View allAll Photos Tagged overworked
Shaw's Corner, Ayot St. Lawrence, Hertfordshire, England, UK
Shaw's Corner was the home of George Bernard Shaw, Irish writer and dramatist, from 1906 until his death at 94 in 1950. Shaw bequeathed the property, complete with its contents, to the National Trust before his death. This meant that his house, set in magnificent rural tranquillity, has been saved much as it was when the great man was alive.
Built in 1902, Shaw's Corner is located at Ayot Saint Lawrence in Hertfordshire. Bernard and Charlotte Shaw at first rented the house from the Church of England, but bought it outright in 1920 for £6,220
• Charlotte Shaw. Charlotte and Bernard Shaw were married in 1898 when they were both forty-one.
Charlotte, a wealthy Anglo-Irish friend of a friend, had nursed Bernard through an illness brought on by overwork. The marriage was convenient for both parties to preserve social decorum. It has been reported that they did not consummate the marriage, but this did not prevent them being a close, mutually supportive couple.
Bernard Shaw, as he preferred to be known, was a keen amateur photographer, recording his life as well as his friends throughout his life. Here he has captured Charlotte in an uncharacteristic, unkempt moment. The wind has whipped up her hair into a fury that not only obscures part of her face, but also lends an air of anger to the image.
Photographic Information
Taken on 2nd May, 2016 at 1245hrs with a Canon EOS 650D digital still camera, through a Canon EF-S 18-55mm (29-88mm in 35mm terms) ƒ/3.5-5.6 zoom lens with a circular polarising filter, post processed with Adobe Photoshop CS5.
©2016 Tim Pickford-Jones.
Looking Out
Martin Beek:
The paintings, drawings and digital works that form my contribution to this exhibition result from my residency at Camp Walden, Michigan during this summer. With the exception of the Simon’s Wood series of iPad drawings (no. 14), all the work was conceived, painted and drawn in the USA. It has come from a relatively small area of woodland no more than one hundred metres from my cabin studio.
In 2013 I exhibited my ‘plein air’ oils of rural locations in Ipsden and Longworth in a show called ‘The Pace of Nature’. These smaller paintings were a direct response to places that I had come to know well. Each work reflected the changing weather conditions that characterise the British climate; they were about the immediate moment. I did not retouch any of them in the studio.
In Looking Out my approach has slightly altered in that, whilst each work results from many hours’ direct work outside, certain passages and responses to the forest were repainted or reworked under studio conditions as a result of further consideration. This series was also painted as a body of work with several being developed simultaneously, rather than each being a record of a particular day.
Possibly the most difficult thing to do as a painter is not to mimic someone else’s paintings or style. I therefore find that my unique choice of location, which has no immediate association with other artists, is a really helpful move as it gives me a clearer sense of vision. Walden fulfils that for me, as it has done for many years.
This is the first time that I have exhibited in the UK a complete series of American works painted in situ. With the opportunity to spend seven or more hours painting each day, without having to travel any distance, I seem to find I can paint more fluently and the sense of involvement is all the deeper. America during the summer months, with its extreme heat and strong light and shadows, injects a kind of excitement into my work that I don’t often achieve in Britain. I find drawing trees both challenging and rewarding, not at all predictable if one is serious about the task. Here in the heart of the forest new opportunities present themselves. I suppose one of the ‘rules’ of modern painting, if such exist, is to think about the surface and not go for illusionistic tropes. So, as with all my work since 2012, I’ve made it quite specific in its intentions, without labouring or overworking. This results in an effort to create a lively surface.
The paintings are considerably larger than the 150 works of ‘The Pace of Nature’ series. The larger scale involves different approaches, and a lot more physical movement in order to judge the effect of distance and overall optical colour mixtures and relationships.
The acrylic paintings (‘Woodnotes’ I–III) were influenced by my iPad drawings, utilising the possibilities of multiple layers of line and overlapping colour. These works pull away from their motif and are a more personal statement about the forest and capture a fleeting sensation. They are characterised by loose areas of random marks against areas of control, held in the geometry created by the pine trees.
Formally, the works stress verticality and height, looking out and upwards, strong contrasts and spatial division. It was also rewarding to make a number of large charcoal drawings (nos. 11–13) to convey strong areas of light and shade.
Each morning began with an iPad drawing, some of which form Walden Suite (no. 2), a response to the daily variations of light and colour. The iPad drawings echo the Simon’s Wood piece (no. 14) which I began in January 2016 and finished just before my June departure for USA.
Made Explore Nov 3, 2009 #284 - Many thanks for your comments and views
OK, here is the last in this small series of Aimee. Normally a reluctant model, she was dressed up and perfect for a few hours out on Halloween, so I had her full attention for a few minutes. The first image "There will be blood" was the idea and basis for the photographs, there other two are incidentals showing more of the real Aimee's character.
Technical:
Exposure: 0.077 sec (1/13)
Aperture: f/2.8
Focal Length: 70 mm
ISO Speed: 400
Imported into Apple Aperture, shadows balanced, highlights reduced. Exported as a 16bit TIF and imported into CS4. Created an oval layer mask with 250 pixel feather then altered the exposure on this layer to about -2 stops. Second layer with a hand drawn mask to reduce the brightness of the hood and background. Background layer then filtered using Imagenomics Portrait and given medium smoothing on skin tones. Then a further two layers altering the selective focus and fall-off.
Strobist: One 60W Tesco tungten Eddison Screw bulb hanging from a domestic ceiling fitting powered by 240v AC power supply. White reflector (a bit of white card) below and in front of the subject. I think I was wearing Gap jeans at the time.
Styling and makeup: AJ
Clothes: Model's own
Check me out on:
I did this while visiting Dubuque, Iowa earlier in the week. This is from a city park on a bluff looking down on the Mississippi River. The lock and dam spans the river between Iowa and Wisconsin. I felt that this one got away from me. I overworked it. In other words: a failed drawing. I learned a lot in the struggle to try and capture this panoramic view in my largest of Moleskine watercolor book in the hour I had. I'd like to go back before winter sets in and give it another go. (I live close to 2 hours drive away). September 22, 2014
After a long day chasing his brothers and harrassing the fish and lobsters, TJ gets his beauty sleep anywhere he can manage.
Signage at the entrance to Kara Walker's installation at the Domino Sugar Refinery in Williamsburg, Brooklyn
A Stubtlety
or the Marvelous Sugar Baby
An homage to the unpaid and overworked artisans who have refined our sweet tastes from the cane fields to the kitchens of the New World on the occasion of the demoliton of the Domino Sugar Refining Plant
Note: I've started a new blog about photography-related issues; any of my recent Flickr photos that end up being listed as "public" will show up there, and you can find the "non-picture" blog postings here on Tumblr: www.tumblr.com/blog/yourdonphotography.
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On my way back home from the local gym, I often stop at the local Starbucks for a grande skim latté (I'm not even sure what that means, but I've learned to utter the phrase as if it's something I have three times a day) ... and since I've got the Starbucks app on my iPhone, it means that my camera is ready for action, as I wait (forever, it seems!) for the patient, overworked Starbucks guy to do whatever is required to make a latté.
I'm always amazed by how many high school kids stop in here on their way home from school, and also how many people bring along their laptops and notebooks to spend the afternoon working ... or maybe socializing.
Anyway, this is one of the many scenes at the coffee shop. I thought it was pleasant and interesting, and I gave it fourstars on my rating system ... but it wasn't good enough to warrant a five-star "public" upload on Flickr. C'est la vie...
Note: shortly after I uploaded the photo, one of my loyal Flickr friends send me an email to point out that my cropping was terrible; so I've re-cropped it and uploaded a replacement here. Meanwhile, another loyal Flickr friend "faved" the original photo and will hopefully be willing to accept this re-cropped version. In any case, I've now changed the status of the photo, on Flickr, to "public."
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Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.
Stay tuned….
Another beauty among the myriad rose bushes in the Stanley Park Rose Garden -- our noses get overworked checking the flowers for fragrance ... one word of advice - watch out for any bees that might be outraged at this invasion of their happy home!
13th April 2011 (Day 103/365)
Seems like my life at the moment is work, work and work... I've already lost all benefits from the weekend away, and I'm back to my tired and stressed self :( Bring on more holidays!
You can license my work on Getty Images
"Post-apocalyptic vista by Carr Clifton & Galen Rowell, 16K resolution, 8k resolution, detailed landscape painting by Ivan Shishkin, DeviantArt, Flickr, rendered in Enscape" - weight: 0.8
"Beautiful city devoid of life; abandoned buildings, overgrown with wildlife" - weight: 0.8
"Modern metropolis abandoned and devoid of life" - weight: 0.8
"hyperdetailed, hyperrealism, cinematic, filmic; epic in scope and scale" - weight: 0.6
"geometric maximalist chaotic" - weight: 0.3
"Overgrown abandoned city towering over the horizon, covered in vines and moss, and flowers" - weight: 1
"a beautiful hyperdetailed painting of a tranquil river full clear cystal deep blue transparent gurgling water in an autumn dusk, seen from above in the distance" - weight: 0.6
"Francis A. Silva, Jasper Francis Cropsey, Julius Klever; Craig Potton, James Gurney, Harvey Dunn, by Albert Bierstadt and Martin Johnson Heade; Max Rive; Gustav Klimt; Gustave Courbet, Caspar David Friedrich, Ivan Ivanovich Shishkin" - weight: 0.8
"by Thomas Kinkade, Gustave Courbet ,Caspar David Friedrich, Francis A. Silva, Jasper Francis Cropsey, Craig Potton, James Gurney ,Winslow Homer, Edvard Munch, Georgia O’Keeffe, David Hockney, John Constable, Dan Mumford, Rebecca Guay" - weight: 0.8
"8K 3D, 8k resolution, DSLR, Flickr, matte painting, Terragen; photography; landscape; brightly illuminated; water color scheme, serene, tranquil, sunshine rays, deviantart detailed painting" - weight: 0.8
"by Craig Potton, Ferdinand Knab, James Gurney, Harvey Dunn,by Albert Bierstadt and Martin Johnson Heade; Max Rive; Gustav Klimt; fantasy; ethereal; water, water, trees, minimalism" - weight: 0.8
"blur, blurry, bokeh, dirty, eyes, face, figure, hair, human, man, noisy, oversharpened, paint flecks, people, person, scratches, skin, text, too dark, too sharp, unclear, underexposed, undeveloped, watermark, woman" - weight: -1
"cluttered, messy, face, man, people, bokeh, scratches, people, paint flecks, noisy, dirty, unclear, Watermark, text, blurry, blur, noise, undeveloped, paint flecks, too sharp, underexposed" - weight: -1
"scratches, paint flecks, noisy, dirty, unclear, Watermark, Too sharp, oversharpened, too dark, underexposed, "faces, people, person, man, skin, hair, eyes, figure, human" - weight: -1
"scratches, paint flecks, noisy, dirty, unclear, Watermark, Too sharp, oversharpened, too dark, underexposed, "faces, people, person, man, skin, hair, eyes, figure, human" - weight: -1
"scratches, paint flecks, noisy, dirty, unclear, Watermark, Too sharp, oversharpened, too dark, underexposed, "faces, people, person, man, skin, hair, eyes, figure, human" - weight: -1
"Metallic silver and gold; rivers of mercury" - weight: 0.8
"Beautifully composed render" - weight: 0.6
"Beeple, Bastien Lecouffe Deharme, Bernie Wrightson, Gerald Brom, Tom Bagshaw, Pino Daeni, Canaletto, James Gurney and Steven Belledin" - weight: 0.8
"concept art, matte painting;" - weight: 1
"Behance HD; digital matte painting; hyperrealism; Cinema 4D; finalRender; Sketchlab; semirealism; hypermaximalist; Unreal Engine VRAY; Raytrace; 8k resolution; ZBrush Central, hyperdetailed, concept art, 64 megapixels, coherent, bokeh, CGS" - weight: 0.8
"detailed painting, digital illustration, concept art, CGSociety, cinematic, filmic, deviantart, trending on artstation" - weight: 0.8
"nclear, noisy, dirty, watermark, low resolution, fuzzy, grainy, ugly, imbalanced, overworked, undeveloped, scratches, dingy, overexposed, messy" - weight: -1
"Well Composed, Incredibly Detailed Composition, beautifully lit, colorful, bright" - weight: 0.6
"in the style of Studio Ghibli" - weight: 0.4
"polished" - weight: 0.7
"cell-shaded" - weight: 0.4
"amazing depth" - weight: 0.7
"Beautiful shimmering waterscape ; Albert Bierstadt" - weight: 0.3
"Bokeh" - weight: 0.4
Note: I've started a new blog about photography-related issues; any of my recent Flickr photos that end up being listed as "public" will show up there, and you can find the "non-picture" blog postings here on Tumblr: www.tumblr.com/blog/yourdonphotography.
