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This is a photograph from the Castlepollard 5KM Road Race and Fun Run 2014 which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 13th August 2014 at 20:00. The race is hosted by North Westmeath Athletic Club. The race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands. The race offers prizes in all categories. Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games.
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
The Castlepollard 5KM can be considered as the final major race in summer road racing in the midlands as with the fading light of the late summer comes less opportunities to hold races in the evening time. Castlepollard is a small town located in North County Westmeath amongst the lakes of Lough Lene and Lough Derravagh. One of the enduring symbols of the Castlepollard 5KM is the tireless work of Andy MacEoin of North Westmeath AC who has been a visitor to almost every road race in the Midlands and beyond over the past number of months to publicize the event. Many of the participants tonight will have seen Andy's strategically placed advertising signs around other road race routes. Certainly this work, and that of many other members of North Westmeath AC, has paid off well.
The race begins near the center of the town square and proceeds directly out the R395 towards Coole and Edgeworthstown. The first KM is flat and quick allowing the field to spread out. The race then enters the Tullynally Castle estate and proceeds up the tree-lined avenue. The gardens, like the castle are on a grand scale, taking in nearly 12 acres. This allows the race to make a big loop of the gardens with a quick downhill stretch followed by a sharp climb before the race rejoins it's outgoing path for the final 1.5KM of the race. The final 1100M from the gate of the Castle grounds to the finish is as the first - fast and flat and allows for a great finish passing the GAA grounds with finish line just outside the local Fire Station.
One of the show pieces of the race landscape is Tullynally Castle. The name Tullynally is an adaption of 'Tulaigh an Eallaigh' – the Hill of the Swan. The hill overlooks Lough Derravaragh, the legendary lake of the Children of Lir who were turned into swans. Tullynally Castle is still a family home to this day. Details of visitor times and other information is available on the links below.
This year over 450 participants took part in the race. This represented another great attendance. Last year's Castlepollard 5KM set the bar very high for future races with a record participation of just under 470 on the night. The race in 2013 showed an increase of over 100 participants from the previous record of 366 set at the 2012 event. It goes without saying that the Castlepollard 5KM has become one of the "must do" road race events in the midlands. Everything that is good about club road racing in Ireland can be found here.
We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/14714159280/ - They were taken at the start and finish of the event.
2014 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=2115
2013 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=1444
2012 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=960
Our Flickr Photographs from Castlepollard 5KM 2013: www.flickr.com/photos/peterm7/sets/72157645912529346/
Our Flickr Photographs from Castlepollard 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627404031092/
Our Flickr Photographs from Castlepollard 5KM 2010: www.flickr.com/photos/peterm7/sets/72157624655001130/
Our Flickr Photographs from Castlepollard 5KM 2009: www.flickr.com/photos/peterm7/sets/72157622023529006/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
United States Marine Corp Eagle, Globe & Anchor Harley Davidson windshield from SteelHorseShades.Com
We offer all stock windshields for any make & model Harley Davidson.
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Harley-Davidson Inc (NYSE: HOG, formerly HDI), often abbreviated H-D or Harley, is an American motorcycle manufacturer. Founded in Milwaukee, Wisconsin, during the first decade of the 20th century, it was one of two major American motorcycle manufacturers to survive the Great Depression. Harley-Davidson also survived a period of poor quality control and competition from Japanese manufacturers.
The company sells heavyweight (over 750 cc) motorcycles designed for cruising on highways. Harley-Davidson motorcycles (popularly known as "Harleys") have a distinctive design and exhaust note. They are especially noted for the tradition of heavy customization that gave rise to the chopper style of motorcycle. Except for the modern VRSC model family, current Harley-Davidson motorcycles reflect the styles of classic Harley designs. Harley-Davidson's attempts to establish itself in the light motorcycle market have met with limited success and have largely been abandoned since the 1978 sale of its Italian Aermacchi subsidiary.
Harley-Davidson sustains a loyal brand community which keeps active through clubs, events, and a museum. Licensing of the Harley-Davidson brand and logo accounted for $40 million (0.8%) of the company's net revenue in 2010.
History
BeginningIn 1901, William S. Harley, age 22, drew up plans for a small engine with a displacement of 7.07 cubic inches (116 cc) and four-inch (102 mm) flywheels. The engine was designed for use in a regular pedal-bicycle frame. Over the next two years, Harley and his childhood friend Arthur Davidson labored on their motor-bicycle using the northside Milwaukee machine shop at the home of their friend, Henry Melk. It was finished in 1903 with the help of Arthur's brother, Walter Davidson. Upon completion, the boys found their power-cycle unable to conquer Milwaukee's modest hills without pedal assistance. Will Harley and the Davidsons quickly wrote off their first motor-bicycle as a valuable learning experiment.
Work immediately began on a new and improved second-generation machine. This first "real" Harley-Davidson motorcycle had a bigger engine of 24.74 cubic inches (405 cc) with 9.75 inches (25 cm) flywheels weighing 28 lb (13 kg). The machine's advanced loop-frame pattern was similar to the 1903 Milwaukee Merkel motorcycle (designed by Joseph Merkel, later of Flying Merkel fame). The bigger engine and loop-frame design took it out of the motorized-bicycle category and would help define what a modern motorcycle should contain in the years to come. The boys also received help with their bigger engine from outboard motor pioneer Ole Evinrude, who was then building gas engines of his own design for automotive use on Milwaukee's Lake Street.
Prototype
The prototype of the new loop-frame Harley-Davidson was assembled in a 10 × 15 ft (3.0 × 4.6 m) shed in the Davidson family backyard. Most of the major parts, however, were made elsewhere, including some probably fabricated at the West Milwaukee rail shops where oldest brother William A. Davidson was then tool room foreman. This prototype machine was functional by September 8, 1904, when it competed in a Milwaukee motorcycle race held at State Fair Park. It was ridden by Edward Hildebrand and placed fourth. This is the first documented appearance of a Harley-Davidson motorcycle in the historical record.
In January 1905, small advertisements were placed in the "Automobile and Cycle Trade Journal" that offered bare Harley-Davidson engines to the do-it-yourself trade. By April, complete motorcycles were in production on a very limited basis. That year, the first Harley-Davidson dealer, Carl H. Lang of Chicago, sold three bikes from the dozen or so built in the Davidson backyard shed. (Some years later the original shed was taken to the Juneau Avenue factory where it would stand for many decades as a tribute to the Motor Company's humble origins. Unfortunately, the first shed was accidentally destroyed by contractors in the early 1970s during a clean-up of the factory yard.)
In 1906, Harley and the Davidson brothers built their first factory on Chestnut Street (later Juneau Avenue). This location remains Harley-Davidson's corporate headquarters today. The first Juneau Avenue plant was a 40 × 60 ft (12 × 18 m) single-story wooden structure. The company produced about 50 motorcycles that year.
1907 model.
Harley-Davidson 1,000 cc HT 1916In 1907, William S. Harley graduated from the University of Wisconsin–Madison with a degree in mechanical engineering. That year additional factory expansion came with a second floor and later with facings and additions of Milwaukee pale yellow ("cream") brick. With the new facilities production increased to 150 motorcycles in 1907. The company was officially incorporated that September. They also began selling their motorcycles to police departments around this time, a market that has been important to them ever since.
Production in 1905 and 1906 were all single-cylinder models with 26.84 cubic inches (440 cc) engines. In February 1907 a prototype model with a 45-degree V-Twin engine was displayed at the Chicago Automobile Show. Although shown and advertised, very few V-Twin models were built between 1907 and 1910. These first V-Twins displaced 53.68 cubic inches (880 cc) and produced about 7 horsepower (5.2 kW). This gave about double the power of the first singles. Top speed was about 60 mph (100 km/h). Production jumped from 450 motorcycles in 1908 to 1,149 machines in 1909.
Harley-Davidson works in 1911By 1911, some 150 makes of motorcycles had already been built in the United States – although just a handful would survive the 1910s.
In 1911, an improved V-Twin model was introduced. The new engine had mechanically operated intake valves, as opposed to the "automatic" intake valves used on earlier V-Twins that opened by engine vacuum. With a displacement of 49.48 cubic inches (811 cc), the 1911 V-Twin was smaller than earlier twins, but gave better performance. After 1913 the majority of bikes produced by Harley-Davidson would be V-Twin models.
By 1913, the yellow brick factory had been demolished and on the site a new 5-story structure of reinforced concrete and red brick had been built. Begun in 1910, the red brick factory with its many additions would take up two blocks along Juneau Avenue and around the corner on 38th Street. Despite the competition, Harley-Davidson was already pulling ahead of Indian and would dominate motorcycle racing after 1914. Production that year swelled to 16,284 machines.
World War IIn 1917, the United States entered World War I and the military demanded motorcycles for the war effort. Harleys had already been used by the military in the Pancho Villa Expedition but World War I was the first time the motorcycle had been adopted for combat service.[citation needed] Harley-Davidson provided about 15,000 machines to the military forces during World War I.
1920s
Harley-Davidson 1000 cc HT 1923By 1920, Harley-Davidson was the largest motorcycle manufacturer in the world. Their motorcycles were sold by dealers in 67 countries. Production was 28,189 machines.
In 1921, a Harley-Davidson, ridden by Otto Walker, was the first motorcycle ever to win a race at an average speed of over 100 mph (160 km/h).
During the 1920s, several improvements were put in place, such as a new 74 cubic inch (1,200 cc) V-Twin, introduced in 1922, and the "Teardrop" gas tank in 1925. A front brake was added in 1928 although notably only on the J/JD models.
In the late summer of 1929, Harley-Davidson introduced its 45 cubic inches (737 cc) flathead V-Twin to compete with the Indian 101 Scout and the Excelsior Super X.[19] This was the "D" model, produced from 1929 to 1931.[20] Riders of Indian motorcycles derisively referred to this model as the "three cylinder Harley" because the generator was upright and parallel to the front cylinder. The 2.745 in (69.7 mm) bore and 3.8125 in (96.8 mm) stroke would continue in most versions of the 750 engine; exceptions include the XA and the XR-750.
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United States Marine Corp Eagle, Globe, and Anchor
The Eagle, Globe, and Anchor is the official emblem and insignia of the United States Marine Corps. The current emblem traces its roots in the designs and ornaments of the early Continental Marines as well as the British Royal Marines. The present emblem, adopted in 1966, differs from the emblem of 1868 only by a change in the eagle. Before that time many devices, ornaments, and distinguishing marks followed one another as official badges of the Corps.
History
Early insignia, seen today on modern uniform buttons
American Civil War era insignia In 1776, the device consisted of a fouled anchor (tangled in its rope) of silver or pewter. Changes were made in 1798, 1821, and 1824. In 1834, it was prescribed that a brass eagle be worn on the hat, the eagle to measure 3.5 inches (89 mm) from wingtip to wingtip. An eagle clutching a fouled anchor with thirteen six-pointed stars above was used on uniform buttons starting in 1804. This same insignia is used today on the buttons of Marine dress and service uniforms, with the six-pointed stars changed to five-pointed stars.
During the early years numerous distinguishing marks were prescribed, including "black cockades", "scarlet plumes", and "yellow bands and tassels". In 1859, the first version of the present color scheme for the officer's dress uniform insignia appeared on an elaborate device of solid white metal and yellow metal. The design included a United States shield, half wreath, a bugle, and the letter "M."
In 1868, the Commandant, Brigadier General Jacob Zeilin, appointed a board "to decide and report upon the various devices of cap ornaments of the Marine Corps." On November 13, 1868, the board recommended the modern insignia. It was approved by the Commandant four days later, and by the Secretary of the Navy on November 19, 1868.
Design and symbolism
Eagle, Globe, and Anchor for the dress uniform: officer (left) & enlisted (right)
The emblem recommended by the 1868 board consisted of a globe (showing the continents of the Western Hemisphere) intersected by a fouled anchor, and surmounted by a spread eagle. On the emblem itself, there is a ribbon, clasped in the eagle's beak, bearing the Latin motto "Semper Fidelis" (Always Faithful). The uniform ornaments omit the motto ribbon.
The general design of the emblem was probably derived from the Royal Marines' "Globe and Laurel." The globe on the U.S. Marine emblem signifies continuing historical service in any part of the world. The eagle represents the United States. The anchor, which dates back to the founding of the Corps in 1775, acknowledges the naval tradition of the Marines and their continual service under the command of the Department of the Navy.
There are some differences between the uniform ornaments for enlisted Marines and officers. The enlisted Marines ornament is a single piece of gold-colored metal. The Officers ornament is slightly larger, and is of silver with gold additions: The Globe and Eagle are silver; the continents on the globe are gold; the anchor is gold; the rope fouling the anchor is silver. Also, the anchor is of slightly different design, the rope is of a different type and is coiled differently, and the eagle's stance is different. Finally, the island of Cuba is represented in the stylized map of the Americas on the enlisted ornament Globe, but not on the Officers ornament. This has no political significance: on the Officers ornament, the continents are represented by gold metal appliqué, and Cuba would be a very small separate bit of metal that could easily fall off.
The globe signifies USMC service around the world. The Eagle represents America and the Anchor represents the naval traditions of the Corps, which date back to its founding in 1775 and its continued service under the Department of the Navy. It is also said that the emblem represents the three areas the Marines serve “On Land, In Air and Sea”.
