Vitis quinlingensis P.C.He

Vitis retordii Rom.Caill. ex Planch.

Vitis romanetii Rom.Caill.

Vitis ruyuanensis C.L.Li

Vitis saccharifera Makino

Vitis shenxiensis C.L.Li

Vitis shizishanensis Z.Y.Ma, J.Wen, Q.Fu & X.Q.Liu

Vitis shuttleworthii House

Vitis silvestrii Pamp.

Vitis sinocinerea W.T.Wang

Vitis sinoternata W.T.Wang

Vitis tiliifolia Humb. & Bonpl. ex Schult.

Vitis tsoi Merr.

Vitis wenchowensis C.Ling

Vitis wenxianensis W.T.Wang

Vitis wilsoniae H.J.Veitch

Vitis wuhanensis C.L.Li

Vitis xunyangensis P.C.He

Vitis yunnanensis C.L.Li

Vitis zhejiang-adstricta P.L.Chiu

There are many cultivars of grapevines; most are cultivars of V. vinifera. One of them includes, Vitis 'Ornamental Grape'.

 

Hybrid grapes also exist, and these are primarily crosses between V. vinifera and one or more of V. labrusca, V. riparia or V. aestivalis. Hybrids tend to be less susceptible to frost and disease (notably phylloxera), but wine from some hybrids may have a little of the characteristic "foxy" taste of V. labrusca.

 

The Latin word Vitis is feminine,[19] and therefore adjectival species names take feminine forms, such as V. vinifera.

 

Ecology

Phylloxera is an American root aphid that devastated V. vinifera vineyards in Europe when accidentally introduced in the late 19th century. Attempts were made to breed in resistance from American species, but many winemakers and customers did not like the unusual flavour profile of the hybrid vines. However, V. vinifera grafts readily onto rootstocks of the American species and their hybrids with V. vinifera, and most commercial production of grapes now relies on such grafts.

 

Commercial distribution

According to the UN's Food and Agriculture Organization (FAO), 75,866 square kilometres of the world is dedicated to grapes. Approximately 71% of world grape production is used for wine, 27% as fresh fruit, and 2% as dried fruit. A portion of grape production goes to producing grape juice to be used as a sweetener for fruits canned "with no added sugar" and "100% natural". The area dedicated to vineyards is increasing by about 2% per year.

 

Domestic cultivation

Grapevines are widely cultivated by gardeners, and numerous suppliers cater specifically for this trade. The plants are valued for their decorative foliage, often colouring brightly in autumn; their ability to clothe walls, pergolas and arches, thus providing shade; and their fruits, which may be eaten as dessert or provide the basis for homemade wines. Popular varieties include:-

 

Buckland Sweetwater' (white dessert)

'Chardonnay' (white wine)

'Foster's Seedling' (white dessert)

'Grenache' (red wine)

'Muscat of Alexandria' (white dessert)

'Müller-Thurgau' (white wine)

'Phoenix' (white wine)

'Pinot noir' (red wine)

'Regent' (red wine)

'Schiava Grossa' (red dessert)

'Seyval blanc' (white wine)

'Tempranillo' (red wine)

 

The following varieties have gained the Royal Horticultural Society's Award of Garden Merit:-

'Boskoop Glory' (dessert/wine)

'Brant' (black dessert)

'Claret Cloak' or 'Frovit' (ornamental)

'New York Muscat' (black dessert)

'Purpurea' (ornamental)

 

Uses

The fruit of several Vitis species are grown commercially for consumption as fresh grapes and for fermentation into wine. Vitis vinifera is the most important such species.

 

The leaves of several species of grapevine are edible and are used in the production of dolmades and Vietnamese lot leaves.

 

Culture

The grapevine (typically Vitis vinifera) has been used as a symbol since ancient times. In Greek mythology, Dionysus (called Bacchus by the Romans) was god of the vintage and, therefore, a grapevine with bunches of the fruit are among his attributes. His attendants at the Bacchanalian festivals hence had the vine as an attribute, together with the thyrsus, the latter often entwined with vine branches. For the same reason, the Greek wine cup (cantharos) is commonly decorated with the vine and grapes, wine being drunk as a libation to the god.

 

The grapevine has a profound symbolic meaning in Jewish tradition and culture since antiquity. It is referenced 55 times in the Hebrew Bible (Old Testament), along with grapes and wine, which are also frequently mentioned (55 and 19, respectively). It is regarded as one of the Seven Species, and is employed several times in the Bible as a symbol of the Israelites as the chosen people. The grapevine has a prominent place in Jewish rituals: the wine was given a special blessing, "creator of the fruit of the vine", and the Kiddush blessing is recited over wine or grape juice on Shabbat and Jewish holidays. It is also employed in various parables and sayings in rabbinic literature. According to Josephus and the Mishnah, a golden vine was hung over the inner chamber of the Second Temple. The grapevine is featured on Hasmonean and Bar Kokhba revolt coinage, and as a decoration in mosaic floors of ancient synagogues.

 

In Christian iconography, the vine also frequently appears. It is mentioned several times in the New Testament. We have the parable of the kingdom of heaven likened to the father starting to engage laborers for his vineyard. The vine is used as symbol of Jesus Christ based on his own statement, "I am the true vine (John 15:1)." In that sense, a vine is placed as sole symbol on the tomb of Constantia, the sister of Constantine the Great, and elsewhere. In Byzantine art, the vine and grapes figure in early mosaics, and on the throne of Maximianus of Ravenna it is used as a decoration.

 

The vine and wheat ear have been frequently used as symbol of the blood and flesh of Christ, hence figuring as symbols (bread and wine) of the Eucharist and are found depicted on ostensories. Often the symbolic vine laden with grapes is found in ecclesiastical decorations with animals biting at the grapes. At times, the vine is used as symbol of temporal blessing.

 

In Mandaeism, uthras (angels or celestial beings) are often described as personified grapevines (gupna).

Blue gold sky

Your fire is burning

Horizon questions why

Your evening is yearning

For a day that is soon gone

Into oblivion abyss

To carry the night on

In dreamy nocturnal kiss

 

All the blue gold is bound

Into your drifting clouds

Sunset of silver found

Among the streets and crowds

Love song of dusky distant

Where weaving dreams go

In to the nonexistent

Of ocean’s nightly glow

 

Blue gold sky

Yesterday is in your sight

When you come in sweet lullaby

In the falling off the eve light

Chariot of fire gold

Blue silver moon beyond

Nothing your dreams can hold

You are to stars whishes bond

 

Peter S. Quinn

 

See where this picture was taken. [?]

Operation “Salt City" resulted in the arrest of 248 individuals from May through September 2015. Of those arrested, 124 were active gang members. During the operation 22 firearms, more than $237,000 in U.S. currency, 70 grams of heroin, 266 grams of cocaine, and 723 grams of marijuana with a total estimated street value of almost $44,000 was taken off Syracuse streets by participating agencies.

Operation Salt City is part of the U.S. Marshals nation-wide “Triple Beam” gang reduction initiative. Triple Beam partners federal, state, and local law enforcement to reduce violent crime and take dangerous offenders off the streets. The goal of the U.S. Marshals Gang Enforcement Program is to seek out and disrupt illegal gang activity in areas of the country with smaller or nonexistent gang enforcement units by providing manpower, funding and the Marshals’ renowned fugitive tracking abilities.

 

Photo by Shane T. McCoy / US Marshals

Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.

 

No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.

 

The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.

 

Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")

 

When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.

 

Depicted with the yellow nose and red tail of the 34th Bomb Group, based at RAF Mendlesham, UK, B-17G 44-85778 "Miss Angela" is a former USAF TB-17G trainer, VB-17G executive transport, and firebomber. It was restored back as a wartime B-17G in 1991, and joined the Palm Springs Air Museum's collection in 1997. Initially, the aircraft carried a Varga Girl pinup with no name attached, but in 2004, it was repainted with a custom pinup done with an airbrush. "Miss Angela" might be a bit overdressed for a World War II-era B-17 nose art girl, but it's beautiful all the same.

 

How shiny is the bare metal finish on "Miss Angela"? You can see my reflection just in front of the girl's face.

 

EDIT (2022): Almost 25,000 views in a little over a year? Wow! Thank you all!

 

EDIT (2023): 52,330 views? Whoa. Thanks so much!

Peter, a retired Navy helicopter pilot takes Bill, a retired Navy F-14 Tomcat RIO up for a flight in the T-6 Texan. Bill is head down, perhaps looking for a nonexistent Tactical Information Display.

 

To view a hi-res version and for more information visit my website:National Capitol Squadron Meetings

9x19mm compact machine pistol.

 

A diminutive and cheap machine pistol designed by Archwell, and is based off of the vaunted HK VP70M.

 

Small enough to conceal behind a jacket, it is an ideal weapon for covert operations or personal defense. And with a monstrous 900 RPM fire rate emptying a 19 round magazine, it surely doesn't lack in firepower as well. Unfortunately, due to the small frame, control is all but nonexistent.

 

Commonly used by government bodyguards and covert operatives around the world, sales have skyrocketed since its introduction in 2041. In fact, it has surpassed the AMP-18/A1 in terms of export sales.

Behance

nonexistent in New Jersey and that is DELICIOUSNESS ! So now for the benefit of those with taste buds I introduce Edge Blondies! The Ultimate Homemade Blondies, Speared with Chocolate Chips and Pecans and baked into the shape of a Star! (some are decorated with black and red icing to resemble The Rated-R Superstar's tattoos). The Ultimate Dessert for the Ultimate Edgehead!

I took a drive out to Sherod Park, on the shore of Lake Erie in Vermillion, Ohio. I was hoping to capture the sunset on the beach. However, Mother Nature decided it was a better idea, to be cloudy and rain. So, I decided to make the best of it. I started adjusting the shutter speed, and wasn't too happy with the results. I don't like that the background is virtually nonexistent. This was one of the only images, i liked enough to share. I'll forever be my own worst critic. I know what I need to work on, and will focus on that, more and more, in the coming months.

The last of the FED cameras (model 5C) which were made in Ukraine in the late 80's, when even Soviet citizens no longer wanted such old fashioned cameras...

Nevertheless these were fairly good rangefinder cameras when not defective (quality control was almost nonexistent in Soviet factories in those days, because quantity with the quota system was the order of the day).

And today these Ukrainian and Russian rangefinder cameras are very much appreciated by those of us in the West who are looking for classic rangefinder cameras at reasonable prices (Leica prices having gone through the roof) in order to do traditional street photography such as used to be done by the great photographers of the 20th century like Henri Cartier-Bresson, Elliott Erwitt, Jacques Henri Lartigue, Robert Doisneau, Josef Koudelka, and many others,

 

The 39mm Leica screw-mount on these rangefinder cameras of the former Soviet Union permits us to use a wide variety of lenses made not only by the Soviets themselves (Industar and Jupiter lenses) but also those made by Leitz since 1930, and by Canon in Japan since about 1935, as well as others in Japan like Nikon and Topcon who made lenses for Leicas and Leica copies after 1945. And in recent decades, the excellent lenses made in Japan by Cosina under the Voigtlander label (which they purchased from the Germans).

 

Deserts are part of a wider classification of regions that, on an average annual basis, have a moisture deficit (i.e. they can potentially lose more than is received). Deserts are located where vegetation cover is sparse to almost nonexistent.

I am alive!

 

This is the MOC I took down to the Christchurch Brick Show in July. Yeah, July. The internet side of my lego life has been virtually (haha, pun not intended :P) nonexistent for ages now.

 

Some of you might remember the Lego graphic novel I was writing and video blogging about earlier this year, until about April. It and I disappeared from the face of the internet without notice. Sorry about that. My beautiful 1-year-old niece passed away very suddenly at the beginning of May, and the project was not a priority.

 

Anyhow, hopefully I'll get back to it at some point. It would be really good to actually get something out of it, because it did have a plot and concepts that I really liked. Right now I'm working on my exhibit for the Auckland Brick Show 2014, a part of a pirate/castleish collaboration. It should be pretty cool :)

 

Thanks for checking this out! :D

THEME: www.youtube.com/watch?v=tUAcDMHuC2E

 

Introducing my Self-MOC! This is actually the 12th version (12.4 to be exact) and a character reboot, though, and I have revamped the whole thing again since this version, too. I will post a picture showing some of the previous versions (I don't have pictures of pre-7th versions, except for the very first), just so you can get an idea of the evolution of the character.

 

---DESCRIPTION---

Nicknamed "Rahksha" due to her Makuta heritage, Nyctoria is somewhat of a Toa: the most accurate way to put it is, she's a protector...of sorts. She has a strong link with the Netherverse, enabling her to draw on its dark power to perform necromancy, as well as harvest souls and summon them as Netherwalkers (inhabitants of the Netherverse) with her scythe. She can also reanimate corpses to serve her by using seals on their Kanohi.

 

However, the power of the Netherverse always takes it toll, and the user's soul - and therefore body - will decay the more they use it. The only way to maintain oneself is to harvest the souls of others. Hence, Nyctoria hunts down villains to defeat and consume.

 

While Nyctoria does defend others from Makuta and other threats, she is not altrustic in her motives -- she will just as easily consume innocents if there is no other source available, and rarely helps others unless she perceives them or the target as useful in her quest for revenge against her "father", Teridax -- and by extension, her de facto creator, Mutran.

 

As an individual, Nyctoria is largely anti-social, apathetic and an on-off misanthrope - hardly surprising considering her origins. That being said, she is not without a sense of justice and empathy, although her concept of morality is nonexistent at worst and dubious at best.

 

---BIO---

NAME: Nyctoria

 

ALIASES: Rahksha, Daughter of Teridax, Destral's Shadowborne

 

SPECIES: Rahkshi/Toa (mutant; Kraata infused with energy from a Nui Stone)

 

GENDER: Female

 

KANOHI: N/A

 

ELEMENT: Shadow

 

WEAPON: Harvest Scythe - "Slayer's Slave"

 

Never have I dealt with anything more difficult than my own soul, which sometimes helps me and sometimes opposes me.

Al-Ghazali

At first glance, the comparison of these two monuments seems only to be a source of antithesis; however contradictory the suggestion may seem, it will only be a question of analogies. In an ingenious and documented study, Mr Knauth, architect of Strasbourg Cathedral, demonstrated that, under an absolutely different appearance, the basilica entrusted to his care and the Great Pyramid of Egypt, known as Cheops, were designed according to an identical formula.

 

After the work of Colonel Howard Vyse and John Taylor, Piazzi Smyth did further research. At the entrance to the antechamber of the royal tomb, in the middle of a granite slab, a round button protrudes a fifth of its thickness. Smyth claims to find there the unit of measurement of the master builder of the pyramid; he calls the meter pyramidal five times the thickness of this button, that is to say a measure of 0.6356 m, and for this meter he adopts a division into twenty-five inches of pyramid; this mysterious detail would thus have a thickness of five inches and a projection of one inch. "It is hardly doubtful, writes Smyth, that this measure served as a unit to the builder as well in his project as in the execution, because all the measurements of lanes and chambers give rise to the most surprising relations, if they are carried out by means of this measure. "The pyramidal metre represents exactly the twenty millionth part of the earth's diameter. The latter has 12 712 178 meters[8]. The pyramidal metre is therefore worth 0.6 356 089 metre.Faced with these similarities, one naturally begins to wonder whether certain architectural principles dating back to the highest antiquity have not been perpetuated by tradition through the ages. As a result of the frequent surveys required by the floods of the Nile, the Egyptians were familiar with the surveying and geometric layouts; the Gothic masters were not inferior on these points; the marvellous monuments of all sizes they left us prove this overabundantly.

 

Were the rules put into practice kept by each other in the construction workshops as mysterious secrets? So many questions that it is easier to ask than to solve.

 

Thus reduced to his mathematical data alone, Mr. Knauth's work takes on a categorical appearance that he does not have in the original work. The eminent architect does not attempt to draw absolute and reckless consequences from his study. He only hopes that the same surveying process will be applied to other medieval édifices. In the future now to tell us if new experiences will come confirmer his thesis.

 

In the records of the city of London, the term "alchemy" appears as early as 1375. In those days, this referred to working fith fire permitted to freely travel the country at a time when the feudal system shackled most peasants closely to the land. They gathered in groups to work on large projects, moving from one finished castle or cathedral to the planning and building of the next. For mutual protection, education, and training, they bound themselves together into a local lodge - the building, put up at a construction site, where workmen could eat and rest. Eventually, a lodge came to signify a group of macigians based in a particular locality. The premier alchemist lodge was formed in England in 1717, the official date of the organization of the various lodges and the start of Alchemy proper. Although the style of Alchemic ritual suggest Egyptian, Greek, Roman, Templar, Rosicrucian and qabalistic origins, nothing less is true. A historical link cannot be established and given the fact that in those days no alchemists was able to read Egyptian, no direct connection with Egyptian spirituality was available. Unmistakably, the Founding Fathers of Alchemy incorporated Egyptian symbols in their various rituals and grades, as every one dollar bill makes clear. These archaisms prove the need of Alchemy to root its teachings and practices in a nonexistent, fictional historical past in order to give itself, its rituals and precepts an air of antiquity. This is especially the case in the Romantic era, when exotic tastes became fashionable. With egyptomania no longer served isolated individuals & groups, but fed the ruling classes, who were desperately trying to cope with the antagonisms and lack of humanity of emergent capitalism and the religious wars raging in Europe since the days of Luther (1483 - 1546). Alchemy and its founding myth was deemed the alternative of the educated. The God of revelation was also the "Great Architect", and in every lodge a Bible or a Koran was present. This to show the "God of the philosophers" was not a priori in conflict with the God of revelation. But the Roman Church was antagonistic, as could be expected. As a system of personal growth within a closed community of kindred spirits, alchemy survived to this day, divided between those who accept God and those who do not, between those who see symbols as instruments of growth and those who use them as gates to occult regions of the universe. Alchemy has become (or has always been ?) conservative and opaque. Its non-transparant and non-democratic (military) features may run against non-strategic, open communication, which is the foundation of social-economical justice and equality. Philosophy is more of an interest group than a spiritual organization, although some lay claim to precisely the opposite. As none of the original Egyptian teachings were available to its Founding Fathers, Alchemy, in order to accommodate the new times ahead, is bound to be reformed.