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On my way back home from the local gym, I often stop at the local Starbucks for a grande skim latté (I'm not even sure what that means, but I've learned to utter the phrase as if it's something I have three times a day) ... and since I've got the Starbucks app on my iPhone, it means that my camera is ready for action, as I wait (forever, it seems!) for the patient, overworked Starbucks guy to do whatever is required to make a latté.
I'm always amazed by how many high school kids stop in here on their way home from school, and also how many people bring along their laptops and notebooks to spend the afternoon working ... or maybe socializing
And on this particular day, you can get a sense of just how busy the place is: basically, every seat is occupied. And though you obviously can't tell just by looking at the picture, it turns out that even the restroom (located way in the back, on the right side of the little vestibule you see in the background) was occupied. Noplace to sit, hardly any place to stand. Free wifi, so lots of people seem to spend much of their waking day in this place, perched on stools and looking out the window at the pedestrians (like me) walking past them on Broadway ...
Anyway, this is one of the many scenes at the coffee shop. I thought it was pleasant and interesting, and I gave it four stars on my rating system ... but it wasn't good enough to warrant a five-star "public" upload on Flickr. C'est la vie... Maybe tomorrow there will be people dancing the Macarena on the table-top, or doing something else that warrants a permanent place in the Photography Hall of Fame ...
Note: literally seconds after I had uploaded this photo, one of my loyal Flickr fans "faved" it -- so I've changed its status to "public."
**********************
Whether you’re an amateur or professional photographer, it’s hard to walk around with a modern smartphone in your pocket, and not be tempted to use the built-in camera from time-to-time. Veteran photographers typically sneer at such behavior, and most will tell you that they can instantly recognize an iPhone photo, which they mentally reject as being unworthy of any serious attention.
After using many earlier models of smartphones over the past several years, I was inclined to agree; after all, I always (well, almost always) had a “real” camera in my pocket (or backpack or camera-bag), and it was always capable of taking a much better photographic image than the mediocre, grainy images shot with a camera-phone.
But still … there were a few occasions when I desperately wanted to capture some photo-worthy event taking place right in front of me, and inevitably it turned out to be the times when I did not have the “real” camera with me. Or I did have it, but it was buried somewhere in a bag, and I knew that the “event” would have disappeared by the time I found the “real" camera and turned it on. By contrast, the smart-phone was always in my pocket (along with my keys and my wallet, it’s one of the three things I consciously grab every time I walk out the door). And I often found that I could turn it on, point it at the photographic scene, and take the picture much faster than I could do the same thing with a “traditional” camera.
Meanwhile, smartphone cameras have gotten substantially better in the past few years, from a mechanical/hardware perspective; and the software “intelligence” controlling the camera has become amazingly sophisticated. It’s still not on the same level as a “professional” DSLR camera, but for a large majority of the “average” photographic situations we’re likely to encounter in the unplanned moments of our lives, it’s more and more likely to be “good enough.” The old adage of “the best camera is the one you have with you” is more and more relevant these days. For me, 90% of the success in taking a good photo is simply being in the right place at the right time, being aware that the “photo opportunity” is there, and having a camera — any camera — to take advantage of that opportunity. Only 10% of the time does it matter which camera I’m using, or what technical features I’ve managed to use.
And now, with the recent advent of the iPhone5s, there is one more improvement — which, as far as I can tell, simply does not exist in any of the “professional” cameras. You can take an unlimited number of “burst-mode” shots with the new iPhone, simply by keeping your finger on the shutter button; instead of being limited to just six (as a few of the DSLR cameras currently offer), you can take 10, 20, or even a hundred shots. And then — almost magically — the iPhone will show you which one or two of the large burst of photos was optimally sharp and clear. With a couple of clicks, you can then delete everything else, and retain only the very best one or two from the entire burst.
With that in mind, I’ve begun using my iPhone5s for more and more “everyday” photo situations out on the street. Since I’m typically photographing ordinary, mundane events, even the one or two “optimal” shots that the camera-phone retains might not be worth showing anyone else … so there is still a lot of pruning and editing to be done, and I’m lucky if 10% of those “optimal” shots are good enough to justify uploading to Flickr and sharing with the rest of the world. Still, it’s an enormous benefit to know that my editing work can begin with photos that are more-or-less “technically” adequate, and that I don’t have to waste even a second reviewing dozens of technically-mediocre shots that are fuzzy, or blurred.
Oh, yeah, one other minor benefit of the iPhone5s (and presumably most other current brands of smartphone): it automatically geotags every photo and video, without any special effort on the photographer’s part. Only one of my other big, fat cameras (the Sony Alpha SLT A65) has that feature, and I’ve noticed that almost none of the “new” mirrorless cameras have got a built-in GPS thingy that will perform the geotagging...
I’ve had my iPhone5s for a couple of months now, but I’ve only been using the “burst-mode” photography feature aggressively for the past couple of weeks. As a result, the initial batch of photos that I’m uploading are all taken in the greater-NYC area. But as time goes on, and as my normal travel routine takes me to other parts of the world, I hope to add more and more “everyday” scenes in cities that I might not have the opportunity to photograph in a “serious” way.
Stay tuned….
After a long time of thinking, I'm stopping this crazy 365.
For the past few months I've felt I need time to conceptualize my images, and really try to put myself into my art. This 365 has taught me a lot; a ton about myself, photography, and art in general. I want to explore painting, my pottery class, and enjoy more of life not through a small viewfinder.
It's interesting comparing my first project to this one. I felt I had an okay excuse to not make good pictures everyday. I knew nothing about my camera, photoshop, or really anything about photography. Just that I never wanted to stop. So I did it. I didn't stop for a year and a half. I'm at a loss of ideas, and overworked now. I feel bad for giving up, but I need this.
But thank you everyone for your amazing support and love you've given me. I don't know if I could've even made it this far without all of you.
<3
Despite the limited space, the new police station is packed with all the necessary features for its daily operation. The Command Center for Operation and Response Team (CCORT) stands in the city under sand blue, black and grey major colors, getting rid of the usual bright blue palette.
Giving way to the vehicular entries, the reception is moved to the first floor led by a wide staircase which becomes a welcoming and prominent feature along the street. Above it are the detention section, interview rooms, and one record room.
Going further up will be the main office for the officers, accompanied with pantry and the female restroom. Half of the area is a double volume space to receive more daylight through the big window. There’s also a meeting room which can be used as a war room if needed.
Above them will be the laboratory and equipment room, where evidence can be analyzed and where weapons and tools are stored. There are also the male restroom and one meeting room. Speaking of the restrooms, both of them have shower in case the overworked officers need to take a break.
Finally you will reach the top floor where the director’s office and flight control room are located. One can also reach the rooftop which is an Orca pad. The parking receiver is usually closed, and extends out upon Orca landing. The charging equipment sits on the side. Seldom do we see an Orca here actually since it’s usually parked for charging and equipment check.
Now, VCPD (V City Police Department) has a solid base for daily operations, providing all the services and support to the citizens in the town!
A coolie (alternatively spelled cooli, cooly, quli, koelie, and other such variations), during the 19th and early 20th century, was a term for a locally sourced unskilled labourer hired by a company, mainly from the Indian subcontinent or Southern China.
Today, it is used varyingly as a legal inoffensive word (for example, in India for helpers carrying luggage in railway stations) and also used as a racial slur in Africa for certain people from Asia, particularly in South Africa
ETYMOLOGY
The origins of the word are uncertain but it is thought to have originated from the name of a Gujarati sect (the Kolī, who worked as day labourers) or perhaps from the Tamil word for a payment for work, kuli (கூலி). An alternative etymological explanation is that the word came from the Urdu qulī (क़ुली, قلی), which itself could be from the Turkish word for slave, qul. The word was used in this sense for labourers from India. In 1727, Dr. Engelbert Kämpfer described "coolies" as dock labourers who would unload Dutch merchant ships at Nagasaki in Japan.
The Chinese word 苦力 (pinyin: kǔlì) literally means "bitterly hard (use of) strength", in the Mandarin pronunciation.