Current emblem and seal
United States Marine Corps seal In 1954, the Commandant, General Lemuel C. Shepherd, Jr., requested the design of an official seal for the Corps.
The new seal included the traditional Eagle, Globe, and Anchor emblem in gold, with the Globe and anchor rope in silver. The eagle is depicted with wings displayed, standing upon the western hemisphere of the terrestrial globe, and holding in his beak a white ribbon bearing the Marine Corps motto "Semper Fidelis" (Always Faithful) with the hemisphere superimposed on a fouled anchor. An American Bald Eagle replaced the crested eagle depicted on the 1868 emblem.
The emblem is displayed on a scarlet background encircled with a Navy blue band bearing the phrases "Department of the Navy" above and "United States Marine Corps" below in white letters, the whole edged in a gold rope rim.
President Eisenhower approved the design on June 22, 1954. The emblem as shown on the seal was adopted in 1955 as the official Marine Corps emblem.
House GOP Offers Better Health Care Solutions: healthcare.gop.gov
The American people have spoken. Speaker Pelosi and House Democrats have ignored them. Through the month of August, the American people let Members of Congress from both parties know that they didn’t want a government takeover of health care. That hasn’t changed.
But instead of listening to the American people, Democrats hid behind closed doors and came back with a bill designed to appease the liberal special interests. Three things about Speaker Pelosi’s health care bill are already clear: it will raise the cost of Americans’ health insurance premiums; it will kill jobs with tax hikes and new mandates; and it will cut seniors’ Medicare benefits. The fact that it weighs in at nearly 2,000 pages – more than 620 pages longer than the government takeover of health care Hillary Clinton proposed in 1993 – is as good an indication as any of just how costly and unsustainable Speaker Pelosi’s proposal is.
* The South Yorkshire Joint Railway at the North & South ends
* The seventh in a series of 'look-back' mosaics using pictures recently made available to me from Adrian Wynn's archive.
Regarding Adrian Wynn's picture collection.
--------------------------------------------
22/2/23
Note: I am currently seeking the higher resolution material from Adrian's photographic collection, both negative and digital. His partner, Annie, has offered to let me use them as I wish, and I hope she is able to find this material in Adrian's extensive collection.
26/2/23
This has now occurred and I have both her permission to use original PSD files and negatives and so I have therefore up-dated the mosaic material here, with the higher resolution originals. Our meeting also resulted in my both getting some of Adrian's collected negatives and his digital camera files, from over the last 40 & 20 years respectively, and agreement to use them with due credit to him, which is what I always do here of course.
---------
* Preamble
As usual, there's a preamble... the progression has been moderate with respect to scrutinising Adrian Wynn's collection of digital and negative media, the latter in 35mm, 55mm and some larger formats. This is the 7th set of material, here bringing together the only shots from the northerly end of the South Yorkshire Joint Railway at Maltby and at its extremum at Brancliffe East Junction. There are currently 15 items in the series, the 1st six being, Wardsend Cemetery, Masbrough Station, Woodhouse Station, Tinsley Yard, Treeton & Orgreave and Thornhill & Beighton Junction. Then there is this one, Maltby & Brancliffe and to follow, in no particular order, Chesterfield/Clay Cross, Avenue Coking Works, A Miscellaneous Set(Donc/Foxlow/Masbr), Killamarsh & Hollbrook, Sheffield(Midland) Station, An Ad-hoc Set, Neepsend Charter, The H.S.T. Set & Sheffield(Victoria) Station; quite an undertaking. Of the collection, this represents a small minority of the available material in two A4 photo-paper boxes, though of the 'pertinent' rail-related/local interest material, its probably something like 10%; and at source, there are many more boxes, though not rail-related...
* MALTBY
Its a very great shame that Maltby Station isn't still in existence and with the double-track layout shown in the 1st picture at upper left, though the S.Y.J.R. from the Doncaster area to the Worksop area had three stations along its course. One station further north, Tickhill & Wadworth, though 2.5kms north, from the centre of Tickhill!, and another station further south at Dinnington & Laughton, no sign of that remains. There is a piece about this station here on Flickr, see-
www.flickr.com/photos/vinc2020/49833314526/
Although Adrian purchased this negative and copyright in an on-line auction, probably eBay, the scene can be seen in other shots from this time as well. A digital copy of the 55mm B/W negative was sent to me by Adrian Wynn on 4th April, 2019, asking me if I had heard of the charter train depicted in the shot, I hadn't and let the matter rest there. But, having investigated this picture some more for inclusion in a video which was up-loaded here related to the whole S.Y.J.R, in June, 2021, It was found that this was a well-known charter tour which took place in 1957, Part I of that video is here-
www.flickr.com/photos/vinc2020/51247222279/
the shot appearing at 4m11sec in from the start. Part II, related to the southern end of the S.Y.J.R., can be found here-
www.flickr.com/photos/vinc2020/51340080882/
The steam charter tour was operated on the 12th May, 1957 by the R.C.T.S., 'Railway Correspondence & Travel Society'- East Midlands Branch and is 'The East Midlander No.3'. At the front providing the power is a smartly turned out 'Holden' G.E.R. Class D16, 4-4-0, No. 62571, L.N.E.R. 8820, with reporting number #880, seen above the buffer beam, which started out from Nottingham Midland that morning, pausing at Maltby Station, as seen here, and then making its way back to Nottingham Midland around 10 hours later. The places visited were-
1. Nottingham Midland (dep. 09:25), Radford Jn., Trowell Jn., Treeton Jn., Rotherham Masborough, Wath Road Jn., Cudworth, Brierley Jn., Wrangbrook Jn., Aire Jn., Carlton Towers., North Cave, Locomotive Jn., Springbank West Jn., Springbank South Jn., Albert Dock West Jn.
2. Albert Dock West Jn., St. Andrews Dock Jn.,
3. St Andrews Dock Jn., Hessle Road Jn., Beverley, Market Weighton, Pocklington, York,
4. York, Church Fenton, Sherburn South Jn., Gascoigne Wood Jn., Selby West Jn., Doncaster, Potteric Carr Jn., Low Ellers Jn., Tickhill, Maltby Station (18.20 ~ 18.35), Dinnington Jn., Shireoaks, Shirebrook West Jn., Mansfield, Hucknall, Nottingham Midland (arr. 19:50)
Quite a jaunt around and the shot here shows the happy travellers decamping on the Maltby Station site, replete with G.C.R. style lattice footbridge and water-crane for the loco. Timing details are as follows-
M.C Location Booked
--------------------------------------
0.00 Nottingham Midland 09.25d
7.23 Trowell 09/40
24.21 Clay Cross 10/11
28.22 Chesterfield 10/17
44.01 Rotherham Masborough 10.45 ~ 11.00
50.01 Wath Road Jn 11/10
57.20 Cudworth 11.25 ~ 11.27
66.46 Wrangbrook Jn 11/48
78.60 Carlton Towers 12.10 ~ 12.25
96.53 South Cave 12/55
108.24 Albert Dock 13.25 ~ 13.32
109.27 St Andrews Dock 13.40 ~ 13.48
110.12 Hessle Road Jn 13/52
118.03 Beverley 14.06 ~ 14.11
129.19 Market Weighton 14/29
135.48 Pocklington 14/39
151.44 York 15.02a ~ 16.35d
162.16 Church Fenton 16/51
164.66 Sherburn South Jn 16/55
165.79 Gascoigne Wood Jn 17/00
171.77 Selby West Jn 17/09
172.39 Selby Canal Jn 17/14
186.16 Shaftholme Jn 17/37
190.35 Doncaster 17.56 ~ 17.52
192.33 Potteric Carr Jn 17/57
192.89 Low Ellers Jn 18/00
196.44 Tickhill 18/09
200.21 Maltby 18.20 ~ 18.35
209.06 Brancliffe East Jn 18/58
210.01 Shireoaks 19.03 ~ 19.05
215.36 Elmton & Cresswell 19/17
219.55 Shirebrook West Jn 19/23
224.14 Mansfield 19/29
232.76 Hucknall 19/40
241.22 Nottingham Midland 19.50a
Some further details related to the locomotive-
Loco details-
Number: 62571
Type: Holden G.E.R. Class D16 4-4-0
Built: July 1909
Where: Stratford Works
Original number: G.E.R. No.1820
Subsequent numbers: 1924, LNER No.8820, October 1946 to LNER No.2571, September 1948 to B.R. No.62571
Withdrawn: January 1959
From: 40A Lincoln
They were given the nickname 'Claud Hamilton' after the pioneer engine of the class, named after Lord Claud Hamilton, the chairman of the Great Eastern Railway.
It was withdrawn a couple of years after this charter ran, in 1959.
The 'Doncaster Gazette' reported, the S.Y.J.R. was 'like an enormous serpent stretching its sinuous length across one of the earth's most pleasant Edens'...! during the construction period starting at the Dinnington Junction end, in November, 1905 for a total estimate, in those days, of £311,637; the contract finally being let to Whitaker Bros, of Horsforth,Leeds, for £238,180 that's almost £24 million, in today's money!
There is still certainly a fascination with one of the few interesting 'old-infrastructure' lines still in existence. With the huge down-turn in the transport of coal and the shift to much cleaner energy and, I am one, having just installed 12x400W panels on the roof of my house, the S.Y.J.R. has become a bit of a by-way and isn't often used anymore.. Test Trains, the occasional charter, coaching stock moves and any odd diversions are the only traffic...
The contrast with the photograph from 1957, couldn't be more stark, the upper shot in the pair at the right shows the scene 13 years ago when GBRf class 66, 66727 was ambling along the now singled line, passed the huge pithead building of Maltby Colliery, then owned, by that time, 'Hargreaves Services P.L.C.'. Its winter, the 3rd March, 2012, and these types of coal moves from the pits to the power stations east of Worksop were regular, in fact this one is heading south but on its way to the Immingham Import Terminal for some, not British, but foreign coal; all the wagons are empty. This is G.B.R.f. class 66, 66727, 'Andrew Scott CBE', on the 6R45, Maltby to Immingham Import Terminal working ... on a very wet late morning. Below it, 2 years later in March, and now early afternoon, another class 66, this time operated by D.B.S., 'D.B. Schenker Cargo', with 66012 also heading south and now with an Engineer' train, the 6T55, Belmont Down Yard, Doncaster, via Worksop for reversal and then back to Dinnington Junction, for engineering work on the south section of the S.Y.J.R. What _is_ different in this picture, is that by this time, just over 3 years after the 1st one, now 25th April, 2015, the headstock building, the No3 winding tower, has now vanished, it was demolished on 16h July the previous year, 2014, all mining having ceased in 2012 just shortly after the first picture was taken.. In both of the contemporary photographs of my own, the platform edges of the old Maltby Station can still be seen, the terrain and overall view having changed dramatically, no more lattice bridge, no more point-rodding from the box, no double-track, this once being one of only three places were trains could pass. But, in recent times, there have been steam charter services through here, see the 'Lincolnshire Poacher', with Britannia Class 7MT, 'Oliver Cromwell', 70013, pass the Maltby Colliery signalbox, at the 4m15sec point in the video, Part I, indicated above. Unfortunately it was travelling in the wrong direction, northwards, to make a suitable comparison shot here!
* BRANCLIFFE EAST JUNCTION
In the lower pair of pictures, the scene moves to the southern extremity of the line, at Brancliffe East Junction, scene of extensive re-modelling around 14th of June 2017, see-
www.flickr.com/photos/imarch2/49578519462/
www.flickr.com/photos/imarch2/49577788093/
www.flickr.com/photos/imarch2/49578519202/
for all the details, the pictures taken from the elevated position using a local framers tractor lift on which a wooden crate had been fixed for me to stand in... see lower right picture in first link above... what a unique opportunity that was and how kind of Phil the Farmer to offer to do this..
In the lower shot, taken on 35mm with, unfortunately, no indication of the date, but the box complete with semaphore signalling would indicate the early 1980s. There were two curves located at the southern end of the S.Y.J.R., an East curve, featured here in these pictures, but also a West Curve, the access to both these lines being controlled by yet another signalbox, Brancliffe North Junction. This was at the apex of the two symmetrical curves around 350m north of the main east-west line and around 650m along the curve from Brancliffe East Junction Box; the East and West boxes were around 1km, apart along the main line.
Some up-to-date information about the other signal-box at the southern end of the West Curve, kindly provided by Chris Booth-
'...according to documents in the National Archives at Kew, the signal box opened with the West Curve in November 1909, but the documents reveal that the 'box and junction were abolished in April 1914'. The curve was never used for its intended purpose for trains between Dinnington and Kiveton, and the track was lifted in the 1920s. It has also been speculated that the West Curve never actually got connected to the East-West main line, the 'Lincoln Line', between Sheffield and Lincoln...'
further, regarding the fate of Brancliffe East box, Chris reports that-
'... 'E.R.O.S.', the re-signalling scheme, was why the box was closed. Over the weekend of 29-30 November 1997, Stage 1 of E.R.O.S. involved the two routes between Shireoaks Station and Kiveton Park on the main line, and between Brancliffe East Junction and Maltby Colliery on the South Yorkshire Joint Line. Dinnington Colliery Junction and Brancliffe East Junction signal boxes were abolished on that weekend. Brancliffe East box remained for about two years before demolition, by which time tine it was just a vandalised shell...'