► the Rosicrucian Order...As a system of belief, Rosicrucianism came to the notice of the general public in the 17th century. In the two Rosicrucian Manifestoes, a mysterious personage called "Christian Rosenkreutz" is mentioned. But according to legend, the symbolism of the Rose and the Cross was first displayed in 11th century Spain. During a fierce battle against the Moors, an Aragonese Knight named Arista saw a cross of light in the sky with a rose on each of its arms. A monastery to commemorate his victory was erected and time later an Order of Chivalry with the emblem of these Roses and the Cross founding the monastery. The Rose and the Cross appeared in the banner of Raymond VI, Count of Toulouse when he tried to defend the Cathars against the armies of Pope Innocent III. It was in the form of a cross, described as "de gueules à la croix et pommettée d'or" ("gueule" means "red", derived from the Arabic "gul", which means "rose"). The emblem of the Cross with the red Rose in the middle square became the emblem of the Rosicrucian movement and its many orders, lodges and societies. In the Fama Fraternitatis (or Laudable Fraternity of the Rosy Cross), Christian Rosenkreutz is said to have journeyed to Damascus, Damcar, Egypt and Fez. He met those in possession of "secret teachings". He synthesized the best of these teachings and went to Spain. Finally, he returned to Germany and chose three men with whom he founded an order, meant to instruct its members in the knowledge he had obtained in the Middle East. So the typical founding myth goes. After the publication of the Manifestos, the Rosicrucians influenced the culture of Western Europe. Rosicrucianism developed along two lines, on the one hand, the scientists, intellectuals and reformers in the social, political and philosophical fields (like Descartes and Boyle) and, on the other hand, those (like Fludd, Dee, Comenius and Ashmole) concerned with occultism and mysticism (cf. the distinction between philosophical and technical Hermetica). In France, Rosicrucianism had a revival climaxing in the early 19th and the first years of the 20th century. Especially Martinez de Pasqually (1727 - 1774), Louis-Claude de Saint Martin (1743 - 1803) and Papus (1865 - 1918) are noted. ► the Golden Dawn...In 1865, and Englishman named Robert Wentforth Little founded an esoteric society, the Rosicrucian Society in Anglia. Membership was limited to Master Masons. When Little died in 1878, three men took over, a retired medical doctor, William Woodman (1828 - 1891), a coroner, Wynn Westcott (1848 - 1925) and Samuel Liddell "MacGregor" Mathers (1854 - 1918), who, as a young man, spent much of his time in the British Museum, working through piles of dusty manuscripts. He translated three Medieval magical texts : The Greater Key of King Solomon, The Kaballah Unveiled and The Book of the Sacred Magic of Abramelin the Mage. In 1887, so the story goes, Westcott received from Reverend Woodward, an elderly parson and author on Alchemy, a set of cipher manuscripts. He asked the clairvoyant and inspired Mathers to assist him (one legend says both men forged the document, in another Westcott found it on a bookstall in Farringdon Street, and in yet another the document was inherited). Both men found the code of the cipher was contained in a work of Trithemius, the influential Steganographia extolled by John Dee (1527 - 1608), the Elizabethan scholar and astrologer of Queen Elisabeth I. It concerned "angel-magic" and Dee had secured a copy of it in Antwerp. They uncovered skeletons of rituals and Mathers expanded them. Together they started the Golden Dawn (GD), a secret Victorian society aiming to harbor true Rosicrucianism and allow its members to accomplish the Great Work. A complete system of ritual magic based on the history of Western occultism was practiced. In contrast with the Theologic policy of the Rosicrucian Society, the order admitted women members as equals. Its members were recruited from every circle of life. In these rituals, Egyptian, Jewish, Greek & Christian elements were combined. However, the combination of these various traditions led to depletion. A spiritual tradition is as strong as it is pure, i.e. devoid of notions, ideas, concepts, symbols, beliefs, rituals etc. foreign to it. Although syncretism may be intellectually satisfying, it hinders spiritual emancipation. This is certainly true if the elements combined are very different, as is the case here. Because Mathers was unable to read Egyptian texts, he could not make the crucial distinction between the Egyptian approach and the Hellenistic view (incorporated in Judaism, Christianity, Islam, Hermetism and Hermeticism). Neither could he isolate the native Egyptian elements present in historical Hermetism. By nevertheless incorporating Egyptian deities (in particular the Osiris-cycle), the GD walked the path of egyptomania.

► Aleister Crowley...Aleister Crowley (1875 - 1947) entered the GD in 1898, introduced to the order by George Cecil Jones (1873 - 1953). The influence of this "Hermetic Order" shaped his life. He continued to ferment the teachings of the GD until he died. In fact, he considered himself and his Thelemic Order of the Silver Star to be its lawful heir. The problems between Crowley and the Adepts of the order started in December 1899 (the first time he met Mathers), i.e. by the time he had taken his Portal grade, the preliminary to the crucial Adept Minor degree. When, in September 1900, he applied to be advanced to the level of Adepthood, the College of Adepts refused. They disliked Crowley, his attitudes and way of life. Some of them probably did not believe an adept should drink, have fun, fornicate and raising hell with enthusiasm. His scandalous reputation won the disapproval of his seniors, who were in their right to refuse him. So, in the same month, Crowley went to Paris, and was initiated in the Ahathoor Temple by Mathers himself ! Between Paris and London a deep schism had been in the making and now tensions truly exploded. When the London adepts heard Mathers had initiated him, the breach was complete. When applying for the lectures he was now entitled, he was again refused and physically thrown out. To Florence Farr, Yeats and many others, Crowley was an outcast, an opportunist who had endangered the link with Mathers. He promptly notified Mathers and the latter arranged a meeting with the "rebels" in London. Crowley acted as Mathers' plenipotentiary, and to protect himself, dressed up in the garb of Highland chieftain, concealing his face with a heavy black mask. Clearly Mathers had been a poor judge of characters, raising lunatic power freaks to Adepthood ...The GD did not recover from the insanity and within a few years became a dispersed organization, with several Temples conducted by different groupings of men, each appointing their own Chiefs. Waite kept the Isis-Urania Temple, but in 1914 he closed it down. Next, Crowley invented his own egyptomanic movement. In Cairo in 1904, the "minister" of Re dictated a new revelation to him, the "Book of the Law" ! Crowley became the "prophet" of the New Age of Horus ! The two major Egyptian deities he incorporated were the sky-goddess Nut and Horus of Edfu ("Hadit"). Had he known the cults of Ancient Egypt well enough, he would have realized they had no revelation or dogma, and certainly no "holy" books (for hieroglyphic writing itself was sacred). Was Crowley's "law" a concoction of his own power driven subconscious mind ? In 1909, he called in the "demon of demons" and turned Satanic. The psychosis had become irreversible ...Do these highlights show the scope of the phantasies, fictions and lies incorporated into the Western Tradition since the start of the Renaissance ? Indeed, to identify the backbone of this Tradition with the Qabalah was the outstanding mistake prompted by the fraud of Moses de Leon. This has perturbated thousands of excellent minds, causing them to constantly replay their own illusions, and loose, unlike Rabbi Akiba, after entering the "garden of delights", their sight, reason or faith in God. "The impeding turn of the millennium nourishes hopes of a new spiritual light for humankind in the aspirations of many. Egypt will surely play a role in such developments in both its forms : pharaonic Egypt and the esoteric-Hermetic Egypt. There has been increasing talk of the relevance of the Hermetic Weltanschauung as a point of view that can contribute to making sense of our modern world by seeking a direct connection with the original wisdom of the oldest cultures and with the core idea of all esoteric thought, according to which the ancient wisdom continues to be valid even in a world that has been transformed."

Can we today turn the page ? Can a spiritual movement emerge which focuses on a thematical reconstruction of Ancient Egyptian spirituality, and this based on the evidence of contemporary science regarding Ancient Egyptian religious practice in general and its basic ritual matrix in particular ? Several individuals work along those lines, coupling study with ritual practice (Hope, 1986, Schueler, 1989, Clark, 2003, Draco, 2003). In such a "Kemetic" reconstruction, no Jewish, Greek, Hermetic, Christian or Hermeticist elements should persist. Is this really possible, and if so, is such spirituality indeed the true backbone of our Western Tradition ? The advantage being the isolation of a tradition untouched by what today may be called "foreign elements". Such an exercise is not easy (not to speak of the contextual limitations of any author). For Hermetism did retain parts of the Egyptian Mystery Tradition, and in a lesser degree, the same goes for Hermeticism, and yes, even for the revealed religions, Christianity first. The thematical reconstruction sought is approached in two steps :

the influence of Egyptian spirituality on Alexandrian Hermetism ; the form of the basic matrix of native Egyptian religion.

In this paper, the first step is dealt with. The second will only be touched in the Epilogue. In the following ten paragraphs, we study ten basic notions of Hermetism (in other forms present in the mix of Hermeticism and in the "mystical" traditions of the religions). We try to find their Ancient Egyptian equivalent "in embryo" :mentalism : the gods, the world and humanity are the outcome of Divine thought ;correspondence : the same characteristics apply to each unity or plane of the world ;

change : nothing remains the same, everything vibrates, nothing is at rest ; polarity : everything has two poles, there are two sides to everything ; rhythm : all things have their tides, rise and fall, advance and retreat, act and react ; cause & effect : everything happens according to law, there is no coincidence ; gender : male and female are in every body and mind, but not in the soul ; timing : everything happens when the time is ripe, things start at the right time ; intent : nature works according to a purposeful plan, pure will masters the stars ; transformation : everything can be transformed into something else, opposites meet. In earlier studies, the special cognitive features of Ancient Egyptian thought, language & literature have been explained. Grosso modo, these imply the difference between rational thought, initiated by the Greeks, and ante-rationality. The latter is the mode of thought of pre-Greek Antiquity and of societies untouched by the linearizing streak of the Hellenes. Before the advent of rationality, three modes of thought prevailed, as Piaget, genetical epistemology and neurophilosophy made clear. These are mythical, pre-rational and proto-rational thought, in which the Ancient Egyptians excelled. Clearly Hermetism was codified using Greek conceptual rationality (giving birth to the influential systems of Plato and Aristotle). Hence, if we try to correlate these concepts with their native Egyptian equivalent, this cognitive difference has to be taken into account, and the multiplicity of approaches characterizing Egyptian thought has to be made an integral part of the equation. So because of this crucial difference, in all my translations of Egyptian texts and commentary, terms related to the Divine are not capitalized (i.e. god, gods, goddess, goddesses, divine, and pantheon), while in Hermetism and all rational discourses they are. This in accord with the contextualizing feature of anterationality, while rationality always puts context between brackets, and by doing so articulates an abstract, theoretical concept of the Divine.

Both Memphis and Alexandria underline the importance of the spoken and written word. Already in the Old Kingdom, Pharaoh was the Great Speech and his magic powerful, and dreaded, even by the deities. But in Late Ramesside Memphite theology, Ptah was the true primordial "god of gods", superceding Atum, in who's "image" (of totality) the universe was created (as demiurge), and establishing the supremacy of the divine word and speech. Memphite theology is explicit : every thing was made by Ptah's mind and spoken words.

Likewise, in Hermetism, the Divine Logos is the "son of God" coming forth from the Light of the Divine Nous, the teacher who, not unlike the one evoked in the Maxims of Good Discourse, gives his pupil access to the Divine Nous, a direct experience (gnosis) of the Godman Hermes. The idealist notion of the universe as a mental creation of The All, making all mind, being typical for Hermetism. The fact this teacher is "Ogdoadic" and not "Hebdomadic" (as was Pharaoh), may refer to the Greek escape from fate and the physical world (whereas the Egyptians saw the divine at work in all planes of creation).

The magical power of words is acknowledged by both traditions. Magic involves the power of efficiency (effectiveness) and the ability to counter every possible inertia and opposition, executing intent to its full capacity.

Especially Pharaoh is the "Great Magician", who is able, like the gods, to create by means of speech. He alone was the "son of Re", divine and able to encounter the deities face to face. His voice-offerings to Maat ensured the continuity of creation. By speaking the right words, the whole of creation could be rejuvenated. Likewise (but on another ontological level), the "son of God", the Ogdoadic teacher, brings the pupil directly in contact with the Enneadic Light of Nous.

The parallels drawn do not allow for an identification of both traditions, as major category-shifts occur. Indeed, together with the rejection of the physical bodyn (cf. infra), mentalism is an outstanding feature of the Hermetica. Nevertheless, in the overall semantic pattern major points overlap. The mentalism of Hermetism was not implanted on the native Egyptian intellectuals part of the Hermetic lodge "from above", but could make use of the available, longstanding verbal tradition of Egypt, linearize and "perfect" it in Greek style ...and more later in Strassburg and suitable in the city of London?

View On Black

 

Native to high elevations in northeast India, China, Burma, and Thailand, Vanda coerulea is prized for its flowers' rich blue/purple, a color rare among cultivated orchids. Wild populations of this orchid are almost nonexistent today because local growers have over harvested them for the international horticulture trade.

I am alive!

 

This is the MOC I took down to the Christchurch Brick Show in July. Yeah, July. The internet side of my lego life has been virtually (haha, pun not intended :P) nonexistent for ages now.

 

Some of you might remember the Lego graphic novel I was writing and video blogging about earlier this year, until about April. It and I disappeared from the face of the internet without notice. Sorry about that. My beautiful 1-year-old niece passed away very suddenly at the beginning of May, and the project was not a priority.

 

Anyhow, hopefully I'll get back to it at some point. It would be really good to actually get something out of it, because it did have a plot and concepts that I really liked. Right now I'm working on my exhibit for the Auckland Brick Show 2014, a part of a pirate/castleish collaboration. It should be pretty cool :)

 

Thanks for checking this out! :D

if she knew how hard it made me cry,

would she stop or want more tears

 

if she could feel what I feel,

would she want me to feel better or to feel worse

 

if she knew it broke me every time, would it deter or encourage

 

would I stay broken

 

would I keep breaking more

  

is this the hill I will die on

why are you out seeking my death

 

?

 

what sort of empathy am I even looking for

  

(Here’s a modern curse. It is powerful, please use it with caution: You Will Never Have Closure.

Never experience the satisfaction of a resolution.

 

You can, and will, ask and ask; every question will be like arguing with a mirror, the question repeated as the answer.)

 

(If you’re lucky you’ll still have your identity intact and be able to reconstruct your own narrative around the gaping emptiness that is your nonexistent closure. That’s not part of the curse, some people are just lucky enough to know which head goes on their body even after there’ve been too many head-swaps.)

   

After discovering the 517 was still a thing and operated by CT4N using Solos I decided to try and get a better planned photo in the sunshine. The route means there are barely any opportunities to get the afternoon sun on both the front and side at the same time, but I thought the bottom of School Lane might be a good call, which worked... sort of. As you can see, the sun isn't on the side because the angle for getting it was perfectly blocked by the blue car on the right, so I just had to make do with standing here instead.

 

As you can see, this is the 517 to Beeston thanks to CT4N actually providing a destination, unlike Nottingham Coaches which only provided the route number and Yourbus which provided nothing. Now all I need to figure out is where the damn thing starts (I'm guessing some random school) and if there's a morning journey in the opposite direction. Where do you come from, where do you go, where do you come from Cotton-Eye-517?

 

The 680, which used to pass in the opposite direction to the 517 along here, appears to be long-gone and would seem to have only operated in the Nottingham Coaches days when they always used one of their Van Hool T8s on it. Again, service information was nonexistent, but if it was still running I reckon CT4N would've taken that over too and not provided any vehicle worth getting excited over. They have that Omnidekka, but whether they've used it for anything other than loaning it to Redfern I have no idea.

 

So, here is one of CT4N's ex-Blackpool Solos at the bottom of School Lane in Chilwell (apt for a school bus), seen with the Charlton Arms behind it, plus a badly parked Peugeot and some boring, grey SUVs that do a good job of blending into the background.