HISTORY OF THE COOLIE TRADE
An early trade in Asian labourers is believed to have begun sometime in or around the 16th century. Social and political pressure led to the abolition of the slave trade throughout the British Empire in 1807, with other European nations following suit. Labour-intensive industries, such as cotton and sugar plantations, mines and railway construction, in the colonies were left without a cheap source of manpower. As a consequence, a large scale slavery-like trade in Asian (primarily Indian and Chinese) indentured labourers began in the 1820s to fill this vacuum. Some of these labourers signed contracts based on misleading promises, some were kidnapped and sold into the trade, some were victims of clan violence whose captors sold them to coolie brokers, while others sold themselves to pay off gambling debts. British companies were the first to experiment with this potential new form of cheap labour in 1807, when they imported 200 Chinese men to work in Trinidad.
The coolie trade was often compared to the earlier slave trade and they accomplished very similar things.
Although there are reports of ships for Asian coolies carrying women and children, the great majority of them were men. Finally, regulations were put in place, as early as 1837 by the British authorities in India to safeguard these principles of voluntary, contractual work and safe and sanitary transportation although in practice this rarely occurred especially during examples such as the Pacific Passage or the Guano Pits of Peru. The Chinese government also made efforts to secure the well-being of their nation's workers, with representations being made to relevant governments around the world.
CHINESE COOLIES
Workers from China were mainly transported to work in Peru and Cuba, but they also worked in British colonies such as Jamaica, British Guiana (now Guyana), British Malaya, Trinidad and Tobago, British Honduras (now Belize) and in the Dutch colonies Dutch East Indies and Suriname. The first shipment of Chinese labourers was to the British colony of Trinidad in 1806.
In 1847 two ships from Cuba transported workers to Havana to work in the sugar cane fields from the port of Xiamen, one of the five Chinese treaty ports opened to the British by the Treaty of Nanking in 1842. The trade soon spread to other ports in Guangdong province and demand became particularly strong in Peru for workers in the silver mines and the guano collecting industry. Australia began importing workers in 1848 and the United States began using them in 1865 on the First Transcontinental Railroad construction. These workers were deceived about their terms of employment to a much greater extent than their Indian counterparts, and consequently, there was a much higher level of Chinese emigration during this period.
The trade flourished from 1847 to 1854 without incident, until reports began to surface of the mistreatment of the workers in Cuba and Peru. As the British government had political and legal responsibility for many of the ports involved, including Amoy, the trade was shut down at these places. However, the trade simply shifted to the more accommodating port in the Portuguese enclave of Macau.
Many coolies were first deceived or kidnapped and then kept in barracoons (detention centres) or loading vessels in the ports of departure, as were African slaves. In 1875, British commissioners estimated that approximately eighty percent of the workers had been abducted. Their voyages, which are sometimes called the Pacific Passage, were as inhumane and dangerous as the notorious Middle Passage of the Atlantic slave trade. Mortality was very high. For example, it is estimated that from 1847 to 1859, the average mortality for coolies aboard ships to Cuba was 15.2 percent, and losses among those aboard ships to Peru were 40 percent in the 1850s and 30.44 percent from 1860 to 1863.
They were sold and were taken to work in plantations or mines with very bad living and working conditions. The duration of a contract was typically five to eight years, but many coolies did not live out their term of service because of the hard labour and mistreatment. Those who did live were often forced to remain in servitude beyond the contracted period. The coolies who worked on the sugar plantations in Cuba and in the guano beds of the Chincha Islands (the islands of Hell) of Peru were treated brutally. Seventy-five percent of the Chinese coolies in Cuba died before fulfilling their contracts. More than two-thirds of the Chinese coolies who arrived in Peru between 1849 and 1874 died within the contract period. In 1860 it was calculated that of the 4000 coolies brought to the Chinchas since the trade began, not one had survived.
Because of these unbearable conditions, Chinese coolies often revolted against their Ko-Hung bosses and foreign company bosses at ports of departure, on ships, and in foreign lands. The coolies were put in the same neighbourhoods as Africans and, since most were unable to return to their homeland or have their wives come to the New World, many married African women. The coolies' interracial relationships and marriages with Africans, Europeans and Indigenous peoples, formed some of the modern world's Afro-Asian and Asian Latin American populations.
Chinese immigration to the United States was almost entirely voluntary, but working and social conditions were still harsh. In 1868, the Burlingame Treaty allowed unrestricted Chinese immigration into the country. Within a decade significant levels of anti-Chinese sentiment had built up, stoked by populists such as Denis Kearney with racist slogans - "To an American, death is preferable to life on a par with the Chinese."
Although Chinese workers contributed to the building of the first Transcontinental Railroad in the United States and of the Canadian Pacific Railway in western Canada, Chinese settlement was discouraged after completion of the construction. California's Anti-Coolie Act of 1862 and the federal Chinese Exclusion Act of 1882 contributed to the curtailment of Chinese immigration to the United States.
Notwithstanding such attempts to restrict the influx of cheap labour from China, beginning in the 1870s Chinese workers helped construct a vast network of levees in the Sacramento-San Joaquin River Delta. These levees made thousands of acres of fertile marshlands available for agricultural production.
The 1879 Constitution of the State of California declared that "Asiatic coolieism is a form of human slavery, and is forever prohibited in this State, and all contracts for coolie labour shall be void."
Colonos asiáticos is a Spanish term for coolies. The Spanish colony of Cuba feared slavery uprisings such as those that took place in Haiti and used coolies as a transition between slaves and free labor. They were neither free nor slaves. Indentured Chinese servants also labored in the sugarcane fields of Cuba well after the 1884 abolition of slavery in that country. Two scholars of Chinese labor in Cuba, Juan Pastrana and Juan Perez de la Riva, substantiated horrific conditions of Chinese coolies in Cuba and stated that coolies were slaves in all but name. Denise Helly is one researcher who believes that despite their slave-like treatment, the free and legal status of the Asian laborers in Cuba separated them from slaves. The coolies could challenge their superiors, run away, petition government officials, and rebel according to Rodriguez Pastor and Trazegnies Granda. Once they had fulfilled their contracts the colonos asiáticos integrated into the countries of Peru, The Dominican Republic, Puerto Rico and Cuba. They adopted cultural traditions from the natives and also welcomed in non-Chinese to experience and participate into their own traditions. Before the Cuban Revolution in 1959, Havana had Latin America's largest Chinatown.
In South America, Chinese indentured labourers worked in Peru's silver mines and coastal industries (i.e., guano, sugar, and cotton) from the early 1850s to the mid-1870s; about 100,000 people immigrated as indentured workers. They participated in the War of the Pacific, looting and burning down the haciendas where they worked, after the capture of Lima by the invading Chilean army in January 1880. Some 2000 coolies even joined the Chilean Army in Peru, taking care of the wounded and burying the dead. Others were sent by Chileans to work in the newly conquered nitrate fields.
The Chinese Engineering and Mining Corporation, of which later U.S. president Herbert Hoover was a director, was instrumental in supplying Chinese coolie labour to South African mines from c.1902 to c.1910 at the request of mine owners, who considered such labour cheaper than native African and white labour. The horrendous conditions suffered by the coolie labourers led to questions in the British parliament as recorded in Hansard.
In 1866, the British, French and Chinese governments agreed to mitigate the abuse by requiring all traders to pay for the return of all workers after their contract ended. The employers in the British West Indies declined these conditions, bringing the trade there to an end. Until the trade was finally abolished in 1875, over 150,000 coolies had been sold to Cuba alone, the majority having been shipped from Macau. These labourers endured conditions far worse than those experienced by their Indian counterparts. Even after the 1866 reforms, the scale of abuse and conditions of near slavery did not get any better - if anything they deteriorated. In the early 1870s increased media exposure of the trade led to a public outcry, and the British, as well as the Qing government, put pressure on the Portuguese authorities to bring the trade at Macau to an end; this was ultimately achieved in 1874. By that time, a total of up to half a million Chinese workers had been exported.
The term coolie was also applied to Chinese workers recruited for contracts on cacao plantations in German Samoa. German planters went to great lengths to secure access to their "coolie" labour supply from China. In 1908 a Chinese commissioner, Lin Shu Fen, reported on the cruel treatment of coolie workers on German plantations in the western Samoan Islands. The trade began largely after the establishment of colonial German Samoa in 1900 and lasted until the arrival of New Zealand forces in 1914. More than 2000 Chinese "coolies" were present in the islands in 1914 and most were eventually repatriated by the New Zealand administration.
INDIAN COOLIES
By the 1820s, many Indians were voluntarily enlisting to go abroad for work, in the hopes of a better life. European merchants and businessmen quickly took advantage of this and began recruiting them for work as a cheap source of labour. The British began shipping Indians to colonies around the world, including Mauritius, Fiji, Natal, British East Africa, and British Malaya. The Dutch also shipped workers to labour on the plantations on Suriname and the Dutch East Indies. A system of agents was used to infiltrate the rural villages of India and recruit labourers. They would often deceive the credulous workers about the great opportunities that awaited them for their own material betterment abroad. The Indians primarily came from the Indo-Gangetic Plain, but also from Tamil Nadu and other areas to the south of the country.
Without permission from the British authorities, the French attempted to illegally transport Indian workers to their sugar producing colony, the Reunion Island, from as early as 1826. By 1830, over 3000 labourers had been transported. After this trade was discovered, the French successfully negotiated with the British in 1860 for permission to transport over 6,000 workers annually, on condition that the trade would be suspended if abuses were discovered to be taking place.
The British began to transport Indians to Mauritius in the Indian Ocean, starting in 1829. Slavery had been abolished with the planters receiving two million pounds sterling in compensation for the loss of their slaves. The planters turned to bringing in a large number of indentured labourers from India to work in the sugar cane fields. Between 1834 and 1921, around half a million indentured labourers were present on the island. They worked on sugar estates, factories, in transport and on construction sites.
In 1837, the Raj issued a set of regulations for the trade. The rules provided for each labourer to be personally authorised for transportation by an officer designated by the Government, it limited the length of service to five years subject to voluntary renewal, it made the contractor responsible for returning the worker after the contract elapsed and required the vessels to conform to basic health standards
Despite this, conditions on the ships were often extremely crowded, with rampant disease and malnutrition. The workers were paid a pittance for their labour, and were expected to work in often awful and harsh conditions. Although there were no large scale scandals involving coolie abuse in British colonies, workers often ended up being forced to work, and manipulated in such a way that they became dependent on the plantation owners so that in practice they remained there long after their contracts expired; possibly as little as 10% of the coolies actually returned to their original country of origin. Colonial legislation was also passed to severely limit their freedoms; in Mauritius a compulsory pass system was instituted to enable their movements to be easily tracked. Conditions were much worse in the French colonies of Reunion and Guadeloupe and Martinique, where workers were 'systematically overworked' and abnormally high mortality rates were recorded for those working in the mines.