In addition to that, the point control was also modernised to the motor-driven, hence remotely controllable, type, dispensing with the old mechanical 'point-rodding' type which can be seen here, the rodding coming out of the front of the box at ground level. Oddly, it looks like there are freight moves both onto and off the S.Y.J.R. lines, curving away from the main E/W Lincoln Line at this side of the box, as both sets of points are switched to the S.Y.J, the down line semaphore on the bracket signal beyond the box is also showing 'clear' for a move onto the S.Y.J. In the distance on the left, a glimpse of the new order in the period which saw the box removed, the M.A.S. signal showing a red aspect, indicating the move off the S.Y.J. will be halted, briefly one supposes before being allowed to continue on through Shireoaks and then Worksop. Although this is Brancliffe, the name originating from the name of a nearby farm, East Junction, there was also once to be a Brancliffe West Junction, taking moves to and from the S.Y.J. westwards onto the Lincoln Line, and through Kiveton and on to Woodhouse. As described above, although the curve and signalbox were installed, it appears, according to Chris, that the line was never connected! To facilitate the choice of direction south to the Lincoln Line to go either east or west, to a headshunt in the latter case one supposes, there was yet another signal box at the apex of the two curves on the S.Y.J. This was Brancliffe North Junction and, from what I can see from the two OS maps, the West curve between the north junction and west junction, came and went between 1905 and 1923, confirming what was said above.. it fell into disuse and was soon lifted; there are of course no pictures of anything on this curve, that I could find, and there is only scant detail on-line, giving any information about it, supplied by Chris Booth, see-
www.signalboxes.com/brancliffe-north.php
There being no corresponding detail for the box which existed at Brancliffe West Junction, considering what was probably a very short lifetime, ~18 years, and its relative remote location, its hardly surprising.
The signalman's bike is propped against the grey track-side cabin at left, indicates also that there was no road access to this spot, the Chesterfield Canal is close by at Turnerwood and from there a country road joins the Shireoaks to Kiveton main road, Back Lane, through Thorpe Salvin and thence to Kiveton; must have been hard going in the dark, winter months.. In addition to there being no mains water, it had to be brough in cans from the nearby station and no sewage system, the only option would have been a chemical toilet.. it was a 'cosy' place to work however, with its real fire and lack of troublesome visitors!!
My own picture at this place, taken by walking along the footpath from the Chesterfield Canal at Turnerwood, mid-morning in early May, 2016, produced a rather unique, and similar, view to the one at left. Operated by G.B.R.f., this is an E.M.R., 'East Midlands Trains' set with a pair of class 43 H.S.T., 'High Speed Train', power cars, 43050 seen here at the front and with 43059 at the back. Its on the 1Z43, St. Pancras High Level via the S.Y.J.R. to Cleethorpes on the aptly named 'The Midland & Gt. Central Rail Tour'. The details of the out-bound route were-
London St Pancras International - (via MML) - Wigston North Jn - Knighton South Jn - Bagworth Jn - Bardon Hill - Coalville Mantle Lane - Lounge Jn - Moira West Jn - Birmingham Curve Jn - Burton-on-Trent - Stenson Jn - Castle Donington - Sheet Stores Jn - Trent East Jn - Toton Centre - Trowell Jn - Langley Mill - Ironville Jn - Kirkby-in-Ashfield - Mansfield Woodhouse - Shirebrook East Jn - Woodend Jn - Shireoaks - Brancliffe East Jn - Dinnington Jn - Maltby - Firbeck Jn - St Catherine's Jn - Low Ellers Curve Jn - Kirk Sandall Jn - Hatfield & Stainforth - Thorne Jn - Scunthorpe - Wrawby Jn - Barnetby - Habrough - Stallingborough - Grimsby Town - Cleethorpes
and having arrived at 14:00 on the east coast, the passengers had 4 hours to enjoy the delights of Cleethorpes before setting off back at 16:00-
Cleethorpes - Grimsby Town - Stallingborough - Habrough - Barnetby - Wrawby Jn - Market Rasen - Lincoln Central - West Holmes Jn - Boultham Jn - Swinderby - Newark Castle - Lowdham - Netherfield Jn - Nottingham - Beeston - Trent East Jn - (via MML) - London St Pancras International
The original two class 43 sets, failed at Derby and had to be replaced by these two at short notice, and the full set was-43050+41075+41076+40756+42328+42341+42148+42149+44051 with 43059, the HST replacements seen here, clearly needed cleaning, but there looks not to have been enough time!
The MAS signal, WP0523, with feather to the right of the carriages at the Junction, replaced the semaphore signal seen in the earlier shot to the left, the lower arm in that shot indicating that the S.Y.J. had less importance than the higher, main line signal arm; here, its done with lights! The turn-out speed is still 15m.p.h.and two folk are leaning out the window, one taking a photograph of me and there is a ground position light to the right of him which controls reverse moves from the down line on the right, to the up line on the left; though that must occur very rarely these days.
Some additional shots of moves at this junction can be found here at these links-
a 37 Test train heading up the SYJR-
www.flickr.com/photos/imarch2/49578527642/
and one to Davis & Son at Shirebrook-
www.flickr.com/photos/imarch2/49578527792/
and at the Davis & Son works-
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with hundreds of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
FACEBOOK | INSTAGRAM | WEBSITE
© Elke Vogelsang
20210614_Cooper_S2_CoopersLongingFace
Catrike, Premium in Every Detail. This is our new mirror and computer mount, standard and pre installed on every 2013 Catrike shipping. With a higher, forward and wider position, the mirror provides a much broader visual angle. A right side version is available as an after market option to our customers in UK as well as anyone interested in having a second mirror.
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Donald Ayres
Does anyone have suggestions about putting a Cattrike onto the front bike rack of a municipal bus?
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Very Cool! See the Bike Doctor Repairing a Catrike 700 for a Wounded Warrior!!
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My 2012 model with upgrades...
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Catrike
Saturday.
The new 2013 Catrike Road, same incredible see thru bridge CNC yoke fully triangulated to a proper adjustable Rochshox Monarch Air Shock and now with the new 30 speed group, TT500 bar end shifters, FSA chainguard, mirror mount, alloy hand rests, new CNC sculpted dropouts, rear fender and a selection of 7 premium colors. Even though it is hard not to choose its signature Catrike exclusive Electric Blue.
Photo: The new 2013 Catrike Road, same incredible see thru bridge CNC yoke fully triangulated to a proper adjustable Rochshox Monarch Air Shock and now with the new 30 speed group, TT500 bar end shifters, FSA chainguard, mirror mount, alloy hand rests, new CNC sculpted dropouts, rear fender and a selection of 7 premium colors. Even though it is hard not to choose its signature Catrike exclusive Electric Blue..
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Andy Whitt Just got my new 2013 Road (CTR2021), love it! Incredible ride, smooth and tight. Went over the handle bars of my bike a couple years ago, AC Joint separation, never thought I'd get to enjoy riding again... this is so much better than riding the bicycle! Beautiful design, THANK YOU Catrike!!!
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Ronald Bardier Had my 2013 Catrike Villager for 3 weeks now and can't seem to stop riding it. I'll never go back to a bicycle again. Only issue was the flag holder split where the pole enters. Probably due to high speed stresses!
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Catrike
May 29.
Catrike Expedition 2013 (7 photos)
This is the trike that started the big wheel frenzy in the trike market and the trike that all other trikes want to be, but nothing can touch it. In 2013 with the 30 speed group, hand rest, mirror mount, rear fender and neck rest included s...See More
— in Orlando.
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Edson Da Silva Filho, LORO World Recumbents, Ashley Guy and 39 others like this..
Scott Boyd I got the 700 yesterday! Spent the day at the bike shop test driving the expedition and the 700 both twice! Ended up getting the 700 but either 1 you get you cant go wrong! !
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Laurie Sciretta What was the tie breaking for you Scott?
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Scott Boyd It was basically gotta pick 1 laurie!! Liked them both! Honestly for me the 700 just felt more comfortable but I've heard it both ways! Thats why u shud ride both for ride and feel! Different angles and for different heights it makes a difference on where you feel comfortable!
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Catrike
May 24.
Embraer (5 photos)
Catrike team visits the new Embraer aircraft assembly in Melbourne, FL. Embraer hires among others, 40 former NASA engineers and members. A phenomenal operation. They have previously toured Catrike facilities and during our visit they showed Catrike benchmarking examples on their Kaizen board. What an honor. Congratulations Embraer and Fly High!
Photo: We could use the very same flags
Photo: This cockpit is so high end that is impossible to capture in pictures
Photo: I wish we were flying
Photo: But it was just a mock up on the floor.
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Catrike
May 24.
Catrike Pocket 2013 (8 photos)
Kitty Cat. 406 wheels all around with black spokes and Schwalbe tires on, bar end shifters, mirror mount, hand rest, rear fender included and FSA crank and chainguard standard.
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Kenneth Colbert I like all the catrikes not many colors I don't like.
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'BentRider Online My daughter rides a purple one!
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Catrike
May 22.
Catrike Villager 2013 with the new seat adjustable system, 30 speed bar end group, FSA crank and Chain Guard, all new upgrades such as mirror mount and hand rest included standard and 7 premium colors to choose from standard. Very comfortable, stable and easy to get on and off.
Photo: Catrike Villager 2013 with the new seat adjustable system, 30 speed bar end group, FSA crank and Chain Guard, all new upgrades such as mirror mount and hand rest included standard and 7 premium colors to choose from standard. Very comfortable, stable and easy to get on and off..
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Donald Moore, Rátóti László, Mark Drumheller and 37 others like this..
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Catrike Shari, you can only buy good Catrikes, no matter the model, year color. If you already have a Catrike happy trails!
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Catrike
May 18.
I just opened today's Time Magazine and for my surprise saw this. On the left Catrike Trail. Congratulations Catrike Team and Wounded Warriors! We do a lot of work with them.
Photo: I just opened today's Time Magazine and for my surprise saw this. On the left Catrike Trail. Congratulations Catrike Team and Wounded Warriors! We do a lot of work with them..
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Kay Bryan, Deric van Bree, Debra Akers Shepperson and 52 others like this..
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Mark C Filteau Great program, great American company and an incredibly fun high quality product.
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Catrike
May 17.
Catrike Trail 2013 (8 photos)
Sport and Adjustable. Shown in its signature Juicy Mango color and with all accessories included stock as well as the new seat adjustable system. — in Orlando.
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Kenneth Colbert Got to love a catrike trail they are way to much fun.
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David Lund compared to a 2 wheeler how much wind does it catch ?
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Catrike
May 14.
This is the first public picture of the all new 2013 Catrike 700
Photo: This is the first public picture of the all new 2013 Catrike 700.
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Jim Nicholls, Daniel Runyan, Mike Thurston and 100 others like this..
Cameron Yaw Can I request for through the dealer ( or your company) for one with black main frame but other parts (boom, handles) to be of a different color?
Like · Reply · 1 · May 14 at 7:47am via mobile..
Catrike Cameron, we don't do customizations like that, because that would mess a bit with our production flow, sorry...But just to make it clear you have 7 premium colors to choose from.
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Laurie Sciretta I agree, what is up with that Velcro strap so-called "parking brake"?
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Catrike
May 9.
This Catrike 700 is shipping to Kyle Bryant tomorrow so he can do more incredible work for Friedreich's Ataxia Research Alliance! Good Luck Kyle, we are behind you all the way. Together with you and your allies we will cure FA!!!
Photo: This Catrike 700 is shipping to Kyle Bryant tomorrow so he can do more incredible work for Friedreich's Ataxia Research Alliance! Good Luck Kyle, we are behind you all the way. Together with you and your allies we will cure FA!!!.
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Melissa McCrady Gordon My daughter, Anna Gordon, just bought one last Saturday. Kyle has inspired us in so many ways. Our whole family is fighting over it. So much fun!! Thanks you to our friends at Catrike for giving her so much freedom.
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Heidi Behr Way to go Kyle Bryant for all your hard work!
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Catrike
May 8.
Lawton Chiles Preparatory School Visits Catrike (26 photos)
This was the best crowd ever. It was organized by the MACF and part of the STEM initiative. So maybe we have inspired some future engineers and scientists today. It felt great to be able to give something back. Thank you He-Coons for making our day special! The Catrike Team — in Orlando.
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Arman Hedayat Go Catrike.... Nice Building and great setup. Go Catrike....
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Rogeria Grabert Que bacanézzziiimmoooooo! super Parabéns/Congrats, Pop & Team!
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Catrike
May 5.
On the chart, shown at the very far right. Notice the non-drive tension is significantly more consistent then the standard build. Rigidity Chart. 700 wheel developed with Velocity shown at the farthest right.
Photo: On the chart, shown at the very far right. Notice the non-drive tension is significantly more consistent then the standard build. Rigidity Chart. 700 wheel developed with Velocity shown at the farthest right..
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Catrike
May 5.
The all new Catrike 700 2013 ships standard with a custom Velocity wheel with the Race Hub version and the A23 O/C (off center) rim. Weight 895g.
It provides very high rigidity. With the off set flange of the race hub, and the 3.4 mm off set of the OC rim it provides a very laterally stiff wheel. This is important for road bikes, but even more important for a trike. The Catrike 700 is also designed and constructed with a proper 130mm dropout spacing for a 700 wheel, therefore allowing the wheel to be upgraded to any other racing wheel in the market if desired.