 

22.9.21

Philadelphia, PA, est. 1682; pop. 1,567,442 (metro 6MM)

 

• built in 1740 • earliest known photograph is dated 1859 — bldg. was then 119 yrs. old [photo] • Georgian-Colonial trinity aka "bandbox" design • typically, trinity houses had 1 room per floor & were built facing each other in rows of 4 identical bldgs. • in addition to the room on each floor, this house had a walkable attic room & a cellar

 

• served as both business & residence for shopkeepers & artisans for over 150 yrs. • among the occupants in the 18th c. were a shoemaker, apothecary & an upholsterer named Betsy Ross, who is said to have sewn the first American flag in this building • estimates of when & how long she lived here have her arriving in 1773 at the earliest & departing as late as 1791

 

• over time the house changed in appearance [photos] as neighborhood houses were razed & replaced w/larger commercial buildings —Where's Betsy

 

Betsy Ross

 

• Elizabeth "Betsy" Griscom (1752-1836) was a fourth-generation American • daughter of Samuel Griscom (1717-1793) & Rebecca James (c. 1730-1793) • the 8th of their 17 children • great granddaughter of Andrew Griscom (c. 1654-1694), a Quaker carpenter who migrated from England to New Jersey in 1680, 1 yr. before William Penn founded Philadelphia

 

"She often laughed at the curious fact that she was born on the first day of the week, the first day of the month, the first day of the year, and the first year of the 'new style' [which was] the dividing line between the old way of measuring the years time and the new method under the [Gregorian calendar… She was also] the seventh daughter of a seventh daughter." —C.B. Satterthwaite, great grandson, The Des Moines Register, 07 Jan, 1906

 

• at age 3 Betsy's family moved to a large home at 4th & Arch Sts. • went to a Friends (Quaker) public school • 8 of her siblings died before adulthood • lost her mother, father & sister, Deborah, to the 1793 yellow fever epidemic

 

• upon completion of her schooling at age 12, her father apprenticed her to upholsterer John Webster • fell in love with fellow apprentice John Ross (1752-1773), son of an Episcopal asst. rector at Christ Church • defying her parents, in 1773 Betsy, age 21, eloped w/John

 

• Betsy's sister Sarah & her husband Capt. Wm. Donaldson rowed the couple across the Delaware River, heading 5 miles downstream to Gloucestertown, NJ • they were married at family friend William Hugg Jr.'s tavern & inn, known locally as Hugg's …more: The New Jersey Hugg Line

 

• because her marriage to a non-Quaker was considered an act of "disorderly and undutiful conduct," Betsy was split from her family & read out of meeting, i.e., disowned by her Quaker community • became a member of Christ Church • the Ross's pew No. 12 [photo] was adjacent to Martha & George Washington's No. 56 & not far from Deborah & Benjamin Franklin's No. 70

 

• the newlyweds — now trained upholsterers — opened their own business • c. 1773 they rented a house, probably at what is today 239 Arch St. although the exact site is still debated by historians • most records point to this house or one next door at No. 241, long since razed

 

"The identity of the location was always preserved in the family, which agrees with the records in the old Philadelphia directories… from 1785, the first published, to the removal of Betsy Ross and her husband from 239 Arch Street, in 1791" —Betsy Ross grandson George Canby, New York Times, 05 July, 1908

 

• Benjamin Franklin & Benjamin Chew were among the Rosses' customers • business slowed during the Revolutionary War as fabric was in short supply • John Ross joined the Pennsylvania militia • mid-Jan., 1776, he was gravely wounded by a powder explosion at a Delaware River ammunition cache, apparently while standing guard • Betsy nursed him in their home, but he died within days

 

• in June, 1777, Betsy married girlhood suitor Joseph Ashburn, a privateer who commanded the sailing sloop Swallow • the couple had 2 daughters • the 1st, Aucilla ("Zillah"), died in infancy

 

• British troops entered Philadelphia on 26 Sep., 1777 after their victory at the Battle of Brandywine • the Ashburn home was forcibly shared with British occupation soldiers as the Continental Army suffered through the killing winter at Valley Forge • the British soldiers nicknamed Betsy "Little Rebel" —US History•org

 

• Betsy was pregnant with Elizabeth ("Eliza") when Joseph accepted a job offer & shipped out as first mate on the 6-gun brigantine, Patty • returned to be present for the Feb., 1781 birth of their 2nd daughter

 

• Joseph became master of the 18-gun Lion & took her to sea late in the summer of 1781 • on 31 Aug., his ship was captured off the coast of France by a 44-gun British frigate, the HMS Prudente

 

• prior to March, 1782, the British refused to designate captured rebels as prisoners of war, thus the captives from the Lion were viewed as traitors, charged with high treason & committed to Plymouth, England's Mill Prison [images] • while incarcerated, Ashburn met fellow prisoner John Claypoole, a longtime friend of the Ross family

 

• Claypoole, a Continental Army vet, had been wounded at Germantown & consequently discharged • in 1781 he signed on to man the 18-gun Pennsylvania privateer Chevalier de la Luzerne & was captured in April • in the spring of 1782 Ashburn died in prison, leaving Betsy a 2-time war widow at age 30 —Betsy Ross and the Making of America

 

"In the Night of the 3d of March Mr Joseph Ashburn departed this life after an illness of about a week which he bore with amazing fortitude & resignation" —John Claypoole, Mill Prison

 

"The story goes that Ashburn, while in Mill Prison, often talked with John Claypoole about his wife, Betty*, and at his death sent farewell messages by him to her. Claypoole, on his arrival in Philadelphia, hastened to deliver these messages, and inside of eight months he married her." —John Claypoole's Memorandum-Book *Betsy is referred to as "Betty" in some 18th, 19th & early 20th c. books & media

 

• in 1782 Claypoole returned to Philadelphia, called on Betsy & married her the following year • gave up his seafaring career to join her at the Arch St. upholstery shop • though renamed "John Claypoole, upholsterer," to customers the shop remained Betsy's place • the couple had 5 daughters: Clarissa, Susanna, Rachel, Jane & Harriet, who died at 9 months • sometime after Susanna's birth in 1786, the Claypooles moved from Arch St. to a larger house on 2nd

 

• Betsy returned to her Quaker roots, albeit with the Free (Fighting) Quakers, a group exiled from the main Quaker community when their support for the Revolution was ruled a violation of the faith's peace testimony • the couple became members c. 1785 • image: Betsy Claypoole signature taken from the Meeting House roster

 

• it is widely believed that when the Free Quaker Meeting House shut down in 1834, it was its last attending members — Elizabeth Claypoole & Samuel Wetherill — who closed the doors

 

• in 1817, after a long illness, John Claypoole died • Betsy never remarried • after retiring, she moved to the home of her daughter, Susanna • she died on 30 Jan, 1836, age 84

 

The American Flags

 

"Flags were a rare sight on land in the British North American colonies," —Wooden Teachout, Capture the Flag: A Political History of American Patriotism

 

• American flags were seldom used in parades or displayed by private citizens • colors were flown mainly in battle, over government institutions & on ships, where they were essential to identifying other vessels & determining friend or foe

 

• this changed after America's 1876 Centennial Exposition, which explains why "flags made prior to the Civil War are extremely rare, and flags made before 1820 are practically nonexistent." —Jeff R. Bridgeman, Stars and Stripes, Early American Life, Aug. 2011

 

• with the onset of the Revolutionary War, a flag for the "United Colonies" was created without the sanction of the Continental Congress • this 1775 flag was known as the Continental Colors, aka Grand Union, Congress Flag, Cambridge Flag

 

• on 2 Dec., 1775, the 1st Continental Colors flag was hand sewn by milliner Margaret Manny, who had begun making flags & ensigns the previous year

 

"Everyone knows about Betsy Ross, why do we know nothing about Margaret Manny? Probably for no better reason than that she had fewer articulate friends and relatives to build a story around her." —historian Barbara Tuchman, The First Salute

 

• the Continental Colors had 13 alternating red & white stripes with the British Union crosses in the canton • was created to replace the use of individual colony flags • prior to the Declaration of Independence, it was probably the most used unofficial flag of the revolution • American Flag Timeline

 

• the inclusion of the British Jack in the design signals that this flag was intended not for a civil war of secession, but rather a crusade to secure the American colonists' rights as Englishman • prior to the signing of the Declaration of Independence, Gen. George Washington, still hoping for reconciliation with Mother England, would occasionally toast the King —The Forgotten Flag of the American Revolution and What It Means

 

• on 3 Dec, 1775, the new flag was raised by 1st Lt. John Paul Jones (1747-1792) on the 30-gun Continental Navy frigate USS Alfred [painting], the 1st national ensign to fly on an American fighting vessel —Naval History Blog

 

• the flag later flew over the signing of the Declaration of Independence & according to tradition (contested by some scholars), it was raised on a ship's mast atop Charlestown's Prospect Hill [painting] during Washington's 1 Jan., 1776 siege of Boston

 

• spotting the hybrid British/American flag for the first time, confused British observers took it as a signal of submission: “By this time, I presume, they begin to think it strange that we have not made a formal surrender of our lines,” Washington wrote • his psychological weaponry also included an early form of war propaganda

 

• absent a single government-mandated flag design, a variety of others were used • within a yr. after Prospect hill, the Continental Colors' Union Jack was replaced by a blue field w/13 white stars in various arrangements, e.g., rows, or possibly a circle?

 

• on 14 June, 1777, now celebrated as Flag Day, the American Flag was born by resolution of the Continental Congress, the country’s 1st flag law • during the Revolutionary period that followed, the stars on most American flags were arranged in rows of 4-5-4 with the number of points on most stars ranging from 4 to 8 • compared to the Continental Colors, the rows of stars made it easier to identify the flag/ship/nationality at sea —The 13 Stars & Stripes

 

The Story

 

• about a year before the Flag Resolution of 1777 Betsy Ross, 5-months a widow & struggling to make a ends meet, is said to have received a visit from a Continental Congress flag committee (apparently a secret one as there are no records of its existence)

 

• according to the well known Betsy Ross story, in late May of 1776 (but possibly 1777) 3 heroes of the revolution — George Ross, the uncle of Betsy's late husband, financier/slave trader Robert Morris & Betsy's pew neighbor Gen. George Washington [portraits] — called on her to discuss a flag for the new nation

 

• Rachel Fletcher (Betsy's daughter) recalled that "…she was previously well acquainted with Washington, and that he had often been in her house in friendly visits, as well as on business. That she had embroidered ruffles for his shirt bosoms and cuffs, and that it was partly owing to his friendship for her that she was chosen to make the flag." —Rachel's affidavit

 

• as told by Betsy, Gen. Washington, then head of the Continental Army, showed her a rough design of a flag with 6-pointed stars • she offered suggestions for modifications & stated a preference for 5-pointed stars • when her visitors expressed concern over the difficulty of producing them, she replied, "Nothing easier," which she then proved by cutting a 5-pointed star in a single snip • video: Make a perfect star with ONE cut! (1:15) • Two Conundrums Concerning the Betsy Ross Five-Pointed Star

 

• changes approved, Washington redrew the flag w/a pencil • Betsy's friend & collaborator William Barrett, a Cherry St. ornamental painter created a water color copy of the drawing for her to work from • 1-2 other seamstresses sewed alternate designs for the committee, but only Betsy's was approved & used

 

• what is known today as the "Betsy Ross flag" has 13 red & white stripes & a ring of 13, white 5-pointed stars • though the design may have been in use by 1777, vexillologists believe that between 1777-1795, (the yrs. the official flag had 13 stars) most flags displayed stars in rows, which are easier to produce than a circle

 

• None of the surviving flags from the 18th century exhibit the Betsy Ross pattern • however a few examples are depicted in the art of the era (although period art is notoriously unreliable for flag research)

 

• the flag depicted in Chas. Willson Peale's 1779 George Washington at the Battle of Princeton is generally considered credible & "may be the only evidence in a painting… that suggests that a circle-pattern flag may have existed in colonial times… Otherwise, you won't see an American flag with a perfect circle of stars made before the 1890s." —Jeff R. Bridgeman, loc. cit.13 Stars in the Betsy Ross Pattern • historically significant the American flags [images]

 

• though known as an upholsterer, there is no doubt that Betsy made flags, having sewn pennants & ensigns for the Pennsylvania State Navy Board (as did Margaret Manning & Rebecca Young, whose daughter Mary Pickersgill would go on to sew the enormous flag that inspired the U.S. National Anthem, Francis Scott Key's The Star-Spangled Banner)

 

• a month before Congress passed the Flag Resolution, Betsy was paid 14 pounds, 12 shillings, 2 pence (~$2,300 in 2017 USD) for what must have been a prodigious quantity of Pennsylvania Navy flags • there is no hard evidence that any of these were American flags • "...today we are reasonably convinced that Betsy’s flag was a naval flag, with a simple ‘in line’ arrangement of the stars…" —John B. Harker, Historian & Betsy Ross descendent

 

• Betsy (Elizabeth Claypool) was now in the business of producing flags & ensigns for the federal govt. • throughout the Jefferson & Madison admins. the skilled needlewoman made flags as large as 18' x 24' for American military installations, with demand peaking during the War of 1812

 

• for the rest of her life she — in her words — "never knew what it was to want employment" • her oldest daughter, Clarissa Sidney Wilson (1785-1864) [portrait], succeeded her, supplying arsenals, navy yards & the mercantile marine with flags for years —Betsy Ross•org

 

"In the last years of her life, Ross was neither more nor less important than other aging women who had lived through the Revolution. That she became famous while others were forgotten exposes the interlocking power of family history, local memory, and national politics." —How Betsy Ross Became Famous by Laurel Thatcher Ulrich, Historian

 

The Legend

 

"…at a time of great historic import such as that time when the Declaration was signed, people have no leisure to think about the minor events which are taking place. Thus, during the revolution no one thought of Betsy Ross as a national heroine, and it was not, in fact until 1870 that William J. Canby (1825-1890) first brought the story of how the first flag was made into general prominence." —Dr. Lloyd Balderston, great-grandson of Betsy Ross, The Philadelphia Inquirer, 3 Jul, 1908

 

• there is no record of the the Betsy Ross story prior to 1870 • that year — 34 years after her death — Betsy's 45 yr. old grandson, a title processor named William Jackson Canby, presented a paper titled The History of the Flag of the United States to the Historical Society of Pennsylvania • the document, accompanied by sworn affidavits, was an oral history passed on by descendants of Betsy Ross, including Canby himself who was 11 yrs. old when she died • …more: The Evolution of the American Flag by (Betsy Ross descendants) George Canby (1829-1907), Lloyd Balderston, Ph.D (1863-1933)

 

• the story was largely ignored until it was mentioned in historian George Henry Preble's 1872 book Our Flag & appeared in the July, 1873 Harper's Monthly [illustration] • with Civil War wounds slowly healing & the 1876 centennial celebration fast approaching, Betsy Ross & the flag entered American consciousness • in the 1880's her story began to appear in textbooks • by the mid 1890s it was often illustrated by an engraving of The Birth of Our Nation’s Flag, an 1893 painting by Charles H. Weisgerber (1856-1932)

 

• oral tradition has it that in 1892 Weisgerber, a 36 yr. old aspiring artist, was bent on winning a forthcoming art competition • walking along Arch St., he noticed a plaque at No. 239 which identified the bldg. as the site where Betsy Ross sewed the 1st American flag

 

• inspired, Weisgerber envisioned a scene of Betsy & the 1st flag set in her shop • to fill in details of the story, characters & setting, he drew on period portraits, the testimony of living descendants & the 22 yr. old Canby paper

 

• with no authentic image of Betsy in existence (according to her relatives), Weisgerber painted a composite taken from images of 4 of her daughters & a granddaughter who was said to closely resemble her • the resulting portrait was critiqued by relatives who had known her & modified accordingly • Weisgerber then created a massive 9' x 12' painting • portrayed the young Widow Ross, saintly matriarch of a new nation, as she presents the 1st American flag to 3 revered American patriarchs

 

• "the image was [said] …by Mrs. Ross' grandson, George Canby, to be the only correct likeness of [her]" — he was 7 yrs. old when Betsy Ross died —The Times (Philadelphia) 15 Jun 1893

 

• the flag depicted in the painting — with no evidence to support the authenticity of its design — has since been known as the "Betsy Ross flag," the standard for celebrating the U.S.A.'s birthday each 4th of July

 

The Apotheosis

 

• Weisgerber's painting won the $1,000 prize & in 1893 was showcased in the Pennsylvania Building at Chicago’s Columbian Exposition • seen by millions of visitors • contributed to the nascent reverence for Betsy Ross & the flag as sacred symbols of the emerging, quasi-religious American civil religion • politicians, patriotic societies & public sentiment propelled the flag's transformation into an object of veneration, its role expanding well beyond the customary military & govt. functions

 

On Flag Day, 1894, the Colonial Dames gathered 500 schoolchildren to honor “the adoption by Congress . . . of the flag made by Betsy Ross from the design submitted to her by Gen. Washington” • by 1895, 10 states had laws requiring public schools to display the flag on all school days — Laurel Thatcher Ulrich, loc. cit.

 

• in 1897 the City of New York bought thousands of lithographs of Weisgerber’s painting for its public schools: “It is thought that the representation which is declared historically correct, together with such lectures as the teachers may deliver, will add much to the pupil’s knowledge and keep alive a proper reverence for the country’s emblem.” —New York Times, 14 Feb, 1897

 

• in 1885, NYC school principal George T. Balch (1821-1908), a vet. of the Indian & Civil Wars, wrote Salute to the Flag, the U.S.A.'s first pledge of allegiance

 

"I give my hand and my heart to my country — one nation, one language, one flag."

 

• the heightened patriotism of the era inspired a movement to organize schoolyard flag raising ceremonies • the American Flag Assn. was founded in 1897 for the "fostering of public sentiment in favor of honoring the flag in our country and preserving it from desecration" • Natl. Flag Day was proclaimed in 1917

 

• Christian Socialist Francis Bellamy (1855-1931), who worked in the premium dept. of The Youth's Companion magazine, wrote a new U.S. Pledge of Allegiance (1892) for his employer • created as part of the magazine's campaign to sell American flags to public schools • goal was a flag in every classroom • 25,000 schools acquired flags the 1st yr. • though priced "at cost," banner sales proved profitable

 

• Bellamy also choreographed a salute — the "Bellamy Salute" — to accompany the pledge • because of its similarity to the Nazi heil it was replaced by a right-hand-over-heart gesture during World War II • another Youth's Companion employee, James Upham, headed a flag-centric project designed to engage public schools in the commemoration of the U.S.A.'s 1st Columbus Day (Oct. 1892)

 

The Verdict

 

• for nearly a century-and-a-half, historians have debated the available evidence in an attempt to prove that Betsy Ross either did or did not produce the 1st American flag: "There’s no good historical evidence that she did. But that doesn’t mean she didn’t. There’s simply a lack of documentation. Most historians believe the story is apocryphal." —Marc Leepson, author of Flag: An American Biography, The Truth About Betsy Ross

 

• the identity of the woman who sewed America's 1st flag may never be certain, but there is good reason to believe that its designer may have been Francis Hopkinson (1737-1791) • the NJ representative to the Continental Congress & signer of the Declaration of Independence is the only person entered into the Congressional record for designing the 1st American flag

 

• it has been speculated that on 14 June, 1777, it was Hopkinson who replaced the British crosses in the Continental Colors with white stars on a blue field • no original sketch of a Hopkinson flag exists, but surviving rough sketches including his design for the Great Seal of the U.S. incorporate elements of 2 of his flag designs —Wikipedia

 

On 25 May, 1780, Hopkinson wrote to the Continental Board, requesting "a Quarter Cask of the public Wine" as payment for several itemized "patriotic designs" he had completed, most notably, "the flag of the United States of America" • submitted another bill on 24 June for "drawings and devices," including "the Naval Flag of the United States"

 

• the Treasury Board rejected his request for payment because he "was not the only person consulted on those exhibitions of Fancy" & furthermore was not entitled to compensation as he was already on the government payroll —Did Francis Hopkinson Design Two Flags?, Earl P. Williams, Jr.