However, there were also attempts by the British authorities to regulate and mitigate the worst abuses. Workers were regularly checked up on by health inspectors, and they were vetted before transportation to ensure that they were suitably healthy and fit to be able to endure the rigours of labour. Children under the age of 15 were not allowed to be transported from their parents under any circumstances.
The first campaign against the 'coolie' trade in England likened the system of indentured labour to the slavery of the past. In response to this pressure, the labour export was temporarily stopped in 1839 by the authorities when the scale of the abuses became known, but it was soon renewed due to its growing economic importance. A more rigorous regulatory framework was put into place and severe penalties were imposed for infractions in 1842. In that year, almost 35,000 people were shipped to Mauritius.
In 1844, the trade was expanded to the colonies in the West Indies, including Jamaica, Trinidad and Demerara, where the Asian population was soon a major component of the island demographic.
Starting in 1879, many Indians were transported to Fiji to work on the sugar cane plantations. Many of them chose to stay after their term of indenture elapsed and today they number about 40% of the total population. Indian workers were also imported into the Dutch colony of Suriname after the Dutch signed a treaty with the United Kingdom on the recruitment of contract workers in 1870. In Mauritius, the Indian population are now demographically dominant, with Indian festivals being celebrated as national holidays.
This system prevailed until the early twentieth century. Increasing focus on the brutalities and abuses of the trade by the sensationalist media of the time, incited public outrage and lead to the official ending of the coolie trade in 1916 by the British government. By that time tens of thousands of Chinese workers were being used along the Western Front by the allied forces (see Chinese Labour Corps).
SEX RATIOS AND INTERMARRIAGE AMONG COOLIES
A major difference between the Chinese coolie trade and the Indian coolie trade was that the Chinese coolies were all male, while East Indian women (from India) were brought alongside men as coolies. This led to a high rate of Chinese men marrying women of other ethnicities like Indian women and mixed race Creole women. Indian women and children were brought alongside Indian men as coolies while Chinese men made up 99% of Chinese colonies. The contrast with the female to male ratio among Indian and Chinese immigrants has been compared by historians. In Sumatra in the Dutch East Indies just 18,731 Chinese women and 92,985 Chinese men served as coolies on plantations. Chinese women migrated less than Javanese and Indian women as indentured coolies. The number of Chinese women as coolies was "very small" while Chinese men were easily taken into the coolie trade. In Cuba men made up the vast majority of Chinese indentured servants on sugar plantations and in Peru non-Chinese women married the mostly male Chinese coolies.
Chinese women were scarce in every place where Chinese indentured laborers were brought, the migration was dominated by Chinese men. Up to the 1940s men made up the vast majority of the Costa Rican Chinese community. Males made up the majority of the original Chinese community in Mexico and they married Mexican women.
In the early 1900s, the Chinese communities in Manila, Singapore, Mauritius, New Zealand, Victoria in Australia, the United States, and Victoria in British Columbia in Canada were all male dominated.
WIKIPEDIA
“I see men assassinated around me every day. I walk through rooms of the dead, streets of the dead, cities of the dead; men without eyes, men without voices; men with manufactured feelings and standard reactions; men with newspaper brains, television souls and high school ideas."
Part 2 of a series focused on alienation.
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From Wikipedia, the free encyclopedia Type 95 Ha-Gō
Please see also www.flickr.com/photos/appleman64/4334302572/
Place of origin Empire of Japan
Specifications
Weight7,400 kilograms [1]
Length4.38 m [1]
Width2.06 meters [1]
Height2.18 meters [1]
Crew3 [1]
Primary
armamentType 94 37 mm gun
Secondary
armamentType 91 6.5 mm machine gun
or 2 x Type 97 7.7 mm machine gun
EngineMitsubishi NVD 6120 air-cooled diesel
120 hp (89 kW) [1]
SuspensionBell crank
Operational
range250 kilometers
Speed45 km/h (road)
The Type 95 Ha-Gō (九五式軽戦車 ハ号 Kyugoshiki keisensha Ha-Gō?) (also known as the Type 97 Ke-Go) was a light tank used by the Imperial Japanese Army in combat operations of the Second Sino-Japanese War and the Second World War. Although it was very slow for a light tank, it proved sufficient against opposing infantry in campaigns in Manchuria and China, as the Chinese National Revolutionary Army had very few tanks or anti-tank weapons to oppose them. However, the Type 95 lacked the armor or armament of contemporary Allied tanks, and was regarded as obsolete by the start of World War II. More than 2,000 units were produced. [2] It was also used by Imperial Japanese Navy SNLF detachments in Pacific areas during conflict.
History and development
From early 1930s, the Japanese army began experimenting on a mechanized warfare unit combining infantry with tanks. However, the Type 89 Medium tank could not keep pace with the motorized infantry, which could move at 40 km/h by truck. To solve this problem, the Army Technical Bureau proposed a new light tank at 40 km/h speed and started development in 1933. The prototype of the new tank was finished in 1934 at the Army's Sagami Arsenal. It was a high-speed and lightly-armored tank similar to the British cruiser tank or Soviet BT tank. Its code name was "Ha-Gō" (ハ号) designated that it was the "third type" of tank developed.[3]
In 1935, a meeting was held at the Army Technical Bureau, at which time, the Type 95 was presented as a potential main battle tank for mechanized infantry units. The infantry had concerns that the armor was not thick enough for sufficient infantry support; however, the cavalry indicated that the improved speed and armaments compensated for this thin armor. In the end, the infantry agreed, as the Type 95 was still superior to the only available alternative, which was the armored car.
Production was started in 1935 by Mitsubishi Heavy Industries. By 1939, 100 units had been built. Mitsubishi would go on to build a total of 853 in their own factories, with another 1250 units built by the Sagami Arsenal, Hitachi Industries, Niigata Tekkoshō, Kobe Seikoshō, and Kokura Arsenal.[2]
Type 95 Ha-Go tanks in New Britain following the Japanese surrender
Type 95 on display at the United States Army Ordnance Museum, front view
Right side view.
Type 95 at Tarawa
The Type 95 was a major improvement over the Japanese Army's previous light tanks and tankettes, but was soon involved in an intensive program to produce improved variants such as the Manshū model (Type M), the Ha-Gō's direct descendant. Type M was technically identical but developed for use in the Kwantung Army's tank schools in Manchukuo and it was planned to be provided in far more numbers to future Manchukuo Imperial Army armored units and was projected to be manufactured in that country.
Another development was the Type 98 Ke-Ni light tank that entered production in 1942 of which 200 vehicles were built. This derivitative was better armored and carried an armament comprising one Type 100 37 mm gun and two 7.7 mm machine guns.[2]
The Type 95 also served as the basis of the Type 2 Ka-Mi amphibious tank which gave good service in Japan's early campaigns of World War II.
[edit]
Design
The Type 95 was a 7.4-ton vehicle with a complement of 3 crewmen (normally a commander/gunner/loader, mechanic/bow machine gunner, and a driver).
The main armament was one Type 94 37 mm Tank Gun with 37 mm caliber, barrel length of 1.3585 meters (L36.7) (early model), 1.358 meters (L36.7) (late model), el angle of fire -15 to +20 degrees (early model), -15 to +20 degrees (late model), AZ angle of fire of 20 degrees (early model) 20 degrees (late model), muzzle velocity: 600 m/s (early model), 700 m/s (late model), penetration: 45 mm/300 m (early model) 25 mm/500 m (late model) used by the Type 95 Light Tank. The commander was responsible for loading, aiming, and firing the main gun, The Type 95 tank carried two types of ammunition, Type 94 high-explosive and Type 94 armor-piercing.
Secondary armament consisted as two Type 91 6.5mm machine guns, one mounted in the hull and the other in the turret facing to the rear. Trial use in Manchukuo and China confirmed that better armament was desirable and the 6.5mm machine guns were exchanged for more powerful 7.7mm Type 97 light machine guns on the right hand side, for use by the already overworked commander/gunner in 1941. The original Type 94 main gun was also replaced with a Type 98 weapon of the same caliber but with a higher muzzle velocity.
The hand-operated turret was small and extremely cramped for even the one crewman normally located there (the commander), and was only being able to rotate in a 45 degree forward arc, leaving the back to be covered by the rear-facing machine gun which failed to compensate for this significant disadvantage.
The most characteristic feature of the Type 95 tank was its simple suspension system. The tracks were driven through the front sprocket. Two bogie wheels were suspended on a single bell crank with two bell cranks per side. There were two return wheels. The suspension had troubles early on with a tendency to pitch so badly on rough ground that the crew sometimes found it impossible to drive at any speed, and so it was modified with a brace to connect the pairs of bogies. Despite this, the tank continued to give its users a rough ride across any uneven ground, and was provided with an interior layer of asbestos, useful in reducing interior heat and protecting the crew from injury when the tank moved at high speed across rough terrain.[3]
This first production models used one 110 hp (82 kW) Mitsubishi air cooled diesel engine with a top speed of 25 mph (40 km/h). This was the same engine that equipped the Type 89 I-Go medium tank. Later the more powerful engine Mitsubishi NVD 6120 with 120 hp (89.5 kW) was installed.[3] Some Type 95 were fitted with two reflectors in the front of the vehicle for night operations.
[edit]
Variants
Type 95 tank in Bovington tank museum, Dorset
Type 95 on display at the Battery Randolf US Army Museum, Honolulu, top rear view
Type 95 Ha-Go tanks destroyed by an Australian 2 pounder gun in the Battle of Muar
One of six Ha-Go tanks destroyed by an Australian 2 pounder gun in the Battle of Muar. The escaping crew were killed by allied infantry covering the artillery
Type 3 Ke-Ri
This was a proposed model with a Type 97 57 mm gun as the main armament. This design never got past testing in 1943.
Type 4 Ke-Nu
The Type 4 Ke-Nu was intended to address one of the most common complaints about the Type 95 from its users – the cramped turret. The existing Type 95 turret was replaced by the turret of a Type 97 Medium tank for more space. Approximately 100 units were produced.
Type 95 Manshū
The Type 95 Manshū was an operational and training tank derived from and very similar to the Type 95 Ha-Gō. These tanks were detached to Manchukuo and belonged to the instruction unit of the Kwantung Army tank school.