Photo: The all new Catrike 700 2013 ships standard with a custom Velocity wheel with the Race Hub version and the A23 O/C (off center) rim. Weight 895g. It provides very high rigidity. With the off set flange of the race hub, and the 3.4 mm off set of the OC rim it provides a very laterally stiff wheel. This is important for road bikes, but even more important for a trike. The Catrike 700 is also designed and constructed with a proper 130mm dropout spacing for a 700 wheel, therefore allowing the wheel to be upgraded to any other racing wheel in the market if desired..
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Catrike shared a link.
May 5.
www.bicycleretailer.com/north-america/2013/05/03/catrike-...
Catrike opens new factory in Orlando
ORLANDO, FL (BRAIN) — Catrike, the maker of three-wheeled recumbents, has opened a new 15,000 square foot factory here. The company currently makes about 2,300 bikes a year and is growing at 20 percent a year, according to Paulo Camasmie, who founded the brand in 2000. Catrikes are sold exclusively…
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Marjory Cacioppo awesome...I have one!
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Mickey Boerer keep on biken'
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Catrike
May 5.
Ride your bike to work was led by Commissioner Robert Stewart on a Catrike Expedition.
Photo: Ride your bike to work was led by Commissioner Robert Stewart on a Catrike Expedition..
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Catrike
May 3.
New lightweight Catrike 2013 Neck Rest: updated CNC clamps with built in anti rotation lock pins, 3 longitudinal top tray positions and light weight Quick Release for vertical adjustability. It also has an oversized pad and removable and washable top cover. (standard on Expedition and 700)
Photo: New lightweight Catrike 2013 Neck Rest: updated CNC clamps with built in anti rotation lock pins, 3 longitudinal top tray positions and light weight Quick Release for vertical adjustability. It also has an oversized pad and removable and washable top cover. (standard on Expedition and 700).
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Catrike
May 2.
Our Vision is to focus 100% on the design and engineering of Catrikes and be the inspiration of the market. So we have been able to spend all our time in develooping ever greater products. This is one of the great fruits of this development and it became a quick favorite of many customers. Dealers have been literally calling us simply to praise this development, quality and functionality. We are also very satisfied with the way it performs. This is our new, very unique and proprietary Catrike hand rest. It is totally adjustable and made out of aluminum. It also ships standard on every Catrike. A final word, we want to make the purchase and use of a Catrike the most pleasant experience so that once you buy your Catrike you know that it is complete, beautiful and ready to go. There is why our Catrikes are so well equipped from factory. Happy Trails!
Photo: Our Vision is to focus 100% on the design and engineering of Catrikes and be the inspiration of the market. So we have been able to spend all our time in develooping ever greater products. This is one of the great fruits of this development and it became a quick favorite of many customers. Dealers have been literally calling us simply to praise this development, quality and functionality. We are also very satisfied with the way it performs. This is our new, very unique and proprietary Catrike hand rest. It is totally adjustable and made out of aluminum. It also ships standard on every Catrike. A final word, we want to make the purchase and use of a Catrike the most pleasant experience so that once you buy your Catrike you know that it is complete, beautiful and ready to go. There is why our Catrikes are so well equipped from factory. Happy Trails!.
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Catrike
May 2.
Catrike, Premium in Every Detail. This is our new mirror and computer mount, standard and pre installed on every 2013 Catrike shipping. With a higher, forward and wider position, the mirror provides a much broader visual angle. A right side version is available as an after market option to our customers in UK as well as anyone interested in having a second mirror.
Callsign : ALEX 27.07
Coachwork by Reutter
The car offered here is one of the first batch of 12 Porsche 356B Cabriolets out of a total of some 40 delivered new to the Rijkspolitie's SAS section. Only three are known to survive: one in the USA, one in the Porsche Centrum Nederland, and this example in private hands.
In 1962, the Rijkspolitie (Dutch Police) set up its Surveillancegroep Autosnelwegen (Motorway Surveillance Group) to patrol these new high-speed highways. At that time there was no speed limit on Dutch motorways and no guard rails either. Accidents were frequent and often fatal. Seeking a solution to this serious problem, a Rijkspolitie delegation consulted the German Police in Nordrhein Westfalen on how best to manage Holland's 500-kilometre motorway network. The 'autobahn' was, after all, a German invention. Since 1956 the German police had adopted a policy of 'overtaking surveillance' using Porsche sports cars. Motorists deemed to be driving at excessive speed were monitored, overtaken and forced to stop. This high-profile presence and firm action had a powerful deterrent effect.
Commencing in November 1960, this approach was trialled by the Rijkspolitie using a single Porsche 356 Cabriolet. The trial was successful and resulted in the creation in 1962 of the SAS, initially with 12 Porsches. The vehicle offered here is one of those 12 356B sports cars.
An elite force, the SAS underwent a rigorous selection procedure: they were required to have good driving skills and road traffic expertise, to be in excellent physical condition and be at least 25 years old. They also had to be married, preferably with children, it being considered that these responsibilities would inhibit them from taking unnecessary risks. As one would expect, this group of Porsche-driving motorway cops, with their white cars and matching helmet, tunic and long overcoat, attracted a lot of media attention. A period copy of 'de Auto' magazine featuring a Rijkspolitie 356 is on file.
The car we offer was delivered new by Pon's Automobielhandel, Holland to the Rijkspolitie's Sectie Bijzondere Verkeerstaken (Special Traffic Tasks Section) and first registered in the Netherlands on 21st March 1962. It spent the next four years in police service, known by the call sign 'ALEX 2707', and was assigned to the 'Van Rijn/De Steen' surveillance team for the entire period. Their field of operations was highway '2/26/4/4a'. 'ALEX 2707' stayed with the Rijkspolitie until 1966, by which time it had travelled more than 190,000 kilometres and received a replacement engine (Porsche certificate on file).
At the end of its service all the police equipment was removed and the car sold as a standard 356B Cabriolet. The Porsche is believed to have remained in the Netherlands, where it was purchased in 2004 by the current vendor's father, who bought the 356 not knowing it was a former police car.
A short while later, the Dutch Police contacted the owner's family to tell them they had an ex-police Porsche 356 and asked if it would be possible to come and look at the car. It was only then (circa 2005) that the quest began to obtain all the original police parts for this Rijkspolitie Porsche. It was to prove exceedingly difficult to find the 'Rijkspolitie' equipment that had been removed prior to sale, and the restoration was not finally completed until 2012.
The car is now equipped with all the original fittings with which it was delivered new, and was even re-sprayed after restoration because the white paint used was not the correct shade for this particular 356. The engine has been changed again and is now a Type 616/16 dating from 1964. Fully overhauled 1,000 kilometres ago, it is a 1,600cc 'SC' unit producing 95bhp. The odometer was zeroed at time of restoration and is currently reading 30,400 kilometres.
Original 'Rijkspolitie' features (not all connected) include the original blue AUR beacon; 'STOP' sign; Storno radio telephone (VHF); radio antenna; Pye amplifier; twin internal rear view mirrors; control buttons; ammeter; rear-mounted loudspeaker; correct stickers; and Rijkspolitie clothing including helmets. Apart from the addition of oil pressure and oil temperature gauges and tripmaster, the car is exactly as it was when delivered new to the Dutch Police.
Collection : Louwman Museum
1,6 Liter
4 Cylinder Boxer
75 HP
Vmax : 175 km/h
Expo : Rijkspolitie Porsches
Louwman Museum
Den Haag - The Hague
Nederland - Netherlands
Augustus 2016
Back in 2015 we got an grab box offer. The idea was to buy a grab box and get one random doll and additional gift (outfit usually, but some collectors got nude dolls!). Out of 8 dolls, I liked Breeze Finley and this doll the most, but I as I do not like to gamble, I did not buy any. With time I acquired Finley below regular price and finally I got this Ayumi, as well.
Makeup/Hairstyle: This is my first Ayumi 2.0. I have to say the sculpt is really nice, but I do not relate her to the Ayumi, unfortunately. Opium and Luminescence do not look like Ayumi either, IMO. The sculpt looks much more mature than 1.0 and 3.0. And IMO the 3.0 suits the character the most. However, I wish this sculpt will return and I could see it easily in East59th collection. In fact, she could have been Constance. OK, back to this doll. The makeup is simple, yet very effective. Coral red lips are glossy and there is faint shimmering orange eye shadow above the eyes. Aside brown eyes, the makeup color reminds me on the On the Rise Elyse. The full brows contribute to the devilish look. Her face is really gorgeous. She has very long grayish blonde hair. I released her hair immediately and she came alive in an instant. The style of the hair reminds me on Smoke and Mirrors Lilith sans the sidepart. Although everything is in place, I just can not give her the highest score as I think she needs a bit of magic for that. 9/10
Outfit/Accessories: The emphasis in these series was on faces, the outfits are very simple, only dresses as I recall, and no accessories were included. This Ayumi got the white variation of the dress. I am surprised how much I like it. The fit is very nice, and it closes with zipper, which I prefer. You can add some jacket or a scarf and it will look great. There is also a belt in cream color included, which you can use for other outfits too. The shoes are blah. All she needs is a pair of earrings and sunglasses. 8/10
Overall: I think this one is a keeper. She is on retired Monogram body, which is my most favorite body sculpt, so that is a plus too. I recommend getting her as she is a very good representation of her sculpt, yet not overpriced as Opium or Luminescence. 8.5/10
« I'm going to make him an offer he can't refuse. » (IT)
« Gli farò un'offerta che non potrà rifiutare. »
(Vito Corleone)
Savoca is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 170 km east of Palermo and about 30 km southwest of Messina.
Savoca borders the following municipalities: Casalvecchio Siculo, Forza d'Agrò, Furci Siculo, Sant'Alessio Siculo, Santa Teresa di Riva.
The town, together with Forza d'Agrò, was the location for the scenes set in Corleone of Francis Ford Coppola's The Godfather. Bar Vitelli in Savoca, which is still a functioning establishment, was featured in the motion picture as the place where Michael Corleone asked Apollonia's father to meet his daughter.
The Godfather is a 1972 American gangster-drama film based on the novel of the same name by Mario Puzo and directed by Francis Ford Coppola from a screenplay by Puzo, Coppola, and Robert Towne
It stars Marlon Brando, Al Pacino, James Caan, Richard S. Castellano, Robert Duvall, Sterling Hayden, John Marley, Richard Conte and Diane Keaton, and features John Cazale, Talia Shire, Al Martino, and Abe Vigoda. The story spans ten years from 1945 to 1955 and chronicles the fictional Italian American Corleone crime family. Two sequels followed: The Godfather Part II in 1974, and The Godfather Part III in 1990.
Savoca è un comune italiano di 1.786 abitanti della provincia di Messina in Sicilia.Città d'Arte e paese dalle sette facce, dal 2008 è inserita tra i Borghi più belli d'Italia. Ha un'economia prevalentemente agricola che però si sta votando al turismo culturale. Sussistono coltivazioni di agrumeti, vigneti, uliveti, frutteti, mandorli, ortaggi e, allevamenti rurali di bovini, pecore, capre e suini. Conserva, nel suo territorio, antiche vestigia di origine medioevale, rinascimentale e barocca. È famoso perché possiede una cripta in cui sono custodite ed esposte le salme imbalsamate dei notabili del paese risalenti ai secc. XVIII e XIX e, per essere stato scelto come set di numerosi film di grande successo, come "il Padrino" di Francis Ford Coppola del 1972 e La vita rubata del 2007. Savoca fa parte del comprensorio turistico della Valle d'Agrò ed è altresì comune aderente all'Unione dei Comuni delle Valli joniche dei Peloritani e del P.I.T.13.Il comune di Savoca ha un'estensione di circa 8 km². L'abitato è costituito da un centro storico e da tante frazioni più o meno piccole immerse nella campagna. La vegetazione presente è quella tipicamente mediterranea: nelle zone pianeggianti ci sono dei rigogliosi agrumeti, mentre nelle zone collinari sono presenti vasti vigneti ed uliveti. Il capoluogo comunale si trova a 303 metri s.l.m., conta 106 abitanti ed è costituito da un borgo medioevale La maggior parte della popolazione abita le frazioni di Rina (498 abitanti), San Francesco di Paola (407 abitanti) e Contura, che si trovano nei pressi della Fiumara d'Agrò nell'omonima valle. Le altre frazioni sono: Cucco, Màllina, Romissa, Mancusa, Mortilla, Botte, Rogani e Cantidati Superiore.L'antico e caratteristico centro storico, ricco di antichi monumenti di origine medioevale, si caratterizza per la presenza di stretti e tortuosi vicoli ed è suddiviso in sette quartieri : Sant'Antonio,Cappuccini, Borgo,San Michele,San Rocco,Pentefur,e San Giovanni .
Il padrino (The Godfather) è un film del 1972 diretto da Francis Ford Coppola, prima pellicola della trilogia omonima firmata dal regista, ispirata al romanzo omonimo di Mario Puzo.La pellicola fu premiata con tre premi Oscar e, insieme al suo seguito, è considerata una pietra miliare della storia del cinema.Il padrino è stata infatti considerata la seconda miglior pellicola statunitense della storia dall'American Film Institute[, inoltre è al secondo posto della classifica dell'Internet Movie Database.Le scene siciliane del film furono girate a Savoca e Forza d'Agrò,particolarmente nel vecchio "Bar Vitelli" di Savoca tuttora meta di visite di molti turisti americani.