 

• Hopkinson is also considered America's 1st poet-composer • written at age 21, his song My Days have been so Wondrous Free (1759) is regarded as the earliest surviving American secular composition [listen] —UPen•edu

 

Saving Betsy's House

 

• by 1859, 239 Arch St. was occupied by the family of German immigrant (Carl) Philip Mund (1822-1883), who operated a tailor's shop on the 1st floor • the landlord, after collecting rent for the first year, never returned • over the succeeding rent-free decades, the Munds operated a variety of businesses in their retail space

 

• after Canby's 1870 speech identified the location of Betsy Ross's house as Arch between 2nd & 3rd, the Munds — occupants of the block's last standing colonial house — posted a sign: "First Flag of the US Made in this House" • in 1876, as visitors poured into the city for the Philadelphia Centennial Exhibition, the Munds ran an ad for their latest 1st floor business: "Original Flag House, Lager, Wine and Liquors. This is the house where the first United States flag was made by Mrs. John Ross." —Historic Philadelphia

 

• after Philip Mund died his wife Amelia, who objected to running a saloon, converted the space into a cigar store & candy shop which operated until 1892 — her son Charles then devoted the space to a museum/souvenir shop [photo] —The Betsy Ross House Facts, Myths, and Pictures by G.A. Anderson

 

• c. 1897 citizens led by Charles Weisgerber organized the American Flag Soc. & Betsy Ross Memorial Assn. • goal was to rescue the house from imminent demolition • intended to purchase it from Charles Mund, restore it to its 18th-c. appearance, preserve the memory of Betsy Ross & honor the American flag

 

• to raise the funds for purchasing the Betsy Ross "American Flag House," the Association devised a rudimentary multi-level marketing strategy • sold lifetime memberships for 10 cents • each member was encouraged to recruit others & form a group of 30; each group founder received a chromolithographograph of Weisgerber's painting • over 2 million monochrome certificates were sold at ten cents each • the colorful chromoliths were available at addl. cost (frame not included) —Enjoying Philadelphia

 

• the Association leased the house in 1898, purchased it in 1903 • Weisgerber & his family moved in • lived upstairs, kept the museum & a souvenir shop on the 1st floor • in 1902 they named their newborn son Charles Vexil Domus, Latin for "flag house" [photo] • he would later replace his parents as custodian of the house —G.A. Anderson, loc. cit.

 

• by 1936 the house was on the verge of ruin • in 1937 Philadelphia Mayor Davis Wilson proposed a restoration by WPA workers • this provoked "a storm of protest" from critics

 

• Pennsylvania Historical Soc. members wrote off the Betsy Ross story as "hokum" and "the bunk" • the protests from scholars & historians sparked an unwinnable faith vs. reason culture war with patriotic organizations such as the Daughters of the American Revolution & the Patriotic Order Sons of America

 

• amid the controversy, Philadelphia radio manufacturer & philanthropist A. Atwater Kent (1873-1949) offered to pay up to $25K for the restoration • Historical architect, Richardson Brognard Okie (1875-1945) won the commission

 

• the design for the restoration was derived from evidence & conjecture • goal was to return the bldg. to its c. 1777 appearance • surviving architectural elements were preserved when possible • materials salvaged from demolished colonial era homes were also used • in 1941, the Association gave the property to the city • the house now stands as one of Philadelphia's most popular tourist attractions

 

Postscript

 

• in 1929 Hugg's tavern, where Betsy Griscom defied family & church to marry John Ross, was demolished to make way for the Proprietor's Park swimming pool, which no longer exists • the Revolutionary War-era Hugg-Harrison-Glover House (1764), built on property owned by the Hugg family as early as 1683, was razed in the face of fervent opposition, March, 2017 —Facebook

 

• 178 yrs. after Betsy's wedding & just 5 blocks from where Hugg's once stood, another American legend was born at the Twin Bar [photo] when Bill Haley (and the Saddlemen) performed there in the early 1950s [poster] • in 1952 Haley's band laid down a cover of Rock the Joint [listen], an historic 1949 recording by Jimmy Preston & His Prestonians [listen] • each of these recordings has been cited as a candidate for the title of first rock 'n' roll song • Gloucester City thus became one of several U.S. sites that claims the title "Cradle of Rock 'n Roll"

 

Charles H. Weisgerber died in 1932 • his magnum opus, The Birth of the American Flag lay rolled up & hidden away in a barn loft & later in the back of a South Jersey dye-making workshop • his grandson Stuart (son of Vexil Domus) found it — still rolled up — in his mother's basement • its poor condition precluded exhibition: in the 50s, hanging in the old State Museum at Harrisburg, it had been vandalized, then incurred additional damage from repeated unrolling

 

• Weisgerber sought a Philadelphia home for the massive work but was unsuccessful • after a $40K restoration in 2002 the painting, it's appraised market value just $50K, returned to the State Museum at Harrisburg

 

• in 1976 the remains of Betsy Ross & 3rd husband John Claypoole were moved from Mount Moriah cemetery, Yeadon, PA, to the garden on the west side of the Betsy Ross House courtyard

There are few entry points to Chilika Lake . Satapada is closer to the famous temple town Puri ; here you will find Irrawaddy Dolphins and some Migratory bird in winter. Better stay in Puri and take a day trip to Satapada.

 

If you are interested in Bird watching then go to Barkul ( Balugaon) which you can reach from Bhubaneswar as well from Gopalpur ; here you will find all the migratory birds during winter but you need super telephoto lens to see them as the islands where migratory birds nest are off limit for general public. Four Irrawaddy Dolphins accompanied my speed boat ! Stay at OTDC Panthanivas which is the only option and a bad option also. Do not expect hotel comfort ; room service nonexistent ; take A.C. DR on first floor , do not go for cottage as they are inside a bus terminus . A disgusting place but to watch migratory bird you have to be there. Masala Crab is a must , don't miss that. It takes 12 hr drive from Calcutta ( 10 hr driving + 2 hr ) , road is excellent express highway , mostly NH 5 .

 

If you want to see the vast water body which Chilika is then go to Rambha ( ½ hr drive from Barkul) ; stay at OTDC Panthanivas ; cottages are good , place is new and really beautiful. Take a boat ride and enjoy the sunset , sunrise on the lake. Do nothing just watch the blue, blue water of the lagoon ! Flocks of migratory birds will accompany you. This is the most scenic part of Chilika ! If you need a guide to take you to the nesting place of Olive Ridley Turtle then contact Mr. Babu Behera ( Chilika Expert) call +91-9937226378. He will be happy to show you Northern Shovelers ! One evening go to Gopalpur on sea ( less than an hour drive from Rambha) and enjoy your evening at Mayfair Gopalpur ( Bar is still not open )! If you like good whiskey then you are my pal ; friend bring your own bottle , nothing beyond IMFL is available in this part .

 

 

## Photo taken on 20th January 2013

BOX DATE: 1994

MANUFACTURER: Hasbro

VARIATIONS: Blonde; African American

BODY TYPE: No date; straight arms; straight, non-bending legs

HEAD MOLD: 1993 "AA Tiffany"; pierced ears

 

PERSONAL FUN FACT written by my sister: I truly considered the chance to buy this doll a once in a lifetime opportunity. I had no idea when I was eight years old that this version of Twist 'n Style Tiffany existed! She is so beautiful! First of all, my particular doll has the nicest, most perfect hair. (I'd say it's because I got her boxed, as an adult, but that doesn't necessarily mean luscious locks.) I love the way her pink outfit and purple eyeshadow pop against her dark skin. She also gives me a new appreciation for the lip color. Aside from the hair and skin color, she is exactly like the blonde I got for Christmas 1995. Shelly and I were reminded of Tiffany when we found our Wellie Wishers in April 2021. I think it was Shelly who realized who we were thinking of and first said, "Tiffany" aloud. It is possible that I also realized what the Wellies were reminding me of before she said it (we're weirdly in sync like that). What I do know is that I'd taken to holding Camille, who was sort of hanging around because she needed a stain lifted from her face, for no reason, and that she reminded me of someone. When we realized we were both missing my blonde Tiffany, who I hadn't had in about fifteen years, we took to eBay. Well...there was a slight progression to that. First, Shelly went to write on a Wellie doll or fashion and wanted to make a reference to Tiffany and, of course, needed to figure out who she was to do that properly. Shelly identified my childhood doll as Twist 'n Style Tiffany, which didn't surprise either of us--it was a name we only half forgot. (If you'd asked me, I'd have said her name was 100% Tiffany and that it was something like "Styling Tiffany.") It didn't take Shelly long to figure out who Tiffany was...and it only took a few hours before we were looking, not for identification, but for shopping purposes. In her shopping travels, Shelly found this EXACT Tiffany on eBay. She showed her to me and, though the asking price was close to eighty bucks and this wasn't even the exact doll I had, we were both intrigued. I'd even suggested bidding on her. Shelly talked me out of it because she didn't think there was a lot of competition and figured that the seller may, eventually, lower their expectations. However, we agreed--having been able to see only ONE OTHER African American Tiffany pictured online (and she was someone's family, not on a shopping site)--that the asking price wasn't actually unreasonable. I was, however, reluctant to not overpay and jump at the chance to have this doll because I was afraid the seller might not relist her or someone else might buy her. I consider this Tiffany to be a rare item. Rare is a term I avoid using because I feel it is often misused and overused. A lot of people call things "rare," when what they really mean is "desirable." Supply versus demand. For example, a lot of first editions of things--Bratz, Monster High, Ever After High--are NOT rare, they are more populous than later lines from those franchises. They are, however, desirable, because a lot of collectors want the "first" of different things. This Tiffany is genuinely, in my opinion, rare, because, while mass produced, dolls like this were often played with and discarded. Most people, even if they have these floating around, don't bother to list them on eBay--they wind up in secondhand stores, toy chests, and (sadly) dumpsters. People don't often buy toddler type dolls like this to resell. There aren't, when you really look at it, that many buying options for the blonde and this girl was the ONLY one like her that was available for purchase anywhere I looked. I thought she was really special and, even though I hadn't even gotten around to replacing my childhood blonde yet, I wanted this doll. I fixated. I watched her get relisted a couple times. At first, it was like watching paint dry--the price didn't lower substantially. The thing is, while this doll was, in fact, a rare find, she is not, by most people's standards, desirable. Very few people would be looking for this doll, or her blonde counterpart, so, while my options were limited, the competition was nonexistent. I gave up checking on this doll every day. I thought to check one night in July and realized that the "Buy it Now" price was lower AND there was a "make offer" option. I figured my chance had FINALLY come! Knowing this beauty had been listed for several months and there was no interest, I figured the seller would take a reasonable offer. I wound up getting this radiant beauty for about fifty dollars, as opposed to what would've been about $80 if I hadn't been so patient. Shelly and I became REALLY BAD at buying dolls online after the 2020 school closure and it was made worse by a very dry 2021 flea market season. Tiffany came during a time when we were ordering a lot of things and expecting a lot of packages--but she was probably my most highly anticipated package! I was able to buy a used blonde shortly after she got here, and the blonde arrived a mere five days later. However, THIS was the first Twist 'n Style Tiffany that I'd seen in about fifteen years! Opening her was a truly special experience. She smelled really good to me...like the sort of cardboard/plastic combo that makes me feel nostalgic. She still sealed in her plastic bag--meaning I was the first person to get to touch this doll. (Her tray was pulled out of the box in the listing, but everything was still in bags.) She was lucky she didn't suffer hair or skin decay from years of being encased in a plastic bag. I think it is testament to her quality--she is a very sturdy doll. Opening her was truly magical, though I have to say the box, and the doll, felt bigger in 1995! It was like meeting an old friend in so many ways. She definitely reminded me of my childhood doll, even though she's the other variation. But, by that point, she also felt like an old friend because I'd been looking at her on eBay so long! I really felt, back when I found this listing, that this Tiffany was meant to be my girl. I really do think she was a once in a lifetime find--if I hadn't been thinking of Tiffany at the right time, this doll may not have happened. I didn't know that this variation existed, therefore, I wouldn't have been actively seeking her if she hadn't been listed (or relisted, she could've been listed before) on the day Shelly was trying to find the name of a childhood favorite, she'd never have even seen her! She is a cherished part of my collection and lives with my American Girl dolls and, of course, her blonde counterpart!

NEDERLAND, NETHERLANDS, HOLLAND, PAYS-BAS, HOLANDA, PAISES BAJOS, Barendrecht, Un pueblo llamado Barendrecht, A town called Barendrecht, Une ville appelée Barendrecht, LAGARTIJAS, LEZARDS , LIZARDS, HAGEDISSEN, ECHSEN, LAGARTO,

  

AXOLOTIS.-

 

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at the Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

 

I got to them by chance one spring morning when Paris was spreading its peacock tail after a slow wintertime. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

 

In the library at Sainte-Geneviève, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod-liver oil.

 

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and aftemoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be penetrated by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rosy stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped—we barely move in any direction and we're hitting one of the others with our tail or our head—difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

 

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Glueing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

 

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

 

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that instant I felt a muted pain; perhaps they were seeing me, attracting my strength to penetrate into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transparent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

 

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids.

 

I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotls. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to penetrate the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

 

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizlng him, being him himself, I was an axolotl and in my world. The horror began—I learned in the same moment —of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axolotl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

 

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain way—ah, only in a certain way—and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

  

Il fut une époque où je pensais beaucoup aux axolotls. J’allais les voir à l’aquarium du Jardin des Plantes et je passais des heures à les regarder, à observer leur immobilité, leurs mouvements obscurs. Et maintenant je suis un axolotl. Le hasard me conduisit vers eux un matin de printemps où Paris déployait sa queue de paon après le lent hiver. Je descendis le boulevard Saint-Marcel, celui de l’hôpital, je vis les premiers verts parmi tout le gris et je me souvins des lions. J’étais très amis des lions et des panthères, mais je n’étais jamais entré dans l’enceinte humide et sombre des aquariums. Je laissai ma bicyclette contre les grilles et j’allais voir les tulipes. Les lions étaient laids et tristes et ma panthère dormait. Je me décidai pour les aquariums et, après avoir regardé avec indifférence des poissons ordinaires, je tombai par hasard sur les axolotls. Je passai une heure à les regarder, puis je partis, incapable de penser à autre chose.

 

À la bibliothèque Sainte-Geneviève je consultai un dictionnaire et j’appris que les axolotls étaient les formes larvaires, pourvues de branchies, de batraciens du genre amblystone. Qu’ils étaient originaires du Mexique, je le savais déjà, rien qu’à voir leur petit visage aztèque. Je lus qu’on en avait trouvé des spécimens en Afrique capables de vivre hors de l’eau pendant les périodes de sécheresse et qui reprenaient leur vie normale à la saison des pluies. On donnait leur nom espagnol, ajolote, on signalait qu’ils étaient comestibles et qu’on utilisait leur huile (on ne l’utilise plus) comme l’huile de foie de morue.

 

Je ne voulus pas consulter d’ouvrages spécialisés mais je revins le jour suivant au jardin des Plantes. Je pris l’habitude d’y aller tous les matins, et parfois même matin et soir. Le gardien des aquariums souriait d’un air perplexe en prenant mon ticket. Je m’appuyais contre la barre de fer qui borde les aquariums et je regardais les axolotls. Il n’y avait rien d’étrange à cela ; dès le premier instant j’avais senti que quelque chose me liait à eux, quelque chose d’infiniment lointain et oublié qui cependant nous unissait encore. Il m’avait suffit de m’arrêter un matin devant cet aquarium où des bulles couraient dans l’eau. Les axolotls s’entassaient sur l’étroit et misérable (personne mieux que moi ne sait à quel point il est étroit et misérable) fond de pierre et de mousse. Il y en avait neuf, la plupart d’entre eux appuyaient leur tête contre la vitre et regardaient de leurs yeux d’or ceux qui s’approchaient. Troublé, presque honteux, je trouvais qu’il y avait de l’impudeur à se pencher sur ces formes silencieuses et immobiles entassées au fond de l’aquarium. Mentalement, j’en isolai un, un peu à l’écart sur la droite, pour mieux l’étudier. Je vis un petit corps rose, translucide (je pensai aux statuettes chinoises en verre laiteux), semblable à un petit lézard de quinze centimètres, terminé par une queue de poisson d’une extraordinaire délicatesse - c’est la partie la plus sensible de notre corps. Sur son dos, une nageoire transparente se rattachait à la queue ; mais ce furent les pattes qui me fascinèrent, des pattes d’une incroyable finesse, terminés par de tout petits doigts avec des ongles - absolument humains, sans pourtant avoir la forme de la main humaine - mais comment aurais-je pu ignorer qu’ils étaient humains ? c’est alors que je découvris leurs yeux, leur visage. Un visage inexpressif sans autre trait que les yeux, deux orifices comme des têtes d’épingles entièrement d’or transparent, sans aucune vie, mais qui regardaient et qui se laissaient pénétrer par mon regard qui passait à travers le point doré et se perdait dans un mystère diaphane. Un très mince halo noir entourait l’oeil et l’inscrivait dans la chair rose, dans la pierre rose de la tête vaguement triangulaire, au contours courbes et irréguliers, qui la faisaient ressembler à une statue rongée par le temps. La bouche était dissimulée par le plan triangulaire de la tête et ce n’est que de profil que l’on s’apercevait qu’elle était très grande. Vue de face, c’était une fine rainure, comme une fissure dans de l’albâtre. De chaque côté de la tête, à la place des oreilles, se dressaient de très petites branches rouges comme du corail, une excroissance végétale, les branchies, je suppose. C’était la seule chose qui eût l’air vivante dans ce corps. Chaque vingt secondes elles se dressaient, toutes raides, puis s’abaissaient de nouveau. Parfois une patte bougeait, à peine, et je voyais les doigts minuscules se poser doucement sur la mousse. C’est que nous n’aimons pas beaucoup bouger, l’aquarium est si étroit ; si peu que nous remuions nous heurtons la tête ou la queue d’un autre ; il s’ensuit des difficultés, des disputes, de la fatigue. Le temps se sent moins si l’on reste immobile.