Type 95 "Ta-Se" Anti-Aircraft Tank
An experimental vehicle called "Ta-Se" was built in November 1941, utilizing the chassis of Type 95 Ha-Gō with a 20 mm anti-aircraft gun taken from the Type 98 20 mm anti-aircraft gun. Another version used a Type 2 20 mm anti-aircraft gun. Neither model went into production.
Type 2 Ka-Mi Amphibious Tank
This was the first amphibious tank produced in Japan, and was intended for use by the Navy's SNLF. The pontoons could be detached after landing by a fourth crewman from inside the tank. The chassis was based on the Type 95 Light Tank. The Type 2 Ka-Mi was encountered by the United States Marine Corps in the Marshall Islands and Mariana Islands, particularly on Guam, where it was used in static defense positions.
Type 95 "Ri-Ki" Crane Vehicle
The Type 95 Ri-Ki was an engineering vehicle for field works. It had a 3-ton 4.5 meter boomed crane.
120 mm self-propelled gun "Ho-To"
The Type 95 Ho-To was a Type 38 120 mm howitzer mounted on the Type 95 Ha-Go chassis. The gun was low-velocity but the HEAT shell enabled it to destroy the American M4 Sherman tank. This self-propelled gun was developed along with the Ho-Ru self-propelled gun.
Type 5 Ho-Ru 47 mm self-propelled gun
The Ho-Ru was a light tank destroyer similar to the German Hetzer. The development of the Type 5 Ho-Ru started in February 1945. The Type 5 Ho-Ru utilized the chassis of the Type 95 Light Tank, but its suspension was enlarged to 350 mm track link width. The wheel guide pins were set in two rows to hold a road wheel between them. The sprocket of the driving wheel was the grating type to gear with the wheel guide pins like on the Soviet T-34. It was armed with one 47 mm main gun.
Type 98 Ke-Ni light tank
This final modification was somewhat lighter than the original Type 95, even with its heavier (.62 inch) armor. It entered production in 1942, but only about 200 were manufactured.
[edit]
Combat history
When the Type 95 entered service in 1935 it was a capable machine and comparable to any contemporary light tank in the world. It was the best vehicle of its category available to the Japanese forces in any numbers from the 1930s to World War II, and was used primarily to support infantry or as cavalry reconnaissance and, to a lesser extent, as raiding vehicles. It could compete with the American M3 light tanks on the Philippines, while the British had very few tanks of any type in Malaya or Burma in December 1941. [4]
The Type 95 Ha-Gō proved moderately successful during the early campaigns of late 1941 and early 1942, when Japanese forces overran British Malaya and seized the fortress city of Singapore. One key to the Japanese success in Malaya was the unexpected presence of their tanks in areas where the British did not believe tanks could be used. The wet jungle terrain did not turn out to be an obstacle twelve Type 95s took part in the attack which broke the Jitra line on 11 December 1941.
The first tank-vs-tank battles of the war was on 22 December 1941 during the Japanese invasion of the Philippines. Type 95s of the 4th Tank Regiment clashed with M3s of the American 192nd Tank Battalion. Both tanks were armed with a 37 mm gun, and the M3 was better armored; however, the inexperienced American commanders failed to make good use of their tanks.
Two Type 95 tanks were deployed to support the Japanese landing at Milne Bay, late August 1942. Initially, the tanks proved successful against the lightly armed Australian infantry, whose 'sticky bombs' failed to stick due to the humidity. Although the tanks had proved reliable in the tropical conditions of Malaya, they could not handle the volume of mud caused by intense, almost daily rainfall at Milne Bay. Both tanks were bogged down and abandoned a few days after the landing.
The Type 95 first began to show its vulnerability during later battles against British/Commonwealth forces, where the tank's 37mm gun could not penetrate the armor of the British Matilda tanks which were deployed against them. The thin armor of the Type 95 made it increasingly vulnerable as Allied forces realized that standard infantry weapons were capable of penetrating the minimal armor around the engine block, and even its thickest armor could not withstand anything above rifle caliber. Its firepower was insufficient to take on other tanks such as the medium M4 Sherman or the M3 Stuart light tanks. [4]
As the tide of the war turned against Japan, the Type 95s were increasing expended in banzai charges or were dug-in as pillboxes in static defense positions in the Japanese-occupied islands. During the Battle of Tarawa, seven entrenched Type 95th opposed American landings. More were destroyed on Parry Island and on Eniwetok. On Saipan, Type 95s attacked the American Marine beachhead on 16 June 1944 and more were used in the largest tank battle in the Pacific the following day.
In the Battle of Guam on 21 July, ten Type 95 were lost to bazooka fire or M4 tanks. Seven more were destroyed on Tinian on 24 July, and 15 more on Battle of Peleliu on 15 September. Likewise, in the Philippines, at least ten Type 95s were destroyed in various engagements on Leyte, and another 19 on Luzon. At the Battle of Okinawa, 13 Type 95s and 14 Type 97 Shihoto medium tanks of the 27th Tank Regiment faced 800 American tanks.
When the war ended hundreds of Type 95s were left in China. They were used during the Chinese Civil War and by the People's Liberation Army of the People's Republic of China during the Korean War.
Watercolour 5" x 9" on Bockingford 200lb paper.
SOLD
There's much wrong with this piece, it's overworked and too much played-about with........ I've taken the paper as far as it'll go, working it any more would really not be a good Idea.....
Yet I'm loathe to dump it, as I feel it has one or two redeeming qualities...
oil pastel on paper
I drew these rather spontaneous sketches for "The Lucien Freud Tribute Group" here on Flickr, I rather left them as they came out as I did not wish to overwork them, I based each portrait on a number of his own self portraits and some photographs.
A great artist who proved that figurative art and oil painting is far from dead in the late C20 and early C21. His consistent application and devotion to his craft and his vision will not be forgotten, long after Mr Hirst et al have long been consigned to the lower basement of Tate Modern. His was an austere and penetrating look at the corporeal universe and how men and women in their naked and vulnerable state are still the prime concern and focus of the activity we call art. I admire Freud for his toil and his devotion to his art to the very end, he did indeed get better as the years advanced. The late paintings heavily crusted surfaces are drenched with that insight and understanding that only the years can bring. I hope many artists will look at his work in total over the coming years, take note and learn. He was a heroic figure, and there are so few left now who can be counted alongside the greats of British art's hall of fame, for me he is a worthy equal to Reynolds, Constable, Sickert, Milliais and Lawrence.
被打傷等死的勞工
400 online for help netizens father scolded the 21 century there was "Kamaiya" Henan Provincial Public Security Department requested the Ministry of Public Security interprovincial rescue their children is unfortunately sold to traffickers fraud Shanxi black kiln hard labor, they go bankrupt, risking his life repeatedly to sneak into the depths of the mountain to look for their children. Two months, they have rescued 40 people, gain some valuable clues. When they can find relevant departments encounter is shifting! More than 400 alleged father of despair on the Internet a joint letter sent out a distress call -- "the children were sold Shanxi black father brick kiln 400 blood hue, "The Wandering Aspects, which reads only six days Click on the rate of more than 580,000, barred as high as more than 3,000 articles. According to media reports, in Shanxi black gangs in the brick kiln child at least 1000. "And yesterday, and is" World No Child Labor Day. " Brick kiln "blacks" live in miserable world on June 5. rivers emergence of a forum entitled -- "evil" black "road! Shanxi children were sold black brick kiln father ruled 400 SOS "message, the message to 400 Henan father tone of statements : their children most of the Zhengzhou Railway Station, Bus Terminal, overpasses, the side of the road and other places by traffickers or lured or forcibly pushed into cars, 500 yuan to the price sold to a black brick kiln Shanxi hard labor, Shanxi Linfen City, Yongji City is a kiln in more concentrated areas. Lane posted a message describing the recent success of a rescue process, scenes moves people to tears -- "We were the immediate scene was shocked : In these hands and feet. hair looks like a savage, like the middle child, and some of them have a full and isolated from the outside world for seven years. Some attempted to escape being beaten maimed; Some children were supervision with a hot baked bricks put back in the bloody (who was rescued in the hospital for treatment several months have not healed) . Every day they work 14 hours or more, do not let enough to eat, sometimes due to overwork. slightly slow supervision will be readily picked up bricks; they completely wrecked badly beaten, and then casually picked up a rag wrapped by a short, continue to work, As scuffles, sticks sons is a common occurrence, even worse, Some children were seriously wounded hitter is not given treatment, or if not self-healing injury worsened, dying streak and the foreman who cheated kiln owners put the convict buried alive. These kids do not have as long a bath covered with psoriasis like dandruff, while the youngest is only 8 years old, 8-year-old children in order to pay for a meal is so obedient and every day with adult stem unbearable heavy work. They were restricted to personal liberty, all-weather, a supervisor or thugs patrol post. "As assigned fathers only possible to rescue the 40 children in Henan membership," to those from Hubei, Sichuan and other provinces in children, we are unable to change their fate and guilt. " As these black brick kiln in the depths of the mountain. plus kiln owners "informed sources", resulting in up to rescue even more difficult. "We are chilling, Rural police station is not only ignored, but also tried every means to obstruct difficulties we have removed rescue children and the main right in the kiln, we are threatening sit idly by. "Message, said that, after the efforts, a public security authorities of the village police station for urging township police station finally stand : "Children are lost in Henan, forced labor is the main kiln Henan, you should report back to Henan, Henan police as long as they come forward, we will cooperate fully. "At present, trafficking of children, one of the suspects put all this because of trafficking of people to have been maimed and wounded Shanxi Police criminal detention, but because of "insufficient evidence" not on file. Netizen denouncing the 21st century "slave factories" and "evil" black "road! children Shanxi son was selling black brick kiln 400 blood hue father "was issued after a strong reaction, as at June 12, The tie-line rivers hits more than 310,000, and in June 7 by Renmin Aspects of the World, after just six days. The note is received by 58 million hits and more than 3,000 articles barred. Wandering in the thousands of censors, Netizen almost all expressed the same position -- "angry." Netizen "LQL8866" said : "shocked ah, in the 21st century today even have such a thing, if it is true, recommend to the Central thorough investigation must strike hard! "A number of netizens and directly aimed at this" Kamaiya "nothing, and the black brick kiln is more contemporary, "his master Manor." Henan city channels reported details of a number of netizens to be mentioned : a kiln for the black children of parents found that a child of his own fellow and wanted him away, Results of the local police station said that the child kiln spent to buy hundreds of pieces, as long as you find your own children, an act not being nosy . Netizen "three crazy Z", said : "the local black brick kiln was so frenzied, and the attitude of the police should have a direct relationship They certainly have ulterior between the transaction! "" local police black coal mines have become the main center for a specialty private armed! "Netizens" sophie "claiming" to the government as the prosecution. " Meanwhile, Dementia Netizen many more calls for "collective and more people, the use of force enough black coal mines." In a condemnation of the sound, have rational netizens called for "no negative treatment", also issued establishment of a "civil rescue alliance." "Black children kiln rescue team" has to a greater scope to support