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Top Hills ~ Situated 2,000 feet above sea level on the cool hills of Busay, it is an excellent sight seeing spot which offers breathtaking views of Metro Cebu and the islands of Mactan and Olango. Open kiosks are available for daytime picnics at the summit of this viewpoint. The City of Cebu is the capital city of Cebu and is the second city in the Philippines with the second most significant metropolitan centre and known as the oldest Spanish settlement in the country. The city is located on the eastern shore of Cebu and was the first Spanish settlement in the Philippines. Cebu is the Philippines' main domestic shipping port and is home to about 80% of the country's domestic shipping companies. Cebu also holds the second largest international flights in the Philippines and is a significant centre of commerce, trade and industry in the Visayas and Mindanao regions. Cebu City is the centre of a metropolitan area called Metro Cebu, which includes the cities of Carcar, Danao, Lapu-lapu, Mandaue, Naga, Talisay. Metro Cebu has a total population of about two million people. The Mactan-Cebu International Airport, located in Lapu-Lapu City is only a 20 minute drive away from Cebu City. To the northeast of the city is Mandaue City and the town of Consolacion, to the west is Toledo City, the towns of Balamban and Asturias, to the south is Talisay City and the town of Minglanilla. Across Mactan Strait to the east is Mactan Island where Lapu-Lapu City and an aquarium attraction are located.
The Cebu Provincial Capitol is dramatically positioned at the end of a grand perspective of a new avenue ( Osmeña Boulevard ) as conceived by William E. Parsons in his 1912 plan of Cebu, in the lines of the City Beautiful Movement. The building follows an H-shaped plan, one side opening to the terminus of Osmeña Boulevard. The main block or corps de logis, three stories high, is flanked by two secondary wings, symmetrically advancing to embrace a rectangular, elevated cour d'honneur that serves as an entrance podium. The elevation of the corps de logis is of typical neoclassical formula: a rusticated ground floor, containing minor rooms and offices, the piano nobile above, with the most important spaces, and finally the attic story. A heavy cornice and parapet caps the façade, with allegorical statues standing by its corners. The most distinctive part of the façade is the central concave pavilion, which creates the semi-circular main balcony and pulls together the entire mass, finally crowned by an austere dome upon an octagonal drum.
The piano nobile is reached by two staircases from the ground floor foyer. The first space, the art deco rotunda below the cupola, opens to the south the main balcony that faces Osmeña Boulevard, and to its north the ballroom (social hall). Two-stories high with full-length windows, the ballroom, also in art deco style, is reminiscent of a fairytale setting. Two enormous chandeliers fashioned in crystal and local capiz shells ( placuna placenta ) light the grand space
Cebu City is a significant cultural centre in the Philippines. The imprint of Spanish and Roman Catholic culture is evident. The city's most famous landmark is Magellan's Cross. A few steps away from the Magellan's Cross is the Basilica Minore del Santo Nino (Church of the Holy Child). This is a Augustinian church elevated to the rank of Basilica in 1965 during the 400th year celebrations of Christianity in the Philippines, held in Cebu. The church, which was the first to be established in the islands, is built of hewn stone and features the country's oldest relic, the figure of the Santo Niño de Cebú ( Holy Child of Cebu ). This religious event is celebrated during the island's cultural festivities known as the Sinulog festival. Held every third Sunday of January, it celebrates the festival of the Santo Nino, who was formerly considered to be the patron saint of Cebu. (This patronage was later changed to that of Our Lady of Guadalupe after it was realised that the St. Niño could not be a patron saint because he was an image of the Christ and not a saint.) The Sinulog is a dance ritual of pre-Hispanic indigenous origin. The dancer moves two steps forward and one step backward to the rhythmic sound of drums. This movement resembles somewhat the current (sulog) of the river. Thus, the Cebuanos called it Sinulog.
When the Spaniards arrived in Cebu, the Italian chronicler, Antonio Pigafetta, sailing under convoy with the Magellan expedition, offered a baptismal gift to Hara Amihan, wife of Rajah Humabon. She was later named Juana, the figure of the Santo Nino. The natives also honoured the Santo Niño de Cebu in their indigenous Sinulog ritual[citation needed]. The Sinulog ritual was preserved but limited to honouring the Santo Nino. Once the Santo Niño church was built in the 16th century, the Christian Malay people started performing the Sinulog ritual in front of the church, the devotees offering candles and indigenous dancers shouting ~ Viva Pit Senor!
Magellan's Cross is a Christian cross planted by Portuguese, and Spanish explorers as ordered by Ferdinand Magellan on arriving in Cebu in the Philippines around April 14 or 21, 1521. This cross is housed in a chapel next to the Basilica Minore del Santo Niño on Magallanes Street ( Magallanes being the Spanish name of Magellan ), just in front of the city centre of Cebu City. A sign below the cross describes the original cross is encased inside the wooden cross that is found in the centre of the chapel. This is to protect the original cross from people who chipped away parts of the cross for souvenir purposes or in the belief that the cross possesses miraculous powers. Some people, however, believe that the original cross had been destroyed or had disappeared after Magellan's death, and the cross is a replica that was planted there by the Spaniards after they successfully colonized the Philippines.
The history is that when Ferdinand Magellan first arrived in Cebu on 21 April 1521 he erected a cross in Cebu. The cross there today is not the original. Magellan's Cross is one symbol of Cebu. This chapel's image can be found in Cebu city seal. It is also seen as the symbol of Roman Catholicism in the Philippines. Magellan and his crew were the first Europeans to arrive in the Philippines. They made the first conversions to Catholicism when they converted Rajah Humabon, the local chief, his wife and hundreds of his Cebuano villagers to accept Christianity and be consequently baptized. At the same time Magellan left in Cebu the Santo Nino de Cebu [ holy child of Cebu ] a doll figure made in Europe in the 16th Century representing Jesus Christ as a child. This doll was rediscovered some 45 years later the return to Cebu of Miguel Lopez de Legazpi who came back to Cebu on the order of King Phillip of Spain to make Cebu the first centre of the new Spanish Colony in Asia, called Las Islas Filipinas. This doll also plays an important function in the religious life of millions of people as explained here.
The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.
One of the keynote speakers:
Alec Ross
Senior Advisor for Innovation to Secretary of State Hillary Clinton.
Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.
Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.
In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.
Power to every citizen
To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.
What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.
I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.
Another Keynote speaker:
Emily Banks
Associate managing editor for Mashable
Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.
Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".
Abstract: Social media and the newsroom: the Revolution of the Newsroom
Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.
The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.
One of the keynote speakers:
Alec Ross
Senior Advisor for Innovation to Secretary of State Hillary Clinton.
Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.
Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.
In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.
Power to every citizen
To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.
What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.
I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.
Another Keynote speaker:
Emily Banks
Associate managing editor for Mashable
Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.
Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".
Abstract: Social media and the newsroom: the Revolution of the Newsroom
Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.
French postcard by Editions P.I., offered by Les Carbones Korès, no. 121. Photo: Lucienne Chevert. Suzy Delair in Quai des Orfèvres (Henri-Georges Clouzot, 1947).
Vivacious French entertainer Suzy Delair (1917) starred in many different films and was also famous in France as a singer of songs like Avec son Tra-la-la. For several years, the saucy star was the companion of film director Henri-Georges Clouzot, in whose films of the 1940s she appeared.
Suzy Delair was born Suzanne Pierrette Delaire in 1917 in Paris, France. During her adolescence, she started playing bit parts in films and on stage. Her film debut was Un caprice de la Pompadour (Willy Wolff, Joë Hamman, 1930). She had her first success in the music-halls and appeared in the cabaret of Suzy Solidor and the revue of Mistinquett. After small parts in films like La Dame de chez Maxim's (Alexander Korda, 1932), L'Or dans la rue/The Gold in the Street (Curtis Bernhardt, 1934), La crise est finie/The Crisis is Over (Robert Siodmak, 1934), Poliche (Abel Gance, 1934) and Prends la route/Hit the Road (Jean Boyer, 1936) she finally made her breakthrough in the cinema with Le Dernier des six/The Last One of the Six (Georges Lacombe, 1941). The film was based on a script by Henri-Georges Clouzot, with whom she was living together. When Clouzot became director, he offered two other big successes to Suzy Delair : the mystery thriller L'assassin habite au 21/The Murderer Lives at Number 21 (1942) and the classic Quai des Orfèvres/Quay of the Goldsmiths (1947). It was in the role of entertainer Jenny Lamour in this thriller that she emerged to international stardom. After this success the couple separated.
Stunningly attractive Suzy Delair was a seductive actress with a natural acting style. She starred in films directed by Marcel L'Herbier (La Vie de bohème, 1945), Jean Dréville (Copie conforme/Confessions of a Rogue, 1947), Jean Grémillon (Pattes blanches/ White Paws, 1949), Christian-Jaque (Souvenirs perdus/ Lost Souvenirs, 1950), Luchino Visconti (Rocco e i suoi fratelli/Rocco and His Brothers, 1960), Marcel Carné (Du mouron pour les petits oiseaux/ Chicken Feed for Little Birds, 1962), and René Clément (Paris brûle-t-il ?/Is Paris Burning?, 1966). She covered all registers from drama to comedy. She appeared as will-of-the-wisp chanteuse Cheri Lamour in the last Laurel & Hardy comedy, the melancholy Atoll K/Utopia (Léo Joannon, 1951). She also appeared in the Fernandel vehicle Le Couturier de ces Dames/Fernandel the Dress maker (Jean Boyer, 1956) and in the hilarious farce Les Aventures de Rabbi Jacob/The Mad Adventures of Rabbi Jacob (Gérard Oury, 1973) starring French comedy star Louis de Funès. She was a dancer and a singer, and her chanson Avec son Tra-la-la (1948) is an evergreen in France. She appeared in several operettas by Jacques Offenbach and Oscar and Johan Strauss. Her last film was Oublie-moi, Mandoline/Forget Me, Mandoline (Michel Wyn, 1976). Since then she sometimes appeared on tv.
Sources: Bruce Eder (All Music Guide), Wikipedia and IMDb.
(further information about the world of the Habsburg you can get by clicking on the link at the end of page!)
The Hall of the Muses
The Hall of the Muses, the spatial and ceremonial center of the state apartments, served as a dining room and offered the prestigious setting for glamorous soirees and splendid balls.
Five gorgeous crystal chandeliers enlighted the room in light brightness, 258 additional candles that were additionally anchored in the running rosette frieze, plunged it in a sea of lights.
Hall of the Muses © Albertina, Vienna (Photo: Alexander Ch Wulz)
Musensaal
To the splendid appearance of the hall also contribute the precious stucco marble panelings of the wall panels and pilasters as well as the gilded doors and decorative elements.
The name of the hall is derived from the cycle of figures "Apollo and the Nine Muses". The life-size, with a marble imitating polishing white surface provided sandstone figures come from Joseph Klieber (1773-1859), who drew inspiration for this work from the oeuvres of the sculptor Antonio Canova.
www.albertina.at/das_palais/prunkraeume/musensaal
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
I made (offer) this cake for a woman who is president of the local group of ActionAid (international anti-poverty agency). They organized a day of action around the theme of equal trade of coffee, calling it "Vorrei un caffè corretto" that is "I would like a correct coffee". In Italian "corretto" has the double meaning of equal and of a stronger coffee where is added the grappa acquavite, a strong alcohol! So I had to make a cake with and about coffee... My girl don't seems to be a coffee worker, even if it was my first idea! LOL!!
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The Sally May site on Fossil Creek Wild and Scenic River offers some of the best swimming along the entire creek. There are two parking areas on either side of the bridge, which crosses Sally May Wash, on FR 502 (the Childs Power Road). Each lot has a path leading to separate pools along the creek.
On the east (upstream) side of the bridge, the path leads to a large, deep pool at the base of a steep water feature. Rock shelves and cliff walls provide a lot of great spots for sunbathing and enjoying the canyon views. A smooth rock outcrop makes a great jumping-in spot. A small sandy beach at the far end of the pool offers shallow water entry and a good spot for smaller children to play.
On the west (downstream) side of the bridge, there's a large open area above the parking lot that makes a great spot for a family picnic. The path to the creek leads to another swimming hole at the base of beautiful water feature. There are rocky banks to relax on, and a shallow sandy entry point not far downstream near a gravel-bottomed section of creek that is a great place to wade and splash. A bit of the creek's history remains along the banks here, structures from the days the Childs-Irving hydroelectric power plants used the creek to generate power for nearby mining communities like Jerome, Arizona.
This photo was taken in early spring, just as trees were starting to bud. As the weather warms, the riparian area along Fossil Creek Wild and Scenic River becomes lush with thick greenery. Photo taken by Deborah Lee Soltesz, February 2017. Credit USFS Coconino National Forest.
Learn more about visiting Fossil Creek Wild and Scenic River managed by the Coconino National Forest.
Moviegoers in Japan have a unique experience that us Westerners won’t be able to enjoy. Those seeing The Last Jedi in 4DX theaters in Japan can choose either the light side or dark side. Each side has a unique experience tailored to their chose side. In a nut shell, “The vibrations,...
www.fbtb.net/the-last-jedi/2018/01/16/japan-offers-light-...
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Harley-Davidson Inc (NYSE: HOG, formerly HDI), often abbreviated H-D or Harley, is an American motorcycle manufacturer. Founded in Milwaukee, Wisconsin, during the first decade of the 20th century, it was one of two major American motorcycle manufacturers to survive the Great Depression. Harley-Davidson also survived a period of poor quality control and competition from Japanese manufacturers.