 

Ce fut leur immobilité qui me fit me pencher vers eux, fasciné, la première fois que je les vis. Il me sembla comprendre obscurément leur volonté secrète : abolir l’espace et le temps par une immobilité pleine d’indifférence. Par la suite, j’appris à mieux les comprendre, les branchies qui se contractent, les petites pattes fines qui tâtonnent sur les pierres, leurs fuites brusques (ils nagent par une simple ondulation du corps) me prouvèrent qu’ils étaient capables de s’évader de cette torpeur minérale où ils passaient des heures entières. Leurs yeux surtout m’obsédaient. A côté d’eux, dans les autres aquariums, des poissons me montraient la stupide simplicité de leurs beaux yeux semblables aux nôtres. Les yeux des axolotls me parlaient de la présence d’une vie différente, d’une autre façon de regarder. Je collais mon visage à la vitre (le gardien, inquiet, toussait de temps en temps) pour mieux voir les tout petits points dorés, cette ouverture sur le monde infiniment lent et éloigné des bêtes roses. Inutile de frapper du doigt contre la vitre, sous leur nez, jamais la moindre réaction. Les yeux d’or continuaient à brûler de leur douce et terrible lumière, continuaient à me regarder du fond d’un abîme insondable qui me donnait le vertige.

 

Et cependant les axolotls étaient proches de nous. Je le savais avant même de devenir un axolotl. Je le sus dès le jour où je m’approchai d’eux pour la première fois. Les traits anthropomorphiques d’un singe accusent la différence qu’il y a entre lui et nous, contrairement à ce que pensent la plupart des gens. L’absence totale de ressemblance entre un axolotl et un être humain me prouva que ma reconnaissance

était valable, que je ne m’appuyais pas sur des analogies faciles. Il y avait bien les petites mains. Mais un lézard a les mêmes mains et ne ressemble en rien à l’homme. Je crois que tout venait de la tête des axolotls, de sa forme triangulaire rose et de ses petits yeux d’or. Cela regardait et savait. Cela réclamait. Les axolotls n’étaient pas des animaux.

 

De là à tomber dans la mythologie, il n’y avait qu’un pas, facile à franchir, presque inévitable. Je finis par voir dans les axolotls une métamorphose qui n’arrivait pas à renoncer tout à fait à une mystérieuse humanité. Je les imaginais conscients, esclaves de leur corps, condamnés indéfiniment à un silence abyssal, à une méditation désespérée. Leur regard aveugle, le petit disque d’or inexpressif - et cependant terriblement lucide - me pénétrait comme un message : "Sauve-nous, sauve-nous." Je me surprenais en train de murmurer des paroles de consolation, de transmettre des espoirs puérils. Ils continuaient à me regarder, immobiles. Soudain les petites branches roses se dressaient sur leur tête, et je sentais à ce moment-là comme une douleur sourde. Ils me voyaient peut-être, ils captaient mes efforts pour pénétrer dans l’impénétrable de leur vie. Ce n’étaient pas des êtres humains mais jamais je ne m’étais senti un rapport aussi étroit entre des animaux et moi. Les axolotls étaient comme témoins de quelque chose et parfois ils devenaient de terribles juges. Je me trouvais ignoble devant eux, il y avait dans ces yeux transparents une si effrayante pureté. C’était des larves, mais larve veut dire masque et aussi fantôme. Derrière ces visages aztèques, inexpressifs, et cependant d’une cruauté implacable, quelle image attendait

son heure ?

 

Ils me faisaient peur. Je crois que sans la présence du gardien et des autres visiteurs je n’aurais jamais osé rester devant eux. " Vous les mangez des yeux ", me disait le gardien en riant, et il devait penser que je n’étais pas tout à fait normal. Il ne se rendait pas compte que c’était eux qui me dévoraient lentement des yeux, en un cannibalisme d’or. Loin d’eux je ne pouvais penser à autre chose, comme s’ils m’influençaient à distance. Je finis par y aller tous les jours et la nuit je les imaginais immobiles dans l’obscurité, avançant lentement une petite patte qui rencontrait soudain celle d’un autre. Leurs yeux voyaient peut-être la nuit et le jour pour eux n’avait pas de fin. Les yeux des axolotls n’ont pas de paupières.

 

Maintenant je sais qu’il n’y a rien eu d’étrange dans tout cela, que cela devait arriver. Ils me reconnaissaient un peu plus chaque matin quand je me penchais vers l’aquarium. Ils souffraient. Chaque fibre de mon corps enregistrait cette souffrance bâillonnée, cette torture rigide au fond de l’eau. Ils épiaient quelque chose, un lointain royaume aboli, un temps de liberté où le monde avait appartenu aux axolotls. Une expression aussi terrible qui arrivait à vaincre l’impassibilité forcée de ces visages de pierre contenait sûrement un message de douleur, la preuve de cette condamnation éternelle, de cet enfer liquide qu’ils enduraient. En vain essayai-je de me persuader que c’était ma propre sensibilité qui projetait sur les axolotls une conscience qu’ils n’avaient pas. Eux et moi nous savions. C’est pour cela que ce qui arriva n’est pas étrange. Je collais mon visage à la vitre de l’aquarium, mes yeux essayèrent une fois de plus de percer le mystère de ces yeux d’or sans iris et sans pupille. Je voyais de très près la tête d’un axolotl immobile contre la vitre. Puis mon visage s’éloigna et je compris. Une seule chose était étrange : continuer à penser comme avant, savoir. Quand j’en pris conscience, je ressentis l’horreur de celui qui s’éveille enterré vivant. Au-dehors, mon visage s’approchait à nouveau de la vitre, je voyais ma bouche aux lèvres serrées par l’effort que je faisais pour comprendre les axolotls. J’étais un axolotl et je venais de savoir en un éclair qu’aucune communication n’était possible. Il était hors de l’aquarium, sa pensée était une pensée hors de l’aquarium. Tout en le connaissant, tout en étant lui-même, j’étais un axolotl et j’étais dans mon monde. L’horreur venait de ce que - je le sus instantanément - je me croyais prisonnier dans le corps d’un axolotl, transféré en lui avec ma pensée d’homme, enterré vivant dans un axolotl, condamné à me mouvoir en toute lucidité parmi des créatures insensibles. Mais cette impression ne dura pas, une patte vint effleurer mon visage et en me tournant un peu je vis un axolotl à côté de moi qui me regardait et je compris que lui aussi savait, sans communication possible mais si clairement. Ou bien j’étais encore en l’homme, ou bien nous pensions comme des êtres humains, incapables de nous exprimer, limités à l’éclat doré de nos yeux qui regardaient ce visage d’homme collé à la vitre.

 

Il revint encore plusieurs fois mais il vient moins souvent à présent. Des semaines se passent sans qu’on le voie. Il est venu hier, il m’a regardé longuement et puis il est parti brusquement. Il me semble que ce n’est plus à nous qu’il s’intéresse, qu’il obéit plutôt à une habitude. Comme penser est la seule chose que je puisse faire, je pense beaucoup à lui. Pendant un certain temps nous avons continué d’être en communication lui et moi, et il se sentait plus que jamais lié au mystère qui l’obsédait. Mais les ponts sont coupés à présent, car ce qui était son obsession est devenu un axolotl, étranger à sa vie d’homme. Je crois qu’au début je pouvais encore revenir en lui, dans une certaine mesure - ah ! seulement dans une certaine

mesure - et maintenir éveillé son désir de mieux nous connaître. Maintenant je suis définitivement un axolotl et si je pense comme un être humain c’est tout simplement parce que les axolotls pensent comme les humains sous leur masque de pierre rose. Il me semble que j’étais arrivé à lui communiquer cette vérité, les premiers jours, lorsque j’étais encore en lui. Et dans cette solitude finale vers laquelle il ne revient déjà plus, cela me console de penser qu’il va peut-être écrire quelque chose sur nous ; il croira qu’il invente un conte et il écrira tout cela sur les axolotls.

 

Julio Cortázar (1914-1984)

Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.

 

No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.

 

The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.

 

Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")

 

When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.

 

This rather shapely girl is painted on the side of a M7 Priest self-propelled artillery vehicle at the National Museum of Military Vehicles in Dubois, Wyoming. Though "nose art" was by no means unusual on Army vehicles, it was somewhat uncommon due to the difficulty of maintaining it. Army vehicles of all types get filthy, and trying to keep up the artwork would be difficult. (A similar problem accounts for the rarity of nose art on US Navy aircraft, though there the problem is saltwater.) Still, it did exist, and much like nose art on aircraft, has largely become nonexistent on modern vehicles--though naming vehicles is still done quite often in the field. It may not be an aircraft, but it still counts, so I got a picture of "Black Widow" in September 2021.

Diagram nonexistent. Better to leave it as a mystery of the ancients.

I'm gobsmacked by several things here. First, the light was nonexistent. Yet the Sony A7RII performed extremely well at incredibly high ISO. Second, using knowledge developed around a digital Zone System, I knew precisely where I wanted the tonal values and was able to place them accordingly. Third, I am happy to confirm the dynamic range of the sensor extends usefully to below Zone 0 (Zone -2!), even at such high ISO settings. Fourth, 1950s German optics can do the trick. These images were made using a triplet wide angle. Who would design such a thing and make it work? Micro-contrast is something to be seen, otherwise you wouldn't believe it.

Speaking of marvels, I am alive

together with you, when I might have been

alive with anyone under the sun,

when I might have been Abelard’s woman

or the whore of a Renaissance pope

or a peasant wife with not enough food

and not enough love, with my children

dead of the plague. I might have slept

in an alcove next to the man

with the golden nose, who poked it

into the business of stars,

or sewn a starry flag

for a general with wooden teeth.

I might have been the exemplary Pocahontas

or a woman without a name

weeping in Master’s bed

for my husband, exchanged for a mule,

my daughter, lost in a drunken bet.

I might have been stretched on a totem pole

to appease a vindictive god

or left, a useless girl-child,

to die on a cliff. I like to think

I might have been Mary Shelley

in love with a wrongheaded angel,

or Mary’s friend, I might have been you.

This poem is endless, the odds against us are endless,

our chances of being alive together

statistically nonexistent;

still we have made it, alive in a time

when rationalists in square hats

and hatless Jehovah’s Witnesses

agree it is almost over,

alive with our lively children

who–but for endless ifs–

might have missed out on being alive

together with marvels and follies

and longings and lies and wishes

and error and humor and mercy

and journeys and voices and faces

and colors and summers and mornings

and knowledge and tears and chance.

 

-Lisel Mueller

The Moscow Metro is a metro system serving the Russian capital of Moscow as well as the neighbouring cities of Krasnogorsk, Reutov, Lyubertsy and Kotelniki in Moscow Oblast. Opened in 1935 with one 11-kilometre (6.8 mi) line and 13 stations, it was the first underground railway system in the Soviet Union.

 

As of 2023, the Moscow Metro, excluding the Moscow Central Circle, the Moscow Central Diameters and the Moscow Monorail, had 294 stations and 514.5 km (319.7 mi) of route length, excluding light rail Monorail, making it the 8th-longest in the world and the longest outside China. It is the third metro system in the world (after Madrid and Beijing), which has two ring lines. The system is mostly underground, with the deepest section 84 metres (276 ft) underground at the Park Pobedy station, one of the world's deepest underground stations. It is the busiest metro system in Europe, the busiest in the world outside Asia, and is considered a tourist attraction in itself.

 

The Moscow Metro is a world leader in the frequency of train traffic—intervals during peak hours do not exceed 90 seconds. In February 2023, Moscow was the first in the world to reduce the intervals of metro trains to 80 seconds.

 

Name

The full legal name of the metro has been "Moscow Order of Lenin and Order of the Red Banner of Labor V.I. Lenin Metro" (Московский ордена Ленина и ордена Трудового Красного Знамени метрополитен имени В.И. Ленина) since 1955. This is usually shortened to V.I. Lenin Metro (Метрополитен им. В.И. Ленина). This shorter official name appears on many stations. Although there were proposals to remove Lenin from the official name, it still stands. During the 1990s and 2000s, Lenin's name was excluded from the signage on newly built and reconstructed stations. In 2016, the authorities promised to return the official name of the metro to all the stations' signage.

 

The first official name of the metro was L. M. Kaganovich Metro (Метрополитен им. Л.М. Кагановича) after Lazar Kaganovich. (see History section). However, when the Metro was awarded the Order of Lenin, it was officially renamed "Moscow Order of Lenin L. M. Kaganovich Metro" (Московский ордена Ленина Метрополитен им. Л. М. Кагановича) in 1947. And when the metro was renamed in 1955, Kaganovich was "given a consolation prize" by renaming the Okhotny Ryad station to "Imeni Kaganovicha". Yet in a matter of only two years, the original Okhotny Ryad name of the station was reinstated.

 

Logo

The first line of the Moscow Metro was launched in 1935, complete with the first logo, the capital M paired with the text "МЕТРО". There is no accurate information about the author of the logo, so it is often attributed to the architects of the first stations – Samuil Kravets, Ivan Taranov and Nadezhda Bykova. At the opening in 1935, the M letter on the logo had no definite shape.

 

Today, with at least ten different variations of the shape in use, Moscow Metro still does not have clear brand or logo guidelines. An attempt was made in October 2013 to launch a nationwide brand image competition, only to be closed several hours after its announcement. A similar contest, held independently later that year by the design crowdsourcing company DesignContest, yielded better results, though none were officially accepted by the Metro officials.

 

Operations

The Moscow Metro, a state-owned enterprise, is 449 km (279 mi) long and consists of 15 lines and 263 stations organized in a spoke-hub distribution paradigm, with the majority of rail lines running radially from the centre of Moscow to the outlying areas. The Koltsevaya Line (line 5) forms a 20-kilometre (12 mi) long circle which enables passenger travel between these diameters, and the new Moscow Central Circle (line 14) and even newer Bolshaya Koltsevaya line (line 11) form a 54-kilometre (34 mi) and 57-kilometre (35 mi) long circles respectively that serve a similar purpose on middle periphery. Most stations and lines are underground, but some lines have at-grade and elevated sections; the Filyovskaya Line, Butovskaya Line and the Central Circle Line are the three lines that are at grade or mostly at grade.

 

The Moscow Metro uses 1,520 mm (4 ft 11+27⁄32 in) Russian gauge, like other Russian railways, and an underrunning third rail with a supply of 825 Volts DC, except lines 13 and 14, the former being a monorail, and the latter being directly connected to the mainlines with 3000V DC overhead lines, as is typical. The average distance between stations is 1.7 kilometres (1.1 mi); the shortest (502 metres (1,647 ft) long) section is between Vystavochnaya and Mezhdunarodnaya, and the longest (6.62 kilometres (4.11 mi) long) is between Krylatskoye and Strogino. Long distances between stations have the positive effect of a high cruising speed of 41.7 kilometres per hour (25.9 mph).

 

The Moscow Metro opens at 05:25 and closes at 01:00. The exact opening time varies at different stations according to the arrival of the first train, but all stations simultaneously close their entrances at 01:00 for maintenance, and so do transfer corridors. The minimum interval between trains is 90 seconds during the morning and evening rush hours.

 

As of 2017, the system had an average daily ridership of 6.99 million passengers. Peak daily ridership of 9.71 million was recorded on 26 December 2014.

 

Free Wi-Fi has been available on all lines of the Moscow Metro since 2 December 2014.

 

Lines

A Moscow Metro train passes through Sokolnicheskaya and Koltsevaya lines. View from the driver's cabin

Each line is identified by a name, an alphanumeric index (usually consisting of just a number, and sometimes a letter suffix), and a colour. The colour assigned to each line for display on maps and signs is its colloquial identifier, except for the nondescript greens and blues assigned to the Bolshaya Koltsevaya, the Zamoskvoretskaya, the Lyublinsko-Dmitrovskaya, and Butovskaya lines (lines, 11, 2, 10, and 12, respectively).[citation needed] The upcoming station is announced by a male voice on inbound trains to the city center (on the Circle line, the clockwise trains), and by a female voice on outbound trains (anti-clockwise trains on the Circle line).

 

The metro has a connection to the Moscow Monorail, a 4.7-kilometre (2.9 mi), six-station monorail line between Timiryazevskaya and VDNKh which opened in January 2008. Prior to the official opening, the monorail had operated in "excursion mode" since 2004.

 

Also, from 11 August 1969 to 26 October 2019, the Moscow Metro included Kakhovskaya line 3.3 km long with 3 stations, which closed for a long reconstruction. On 7 December 2021, Kakhovskaya is reopened after reconstruction as part of the Bolshaya Koltsevaya line. The renewed Varshavskaya and Kashirskaya stations reopened as part of the Bolshaya Koltsevaya line, which became fully functional on 1 March 2023. Its new stations included Pechatniki, Nagatinsky Zaton and Klenovy Bulvar.

 

Renamed lines

Sokolnicheskaya line was previously named Kirovsko-Fruzenskaya

Zamoskvoretskaya line was previously named Gorkovsko-Zamoskvoretskaya.

Filyovskaya line was previously named Arbatsko-Filyovskaya.

Tagansko-Krasnopresnenskaya line was previously named Zhdanovsko-Krasnopresnenskaya

 

History

The first plans for a metro system in Moscow date back to the Russian Empire but were postponed by World War I, the October Revolution and the Russian Civil War. In 1923, the Moscow City Council formed the Underground Railway Design Office at the Moscow Board of Urban Railways. It carried out preliminary studies, and by 1928 had developed a project for the first route from Sokolniki to the city centre. At the same time, an offer was made to the German company Siemens Bauunion to submit its own project for the same route. In June 1931, the decision to begin construction of the Moscow Metro was made by the Central Committee of the Communist Party of the Soviet Union. In January 1932 the plan for the first lines was approved, and on 21 March 1933 the Soviet government approved a plan for 10 lines with a total route length of 80 km (50 mi).