assistance, as soon as the rescue in Shanxi and other places and brick market was imprisoned persecution of children and other workers. Henan 1,000 parents find son on TV now, Many social responsibility of the media began to common concern in Shanxi, Henan caught in the minors kiln workers, the network of waterways, Network operators are "evil black road" open forum have three days more than 30,000 netizens participate in the discussion. Baidu search using "evil black road" entries, have more than 138,000 entries. All the major media and Internet portals have also concern over developments. According to the understanding, Henan minors were abducted to Shanxi black gangs in the kiln in fact, the province has attracted the provincial party committee and government attach great importance to it. According to a city in Henan TV channel reported : From May 9 the reporter received minor missing the first clues to the beginning of the news, in one month's time, Xinhua three kiln in north China's Shanxi Province, made the black, as at June 11 evening, a total of Henan TV broadcast a 21 programs, on the parents of 1,000 children to the cities in search sub-channels. To rescue the "black kiln" "Black mine" forced labor workers, June 9, Zhengzhou, the police carried out a month-long fight against the abduction, Labor force others to the special action, and a "suspected by the city against the missing personnel information systems." the same day, Public Security Bureau in Henan province have also decided to fight against the "abduction of others forced labor" of the special action, across the province began sounding out of the police station, registration area missing information, the police departments for the illegal detention, intentional injury, forced labor, child labor, and other criminal acts will be punished. Zhengzhou Railway Station on illegal and rampant crime areas in special investigations. Henan Provincial Public Security Department has "forced Shanxi black kiln Minors do kiln workers "criminal acts, emergency reported the Ministry of Public Security, Ministry of Public Security urged request Shanxi Police checked black kiln. In Shanxi, Henan rescue kiln enslaved black children. Labor supervision departments for child reselling city in Henan TV Channel reporter FU China Shanxi three times in succession to the interview witness the success of these fathers were rescued more than 40 children crashed through. June 8 afternoon, FU He Went Reuters.uk answered questions from online readers. FU said, he gave three interviews to Shanxi, once ran large and small mill. Yuncheng in Shanxi Jincheng area and, in particular mill, At least 1,000 more. Shanxi because of the small population, the shortage of workers, many mill owners in illegal recruitment, traffickers from the hands of intermediaries and black kiln workers bought into "the black." "We went to these black mill, are subject to local government protection. "In the process of rescuing the children, the local police allowed the parties to rescue the children, That is only the parents personally to be able to take away their children. FU said the rescue process, The biggest obstacle is that local law enforcement agencies do not match. even breakers. He spoke of Yongji City in Shanxi rescue Shuanhui Pingdingshan juvenile cases "Let us unexpected, Zhu Guanghui was rescued from a mill, Also by the local labor supervision departments and reselling to another mill. Mr surname and a labor inspection team also Shuanhui were rescued when the replacement of 300 yuan salary put into their own pockets " . "For me the biggest shock of an interview, in Wanrong County, Shanxi interviewed black mill of child labor. The youngest child here was only 8 years old, the greatest 13-year-old. These should be sitting in the classroom primary school children, but the adults have to do this and do want to do physical work. Most of these children are abducted and sold to black gangs in the mill. Or because of poverty, hard labor with the contractors out. But whether it is forced or coerced by the life, it gives me an anxiety suffering. I can not afford for their children to rescue these distressing. "FU said," As far as we know, in Shanxi black gangs in the mill children at least 1000. "
Where you're supposed to go with two hands
I could have been somewhere in between When I'm breaking my back and I'm on my knees
-THE TING TINGS
Great Whipsnade Railway's Kerr Stuart 0.4.2ST 'Excelsior' leaves Whipsnade Central with the 3 o'clock trip around the park. The locomotive is in excellent condition, although hardly overworked!
Nike Free 7.0 - Personal product shots.
After church today, my wife & I went to buy a pair of cross-trainers for my knee rehab for the next 6-8 months. All my other sneakers are either basketball or badminton specific.
The people in the mall and in the store wer amused to see me limping around with a cane. I think I overworked my knee as it is very swollen and painful all the way to my ankle =( Sigh....
Ephesians 6: 14-15
14 Stand therefore, having girded your waist with truth, having put on the breastplate of righteousness, 15 and having shod your feet with the preparation of the gospel of peace; 16 above all, taking the shield of faith with which you will be able to quench all the fiery darts of the wicked one.
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I got burned so many times in life just by being nice… I’ve made so many mistakes… I wasted so much time… My fav Coco Chanel said: “There is a time for work and a time for love. That leaves no other time.” I want this to become my mantra starting next year, not starting now! Everything else gotta go! I’m fed up! I love way too many things to let things that don’t make me happy or don’t love back (mutually) stay. Gotta go! Gotta go!!! I was busy for decades working and overworking and now having some time and less pressure I woke up and thought to myself: “wait a second, I’m fed up, this is shit!” Life is short, life is good I will not tolerate anything or anyone who or what makes me feel miserable or unappreciated in any way.
I spend so much of my time creating paperwork, this photo is in honour of those of us who are being crushed by bureaucracy with no hope of rescue.
Had this in my head for a while, not sure it's come out quite right but it'll do (plus I'm not sure Leigh is going to put up with being buried in paper again!).
Cropped to adjust composition
Painting flowers on Saunders Waterford watercolor block. I cropped the final painting to adjust the composition a little. This was done when Madhu Kumar and I was escaping the rain. Both of us were attempting to paint fake flowers in front of a shop front but we did not finished what we have started.I wasn’t happy with the results so I painted over and added more paints back in the studio. Then finally lifting out the paint from some areas. I find it easier to work from home then on location because I have the comfort of using a table or easel. On location, I would be collecting as much information as possible but would not struggle to complete the painting on the spot.
Interestingly, both Madhu and myself lament to each other that the greatest hindrance while painting in a sitting position is our pot belly. More so when we need to bend down to reach for our palette and wash pot. My back hurts subsequently.
The paper was able to take lots abuse as I was painting and lifting and painting again. This was a good test to know the extend of how much I can overwork the paper. I did not even stretch the paper but it dried without warping.
out on the streets
"bio psycho typo" and
"throw away comments"
written in the dirt / subttle
written on vans etc
vans drive round exhibitting the comments
get it seen / temporarly
gets washed off
gone
end of
anhedonia
In psychology and psychiatry, anhedonia (< Greek ἀν- an-, "without" + ἡδονή hēdonē, "pleasure") is an inability to experience pleasurable emotions from normally pleasurable life events such as eating, exercise, social interaction or sexual activities.
Anhedonia is seen in the mood disorders schizophrenia, schizoaffective disorder, schizoid personality disorder and other mental disorders.
Researchers theorize that anhedonia may result from the breakdown in the brain's reward system, involving dopamine pathways. Two 2005 studies by Paul Keedwell MD of King's College found that certain sections of the brain in depressed subjects had to work harder to process happy thoughts.
Anhedonia is often experienced by drug addicts following withdrawal; in particular, stimulants like cocaine and amphetamines cause anhedonia and depression by depleting dopamine and other important neurotransmitters. Very long-term addicts are sometimes said to suffer a permanent physical breakdown of their pleasure pathways, leading to anhedonia on a permanent or semi-permanent basis due to the extended overworking of the neural pleasure pathways during active addiction, particularly as regards to cocaine and methamphetamine. In this circumstance, activities still may be pleasurable, but can never be as pleasurable to people who have experienced the comparatively extreme pleasure of the drug experience. The result is apathy towards healthy routines by the addict.
Anhedonia may also be an effect of prolonged fatigue.
Significance in depression
As a clinical symptom in depression, anhedonia rates highly in making a diagnosis of this disorder. The DSM describes a "lack of interest or pleasure" but these can be hard to tell apart given that people become less interested in things which do not give them pleasure. The DSM criterion of weight loss is probably related to it and many depressed people with this symptom describe a lack of enjoyment of food.
Two weeks since we lost our costumes. I've been outside, but I feel like I haven't seen the sun in days. We still go to school, but everything from the night before pretty much drains us. Study hall is the only time we get to catch up on sleep. And when the final bell rings, we don't get some spare time, or see our friends. We just head straight back to the cave for more of Bruce's training...or torture. Tim told me once that his training to become Robin was pretty nasty. I asked him about it again, and he said this was far worse. Everything is sore, I'm always tired, and I'm starting to wonder if this is even worth it anymore. Some of the stuff Bruce has us doing could easily kill us, like the rock pillar hoping he's making us do right now. The worst thing for me, though? I haven't seen Jackie at all these past two weeks. Bruce said he'd handle him, but...what? What's he doing with him? Why can't we just see him? Is he even okay? I gotta know... luckily the end is right there. I can stop looking down, finally. Never liked heights, ironically... wait, what's that noise? Who's coughing?
"Tim!!"
"*coughcough*...I'm alright...I can...*cough*"
"Aw, Tim...Just relax, you're too exhausted..."
"Something wrong here?"
"Bruce? Where did you?...can we take a break or something? Tim can hardly stand. And I'm really sore..."
"Is this too hard for you? Can't take a little work? Get up and keep going. You've got 20 minutes left."
"Bruce, this is insane! Tim can hardly breathe he's so overworked! And where's Jackie? I wanna see him..."
"This is insane? Do you know how the Spartans trained their soldiers?"
"N-no..."
"They started training much younger than you. 7-9 years old. Trained to be efficient war machines from then on. One "exercise" of endurance involved taking two trainees and tying them to pillars. A trainer would whip both of them until one passed out from the pain, while family members watched, yelling at them to stay conscious. Wanna know what the loser received?"
"Bruce..."
"Fine. You both get an hour. Make it count."
"Thank you..."
"And Steph, stop worrying about Jackie. I can assure you he's fine with me..."
Booker Taliaferro Washington (April 5, 1856 – November 15, 1915) was an African American political leader, educator and author. He was one of the dominant figures in African American history from 1890 to 1915.
He was born into slavery at the community of Hale's Ford in Franklin County, Virginia. As a young man he made his way east from West Virginia to obtain schooling at Hampton in eastern Virginia at a school established to train teachers. In his later years, Dr. Washington became a leading educator and was a prominent and popular spokesperson for African American citizens of the United States in the late 19th and early 20th century. Although labeled by some activists as an "accommodator", his work cooperating with white people and enlisting the support of wealthy philanthropists helped raise funds to establish and operate dozens of small community schools and institutions of higher education for the betterment of black persons throughout the south.