The company sells heavyweight (over 750 cc) motorcycles designed for cruising on highways. Harley-Davidson motorcycles (popularly known as "Harleys") have a distinctive design and exhaust note. They are especially noted for the tradition of heavy customization that gave rise to the chopper style of motorcycle. Except for the modern VRSC model family, current Harley-Davidson motorcycles reflect the styles of classic Harley designs. Harley-Davidson's attempts to establish itself in the light motorcycle market have met with limited success and have largely been abandoned since the 1978 sale of its Italian Aermacchi subsidiary.
Harley-Davidson sustains a loyal brand community which keeps active through clubs, events, and a museum. Licensing of the Harley-Davidson brand and logo accounted for $40 million (0.8%) of the company's net revenue in 2010.
History
BeginningIn 1901, William S. Harley, age 22, drew up plans for a small engine with a displacement of 7.07 cubic inches (116 cc) and four-inch (102 mm) flywheels. The engine was designed for use in a regular pedal-bicycle frame. Over the next two years, Harley and his childhood friend Arthur Davidson labored on their motor-bicycle using the northside Milwaukee machine shop at the home of their friend, Henry Melk. It was finished in 1903 with the help of Arthur's brother, Walter Davidson. Upon completion, the boys found their power-cycle unable to conquer Milwaukee's modest hills without pedal assistance. Will Harley and the Davidsons quickly wrote off their first motor-bicycle as a valuable learning experiment.
Work immediately began on a new and improved second-generation machine. This first "real" Harley-Davidson motorcycle had a bigger engine of 24.74 cubic inches (405 cc) with 9.75 inches (25 cm) flywheels weighing 28 lb (13 kg). The machine's advanced loop-frame pattern was similar to the 1903 Milwaukee Merkel motorcycle (designed by Joseph Merkel, later of Flying Merkel fame). The bigger engine and loop-frame design took it out of the motorized-bicycle category and would help define what a modern motorcycle should contain in the years to come. The boys also received help with their bigger engine from outboard motor pioneer Ole Evinrude, who was then building gas engines of his own design for automotive use on Milwaukee's Lake Street.
Prototype
The prototype of the new loop-frame Harley-Davidson was assembled in a 10 × 15 ft (3.0 × 4.6 m) shed in the Davidson family backyard. Most of the major parts, however, were made elsewhere, including some probably fabricated at the West Milwaukee rail shops where oldest brother William A. Davidson was then tool room foreman. This prototype machine was functional by September 8, 1904, when it competed in a Milwaukee motorcycle race held at State Fair Park. It was ridden by Edward Hildebrand and placed fourth. This is the first documented appearance of a Harley-Davidson motorcycle in the historical record.
In January 1905, small advertisements were placed in the "Automobile and Cycle Trade Journal" that offered bare Harley-Davidson engines to the do-it-yourself trade. By April, complete motorcycles were in production on a very limited basis. That year, the first Harley-Davidson dealer, Carl H. Lang of Chicago, sold three bikes from the dozen or so built in the Davidson backyard shed. (Some years later the original shed was taken to the Juneau Avenue factory where it would stand for many decades as a tribute to the Motor Company's humble origins. Unfortunately, the first shed was accidentally destroyed by contractors in the early 1970s during a clean-up of the factory yard.)
In 1906, Harley and the Davidson brothers built their first factory on Chestnut Street (later Juneau Avenue). This location remains Harley-Davidson's corporate headquarters today. The first Juneau Avenue plant was a 40 × 60 ft (12 × 18 m) single-story wooden structure. The company produced about 50 motorcycles that year.
1907 model.
Harley-Davidson 1,000 cc HT 1916In 1907, William S. Harley graduated from the University of Wisconsin–Madison with a degree in mechanical engineering. That year additional factory expansion came with a second floor and later with facings and additions of Milwaukee pale yellow ("cream") brick. With the new facilities production increased to 150 motorcycles in 1907. The company was officially incorporated that September. They also began selling their motorcycles to police departments around this time, a market that has been important to them ever since.
Production in 1905 and 1906 were all single-cylinder models with 26.84 cubic inches (440 cc) engines. In February 1907 a prototype model with a 45-degree V-Twin engine was displayed at the Chicago Automobile Show. Although shown and advertised, very few V-Twin models were built between 1907 and 1910. These first V-Twins displaced 53.68 cubic inches (880 cc) and produced about 7 horsepower (5.2 kW). This gave about double the power of the first singles. Top speed was about 60 mph (100 km/h). Production jumped from 450 motorcycles in 1908 to 1,149 machines in 1909.
Harley-Davidson works in 1911By 1911, some 150 makes of motorcycles had already been built in the United States – although just a handful would survive the 1910s.
In 1911, an improved V-Twin model was introduced. The new engine had mechanically operated intake valves, as opposed to the "automatic" intake valves used on earlier V-Twins that opened by engine vacuum. With a displacement of 49.48 cubic inches (811 cc), the 1911 V-Twin was smaller than earlier twins, but gave better performance. After 1913 the majority of bikes produced by Harley-Davidson would be V-Twin models.
By 1913, the yellow brick factory had been demolished and on the site a new 5-story structure of reinforced concrete and red brick had been built. Begun in 1910, the red brick factory with its many additions would take up two blocks along Juneau Avenue and around the corner on 38th Street. Despite the competition, Harley-Davidson was already pulling ahead of Indian and would dominate motorcycle racing after 1914. Production that year swelled to 16,284 machines.
World War IIn 1917, the United States entered World War I and the military demanded motorcycles for the war effort. Harleys had already been used by the military in the Pancho Villa Expedition but World War I was the first time the motorcycle had been adopted for combat service.[citation needed] Harley-Davidson provided about 15,000 machines to the military forces during World War I.
1920s
Harley-Davidson 1000 cc HT 1923By 1920, Harley-Davidson was the largest motorcycle manufacturer in the world. Their motorcycles were sold by dealers in 67 countries. Production was 28,189 machines.
In 1921, a Harley-Davidson, ridden by Otto Walker, was the first motorcycle ever to win a race at an average speed of over 100 mph (160 km/h).
During the 1920s, several improvements were put in place, such as a new 74 cubic inch (1,200 cc) V-Twin, introduced in 1922, and the "Teardrop" gas tank in 1925. A front brake was added in 1928 although notably only on the J/JD models.
In the late summer of 1929, Harley-Davidson introduced its 45 cubic inches (737 cc) flathead V-Twin to compete with the Indian 101 Scout and the Excelsior Super X.[19] This was the "D" model, produced from 1929 to 1931.[20] Riders of Indian motorcycles derisively referred to this model as the "three cylinder Harley" because the generator was upright and parallel to the front cylinder. The 2.745 in (69.7 mm) bore and 3.8125 in (96.8 mm) stroke would continue in most versions of the 750 engine; exceptions include the XA and the XR-750.
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Reims offers the most important example in France of an entire town in the architectural style of the 1920s.
As the town that suffered the most destruction of all the large towns in France by the First World War, it also took first place for the number of planning permission applications lodged between 1920 and 1930, with 6,500 in total. In both 1922 and 1923, this number was greater even than in Paris! With 80% of the town having been destroyed, during the 1920s Reims underwent an intense reconstruction phase.
In a context where the compensation was managed by the individual owners without the State or local authorities becoming involved in their choices, Reims was rebuilt with a very wide-ranging diversity of architecture. Thus the town centre of Reims, which suffered particular bombardment, and its suburbs offer a panorama of the major architectural trends of the 1920s in France. www.reims-tourism.com/Discover/Heritage/Art-Deco-in-Reims
The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.
One of the keynote speakers:
Alec Ross
Senior Advisor for Innovation to Secretary of State Hillary Clinton.
Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.
Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.
In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.
Power to every citizen
To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.
What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.
I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.
Another Keynote speaker:
Emily Banks
Associate managing editor for Mashable
Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.
Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".
Abstract: Social media and the newsroom: the Revolution of the Newsroom
Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.
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Harley-Davidson Inc (NYSE: HOG, formerly HDI), often abbreviated H-D or Harley, is an American motorcycle manufacturer. Founded in Milwaukee, Wisconsin, during the first decade of the 20th century, it was one of two major American motorcycle manufacturers to survive the Great Depression. Harley-Davidson also survived a period of poor quality control and competition from Japanese manufacturers.
The company sells heavyweight (over 750 cc) motorcycles designed for cruising on highways. Harley-Davidson motorcycles (popularly known as "Harleys") have a distinctive design and exhaust note. They are especially noted for the tradition of heavy customization that gave rise to the chopper style of motorcycle. Except for the modern VRSC model family, current Harley-Davidson motorcycles reflect the styles of classic Harley designs. Harley-Davidson's attempts to establish itself in the light motorcycle market have met with limited success and have largely been abandoned since the 1978 sale of its Italian Aermacchi subsidiary.
Harley-Davidson sustains a loyal brand community which keeps active through clubs, events, and a museum. Licensing of the Harley-Davidson brand and logo accounted for $40 million (0.8%) of the company's net revenue in 2010.
History
BeginningIn 1901, William S. Harley, age 22, drew up plans for a small engine with a displacement of 7.07 cubic inches (116 cc) and four-inch (102 mm) flywheels. The engine was designed for use in a regular pedal-bicycle frame. Over the next two years, Harley and his childhood friend Arthur Davidson labored on their motor-bicycle using the northside Milwaukee machine shop at the home of their friend, Henry Melk. It was finished in 1903 with the help of Arthur's brother, Walter Davidson. Upon completion, the boys found their power-cycle unable to conquer Milwaukee's modest hills without pedal assistance. Will Harley and the Davidsons quickly wrote off their first motor-bicycle as a valuable learning experiment.
Work immediately began on a new and improved second-generation machine. This first "real" Harley-Davidson motorcycle had a bigger engine of 24.74 cubic inches (405 cc) with 9.75 inches (25 cm) flywheels weighing 28 lb (13 kg). The machine's advanced loop-frame pattern was similar to the 1903 Milwaukee Merkel motorcycle (designed by Joseph Merkel, later of Flying Merkel fame). The bigger engine and loop-frame design took it out of the motorized-bicycle category and would help define what a modern motorcycle should contain in the years to come. The boys also received help with their bigger engine from outboard motor pioneer Ole Evinrude, who was then building gas engines of his own design for automotive use on Milwaukee's Lake Street.
Prototype
The prototype of the new loop-frame Harley-Davidson was assembled in a 10 × 15 ft (3.0 × 4.6 m) shed in the Davidson family backyard. Most of the major parts, however, were made elsewhere, including some probably fabricated at the West Milwaukee rail shops where oldest brother William A. Davidson was then tool room foreman. This prototype machine was functional by September 8, 1904, when it competed in a Milwaukee motorcycle race held at State Fair Park. It was ridden by Edward Hildebrand and placed fourth. This is the first documented appearance of a Harley-Davidson motorcycle in the historical record.
In January 1905, small advertisements were placed in the "Automobile and Cycle Trade Journal" that offered bare Harley-Davidson engines to the do-it-yourself trade. By April, complete motorcycles were in production on a very limited basis. That year, the first Harley-Davidson dealer, Carl H. Lang of Chicago, sold three bikes from the dozen or so built in the Davidson backyard shed. (Some years later the original shed was taken to the Juneau Avenue factory where it would stand for many decades as a tribute to the Motor Company's humble origins. Unfortunately, the first shed was accidentally destroyed by contractors in the early 1970s during a clean-up of the factory yard.)
In 1906, Harley and the Davidson brothers built their first factory on Chestnut Street (later Juneau Avenue). This location remains Harley-Davidson's corporate headquarters today. The first Juneau Avenue plant was a 40 × 60 ft (12 × 18 m) single-story wooden structure. The company produced about 50 motorcycles that year.
1907 model.
Harley-Davidson 1,000 cc HT 1916In 1907, William S. Harley graduated from the University of Wisconsin–Madison with a degree in mechanical engineering. That year additional factory expansion came with a second floor and later with facings and additions of Milwaukee pale yellow ("cream") brick. With the new facilities production increased to 150 motorcycles in 1907. The company was officially incorporated that September. They also began selling their motorcycles to police departments around this time, a market that has been important to them ever since.
Production in 1905 and 1906 were all single-cylinder models with 26.84 cubic inches (440 cc) engines. In February 1907 a prototype model with a 45-degree V-Twin engine was displayed at the Chicago Automobile Show. Although shown and advertised, very few V-Twin models were built between 1907 and 1910. These first V-Twins displaced 53.68 cubic inches (880 cc) and produced about 7 horsepower (5.2 kW). This gave about double the power of the first singles. Top speed was about 60 mph (100 km/h). Production jumped from 450 motorcycles in 1908 to 1,149 machines in 1909.
Harley-Davidson works in 1911By 1911, some 150 makes of motorcycles had already been built in the United States – although just a handful would survive the 1910s.
In 1911, an improved V-Twin model was introduced. The new engine had mechanically operated intake valves, as opposed to the "automatic" intake valves used on earlier V-Twins that opened by engine vacuum. With a displacement of 49.48 cubic inches (811 cc), the 1911 V-Twin was smaller than earlier twins, but gave better performance. After 1913 the majority of bikes produced by Harley-Davidson would be V-Twin models.