 

The first lines were built using the Moscow general plan designed by Lazar Kaganovich, along with his project managers (notably Ivan M. Kuznetsov and, later, Isaac Y. Segal) in the 1930s–1950s, and the Metro was named after him until 1955 (Metropoliten im. L.M. Kaganovicha). The Moscow Metro construction engineers consulted with their counterparts from the London Underground, the world's oldest metro system, in 1936: British architect Charles Holden and administrator Frank Pick had been working on the station developments of the Piccadilly Line extension, and Soviet delegates to London were impressed by Holden's thoroughly modern redeployment of classical elements and use of high-quality materials for the circular ticket hall of Piccadilly Circus, and so engaged Pick and Holden as advisors to Moscow's metro system. Partly because of this connection, the design of Gants Hill tube station, which was completed in 1947, is reminiscent of a Moscow Metro station. Indeed, Holden's homage to Moscow has been described as a gesture of gratitude for the USSR's helpful role in The Second World War.

 

Soviet workers did the labour and the art work, but the main engineering designs, routes, and construction plans were handled by specialists recruited from London Underground. The British called for tunnelling instead of the "cut-and-cover" technique, the use of escalators instead of lifts, the routes and the design of the rolling stock. The paranoia of the NKVD was evident when the secret police arrested numerous British engineers for espionage because they gained an in-depth knowledge of the city's physical layout. Engineers for the Metropolitan-Vickers Electrical Company (Metrovick) were given a show trial and deported in 1933, ending the role of British business in the USSR.

 

First four stages of construction

The first line was opened to the public on 15 May 1935 at 07:00 am. It was 11 kilometres (6.8 mi) long and included 13 stations. The day was celebrated as a technological and ideological victory for socialism (and, by extension, Stalinism). An estimated 285,000 people rode the Metro at its debut, and its design was greeted with pride; street celebrations included parades, plays and concerts. The Bolshoi Theatre presented a choral performance by 2,200 Metro workers; 55,000 colored posters (lauding the Metro as the busiest and fastest in the world) and 25,000 copies of "Songs of the Joyous Metro Conquerors" were distributed. The Moscow Metro averaged 47 km/h (29 mph) and had a top speed of 80 km/h (50 mph). In comparison, New York City Subway trains averaged a slower 25 miles per hour (40 km/h) and had a top speed of 45 miles per hour (72 km/h). While the celebration was an expression of popular joy it was also an effective propaganda display, legitimizing the Metro and declaring it a success.

 

The initial line connected Sokolniki to Okhotny Ryad then branching to Park Kultury and Smolenskaya. The latter branch was extended westwards to a new station (Kiyevskaya) in March 1937, the first Metro line crossing the Moskva River over the Smolensky Metro Bridge.

 

The second stage was completed before the war. In March 1938, the Arbatskaya branch was split and extended to the Kurskaya station (now the dark-blue Arbatsko-Pokrovskaya Line). In September 1938, the Gorkovskaya Line opened between Sokol and Teatralnaya. Here the architecture was based on that of the most popular stations in existence (Krasniye Vorota, Okhotnyi Ryad and Kropotkinskaya); while following the popular art-deco style, it was merged with socialist themes. The first deep-level column station Mayakovskaya was built at the same time.

 

Building work on the third stage was delayed (but not interrupted) during World War II, and two Metro sections were put into service; Teatralnaya–Avtozavodskaya (three stations, crossing the Moskva River through a deep tunnel) and Kurskaya–Partizanskaya (four stations) were inaugurated in 1943 and 1944 respectively. War motifs replaced socialist visions in the architectural design of these stations. During the Siege of Moscow in the fall and winter of 1941, Metro stations were used as air-raid shelters; the Council of Ministers moved its offices to the Mayakovskaya platforms, where Stalin made public speeches on several occasions. The Chistiye Prudy station was also walled off, and the headquarters of the Air Defence established there.

 

After the war ended in 1945, construction began on the fourth stage of the Metro, which included the Koltsevaya Line, a deep part of the Arbatsko-Pokrovskaya line from Ploshchad Revolyutsii to Kievskaya and a surface extension to Pervomaiskaya during the early 1950s. The decoration and design characteristic of the Moscow Metro is considered to have reached its zenith in these stations. The Koltsevaya Line was first planned as a line running under the Garden Ring, a wide avenue encircling the borders of Moscow's city centre. The first part of the line – from Park Kultury to Kurskaya (1950) – follows this avenue. Plans were later changed and the northern part of the ring line runs 1–1.5 kilometres (0.62–0.93 mi) outside the Sadovoye Koltso, thus providing service for seven (out of nine) rail terminals. The next part of the Koltsevaya Line opened in 1952 (Kurskaya–Belorusskaya), and in 1954 the ring line was completed.

 

Stalinist ideals in Metro's history

When the Metro opened in 1935, it immediately became the centrepiece of the transportation system (as opposed to horse-carried barrows still widely used in 1930s Moscow). It also became the prototype, the vision for future Soviet large-scale technologies. The artwork of the 13 original stations became nationally and internationally famous. For example, the Sverdlov Square subway station featured porcelain bas-reliefs depicting the daily life of the Soviet peoples, and the bas-reliefs at the Dynamo Stadium sports complex glorified sports and physical prowess on the powerful new "Homo Sovieticus" (Soviet man). The metro was touted as the symbol of the new social order – a sort of Communist cathedral of engineering modernity.

 

The Metro was also iconic for showcasing Socialist Realism in public art. The method was influenced by Nikolay Chernyshevsky, Lenin's favorite 19th-century nihilist, who stated that "art is no useful unless it serves politics". This maxim sums up the reasons why the stations combined aesthetics, technology and ideology: any plan which did not incorporate all three areas cohesively was rejected.

 

Kaganovich was in charge; he designed the subway so that citizens would absorb the values and ethos of Stalinist civilization as they rode. Without this cohesion, the Metro would not reflect Socialist Realism. If the Metro did not utilize Socialist Realism, it would fail to illustrate Stalinist values and transform Soviet citizens into socialists. Anything less than Socialist Realism's grand artistic complexity would fail to inspire a long-lasting, nationalistic attachment to Stalin's new society.

Socialist Realism was in fact a method, not exactly a style.[31]

Bright future and literal brightness in the Metro of Moscow

The Moscow Metro was one of the USSR's most ambitious architectural projects. The metro's artists and architects worked to design a structure that embodied svet (literally "light", figuratively "radiance" or "brilliance") and svetloe budushchee (a well-lit/radiant/bright future). With their reflective marble walls, high ceilings and grand chandeliers, many Moscow Metro stations have been likened to an "artificial underground sun".

 

This palatial underground environment reminded Metro users their taxes were spent on materializing bright future; also, the design was useful for demonstrating the extra structural strength of the underground works (as in Metro doubling as bunkers, bomb shelters).

 

The chief lighting engineer was Abram Damsky, a graduate of the Higher State Art-Technical Institute in Moscow. By 1930 he was a chief designer in Moscow's Elektrosvet Factory, and during World War II was sent to the Metrostroi (Metro Construction) Factory as head of the lighting shop.[33] Damsky recognized the importance of efficiency, as well as the potential for light as an expressive form. His team experimented with different materials (most often cast bronze, aluminum, sheet brass, steel, and milk glass) and methods to optimize the technology. Damsky's discourse on "Lamps and Architecture 1930–1950" describes in detail the epic chandeliers installed in the Taganskaya Station and the Kaluzhskaia station (Oktyabrskaya nowadays, not to be confused with contemporary "Kaluzhskaya" station on line 6). The work of Abram Damsky further publicized these ideas hoping people would associate the party with the idea of bright future.

 

The Kaluzhskaya Station was designed by the architect [Leonid] Poliakov. Poliakov's decision to base his design on a reinterpretation of Russian classical architecture clearly influenced the concept of the lamps, some of which I planned in collaboration with the architect himself. The shape of the lamps was a torch – the torch of victory, as Polyakov put it... The artistic quality and stylistic unity of all the lamps throughout the station's interior made them perhaps the most successful element of the architectural composition. All were made of cast aluminum decorated in a black and gold anodized coating, a technique which the Metrostroi factory had only just mastered.

 

The Taganskaia Metro Station on the Ring Line was designed in...quite another style by the architects K.S. Ryzhkov and A. Medvedev... Their subject matter dealt with images of war and victory...The overall effect was one of ceremony ... In the platform halls the blue ceramic bodies of the chandeliers played a more modest role, but still emphasised the overall expressiveness of the lamp.

 

— Abram Damsky, Lamps and Architecture 1930–1950

Industrialization

 

Stalin's first five-year plan (1928–1932) facilitated rapid industrialization to build a socialist motherland. The plan was ambitious, seeking to reorient an agrarian society towards industrialism. It was Stalin's fanatical energy, large-scale planning, and resource distribution that kept up the pace of industrialization. The first five-year plan was instrumental in the completion of the Moscow Metro; without industrialization, the Soviet Union would not have had the raw materials necessary for the project. For example, steel was a main component of many subway stations. Before industrialization, it would have been impossible for the Soviet Union to produce enough steel to incorporate it into the metro's design; in addition, a steel shortage would have limited the size of the subway system and its technological advancement.

 

The Moscow Metro furthered the construction of a socialist Soviet Union because the project accorded with Stalin's second five-year plan. The Second Plan focused on urbanization and the development of social services. The Moscow Metro was necessary to cope with the influx of peasants who migrated to the city during the 1930s; Moscow's population had grown from 2.16 million in 1928 to 3.6 million in 1933. The Metro also bolstered Moscow's shaky infrastructure and its communal services, which hitherto were nearly nonexistent.

 

Mobilization

The Communist Party had the power to mobilize; because the party was a single source of control, it could focus its resources. The most notable example of mobilization in the Soviet Union occurred during World War II. The country also mobilized in order to complete the Moscow Metro with unprecedented speed. One of the main motivation factors of the mobilization was to overtake the West and prove that a socialist metro could surpass capitalist designs. It was especially important to the Soviet Union that socialism succeed industrially, technologically, and artistically in the 1930s, since capitalism was at a low ebb during the Great Depression.

 

The person in charge of Metro mobilization was Lazar Kaganovich. A prominent Party member, he assumed control of the project as chief overseer. Kaganovich was nicknamed the "Iron Commissar"; he shared Stalin's fanatical energy, dramatic oratory flare, and ability to keep workers building quickly with threats and punishment. He was determined to realise the Moscow Metro, regardless of cost. Without Kaganovich's managerial ability, the Moscow Metro might have met the same fate as the Palace of the Soviets: failure.

 

This was a comprehensive mobilization; the project drew resources and workers from the entire Soviet Union. In his article, archeologist Mike O'Mahoney describes the scope of the Metro mobilization:

 

A specialist workforce had been drawn from many different regions, including miners from the Ukrainian and Siberian coalfields and construction workers from the iron and steel mills of Magnitogorsk, the Dniepr hydroelectric power station, and the Turkestan-Siberian railway... materials used in the construction of the metro included iron from Siberian Kuznetsk, timber from northern Russia, cement from the Volga region and the northern Caucasus, bitumen from Baku, and marble and granite from quarries in Karelia, the Crimea, the Caucasus, the Urals, and the Soviet Far East

 

— Mike O'Mahoney, Archeological Fantasies: Constructing History on the Moscow Metro

Skilled engineers were scarce, and unskilled workers were instrumental to the realization of the metro. The Metrostroi (the organization responsible for the Metro's construction) conducted massive recruitment campaigns. It printed 15,000 copies of Udarnik metrostroia (Metrostroi Shock Worker, its daily newspaper) and 700 other newsletters (some in different languages) to attract unskilled laborers. Kaganovich was closely involved in the recruitment campaign, targeting the Komsomol generation because of its strength and youth.

 

Later Soviet stations

"Fifth stage" set of stations

The beginning of the Cold War led to the construction of a deep section of the Arbatsko-Pokrovskaya Line. The stations on this line were planned as shelters in the event of nuclear war. After finishing the line in 1953 the upper tracks between Ploshchad Revolyutsii and Kiyevskaya were closed, and later reopened in 1958 as a part of the Filyovskaya Line. The stations, too, were supplied with tight gates and life-sustenance systems to function as proper nuclear shelters.

 

In the further development of the Metro the term "stages" was not used any more, although sometimes the stations opened in 1957–1959 are referred to as the "fifth stage".

 

During the late 1950s and throughout the 1960s, the architectural extravagance of new Metro stations was decisively rejected on the orders of Nikita Khrushchev. He had a preference for a utilitarian "minimalism"-like approach to design, similar to Brutalism style. The idea behind the rejection was similar to one used to create Khrushchyovkas: cheap yet easily mass-produced buildings. Stations of his era, as well as most 1970s stations, were simple in design and style, with walls covered with identical square ceramic tiles. Even decorations at the Metro stations almost finished at the time of the ban (such as VDNKh and Alexeyevskaya) got their final decors simplified: VDNKh's arcs/portals, for example, got plain green paint to contrast with well-detailed decorations and pannos around them.

 

A typical layout of the cheap shallow-dug metro station (which quickly became known as Sorokonozhka – "centipede", from early designs with 40 concrete columns in two rows) was developed for all new stations, and the stations were built to look almost identical, differing from each other only in colours of the marble and ceramic tiles. Most stations were built with simpler, cheap technology; this resulted in utilitarian design being flawed in some ways. Some stations such as adjacent Rechnoi Vokzal and Vodny Stadion or sequiential Leninsky Prospect, Akadmicheskaya, Profsoyuznaya and Novye Cheryomushki would have a similar look due to the extensive use of same-sized white or off-white ceramic tiles with hard-to-feel differences.

 

Walls with cheap ceramic tiles were susceptible to train-related vibration: some tiles would eventually fall off and break. It was not always possible to replace the missing tiles with the ones of the exact color and tone, which eventually led to variegated parts of the walls.

 

Metro stations of late USSR

The contrasting style gap between the powerfully decorated stations of Moscow's center and the spartan-looking stations of the 1960s was eventually filled. In the mid-1970s the architectural extravagance was partially restored. However, the newer design of shallow "centipede" stations (now with 26 columns, more widely spaced) continued to dominate. For example, Kaluzhskaya "centipede" station from 1974 (adjacent to Novye Cheryomushki station) features non-flat tiles (with 3D effect utilized), and Medvedkovo from 1978 features complex decorations.

 

1971 station Kitay-Gorod ("Ploshchad Nogina" at the time) features cross-platform interchange (Line 6 and line 7). Although built without "centipede" design or cheap ceramic tiles, the station utilizes near-grayscale selection of colors. It is to note the "southbound" and "northbound" halls of the station have identical look.

 

Babushkinskaya station from 1978 is a no-column station (similar to Biblioteka Imeni Lenina from 1935). 1983 Chertanovskaya station has resemblance to Kropotkinskaya (from 1935). Some stations, such as the deep-dug Shabolovskaya (1980), have the near-tunnel walls decorated with metal sheets, not tiles. Tyoply Stan features a theme related to the name and the location of the station ("Tyoply Stan" used to literally mean warm area): its walls are covered in brick-colored ribbed panes, which look like radiators).

 

Downtown area got such stations as Borovitskaya (1986), with uncovered red bricks and gray, concrete-like colors accompanying a single gold-plated decorative pane known as "Tree of peoples' of USSR" or additional station hall for Tretyakovskaya to house cross-platform interchange system between line 6 and line 8. To this day, Tretyakovskaya metro station consists of two contrasting halls: brutalism-like 1971 hall and custom design hall reminiscent of Tretyakovskaya Galereya from 1986.

 

Post-USSR stations of the modern Russian Federation

Metro stations of the 1990s and 2000s vary in style, but some of the stations seem to have their own themes:

 

Ulitsa Akademika Yangelya station used to feature thick orange neon lamp-like sodium lights instead of regular white lights.

Park Pobedy, the deepest station of the Moscow Metro, was built in 2003; it features extensive use of dark orange polished granite.

Slavyansky Bulvar station utilizes a plant-inspired theme (similar to "bionic style").

The sleek variant of aforementioned bionic style is somewhat represented in various Line 10 stations.

Sretensky Bulvar station of line 10 is decorated with paintings of nearby memorials and locations.

Strogino station has a theme of huge eye-shaped boundaries for lights; with "eyes" occupying the station's ceiling.

Troparyovo (2014) features trees made of polished metal. The trees hold the station's diamond-shaped lights. The station, however, is noticeably dim-lit.

Delovoy Tsentr (2016, MCC, overground station) has green tint.

Lomonosovsky Prospekt (Line 8A) is decorated with various equations.

Olkhovaya (2019) uses other plant-inspired themes (ольха noun means alder) with autumn/winter inspired colours.

Kosino (2019) uses high-tech style with the addition of thin LED lights.

Some bleak, bland-looking "centipedes" like Akademicheskaya and Yugo-Zapadnaya have undergone renovations in the 21st century (new blue-striped white walls on Akademicheskaya, aqualine glassy, shiny walls on Yugo-Zapadnaya).

 

Moscow Central Circle urban railway (Line 14)

A new circle metro line in Moscow was relatively quickly made in the 2010s. The Moscow Central Circle line (Line 14) was opened for use in September 2016 by re-purposing and upgrading the Maloe ZheleznoDorozhnoe Kol'tso. A proposal to convert that freight line into a metropolitan railway with frequent passenger service was announced in 2012. The original tracks had been built in pre-revolutionary Moscow decades before the creation of Moscow Metro; the tracks remained in place in one piece as a non-electrified line until the 21st century. Yet the circle route was never abandoned or cut. New track (along the existing one) was laid and all-new stations were built between 2014 and 2016. MCC's stations got such amenities as vending machines and free water closets.