Within the context of the times he did much to improve the friendship and working relationship between the races.
I will let no man drag me down so low as to make me hate him.
During Reconstruction, after he was freed by the Emancipation Proclamation, Washington worked with his mother Jane as a salt-packer in a West Virginia facility, and, when he could, attended school. At 16, Washington worked odd jobs to make his way across Virginia to reach Elizabeth City County near Hampton Roads where he enrolled at the Hampton Normal and Agricultural Institute (now Hampton University), in Hampton, Virginia. It was a school founded for the purpose of training black teachers and had been funded by individuals such as William Jackson Palmer, a Quaker, among others. From 1878 to 1879 he attended Wayland Seminary in Washington, D.C.
In 1881 Booker T. Washington founded and became the first principal of the Normal School in Tuskegee, Alabama. It later developed into the Tuskegee Institute and Tuskegee University. Still an important center for African-American learning, the Institute was created to embody and enable the goals of self-reliance. He wed Olivia A. Davidson, his second wife, in 1885. She was a Hampton graduate and the assistant principal of Tuskegee. They had two sons, Booker T. Washington Jr. and Ernest Davidson Washington before she died in 1889. His third marriage took place in 1893 to Margaret James Murray who died in 1925.
Active in politics, Booker T. Washington was routinely consulted by Congressmen and Presidents about the appointment of African Americans to political positions. He worked and socialized with many white politicians and notables. He argued that self-reliance was the key to improved conditions for African Americans in the United States and that they could not expect too much having only just been granted emancipation.
His 1895 "Separate as the fingers" speech given at the Cotton States and International Exposition, Atlanta, Georgia sparked a controversy wherein he was cast as an accommodationist among those who heeded Frederick Douglass' call to "Agitate, Agitate, Agitate" for social change. A public debate soon began between those such as Washington, who valued the so-called "industrial" education and those who, like W. E. B. DuBois, supported the idea of a "classical" education among African Americans. Both sides sought to define the best means to improve the conditions of the post-antebellum African American community. Washington's advice to African Americans to "compromise" and accept segregation, incensed other activists of the time, such as DuBois, who labeled him "The Great Accommodator". It should be noted, however, that despite not condemning Jim Crow laws and the inhumanity of lynching publicly, Washington privately contributed funds for legal challenges against segregation and disfranchisement (see Giles v. Harris (1903)). Although early in DuBois' career the two were friends and respected each other considerably, their political views diverged to the extent that after Washington's death, DuBois stated "In stern justice, we must lay on the soul of this man a heavy responsibility for the consummation of Negro disfranchisement, the decline of the Negro college and public school, and the firmer establishment of color caste in this land."
Henry H. Rogers 1840-1909Around 1894, Dr. Washington developed a friendship with millionaire industrialist and financier Henry Huttleston Rogers. The latter had attended one of his speeches in New York City, and had been surprised that no one had "passed the hat" afterwards. Rogers had risen from a working-class family in a small town to become a partner of John D. Rockefeller's Standard Oil Trust. With additional interests in natural gas, copper, mining, and railroads, Rogers was one of the wealthiest men in the world.
Despite his great wealth, and widespread reputation for tough business dealings, Rogers was apparently both a modest and generous man. Dr. Washington became a frequent visitor to Rogers' office, to his family's 85-room mansion in Fairhaven, Massachusetts, and was an honored guest aboard Rogers' yacht Kanawha. Their friendship extended over a period of 15 years, during which time Rogers quietly financially supported and encouraged Washington in his work.
Handbill from 1909 Tour of southern Virginia and West VirginiaAmong many other enterprises, Rogers was the builder of the Virginian Railway, completed in 1909. Although Rogers had died suddenly a few weeks earlier, Dr. Washington went on a previously arranged speaking tour in June, 1909 along the route of the new railroad which was built to transport bituminous coal from the mountains of West Virginia to port at Sewell's Point on Hampton Roads.
Dr. Washington rode in Rogers' personal rail car, "Dixie", making speeches at many locations over a 7-day period. He told his audiences that his recently departed friend, Henry Rogers, who was held in their esteem for having financed the railroad from his personal fortune, had urged him to make the trip and see what could be done to improve relations between the races and economic conditions for African Americans along the route of the new railway, which touched many previously isolated communities in the southern portions of Virginia and West Virginia.
Some of the places where Dr. Washington spoke on the tour were (in order of the tour stops), Newport News, Norfolk, Suffolk, Lawrenceville, Kenbridge, Victoria, Charlotte Courthouse, Roanoke, Salem, and Christiansburg in Virginia, and Princeton, Mullens, Page and Deepwater in West Virginia. One of his trip companions reported that they had received a strong and favorable welcome from both white and African American citizens all along the tour route.
It was only after the multi-millionaire's death that Dr. Washington said he felt compelled to reveal publicly some of the extent of Henry Rogers' contributions for his causes. The funds, he said, were at that very time, paying for the operation of at least 65 small country schools for the education and betterment of African Americans in Virginia and other portions of the South, all unknown to the recipients. Known only to a few trustees, Rogers had also generously provided support to institutions of higher education.
Dr. Washington later wrote that Henry Rogers had encouraged projects with at least partial matching funds, as that way, two ends were accomplished:
1. The gifts would help fund even greater work.
2. Recipients would have a stake in knowing that they were helping themselves through their own hard work and sacrifice.
In an effort to inspire the "commercial, agricultural, educational, and industrial advancement" of African Americans, Booker T. Washington founded the National Negro Business League (NNBL) in 1900.
Booker T. Washington's coffin was being carried to grave site when his autobiography, Up From Slavery, was published in 1901, it became a bestseller and was one of the major influences to Marcus Garvey in the founding of the UNIA in Jamaica. He was also the first African-American ever invited to the White House as the guest of a President – which led to a scandal for the inviting President, Theodore Roosevelt.
"Think about it: We went into slavery pagans; we came out Christians. We went into slavery pieces of property; we came out American citizens. We went into slavery with chains clanking about our wrists; we came out with the American ballot in our hands... Notwithstanding the cruelty and moral wrong of slavery, we are in a stronger and more hopeful condition, materially, intellectually, morally, and religiously, than is true of an equal number of black people in any other portion of the globe." – from Up From Slavery
Washington finally collapsed in Tuskegee, Alabama due to a lifetime of overwork and died soon after in a hospital, on November 14, 1915.
For his contributions to American society, Dr. Washington was granted honorary degrees from Harvard University in 1896 and Dartmouth College. On April 5, 1956, the house where he was born in Hardy, Virginia was designated a United States National Monument. Additionally, the first coin to feature an African-American was the Booker T. Washington Memorial Half Dollar that was minted by the United States Mint from 1946 to 1951. On April 7, 1940, Dr. Washington became the first African American to be depicted on a United States postage stamp. Numerous schools across the country are named for him, including the Dallas Independent School District's Booker T. Washington High School for the Performing and Visual Arts and Booker T. Washington Magnet High School in Montgomery, Alabama where the choir there is outstanding.
French postcard by J.R.P.R., Paris, no. 18. Photo: G.L. Manuel Frères. See also www.flickr.com/photos/truusbobjantoo/34305366386
Jenny Golder, originally Rosie Sloman, was born in 1894 in Kyneton, Victoria, Australia. Her father was a jack of all trades: theatre director, magician, bookmaker, etc., while her mother's name was Golder. In the late 19th century they moved to Britain and lived in Brighton. In the 1920s under the name of Jenny Golder, Rosie Sloman became a popular vaudeville vedette first in London and Brussels, but eventually, it was in Paris she had her biggest triumphs. She appeared in many revues with American dancer Harry Pilcer, the former dance partner of Gaby Deslys. In 1925 she had her greatest success with the Folies Bergères revue at the London Palladium. However, in 1928 she committed suicide in her villa in Vesinet by shooting herself. Some say she was overworked, others speculate that after an operation on her leg she was afraid she couldn't act anymore. As far is known, Golder didn't act in a film.
Sources: www.histoire-vesinet.org/jenny-golder.htm, www.npg.org.uk/collections/search/person/mp64276/jenny-go....
French postcard by Edition Ross, no. 4340/1, 1929-1930. Photo: Paramount. Clara Bow and Richard Arlen in Ladies of the Mob (William A. Wellman, 1928).
American actress Clara Bow (1905-1965) rose to stardom as an uninhibited flapper in silent films during the 1920s. Her appearance as a plucky shopgirl in the film It (1927) brought her global fame and the nickname 'The It Girl'. Bow came to personify the Roaring Twenties and is described as its leading sex symbol.
Clara Gordon Bow was born in a run-down tenement in old Brooklyn in 1905 and was raised in poverty and violence. Her often absentee and brutish father, Robert Bow, who hailed from a large and once well-off family of Scottish and English descent, could not or did not provide. Her schizophrenic mother, the former Sarah Gordon, tried to slit Clara's throat when the girl spoke of becoming an actress. Bow, nonetheless, won a national photo beauty contest, "The Fame and Fortune Contest". Girls from all over the country competed, and the 1st Prize was a part in a movie. Bow showed up in ragged clothes and the other girls smirked at her. The contest judges paid no attention until she did her screen test - and then they unanimously chose her over all the other girls. Bow lit up the screen and got the part but it was later cut from the movie. Clara was taken to Hollywood by independent producer B.P. Schulberg, who used her sexually and financially. She would eventually star in 58 films, from 1922 to 1933. Schulberg billed her as "The Hottest Jazz Baby in Films" for The Plastic Age (Wesley Ruggles, 1925). Her other silent films included hits such as Mantrap (Victor Fleming, 1926), It (Clarence Badger, 1927), and Wings (William A. Wellman, 1927) with Charles 'Buddy' Rogers, Richard Arlen, and Gary Cooper. Denny Jackson at IMDb: "The movie It (1927) defined her career. The film starred Clara as a shopgirl who was asked out by the store's owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her friend trying hard to assist her. She used a pair of scissors to modify her dress to try to look "sexier." The movie did much to change society's mores as there were only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. In the film, she presented worldly wisdom that somehow sex meant having a good time. But the movie shouldn't mislead the viewer, because when her boss tries to kiss her goodnight, she slaps him."