By 1913, the yellow brick factory had been demolished and on the site a new 5-story structure of reinforced concrete and red brick had been built. Begun in 1910, the red brick factory with its many additions would take up two blocks along Juneau Avenue and around the corner on 38th Street. Despite the competition, Harley-Davidson was already pulling ahead of Indian and would dominate motorcycle racing after 1914. Production that year swelled to 16,284 machines.
World War IIn 1917, the United States entered World War I and the military demanded motorcycles for the war effort. Harleys had already been used by the military in the Pancho Villa Expedition but World War I was the first time the motorcycle had been adopted for combat service.[citation needed] Harley-Davidson provided about 15,000 machines to the military forces during World War I.
1920s
Harley-Davidson 1000 cc HT 1923By 1920, Harley-Davidson was the largest motorcycle manufacturer in the world. Their motorcycles were sold by dealers in 67 countries. Production was 28,189 machines.
In 1921, a Harley-Davidson, ridden by Otto Walker, was the first motorcycle ever to win a race at an average speed of over 100 mph (160 km/h).
During the 1920s, several improvements were put in place, such as a new 74 cubic inch (1,200 cc) V-Twin, introduced in 1922, and the "Teardrop" gas tank in 1925. A front brake was added in 1928 although notably only on the J/JD models.
In the late summer of 1929, Harley-Davidson introduced its 45 cubic inches (737 cc) flathead V-Twin to compete with the Indian 101 Scout and the Excelsior Super X.[19] This was the "D" model, produced from 1929 to 1931.[20] Riders of Indian motorcycles derisively referred to this model as the "three cylinder Harley" because the generator was upright and parallel to the front cylinder. The 2.745 in (69.7 mm) bore and 3.8125 in (96.8 mm) stroke would continue in most versions of the 750 engine; exceptions include the XA and the XR-750.
FBI Stolen motorcycles
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French postcard by Editions P.I., Paris, no. 228, offered by NV Victoria, Brussels, no. 639. Photo: Hal Wallis / Paramount, 1950.
Yesterday was announced that American film star Lizabeth Scott passed away on 31 January. She starred as the bad girl — or the good girl gone bad - in hard-boiled film noirs like The Strange Love of Martha Ivers (1946) with Barbara Stanwyck, Dead Reckoning (1947) with Humphrey Bogart, and I Walk Alone (1948) opposite Burt Lancaster. With her blonde hair, smouldering eyes and her deep smoky voice, she was a sultry femme fatale in a world of crime, tough talk and dark secrets. Of her 22 feature films, she was leading lady in all but one. In addition to stage and radio, she appeared on television from the late 1940s to early 1970s. Lizabeth Scott who died of congestive heart failure was 92.
Lizabeth Scott was born Emma Matzo in 1922, in Scranton, , Pennsylvania, where her parents, John Matzo and Mary (nee Pennock), had a grocery store. Despite her parents’ opposition to an acting career, she went to the Alviene Master School of the Theatre and Academy of Cultural Arts in New York in her late teens. Here she adopted the stage name of Elizabeth Scott. She landed a small role in a touring company of the hit stage comedy Hellzapoppin'. Back in New York, unable to get an acting job, she landed work as a fashion model with Harper’s Bazaar at $25 an hour. In 1942, she got a small part in the original Broadway production of Thornton Wilder's The Skin of Our Teeth. Scott also understudied Tallulah Bankhead, who played the lead role. The tempestuous Bankhead, who did not get along with Scott, stubbornly never missed a performance. In Boston Scott finally got to play the lead role, taking over from Miriam Hopkins. She decided to removed the 'E' from Elizabeth Scott to be more distinctive. It would be either this performance or a four-picture spread in an issue of Harper’s Bazaar (the sources differ about this) that led to a long-term Hollywood contract with Hal Wallis, who had his own producing organisation through Paramount Studios. Scott": It was off season on Broadway and since I wasn’t able to find a job there, I thought it might be a good experience to come to Hollywood and find out what it was all about.” Wallis introduced his 22-year-old discovery as “beautiful, blonde, aloof and alluring”. Scott's film debut was the comedy-drama You Came Along (John Farrow, 1945) opposite Robert Cummings. In her second film, The Strange Love of Martha Ivers (Lewis Milestoine, 1946), she played a young woman wrongly jailed, opposite Barbara Stanwyck, Kirk Douglas and Van Heflin. She made more of an impression in Dead Reckoning (John Cromwell, 1947) as a gangster’s wife, almost luring Humphrey Bogart into her corruptive trap. Her mysterious character was shot in oblique angles and low-key lighting. Stylishly dressed by Edith Head, she played the good girl gone bad becoming good again in the melodrama Desert Fury (Lewis Allen, 1947). Billed as “the blonde with the brown voice”, Scott played a nightclub singer in I Walk Alone (Byron Haskin, 1948), also starring Kirk Douglas and Burt Lancaster. She was more decadent than ever in Too Late for Tears (Byron Haskin, 1949), having killed two husbands because she wanted “to move out of the ranks of the middle-class poor”. Scott was her own woman in the world of hard-boiled film crime. Ronald Bergan at The Observer: "Scott was strong and sultry, her heavy dark eyebrows contrasting with her blonde hair. Like [Lauren] Bacall, she had a low and husky voice, but she was far harder; in fact, she was able to suggest hidden depths of depravity – the ideal femme fatale of the 1940s."
In her films, Lizabeth Scott made some memorable quotes. In Pitfall (André De Toth, 1948), she described herself to Dick Powell as "a girl whose first engagement ring was bought by a man stupid enough to embezzle and stupid enough to get caught." In The Racket (John Cromwell, 1951), she asked Robert Mitchum: "Who said I was an honest citizen, and where would it get me if I was?" In another Film Noir, Dark City (William Dieterle, 1950), she is a nightclub singer again who drifts on the edges of a shadowy criminal world, though her love for a gambler (Charlton Heston in his Hollywood debut ) is uplifting. Heston and Scott were reunited for Bad for Each Other (Irving Rapper, 1953). She played several similar roles of a woman willing to change her louche ways, but doomed to find a worthwhile man to love her only when she had already passed the point of redemption. After several years of making one Film Noir after another — sometimes at a pace of two or three in a year — Scott was ready for a change. She got it in the comedy Scared Stiff (George Marshall, 1953), starring Dean Martin and Jerry Lewis. In September 1954, a front-page story in the magazine Confidential claimed that Scott was a lesbian and was linked to “the little black books kept by Hollywood prostitutes”. It was also said that on a trip to Paris she had taken up with Frédérique 'Frédé' Baulé, manager of Carroll's, an upper-class, cabaret-type nightclub in Paris. One of the owners was Marlene Dietrich. Two months before the issue's printed publication, her lawyer had instituted a $ 2.5m suit against Confidential, accusing the magazine of “holding the plaintiff up to contempt and ridicule and implying in the eyes of every reader indecent, unnatural and illegal conduct in her private and public life”. Scott lost her suit on a technicality, however, and, given the witch-hunting atmosphere of the times, the case certainly harmed her. Compounding her plight was her rebellious nature, having never paid conventional homage to the film establishment and to gossip columnists Louella Parsons and Hedda Hopper. In 1955, Scott went to Great Britain to film The Weapon (Val Guest, 1957). As with other European films of the 1950s–1970s period aimed at a US audience, Scott starred with another American actor, Steve Cochran, who played US Army CID officer Mark Andrews. Scott also played a publicity woman in the Elvis Presley vehicle Loving You (Hal Kanter, 1957). In 1957, she also released an album of torch songs and romantic ballads titled Lizabeth. She had a few TV roles in the 1960s. Her last credited movie appearance was as an man-eating cougar in Pulp (Mike Hodges, 1972), a sendup of Film Noir starring Michael Caine. One of her ex-husbands in the film is played by Mickey Rooney. Scott lived quietly in Hollywood, sometimes accepting invitations to attend film festivals and other events. In a 1996 interview with documentary filmmaker Carole Langer, Scott said she had liked the grittiness of Film Noir and didn't lament the fact that she wasn't cast in studio blockbusters: "The films that I had seen growing up were always, boy meets girl, boy ends up marrying girl, they go off into the sunset," Scott said. After the war, films got more in touch with "the psychological, emotional things that people feel and people do. It was a new realm, and it was very exciting, because suddenly you were coming closer and closer to reality." Lizabeth Scott died a week ago, at 31 January, at Cedars-Sinai Medical Center in Los Angeles. She was 92. The cause was congestive heart failure, said her long-time friend Mary Goodstein. Scott's survivors include her brother Gus Matzo and sister Justine Birdsall.
Sources David Colker (Los Angeles Times), Ronald Bergan (The Observer), Mike Barnes (Hollywood Reporter), Variety, Wikipedia and IMDb.
Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.
A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.
The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.
Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.
ETYMOLOGY
The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".
LEGEND
The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).
The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.
PATRONAGE
To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.
Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.
Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.
Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.
TEMPLE STRUCTURE
The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).
Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").
The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.
This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:
- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.
- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.
- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.
SIGNIFICANCE OF THE TEMPLE DESIGN
The layout and architecture of the temple is replete with philosophical meanings.
Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).
The 9 gateways signify the 9 orifices in the human body.
The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.
The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).
The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.
TOWERS
The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.
HALLS
There are 5 ambalams or sabhas (halls) inside the temple.
- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.
- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.
- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy
- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.
- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.
SHRINES
- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai
- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.
- Shrine of Sivagami.
- Ganesha shrine
- Shrine of Muruga or Pandiya nayakan
There are also several smaller shrines in the temple complex.
GOVINDARAJA SWAMY SHRINE
The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.
TEMPLE TANKS
The Chidambaram temple is well endowed with several water bodies within and around the temple complex.
- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.
- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.
- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.
- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.
- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.
- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.
- Nagaseri tank is situated to the west of the Anantha thirtham.
- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.
- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.
- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.
TEMPLE CAR
The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.
ANANDA TANDAVA
The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage Patanjali and sends him to the Thillai forest, informing him that he will display the dance in due course. Patanjali who meditated in the Himalayas during krita age joins another saint, Vyaghrapada or Pulikaalmuni (Vyagra / Puli meaning "Tiger" and patha / kaal meaning "feet" – referring to the story of how he sought and got the feet and eyesight of a tiger to help climb trees well before dawn to pick flowers for The Lord before the bees visit them). The story of sage Patanjali as well as his great student sage Upamanyu is narrated in both Vishnu Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, a deity worshipped today as Thirumoolataneswarar (Thiru - sri, Moolatanam - primordial or in the nature of a foundation, Eswarar- the Lord). Legends say that Lord Shiva displayed his dance of bliss (the Aananda Thaandavam) - as Nataraja to these two saints on the day of the poosam star in the Tamil month of Thai (January-February).
THE ANANDA TANDAVA POSTURE
The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.
- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.
- The fire in His hand (power of destruction) means He is the destroyer of evil.
- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.
- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.
- The drum in His hand signifies the origin of life forms.
- The lotus pedestal signifies Om, the sound of the universe.
- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.
- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).
- The crescent moon in His hair signifies benevolence and beauty.
- The flowing of river Ganges through His matted hair signifies eternity of life.
- The dreading of His hair and drape signify the force of His dance.
Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.
RELIGIOUS SIGNIFICANCE OF THE TEMPLE
Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.
Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.
Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).
RELIGIOUS WORK AND SAINTS
There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.
THE CHIDAMBARA RAHASIYAM
During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.
The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.
Temple administration and daily rituals
WORSHIP FORMS
A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.
At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.
Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".
WORSHIP
The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.
DIKSHITARS
The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.
DAILY RITUALS
The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).
Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.
TEMPLE ADMINISTRATION
The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.
FESTIVALS
A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.
There are references in Umapathy Sivam's
Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.
Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.
HISTORY
Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."
The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.
Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.
At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.
To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.
The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.
INSCRIPTIONS
There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.
KUMBHABISHEKAM 2015
The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam
Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.
INVASIONS
The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.
WIKIPEDIA
Two people offer a prayer at the Takachiho shrine, which celebrates all the gods of the Takachiho-go 88 shrines but mostly Takachiho Sumegami and Jissha Daimyoujin, quite busy deities worshipped as the gods of agriculture, exorcism and matchmaking! Founded by Suinin, the 11th emperor of Japan about 1900 years ago, the shrine is surrounded by 800-year-old cryptomeria trees and on its grounds is the wooden Kagura-den, the location at which 4 excerpts of the traditional Yokagura dances are performed every night.
In Bali, one of the most important Hindu holidays is Galungan. The event is timed in accordance with the 210 day Balinese calendar, so this is the second one this year.
Over the course of ten days, spirits of the departed return, and families are expected to welcome them warmly, primarily by leaving offerings at the tops of curved bamboo poles called penjor.
The penjor line the streets everywhere you go, and the size and complexity of them seem to depend on the relative wealth of the different villages.
Personally, I think the penjor look the nicest down on the beach.
The conclusion of the ten day event is today, Kuningan, when the spirits return to heaven.
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The monument offers many opportunities to explore and discover the secrets of the Sonoran Desert and includes three wilderness areas, the North Maricopa Mountains Wilderness, the South Maricopa Mountains Wilderness, and the Table Top Wilderness. These wilderness areas offer excellent opportunities for solitude and unconfined recreation. The North Maricopa Mountains Wilderness has two hiking and equestrian trails, the 9-mile Margie’s Cove Trail and the 6-mile Brittlebush Trail. The Table Top Wilderness also has two hiking and equestrian trails, the 7-mile Lava Flow Trail and the 3-mile Table Top Trail. A section of the Juan Bautista de Anza National Historic Trail crosses the national monument. This congressionally designated trail parallels the Butterfield Overland Stage Route, the Mormon Battalion Trail, and the Gila Trail. A four-wheel-drive accessible route follows the trail corridor for approximately 10 miles through the national monument.