 

Line 14 is operated by Russian Railways and uses full-sized trains (an idea, somewhat similar to S-Train). The extra resemblance to an S-Train line is, the 1908 line now connects modern northern residential districts to western and southern downtown area, with a station adjacent to Moscow International Business Center.

 

There is a noticeable relief of congestion, decrease in usage of formerly overcrowded Koltsevaya line since the introduction of MCC. To make line 14 attractive to frequent Koltsevaya line interchanges users, upgrades over regular comfort of Moscow Metro were made. Use of small laptops/portable video playing devices and food consumption from tupperwares and tubs was also improved for Line 14: the trains have small folding tables in the back of nearly every seat, while the seats are facing one direction like in planes or intercity buses - unlike side-against-side sofas typical for Metro.

 

Unlike MCD lines (D1, D2 etc.) MCC line accepts "unified" tickets and "Troika" cards just like Moscow Metro and buses of Moscow do. Free transfers are permitted between the MCC and the Moscow Metro if the trip before the transfer is less than 90 minutes. It's made possible by using same "Ediny", literally "unified" tickets instead of printing "paper tickets" used at railroads.

 

To interchange to line 14 for free, passenger must keep their freshly used ticket after entering Moscow Metro to apply it upon entering any line 14 station (and vice versa, keep their "fresh" ticket to enter underground Metro line after leaving Line 14 for an interchange).

 

MCD (D lines)

In 2019, new lines of Russian Railways got included in the map of Metro as "line D1" and "line D2". Unlike Line 14, the MCD lines actually form S-Train lines, bypassing the "vokzals", terminus stations of respective intercity railways. Line D3 is planned to be launched in August 2023, while D4 will be launched in September of that year. The schedule for the development of the infrastructure of the Central Transport Hub in 2023 was signed by the Moscow Mayor Sergei Sobyanin and the head of Russian Railways Oleg Belozerov in December 2022.

 

As for the fees, MCD accepts Moscow's "Troika" cards. Also, every MCD station has printers which print "station X – station Y" tickets on paper. Users of the D lines must keep their tickets until exiting their destination stations: their exit terminals require a valid "... to station Y" ticket's barcode.

 

Big Circle Line (line 11)

After upgrading the railway from 1908 to a proper Metro line, the development of another circle route was re-launched, now adjusted for the pear-shaped circle route of line #14.

 

Throughout the late 2010s, Line 11 was extended from short, tiny Kakhovskaya line to a half-circle (from Kakhovskaya to Savyolovskaya). In early 2023, the circle was finished.

 

Similarly made Shelepikha, Khoroshovskaya, CSKA and Petrovsky Park stations have lots of polished granite and shiny surfaces, in contrast to Soviet "centipedes". Throughout 2018–2021, these stations were connected to line 8A.

Narodnoye Opolcheniye (2021) features lots of straight edges and linear decorations (such as uninterrupted "three stripes" style of the ceiling lights and rectangular columns).

As for the spring of 2023, the whole circle route line is up and running, forming a circle stretching to the southern near-MKAD residential parts of the city (Prospekt Vernadskogo, Tekstilshchiki) as opposed to the MCC's stretching towards the northern districts of Moscow. In other words, it "mirrors" Line 14 rather than forming a perfect circle around the city centre. While being 70 km long, the line is now the longest subway line in the world, 13 kilometres ahead of the previous record holder - the line 10 of Beijing Subway.

 

Expansions

GIF-animated scheme of Moscow Metro growth (1935-2019)

Since the turn of the 2nd millennium several projects have been completed, and more are underway. The first was the Annino-Butovo extension, which extended the Serpukhovsko-Timiryazevskaya Line from Prazhskaya to Ulitsa Akademika Yangelya in 2000, Annino in 2001 and Bulvar Dmitriya Donskogo in 2002. Its continuation, an elevated Butovskaya Line, was inaugurated in 2003. Vorobyovy Gory station, which initially opened in 1959 and was forced to close in 1983 after the concrete used to build the bridge was found to be defective, was rebuilt and reopened after many years in 2002. Another recent project included building a branch off the Filyovskaya Line to the Moscow International Business Center. This included Vystavochnaya (opened in 2005) and Mezhdunarodnaya (opened in 2006).

 

The Strogino–Mitino extension began with Park Pobedy in 2003. Its first stations (an expanded Kuntsevskaya and Strogino) opened in January 2008, and Slavyansky Bulvar followed in September. Myakinino, Volokolamskaya and Mitino opened in December 2009. Myakinino station was built by a state-private financial partnership, unique in Moscow Metro history. A new terminus, Pyatnitskoye Shosse, was completed in December 2012.

 

After many years of construction, the long-awaited Lyublinskaya Line extension was inaugurated with Trubnaya in August 2007 and Sretensky Bulvar in December of that year. In June 2010, it was extended northwards with the Dostoyevskaya and Maryina Roscha stations. In December 2011, the Lyublinskaya Line was expanded southwards by three stations and connected to the Zamoskvoretskaya Line, with the Alma-Atinskaya station opening on the latter in December 2012. The Kalininskaya Line was extended past the Moscow Ring Road in August 2012 with Novokosino station.

 

In 2011, works began on the Third Interchange Contour that is set to take the pressure off the Koltsevaya Line. Eventually the new line will attain a shape of the second ring with connections to all lines (except Koltsevaya and Butovskaya).

 

In 2013, the Tagansko-Krasnopresnenskaya Line was extended after several delays to the south-eastern districts of Moscow outside the Ring Road with the opening of Zhulebino and Lermontovsky Prospekt stations. Originally scheduled for 2013, a new segment of the Kalininskaya Line between Park Pobedy and Delovoy Tsentr (separate from the main part) was opened in January 2014, while the underground extension of Butovskaya Line northwards to offer a transfer to the Kaluzhsko-Rizhskaya Line was completed in February. Spartak, a station on the Tagansko-Krasnopresnenskaya Line that remained unfinished for forty years, was finally opened in August 2014. The first stage of the southern extension of the Sokolnicheskaya Line, the Troparyovo station, opened in December 2014.

 

Current plans

In addition to major metro expansion the Moscow Government and Russian Railways plans to upgrade more commuter railways to a metro-style service, similar to the MCC. New tracks and stations are planned to be built in order to achieve this.

 

Stations

The deep stations comprise 55 triple-vaulted pylon stations, 19 triple-vaulted column stations, and one single-vault station. The shallow stations comprise 79 spanned column stations (a large portion of them following the "centipede" design), 33 single-vaulted stations (Kharkov technology), and four single-spanned stations. In addition, there are 12 ground-level stations, four elevated stations, and one station (Vorobyovy Gory) on a bridge. Two stations have three tracks, and one has double halls. Seven of the stations have side platforms (only one of which is subterranean). In addition, there were two temporary stations within rail yards.

 

The stations being constructed under Stalin's regime, in the style of socialist classicism, were meant as underground "palaces of the people". Stations such as Komsomolskaya, Kiyevskaya or Mayakovskaya and others built after 1935 in the second phase of the evolution of the network are tourist landmarks: their photogenic architecture, large chandeliers and detailed decoration are unusual for an urban transport system of the twentieth century.

 

The stations opened in the 21st century are influenced by an international and more neutral style with improved technical quality.

 

Rolling stock

Since the beginning, platforms have been at least 155 metres (509 ft) long to accommodate eight-car trains. The only exceptions are on the Filyovskaya Line: Vystavochnaya, Mezhdunarodnaya, Studencheskaya, Kutuzovskaya, Fili, Bagrationovskaya, Filyovsky Park and Pionerskaya, which only allows six-car trains (note that this list includes all ground-level stations on the line, except Kuntsevskaya, which allows normal length trains).

 

Trains on the Zamoskvoretskaya, Kaluzhsko-Rizhskaya, Tagansko-Krasnopresnenskaya, Kalininskaya, Solntsevskaya, Bolshaya Koltsevaya, Serpukhovsko-Timiryazevskaya, Lyublinsko-Dmitrovskaya and Nekrasovskaya lines have eight cars, on the Sokolnicheskaya line seven or eight cars, on the original Koltsevaya line seven cars, and on the Filyovskaya line six cars. The Arbatsko-Pokrovskaya line also once ran seven-car 81-717 size trains, but now use five-car trains of another type. Butovskaya line uses three-car trains of another type.

 

Dimensions have varied subtly, but for the most cars fit into the ranges of 19–20 metres (62 ft 4 in – 65 ft 7 in) long and 2.65–2.7 metres (8 ft 8+3⁄8 in – 8 ft 10+1⁄4 in) wide with 4 doors per side. The 81-740/741 Rusich deviates greatly from this, with a 3-car Rusich being roughly 4 normal cars and a 5-car Rusich being 7 normal cars.

 

Trains in operation

Currently, the Metro only operates 81-style trains.

 

Rolling stock on several lines was replaced with articulated 81-740/741 Rusich trains, which were originally designed for light rail subway lines. The Butovskaya Line was designed by different standards, and has shorter (96-metre (315 ft) long) platforms. It employs articulated 81-740/741 trains, which consist of three cars (although the line can also use traditional four-car trains).

 

On the Moscow Monorail, Intamin P30 trains are used, consisting of six short cars. On the Moscow Central Circle, which is a route on the conventional railway line, ES2G Lastochka trains are used, consisting of five cars.

 

Ticketing

Moscow Metro underground has neither "point A – point B" tariffs nor "zone" tariffs. Instead, it has a fee for a "ride", e.g. for a single-time entry without time or range limit. The exceptions "only confirm the rule": the "diameters" (Dx lines) and the Moscow Central Circle (Line 14) are Russian Railways' lines hence the shared yet not unified tariff system.

 

As for October 2021, one ride costs 60 rubles (approx. 1 US dollar). Discounts (up to 33%) for individual rides are available upon buying rides "in bulk" (buying multiple-trip tickets (such as twenty-trip or sixty-trip ones)), and children under age seven can travel free (with their parents). Troika "wallet" (a card, similar to Japanese Suica card) also offers some discounts for using the card instead of queueing a line for a ticket. "Rides" on the tickets available for a fixed number of trips, regardless of distance traveled or number of transfers.

 

An exception in case of MCC e.g. Line 14: for a free interchange, one should interchange to it/from it within 90 minutes after entering the Metro. However, one can ride it for hours and use its amenities without leaving it.

There are tickets without "rides" as well: – a 24-hour "unified" ticket (265 rub in 2022), a 72-hour ticket, a month-long ticket, and a year-long ticket.

 

Fare enforcement takes place at the points of entry. Once a passenger has entered the Metro system, there are no further ticket checks – one can ride to any number of stations and make transfers within the system freely. Transfers to other public-transport systems (such as bus, tram, trolleybus/"electrobus") are not covered by the very ride used to enter Metro. Transfer to monorail and MCC is a free addition to the ride (available up to 90 minutes after entering a metro station).

 

In modern Metro, turnstiles accept designated plastic cards ("Troika", "social cards") or disposable-in-design RFID chip cardboard cards. Unlimited cards are also available for students at reduced price (as of 2017, 415 rubles—or about $US6—for a calendar month of unlimited usage) for a one-time cost of 70 rubles. Transport Cards impose a delay for each consecutive use; i.e. the card can not be used for 7 minutes after the user has passed a turnstile.

 

History of smart ticketing

Soviet era turnstiles simply accepted N kopeck coins.

 

In the early years of Russian Federation (and with the start of a hyperinflation) plastic tokens were used. Disposable magnetic stripe cards were introduced in 1993 on a trial basis, and used as unlimited monthly tickets between 1996 and 1998. The sale of tokens ended on 1 January 1999, and they stopped being accepted in February 1999; from that time, magnetic cards were used as tickets with a fixed number of rides.

 

On 1 September 1998, the Moscow Metro became the first metro system in Europe to fully implement "contactless" smart cards, known as Transport Cards. Transport Cards were the card to have unlimited amount of trips for 30, 90 or 365 days, its active lifetime was projected as 3½ years. Defective cards were to be exchanged at no extra cost.

 

In August 2004, the city government launched the Muscovite's Social Card program. Social Cards are free smart cards issued for the elderly and other groups of citizens officially registered as residents of Moscow or the Moscow region; they offer discounts in shops and pharmacies, and double as credit cards issued by the Bank of Moscow. Social Cards can be used for unlimited free access to the city's public-transport system, including the Moscow Metro; while they do not feature the time delay, they include a photograph and are non-transferable.

Since 2006, several banks have issued credit cards which double as Ultralight cards and are accepted at turnstiles. The fare is passed to the bank and the payment is withdrawn from the owner's bank account at the end of the calendar month, using a discount rate based on the number of trips that month (for up to 70 trips, the cost of each trip is prorated from current Ultralight rates; each additional trip costs 24.14 rubles). Partner banks include the Bank of Moscow, CitiBank, Rosbank, Alfa-Bank and Avangard Bank.

In January 2007, Moscow Metro began replacing limited magnetic cards with contactless disposable tickets based on NXP's MIFARE Ultralight technology. Ultralight tickets are available for a fixed number of trips in 1, 2, 5, 10, 20 and 60-trip denominations (valid for 5 or 90 days from the day of purchase) and as a monthly ticket, only valid for a selected calendar month and limited to 70 trips. The sale of magnetic cards ended on 16 January 2008 and magnetic cards ceased to be accepted in late 2008, making the Moscow metro the world's first major public-transport system to run exclusively on a contactless automatic fare-collection system.

 

On 2 April 2013, Moscow Transport Department introduced a smartcard-based transport electronic wallet, named Troika. Three more smart cards have been launched:

 

Ediniy's RFID-chip card, a "disposable"-design cardboard card for all city-owned public transport operated by Mosgortrans and Moscow Metro;

90 minutes card, an unlimited "90-minute" card

and TAT card for surface public transport operated by Mosgortrans.

One can "record" N-ride Ediniy ticket on Troika card as well in order to avoid carrying the easily frayed cardboard card of Ediniy for weeks (e.g. to use Troika's advanced chip). The turnstiles of Moscow Metro have monochrome screens which show such data as "money left" (if Troika is used as a "wallet"), "valid till DD.MM.YYYY" (if a social card is used) or "rides left" (if Ediniy tariff ticket is used).

 

Along with the tickets, new vending machines were built to sell tickets (1 or 2 rides) and put payments on Troika cards. At that time, the machines were not accepting contactless pay. The same machines now have tiny terminals with keypads for contactless payments (allowing quick payment for Troika card).

 

In 2013, as a way to promote both the "Olympic Games in Sochi and active lifestyles, Moscow Metro installed a vending machine that gives commuters a free ticket in exchange for doing 30 squats."

 

Since the first quarter of 2015, all ticket windows (not turnstiles) at stations accept bank cards for fare payment. Passengers are also able to pay for tickets via contactless payment systems, such as PayPass technology. Since 2015, fare gates at stations accept mobile ticketing via a system which the Metro calls Mobilny Bilet (Мобильный билет) which requires NFC-handling smartphone (and a proper SIM-card). The pricing is the same as Troika's. Customers are able to use Mobile Ticket on Moscow's surface transport. The Moscow Metro originally announced plans to launch the mobile ticketing service with Mobile TeleSystems (MTS) in 2010.

 

In October 2021, the Moscow Metro became the first metro system in the world to offer Face-Pay to their customers. In order to use this system, passengers will need to connect their photo, bank card and metro card to the service through the metro’s mobile app. For this purpose, the metro authorities plan to equip over 900 turnstiles in over 240 stations with biometric scanners. This enables passengers to pay for their ride without taking out their phone, metro or bank card and therefore increasing passenger flow at the station entrances. In 2022, Face-Pay was used over 32 million times over the course of the year.

 

Notable incidents

1977 bombing

On 8 January 1977, a bomb was reported to have killed 7 and seriously injured 33. It went off in a crowded train between Izmaylovskaya and Pervomayskaya stations. Three Armenians were later arrested, charged and executed in connection with the incident.

 

1981 station fires

In June 1981, seven bodies were seen being removed from the Oktyabrskaya station during a fire there. A fire was also reported at Prospekt Mira station about that time.

 

1982 escalator accident

Escalator accident in 1982

A fatal accident occurred on 17 February 1982 due to an escalator collapse at the Aviamotornaya station on the Kalininskaya Line. Eight people were killed and 30 injured due to a pileup caused by faulty emergency brakes.

 

1996 murder

In 1996, an American-Russian businessman Paul Tatum was murdered at the Kiyevskaya Metro station. He was shot dead by a man carrying a concealed Kalashnikov gun.

 

2000 bombings

On 8 August 2000, a strong blast in a Metro underpass at Pushkinskaya metro station in the center of Moscow claimed the lives of 12, with 150 injured. A homemade bomb equivalent to 800 grams of TNT had been left in a bag near a kiosk.

 

2004 bombings

August 2004 Moscow Metro bombing

On 6 February 2004, an explosion wrecked a train between the Avtozavodskaya and Paveletskaya stations on the Zamoskvoretskaya Line, killing 41 and wounding over 100. Chechen terrorists were blamed. A later investigation concluded that a Karachay-Cherkessian resident had carried out a suicide bombing. The same group organized another attack on 31 August 2004, killing 10 and injuring more than 50 others.

 

2005 Moscow blackout

On 25 May 2005, a citywide blackout halted operation on some lines. The following lines, however, continued operations: Sokolnicheskaya, Zamoskvoretskaya from Avtozavodskaya to Rechnoy Vokzal, Arbatsko-Pokrovskaya, Filyovskaya, Koltsevaya, Kaluzhsko-Rizhskaya from Bitsevskiy Park to Oktyabrskaya-Radialnaya and from Prospekt Mira-Radialnaya to Medvedkovo, Tagansko-Krasnopresnenskaya, Kalininskaya, Serpukhovsko-Timiryazevskaya from Serpukhovskaya to Altufyevo and Lyublinskaya from Chkalovskaya to Dubrovka. There was no service on the Kakhovskaya and Butovskaya lines. The blackout severely affected the Zamoskvoretskaya and Serpukhovsko-Timiryazevskaya lines, where initially all service was disrupted because of trains halted in tunnels in the southern part of city (most affected by the blackout). Later, limited service resumed and passengers stranded in tunnels were evacuated. Some lines were only slightly impacted by the blackout, which mainly affected southern Moscow; the north, east and western parts of the city experienced little or no disruption.