For more information, visit: www.blm.gov/az/st/en/prog/blm_special_areas/natmon/son_de...
Photo: Bob Wick, BLM California
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Darkness and peace activists
Speaking of: original. The battle for the trademark "Sachertorte" employed the courts of the Republic of Austria until 1963. Finally, the Wider-Sacher (sacher antagonists) agreed out of court on this settlement: Only the Hotel Sacher may use the name "Original Sacher-Torte", the Viennese confectionery Demel must offer their product as "Eduard Sacher-Torte".
Anna Sacher has not experienced the darkest years of her hotel. When she died in 1930, Austria had become the most popular tourist destination of the Germans. In 1933, the Nazi government stopped this trend with the so-called thousand mark barrier: every German citizen had to pay a fee of 1000 Reichsmark before traveling to Austria. The Austrian tourism industry suddenly lost 85 percent of its German guests, many businesses were ruined. In 1934, the Hotel Sacher filed for bankruptcy.
In 1938, Adolf Hitler proclaimed on the Heroes' Square in Vienna with a pathetically trembling voice "before history the entrance of my homeland into the German Reich". - More than 100,000 Austrians shouted: "Sieg Heil!". The swastika flag fluttered on the façade of the Hotel Sacher. From 1945 Vienna was controlled by the victorious powers similar to Berlin. Americans, Russians, British and French patrolled Vienna together, in doing so inspiring to the classic movie "The Four in the Jeep". However, the penicillin trafficker Harry Lime, depicted by Orson Welles, was staged in an artistically and commercially impressive manner.
No, "The Third Man" does not play in the Hotel Sacher. But English author Graham Greene stayed here while researching the film script in bombed Vienna. The British had lodged in the Sacher and ran a well-stocked bar there - gin, scotch, Irish whiskey - and a restaurant for the upper ranks.
During a joint lunch at the Sacher, a British secret service employee provided the novelist with the brilliant idea for a film backdrop. Ironically, in this atmosphere the location scout with Graham Greene aroused curiosity about the city's underground sewer system. Immediately after the meal, Greene and his informant visited this sewage underworld - ugh. But script fee does not stink.
20 years later, another Englishman immortalized himself with his peace-giving measure in the guest chronicle of the Hotel Sacher. In 1969, John Lennon and his newlywed wife Yoko Ono used the worldwide media interest in their bedroom activities to spread their message: "Give Peace A Chance!"
Ono-Lennon's bridal chamber was packed with journalists as John and Yoko - hidden under white cloth - chanted about the inability of the politicians, the secret wishes of the Queen and other world problems. Most of the attendees of this press conference in the Sacher Suite 312 did not or could not seriously question the meaning of the political happening. Only the former ORF reporter André Heller gave the impression that he could respect John and Yoko and understand their message: "peace".
With the supermarket bag to the Sacher
What the two peace apostles were doing there in the Sacher, the Beatles fans learned a few weeks later by the hit single "Ballad Of John And Yoko". For example, on their "Trip to Vienna", the honeymooners had eaten "chocolate cake in a bag". John and Yoko had crawled into a sack and ate a Sachertorte in it - maybe even today a recommended nightcap after a night of drinking.
It does not always have to be world peace. Also in the Sacher life is happening on a smaller scale. For example, it was enough for a Leonard Bernstein if he could immediately sit down at the piano and "compose" or rehearse on arrival "in his Viennese living room". The main thing, this schedule was meticulously met: In the morning, the movers brought his instrument - the composer of "West Side Story" never traveled without his own piano - in the amber room, then the piano tuner did his job, around noon, the maestro appeared.
Another habit: as a regular guest conductor of the Vienna Philharmonic, Leonard Bernstein booked the same suite on each of his visits to the world capital of music. The reason for this loyalty was revealed to the Sacher management only when Lenny missed his favorite picture on the wall during one of his hotel stays. No problem. Eduard Veit's painting "Black and Blonde" was immediately put back where it should be.
AC/DC, the Callas, Mireille Matthieu, Comedian Harmonists, Otto Waalkes, the BeeGees and Andi Borg - they all have stayed at the Sacher. But the most prominent permanent hotel guest was not a musician, but a professional music listener: Marcell Horace Frydman Knight of Prawy. Or just Marcel Prawy. Until his death in 2003, he was considered the Austrian "opera leader of the nation". His trademark was the plastic shopping bags of the supermarket chain "Billa", in which he dragged sheet music and notes around.
During the last ten years of Marcel Prawy's life, the hotel was the shortest walk to the back entrance of the Vienna State Opera as his permanent home address. This suggests the upscale lifestyle of a privileged, but it certainly leads to complications - especially when in Sacher once again descends a president, the entire hotel has been declared a high-security wing and opposite the uniformed sniper on the roof of the opera sit on lookout.
On the state visit of a ruler of the upper threat class Marcel Prawy was prevented by the police from entering his apartment. Protest futile. So he used the remedy that always works immediately in a foreign-friendly city like Vienna: Prawy explains in awkward English that he is an Arab sheikh and must necessarily visit his friend, the president - and he is waved by.
Luckily the Sacher regular had not claimed he was Marcel Prawy. The police would have taken him on suspicion that somebody was imitating his voice familiar to every ORF radio listener in order to get into the Hotel Sacher without authorization.
Finsternis und Friedensbewegte
Apropos: Original. Der Kampf um die Schutzmarke "Sachertorte" beschäftigte bis 1963 die Gerichte der Republik Österreich. Schließlich einigten sich die Wider-Sacher außergerichtlich auf diesen Vergleich: Nur das Hotel Sacher darf die Bezeichnung "Original Sacher-Torte" verwenden, die Wiener Konditorei Demel muss ihr Produkt als "Eduard Sacher-Torte" anbieten.
Anna Sacher hat die finstersten Jahre ihres Hotels nicht mehr erlebt. Als sie 1930 starb, hatte sich Österreich zum beliebtesten Reiseziel der Deutschen entwickelt. 1933 stoppte die Nazi-Regierung diesen Trend mit der so genannten Tausend-Mark-Sperre: Jeder deutsche Staatsbürger musste vor einer Reise nach Österreich eine Gebühr von 1000 Reichsmark zahlen. Die österreichische Tourismus-Branche verlor auf einen Schlag 85 Prozent ihrer deutschen Gäste, zahlreiche Betriebe wurden ruiniert. 1934 meldete auch das Hotel Sacher Konkurs an.
1938 verkündete Adolf Hitler auf dem Wiener Heldenplatz mit pathetisch zitternder Stimme "vor der Geschichte nunmehr den Eintritt meiner Heimat in das Deutsche Reich". - Mehr als 100.000 Österreicher schrien: "Sieg Heil!". An der Fassade des Hotel Sacher flatterte die Hakenkreuzfahne. Ab 1945 wurde Wien ähnlich wie Berlin von den Siegermächten kontrolliert. Amerikaner, Russen, Briten und Franzosen patrouillierten gemeinsam durch Wien und inspirierten damit zu dem Film-Klassiker "Die Vier im Jeep". Künstlerisch und kommerziell beeindruckender in Szene gesetzt wurde allerdings der Penicillin-Schwarzhändler Harry Lime, dargestellt von Orson Welles.
Nein, "Der dritte Mann" spielt nicht im Hotel Sacher. Doch der englische Autor Graham Greene logierte hier, als er für das Film-Drehbuch im zerbombten Wien recherchierte. Die Briten hatten sich im Sacher einquartiert und betrieben dort eine ordentlich sortierte Bar - Gin, Scotch, Irish Whiskey - und ein Restaurant für die gehobenen Dienstgrade.
Beim gemeinsamen Lunch im Sacher lieferte ein britischer Geheimdienst-Mitarbeiter dem Romancier die zündende Idee für eine Film-Kulisse. Ausgerechnet in dieser gepflegten Atmosphäre weckte der Location-Scout bei Graham Greene die Neugier auf das unterirdische Abwasserkanal-System der Stadt. Gleich nach dem Essen besichtigten Greene und sein Informant diese Kloaken-Unterwelt. - Igittigitt. Aber Drehbuch-Honorar stinkt nicht.
20 Jahre später verewigte sich ein weiterer Engländer mit seiner Frieden stiftenden Maßnahme in der Gästechronik des Hotel Sacher. John Lennon und seine frisch angetraute Ehefrau Yoko Ono nutzten 1969 das weltweite Medien-Interesse an ihren Schlafzimmer-Aktivitäten für die Verbreitung ihrer Botschaft: "Give Peace A Chance!"
Das Brautgemach der Eheleute Ono-Lennon war gerammelt voll mit Journalisten, als John und Yoko - versteckt unter weißem Leinen - über die Unfähigkeiten der Politiker, über die geheimen Wünsche der englischen Queen und über andere Weltprobleme schwadronierten. Die meisten Teilnehmer dieser Pressekonferenz in der Sacher-Suite 312 wollten oder konnten den Sinn des Polit-Happenings nicht ernsthaft hinterfragen. Einzig der damalige ORF-Reporter André Heller machte den Eindruck, als könne er John und Yoko respektieren und ihre Message verstehen: "Frieden".
Mit der Supermarkttüte ins Sacher
Was die zwei Friedensapostel da sonst noch im Sacher so trieben, erfuhren die Beatles-Fans ein paar Wochen später durch die Hit-Single "Ballad Of John And Yoko". Bei ihrem "Trip to Vienna" hatten die Hochzeitsreisenden zum Beispiel "chocolate cake in a bag" gegessen. John und Yoko waren also in einen Sack gekrochen und verspeisten darin eine Sachertorte - vielleicht heute noch ein empfehlenswerter Absacker nach einer durchzechten Nacht.
Es muss nicht immer gleich der Weltfrieden sein. Auch im Sacher geht es durchaus eine Nummer kleiner. Einem Leonard Bernstein genügte es zum Beispiel voll und ganz, wenn er sich bei der Ankunft "in seinem Wiener Wohnzimmer" sofort an das Klavier setzen und komponieren oder proben konnte. Hauptsache, dieser Zeitplan wurde penibel eingehalten: Morgens brachten die Möbelpacker sein Instrument - der Komponist der "West Side Story" verreiste niemals ohne eigenes Klavier - in das Bernstein-Zimmer, dann erledigte der Klavierstimmer seine Arbeit, gegen Mittag erschien der Maestro.
Noch so eine Angewohnheit: Als regelmäßiger Gastdirigent der Wiener Philharmoniker buchte Leonard Bernstein bei jedem seiner Besuche in der Welthauptstadt der Musik dieselbe Suite. Der Grund für diese Treue offenbarte sich der Sacher-Direktion erst, als Lenny bei einem seiner Hotel-Aufenthalte sein Lieblingsbild an der Wand vermisste. Kein Problem. Eduard Veits Gemälde "Schwarz und Blond" wurde sofort wieder dorthin gehängt, wo es hingehört.
AC/DC, die Callas, Mireille Matthieu, Comedian Harmonists, Otto Waalkes, die BeeGees und Andi Borg - sie alle übernachteten schon mal im Sacher. Doch der prominenteste Dauer-Hotelgast war kein Musikschaffender, sondern ein professioneller Musikhörer: Marcell Horace Frydman Ritter von Prawy. Oder einfach nur: Marcel Prawy. Bis zu seinem Tod im Jahre 2003 galt er als der österreichische "Opernführer der Nation". Sein Markenzeichen waren die Plastik-Einkaufstüten der Supermarkt-Kette "Billa", in denen er Noten und Aufzeichnungen herumschleppte.
Während der letzten zehn Lebensjahre von Marcel Prawy galt das Hotel mit dem kürzesten Fußweg zum Hintereingang der Wiener Staatoper als seine feste Wohnadresse. Das lässt auf den gehobenem Lifestyle eines Privilegierten schließen, es führt aber durchaus zu Komplikationen - vor allem dann, wenn im Sacher mal wieder ein Staatspräsident absteigt, das komplette Hotel zum Hochsicherheitstrakt erklärt worden ist und gegenüber auf dem Dach der Oper die uniformierten Scharfschützen auf der Lauer liegen.
Beim Staatsbesuch eines Machthabers der oberen Gefährdungsklasse wurde Marcel Prawy von der Polizei daran gehindert, seine Wohnung zu betreten. Protest zwecklos. Also wendete er jenes Mittel an, das in einer fremdenfreundlichen Stadt wie Wien immer sofort wirkt: Prawy erklärt in unbeholfenem Englisch, er sei ein arabischer Scheich und müsse unbedingt seinen Freund, den Präsidenten besuchen - und er wird durch gewunken.
Zum Glück hatte der Sacher-Stammgast nicht behauptet, er sei der Marcel Prawy. Die Polizei hätte ihn garantiert mitgenommen wegen des Verdachts, dass da jemand seine jedem ORF-Radiohörer vertraute Stimme imitiert, um ohne Befugnis hinein zu kommen in das Hotel Sacher.
www.merian.de/europa/oesterreich/wien/artikel/das-hotel-s...