 

2006 billboard incident

On 19 March 2006, a construction pile from an unauthorized billboard installation was driven through a tunnel roof, hitting a train between the Sokol and Voikovskaya stations on the Zamoskvoretskaya Line. No injuries were reported.

 

2010 bombing

On 29 March 2010, two bombs exploded on the Sokolnicheskaya Line, killing 40 and injuring 102 others. The first bomb went off at the Lubyanka station on the Sokolnicheskaya Line at 7:56, during the morning rush hour. At least 26 were killed in the first explosion, of which 14 were in the rail car where it took place. A second explosion occurred at the Park Kultury station at 8:38, roughly forty minutes after the first one. Fourteen people were killed in that blast. The Caucasus Emirate later claimed responsibility for the bombings.

 

2014 pile incident

On 25 January 2014, at 15:37 a construction pile from a Moscow Central Circle construction site was driven through a tunnel roof between Avtozavodskaya and Kolomenskaya stations on the Zamoskvoretskaya Line. The train operator applied emergency brakes, and the train did not crash into the pile. Passengers were evacuated from the tunnel, with no injures reported. The normal line operation resumed the same day at 19:50.

 

2014 derailment

On 15 July 2014, a train derailed between Park Pobedy and Slavyansky Bulvar on the Arbatsko-Pokrovskaya Line, killing 24 people and injuring dozens more.

 

Metro-2

Main article: Metro-2

Conspiracy theorists have claimed that a second and deeper metro system code-named "D-6", designed for emergency evacuation of key city personnel in case of nuclear attack during the Cold War, exists under military jurisdiction. It is believed that it consists of a single track connecting the Kremlin, chief HQ (General Staff –Genshtab), Lubyanka (FSB Headquarters), the Ministry of Defense and several other secret installations. There are alleged to be entrances to the system from several civilian buildings, such as the Russian State Library, Moscow State University (MSU) and at least two stations of the regular Metro. It is speculated that these would allow for the evacuation of a small number of randomly chosen civilians, in addition to most of the elite military personnel. A suspected junction between the secret system and the regular Metro is supposedly behind the Sportivnaya station on the Sokolnicheskaya Line. The final section of this system was supposedly completed in 1997.

 

In popular culture

The Moscow Metro is the central location and namesake for the Metro series, where during a nuclear war, Moscow's inhabitants are driven down into the Moscow Metro, which has been designed as a fallout shelter, with the various stations being turned into makeshift settlements.

 

In 2012, an art film was released about a catastrophe in the Moscow underground.

Operation “Salt City" resulted in the arrest of 248 individuals from May through September 2015. Of those arrested, 124 were active gang members. During the operation 22 firearms, more than $237,000 in U.S. currency, 70 grams of heroin, 266 grams of cocaine, and 723 grams of marijuana with a total estimated street value of almost $44,000 was taken off Syracuse streets by participating agencies.

Operation Salt City is part of the U.S. Marshals nation-wide “Triple Beam” gang reduction initiative. Triple Beam partners federal, state, and local law enforcement to reduce violent crime and take dangerous offenders off the streets. The goal of the U.S. Marshals Gang Enforcement Program is to seek out and disrupt illegal gang activity in areas of the country with smaller or nonexistent gang enforcement units by providing manpower, funding and the Marshals’ renowned fugitive tracking abilities.

 

Photo by Shane T. McCoy / US Marshals

Operation “Salt City" resulted in the arrest of 248 individuals from May through September 2015. Of those arrested, 124 were active gang members. During the operation 22 firearms, more than $237,000 in U.S. currency, 70 grams of heroin, 266 grams of cocaine, and 723 grams of marijuana with a total estimated street value of almost $44,000 was taken off Syracuse streets by participating agencies.

Operation Salt City is part of the U.S. Marshals nation-wide “Triple Beam” gang reduction initiative. Triple Beam partners federal, state, and local law enforcement to reduce violent crime and take dangerous offenders off the streets. The goal of the U.S. Marshals Gang Enforcement Program is to seek out and disrupt illegal gang activity in areas of the country with smaller or nonexistent gang enforcement units by providing manpower, funding and the Marshals’ renowned fugitive tracking abilities.

 

Photo by Shane T. McCoy / US Marshals

Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.

 

No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.

 

The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.

 

Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")

 

When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.

 

"Squirt VIII" is P-47D 45-49205, a restored Thunderbolt based at the Palm Springs Air Museum, in the colors of the 405th Fighter Group, based at RAF Christchurch, UK during World War II. One of the great things about PSAM is that most of its aircraft have nose art--even some of the more modern aircraft, like its F-106B Delta Dart. "Squirt" shows off some appropriate World War II nose art, based on a Varga Girl who looks like she's had a rough day at the office. Naturally, in deference to modern sensibilites, none of the PSAM aircraft have nudes--which are nonexistent on even modern warbirds.

THEME: www.youtube.com/watch?v=tUAcDMHuC2E

 

Introducing my Self-MOC! This is actually the 12th version (12.4 to be exact) and a character reboot, though, and I have revamped the whole thing again since this version, too. I will post a picture showing some of the previous versions (I don't have pictures of pre-7th versions, except for the very first), just so you can get an idea of the evolution of the character.

 

---DESCRIPTION---

Nicknamed "Rahksha" due to her Makuta heritage, Nyctoria is somewhat of a Toa: the most accurate way to put it is, she's a protector...of sorts. She has a strong link with the Netherverse, enabling her to draw on its dark power to perform necromancy, as well as harvest souls and summon them as Netherwalkers (inhabitants of the Netherverse) with her scythe. She can also reanimate corpses to serve her by using seals on their Kanohi.

 

However, the power of the Netherverse always takes it toll, and the user's soul - and therefore body - will decay the more they use it. The only way to maintain oneself is to harvest the souls of others. Hence, Nyctoria hunts down villains to defeat and consume.

 

While Nyctoria does defend others from Makuta and other threats, she is not altrustic in her motives -- she will just as easily consume innocents if there is no other source available, and rarely helps others unless she perceives them or the target as useful in her quest for revenge against her "father", Teridax -- and by extension, her de facto creator, Mutran.

 

As an individual, Nyctoria is largely anti-social, apathetic and an on-off misanthrope - hardly surprising considering her origins. That being said, she is not without a sense of justice and empathy, although her concept of morality is nonexistent at worst and dubious at best.

 

---BIO---

NAME: Nyctoria

 

ALIASES: Rahksha, Daughter of Teridax, Destral's Shadowborne

 

SPECIES: Rahkshi/Toa (mutant; Kraata infused with energy from a Nui Stone)

 

GENDER: Female

 

KANOHI: N/A

 

ELEMENT: Shadow

 

WEAPON: Harvest Scythe - "Slayer's Slave"

 

I’ve gotten interested in creating book covers for imaginary and (so far) nonexistent books. I like the cover so much though I may write the book.

VIDEO HERE: www.youtube.com/watch?v=Ue7AC-slLO0

  

••• SCRIPT/LYRICS: •••

 

MOLEMAN'S EPIC RAP BATTLES!!!!

 

ED…

…EDD…

…AND EDDY…

 

…VS…

 

…YAKKO…

…WAKKO…

…AND DOT!!!!!!!!!

 

BEGIN!

 

The Eds:

Eddy: Coming straight at you live from Peach Creek, it's the scammers with the most…

Ed: …Laying lyrics down on Termite Terrace twerps like butter on my toast.

Edd: To mess with Cartoon Network's golden boys, you're nutty as old Slappy!

Eds: Unlike our Big Picture Show, your effort's ending won't be happy!

 

Eddy:

Call me Brother Eddy Grunt, 'cause things are getting extra-ugly:

We'll be knocking out your lights; best say goodnight to everybody!

Get you quaking like some 1994 Northridge debacle;

Hard-set on you as the Kankers on their ship inside a bottle!

 

Edd:

Double D's no mumbler on the mic; I'm practiced to perfection:

Drop you faster than a Lackadaisycathro infection!

In contrast to what's beneath my hat, our win will be no shock;

My home's a mess compared to how completely I'll clean all your clocks!

 

Ed:

I needn't channel any viking to slay these three little creeps;

I put away more snacks than Wakko's appetite while I'm asleep!

Didn't bring my monster suit, but still my disposition will be beastly,

As I beat the living gravy out these runts of unclear species!

 

Edd: Unlike hippos, if you'd cross us, you belong on the endangered list!

Eddy: You roaches are pathetic as those loser Urban Ranger kids.

Ed: The water tower couldn't succeed at keeping you impounded,

But I'll dig a hole and leave the Warners six-feet-under-grounded!

 

The Warners:

Wakko: Good Idea…

Dot: Yo, take a sticky note of this:

Yakko: Roll back your neon tongues inside your empty skulls and call it quits!

Wakko: Bad Idea…

Yakko: Step to Spielberg's favored animation legends?

Warners: Like the street you call your home, it's only leading to a dead end!

 

Yakko:

You'll tear out what little hair you have before this gig is over,

For we'll cause you more vexation than a pebble in your loafers.

You're hard-pressed to land a single quarter safely in your wallet;

If ol' Ponzi's the con-art Picasso, you're the Jackson Pollocks.

 

Wakko:

Think of Wakko's wacky words as like an anvil to the noggin:

When they drop, they'll bring more hurting than a triple-sneaker flogging!

I've got swiggy-swag aplenty and a bag full of surprises,

But your style is as paper-thin as Chicken Boo's disguises!

 

Dot:

In this corner: Warner sister with a poem to recite;

Wouldn't service Prince, but I'll lay more than fingers on you when we fight!

You haven't misaddressed me once, but still I'll send you to your maker:

Your big bro's abuse was tame next to my literal jaw-breaker!

 

Yakko: We teach history and geography at no expense of fun.

Dot: When you attempt to learn, you butcher space and time and eat the sun!

Wakko: Here's our half-cents for you half-wits if to defeat us is your mission:

Even wishing on a star could never bring that to fruition!

 

The Eds:

Eddy: And the sound of no one caring echoed through the neighborhood!

Ed: I bet you'd get along with Johnny, 'cause you're dumb as hunks of wood.

Edd: Although your naughty humor's subtle, your hypocrisy is blatant:

Your nitpicking disses sound like Get-a-Life Foundation's patients!

Eddy: We'll go Canada-cowpoke on you, and this time we won't miss!

Ed: Leave you more desperate for relief than when Ringo here needs to piss!

Edd: The Dodgeball mishap hit me hard, but we'll knock you clean off the court!

Eddy: …Then unforgivingly insert electric eels inside your shorts!

 

The Warners:

Yakko: You lumpen dorks are full of nonsense as your stupid limbo theory is!

Dot: Let's blow the roof clean off this joint like Katie on her period!

Wakko: Go make like your old friend Jib, and hightail it on some bus…

Yakko: …'Cause they may still be making dickies, but not 'toons as dope as us!

Wakko: Our words will haunt you like the ringing of a cursed telephone.

Dot: How can you scare us, when your own girlfriends send shivers through your bones?

Yakko: Our show's The Godfather of cartoons!

Wakko: Yours is for the birds, you bumblers.

Dot: What's your theme of whistles next to any one of Rita's numbers?

 

The Eds:

Eddy: Man, we'll cut you down to size worse than your slutty Mink's filmography!

Edd: You couldn't even beat us with reverse-reverse-psychology!

Ed: You'll need a nurse for real!

Edd: Can't beat us anywhere, you bastards!

Eddy: Even Rolf's homeland of Yeshmiyek and fish-balls ain't that backwards.

Edd: It's your final Mis-Edventure if you keep your current course.

Ed: We're making this the most brutality-filled song since "That's My Horse"!

Eddy: Even against our geriatric selves, you wouldn't last for long.

Eds: We'll tear you new anuses as redress for Yakko's planets song!

 

The Warners:

Yakko: It's time to turn the wheel and teach a lesson; moral number four:

Wakko: Just give up hope, and leave through any one of living's many doors.

Yakko: Your chance is nonexistent as your background cast; don't try to take us!

Dot: You're less likely to succeed than Brain and Pinky's global shakeups.

Wakko: Cursed Evil Tim has nothing on the terror we strike when summoned!

Dot: Even Mindy ain't as savvy when it comes to pushing Buttons.

Yakko: Mr. Mime Time's always back for more, but get this understood:

Warners: Just like our old pal Buddy, we'll put you clowns down and out for good.

 

WHO WON?

 

WHO'S NEXT?

 

I DECIDE!

 

MOLEMAN'S EPIC RAP BATTLES!!!!!!!!!

The second stop on the way home from my college visit was in Richmond!

 

The Richmond Kmart appears to be a former Grants (and thus reminded me of the Erie Kmart that I visited last summer). It is very noticeably bigger than Anderson; it is also very nice; it has a Kmart Express gas station and it has a former Kmart Cafe (that still has the counter/displays, the full menu board and even the register! Looks like a more recent KCafe closure from what I've seen; if anybody else here has any more information I would like to know more about it!). This store appears to be doing fairly well for one of the last remaining stores in/near the Miami Valley.

 

Of course, I had to check out the Kmart Express after my main store rounds were complete, so I headed over there and looked around. This is the second Kmart Express I've seen, but the first one I have actually visited, as the other one (at the now nonexistent Brooklyn Super Kmart) had already closed. I didn't buy anything at this KExpress though, as I had spent my money in the main store. Hopefully next time I can buy some coffee or donuts from Kmart Express while going to/from Anderson (if I plan another college visit to Anderson U, which is likely)!

 

Hopefully the Richmond Kmart will still be able to remain "normal" for a good time longer...I like this store! :D

 

Kmart #7246 - 3150 National Road West - Richmond, Indiana

The second stop on the way home from my college visit was in Richmond!

 

The Richmond Kmart appears to be a former Grants (and thus reminded me of the Erie Kmart that I visited last summer). It is very noticeably bigger than Anderson; it is also very nice; it has a Kmart Express gas station and it has a former Kmart Cafe (that still has the counter/displays, the full menu board and even the register! Looks like a more recent KCafe closure from what I've seen; if anybody else here has any more information I would like to know more about it!). This store appears to be doing fairly well for one of the last remaining stores in/near the Miami Valley.

 

Of course, I had to check out the Kmart Express after my main store rounds were complete, so I headed over there and looked around. This is the second Kmart Express I've seen, but the first one I have actually visited, as the other one (at the now nonexistent Brooklyn Super Kmart) had already closed. I didn't buy anything at this KExpress though, as I had spent my money in the main store. Hopefully next time I can buy some coffee or donuts from Kmart Express while going to/from Anderson (if I plan another college visit to Anderson U, which is likely)!

 

Hopefully the Richmond Kmart will still be able to remain "normal" for a good time longer...I like this store! :D

 

Kmart #7246 - 3150 National Road West - Richmond, Indiana

Though personalized art appeared during World War I, and occasionally grew to incorporate the entire aircraft, most pilots carried a saying or a slogan, or a family crest, or squadron symbol. Some were named, but nose art was not common. During World War II, nose art not only saw its true beginnings, but its heyday.

 

No one knows exactly who started nose art first--it appeared with both the British and the Germans around the first time, with RAF pilots painting Hitler being kicked or skulls and crossbones on their aircraft, while German nose art was usually a personal symbol, named for a girlfriend or adopting a mascot (such as Adolf Galland using Mickey Mouse, something Walt Disney likely didn't approve of). It would be with the Americans, and a lesser extent the Canadians, that nose art truly became common--and started including its most famous forms, which was usually half-naked or completely naked women. This was not always true, but it often was.

 

The quality of nose art depended on the squadron or wing artist. Some of it was rather crude, while others were equal to the finest pinup artists in the United States, such as Alberto Vargas. For men thousands of miles away from home and lonely, a curvaceous blonde on a B-17 or a P-51 made that loneliness a bit easier. Others thought naked women were a little crude, and just limited themselves to names, or depicted animals, cartoon characters, or patriotic emblems, or caricatures of the Axis dictators they were fighting.

 

Generally speaking, there was little censorship, with squadron and group commanders rarely intervening on names or pictures; the pilots themselves practiced self-censorship, with profanity almost unknown, and full-frontal nudity nearly nonexistent. After the loss of a B-17 named "Murder Inc.," which the Germans captured and used to make propaganda, the 8th Air Force, at least, set up a nose art committee that reviewed the nose art of aircraft--but even it rarely wielded its veto. For the most part, nose art was limited only by the crew's imagination and the artist's ability. The British tended to stay away from the lurid nudes of the Americans, though the Canadians adopted them as well. (The Axis also did not use nose art in this fashion, and neither did the Soviets, who usually confined themselves to patriotic slogans on their aircraft, such as "For Stalin!" or "In the Spirit of the Motherland!")

 

When World War II ended, so did nose art, for the most part. In the peacetime, postwar armed forces, the idea of having naked women were wives and children could see it was not something the postwar USAF or Navy wanted, and when it wasn't scrapped, it was painted over. A few units (especially those away from home and family) still allowed it, but it would take Korea to begin a renaissance of nose art.

 

This nose art is painted on the nose of FM-2P Wildcat Bureau Number 86777, which flies with the Texas Flying Legends Museum. It's a hilarious depiction of a pitchfork-wielding bulldog riding in a bottle of booze--the former a reference to the Marines' nickname of Devil Dogs, and the latter probably to the Wildcat's rather portly shape. (Or the reference that one would have to be blind drunk to fly one.) This is a personal marking; the squadron, VMF-114, carried its squadron insignia on the starboard side: that depicted "aces and eights," the infamous "Dead Man's Hand"--appropriate for a unit nicknamed the "Death Dealers." I didn't think to get a picture of that one...