Clara Bow was named first box-office draw in 1928 and 1929 and second box-office draw in 1927 and 1930. Her presence in a motion picture was said to have ensured investors, by odds of almost 2-to-1, a 'safe return". Maeve at IMDb: "She could flirt with the camera just by looking into it with her big brown eyes and mischievous bow-tie grin. She exuded sex appeal from every pore in her little body and was not afraid to flaunt it. She personified "flaming youth in rebellion". Her characters were always working-class gals; manicurists, showgirls, and the like. Her movies reportedly emancipated many young people from the restrictive morals of their parents. " At the apex of her stardom, she received more than 45,000 fan letters in a single month (January 1929). Also, she was probably the most overworked and underpaid star in the industry. With the coming of sound, her popularity waned. Clara was also involved in several court battles ranging from unpaid taxes to "stealing" women's husbands. She had very public affairs (her euphemism was "engagements") with a score of leading men and directors, including Victor Fleming, Gary Cooper, and Gilbert Roland. Her secretary and best friend, Daisy de Voe, was caught embezzling from her. Nasty rumors about her sexuality floated around the movie colony, including one about her taking on the entire USC Football Team one night, which was finally disproved by a biographer, David Stenn. When Bow took de Voe to court, the secretary told the court about and the press reported uncensored details of Bow's sex life, much of which was exaggerated. After the court trials, Bow made a couple of attempts to get back in the public eye. One was Call Her Savage (John Francis Dillon, 1932), somewhat of a failure at the box office. In 1932, she married cowboy star Rex Bell and two years later, Bow retired from acting and became a rancher in Nevada. Her final film was Hoop-La (Frank Lloyd, 1933). She doted on her two sons, actor Rex Bell Jr. (b. 1934) and George Robert (b. 1938), and did everything to please them. Haunted by a weight problem and a mental imbalance, she never re-entered show business. She was confined to sanitariums from time to time and prohibited access to her beloved sons. In 1965, Bow died of a heart attack in West Los Angeles at the age of 60.
Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Manchester City Police’s PC Joseph Jones stands a lonely turn of point duty on one of the city’s roads sometime in the 1930s.
Point duty was the practice of a police officer controlling traffic on the busiest road junctions during times of peak traffic.
Perhaps it was a very quiet day, but PC Jones doesn’t appear to be overworked with keeping the traffic flowing. In fact, he seems so engrossed in the fact that he was having his photograph taken that he appears not to have noticed the tram heading in his direction.
We have no reason to believe that a mishap followed moments later and the photographer left us with a wonderfully nostalgic glimpse of a moment in time.
From the collection of the Greater Manchester Police Museum and Archive.
For more information please follow Greater Manchester Police Museum and Archives.
To find out more about Greater Manchester Police please visit our website.
You should call 101, the new national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Holga 120N
Kodak Ektar 100 Film
A trig point on a grassy hill at Ormond Beach, a southern bayside suburb in Melbourne.
I have processed this image through photoshop primarily to develop my PS skills.
I initially made three scans of the single negative at different exposure/tone levels, and then combined them as layers in PS. Kind of an analogue equivalent to multi-RAW processing.
I've never been into overworking an image too much, but after reading a recent 'how-to' book ('Creative B&W: Digital Photography Tips & Techniques' by Harold Davis - highly recommended), I've come to a deeper understanding of how important these skills are in arriving at a better image.
Having said that, I still feel uncomfortable trying to milk a tonal range out of a Holga!
Also, there's a certain purity or honesty in producing an unadulterated image.
As Niko says,"good for the soul".
Check out his pinhole work: incredible.
I'm aware there are legitimate arguments on either end of the spectrum, and of course everything in between. But more importantly, there's no right or wrong in my view.
Week 8 in 52 Weeks for Not Dogs
These are very good!
Vanilla and Almond Cupcakes with White Chocolate Frosting
Ingredients
Cakes
•150ml pot natural yogurt
•3 eggs, beaten
•1 tsp vanilla extract
•175g golden caster sugar
•140g self-raising flour
•1 tsp baking powder
•100g ground almonds
•175g unsalted butter , melted
Frosting
•100g white chocolate
•140g unsalted butter
•140g icing sugar, sifted
1.Line a 12-hole muffin tin with paper cases and heat oven to 190C/fan 170C/gas 5. In a jug, mix the yogurt, eggs and vanilla extract. Put the dry ingredients, plus a pinch of salt, into a large bowl and make a well in the middle.
2.Add the yogurty mix and melted butter, and quickly fold in with a spatula or metal spoon - don't overwork it. Spoon into the cases and bake for 18-20 mins or until golden, risen and springy to the touch. Cool for a few mins, then lift the cakes onto a wire rack to cool completely. Keep in an airtight container for up to 3 days or freeze as soon as possible.
3.White chocolate frosting: Melt the chocolate in the microwave on high for 1½ mins, stirring halfway. Leave to cool. Whisk the butter and icing sugar in a large bowl until light and fluffy. Beat in the chocolate. Pipe or spread over the cakes. Add some decoration if you like - I used caramel sprinkles. Keep cool, out of direct sunlight
simple... but makes fun - taken with a damaged nikon lens - cropped and color overwork with ps... raw development with ViewNx
The bhavacakra (Sanskrit; Pāli: bhavacakka; Tibetan: srid pa'i 'khor lo) is a symbolic representation of saṃsāra (or cyclic existence) found on the outside walls of Tibetan Buddhist temples and monasteries in the Indo-Tibetan region. In the Mahayana Buddhism, it is believed that the drawing was designed by the Buddha himself in order to help ordinary people understand Buddhist teachings.
The bhavacakra is popularly referred to as the wheel of life, and may also be glossed as wheel of cyclic existence or wheel of becoming.
ORIGIN
Legend has it that the historical Buddha himself created the first depiction of the bhavacakra, and the story of how he gave the illustration to King Rudrāyaṇa appears in the anthology of Buddhist narratives called the Divyāvadāna.
The bhavacakra is painted on the outside walls of nearly every Tibetan Buddhist temple in Tibet and India. Dzongsar Jamyang Khyentse Rinpoche states:
One of the reasons why the Wheel of Life was painted outside the monasteries and on the walls (and was really encouraged even by the Buddha himself) was to teach this very profound Buddhist philosophy of life and perception to more simple-minded farmers or cowherds. So these images on the Wheel of Life are just to communicate to the general audience.
EXPLANATION OF THE DIAGRAM
OVERVIEW
The meanings of the main parts of the diagram are:
The images in the hub of the wheel represent the three poisons of ignorance, attachment and aversion.
The second layer represents karma.
The third layer represents the six realms of samsara.
The fourth layer represents the twelve links of dependent origination.
The fierce figure holding the wheel represents impermanence.
The moon above the wheel represents liberation from samsara or cyclic existence.
The Buddha pointing to the moon indicates that liberation is possible.
Symbolically, the three inner circles, moving from the center outward, show that the three poisons of ignorance, attachment, and aversion give rise to positive and negative actions; these actions and their results are called karma. Karma in turn gives rise to the six realms, which represent the different types of suffering within samsara.
The fourth and outer layer of the wheel symbolizes the twelve links of dependent origination; these links indicate how the sources of suffering - the three poisons and karma - produce lives within cyclic existence.
The fierce being holding the wheel represents impermanence; this symbolizes that the entire process of samsara or cyclic existence is impermanent, transient, constantly changing. The moon above the wheel indicates liberation. The Buddha is pointing to the moon, indicating that liberation from samsara is possible.
HUB: THE THREE POISONS
In the hub of the wheel are three animals: a pig, a snake, and a bird. They represent the three poisons of ignorance, aversion, and attachment, respectively. The pig stands for ignorance; this comparison is based on the Indian concept of a pig being the most foolish of animals, since it sleeps in the dirtiest places and eats whatever comes to its mouth. The snake represents aversion or anger; this is because it will be aroused and strike at the slightest touch. The bird represents attachment (also translated as desire or clinging). The particular bird used in this diagram represents an Indian bird that is very attached to its partner. These three animals represent the three poisons, which are the core of the bhavacakra. From these three poisons, the whole cycle of existence evolves.
In many drawings of the wheel, the snake and bird are shown as coming out of the mouth of the pig, indicating that aversion and attachment arise from ignorance. The snake and bird are also shown grasping the tail of the pig, indicating that they in turn promote greater ignorance.
Under the influence of the three poisons, beings create karma, as shown in the next layer of the circle.
SECOND LAYER: KARMA
The second layer of the wheel shows two-half circles:
One half-circle (usually light) shows contented people moving upwards to higher states, possibly to the higher realms.
The other half-circle (usually dark) shows people in a miserable state being led downwards to lower states, possibly to the lower realms.
These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions. The dark half-circle indicates people experiencing the results of negative actions.
Ringu Tulku states:
We create karma in three different ways, through actions that are positive, negative, or neutral. When we feel kindness and love and with this attitude do good things, which are beneficial to both ourselves and others, this is positive action. When we commit harmful deeds out of equally harmful intentions, this is negative action. Finally, when our motivation is indifferent and our deeds are neither harmful or beneficial, this is neutral action. The results we experience will accord with the quality of our actions.
Propelled by their karma, beings take rebirth in the six realms of samsara, as shown in the next layer of the circle.
THIRD LAYER: THE SIX REALMS OF SAMSARA
OVERVIEW
The third layer of the wheel is divided into six sections that represent the six realms of samsara. These six realms are divided into three higher realms and three lower realms.
The three higher realms are shown in the top half of the circle; the higher realms consist of the god realm, the demi-god realm and the human realm. The god realm is shown in the top middle and the human realm and demi-god realms are on either side of the god realm.
The three lower realms are shown in the bottom half of the circle; the lower realms consist of the hell realm, the animal realm and the hungry ghost realm. The hell realm is shown in the bottom middle of the circle, with the animal realm and hungry ghost realm on either side of the hell realm.
WHAT IS SAMSARA?
The six realms are six different types of rebirth that beings can enter into, each representing different types of suffering. Samsara, or cyclic existence, refers to the process of cycling through one rebirth after another.
Patrul Rinpoche states:
The term samsara, the wheel or round of existence, is used here to mean going round and round from one place to another in a circle, like a potter's wheel, or the wheel of a water mill. When a fly is trapped in a closed jar, no matter where it flies, it can not get out. Likewise, whether we are born in the higher or lower realms, we are never outside samsara. The upper part of the jar is like the higher realms of gods and men, and the lower part like the three unfortunate realms. It is said that samsara is a circle because we turn round and round, taking rebirth in one after another of the six realms as a result of our own actions, which, whether positive or negative, are tainted by clinging.
A BRIEF DESCRIPTION OF THE SIX REALMS
Six realms of existence are identified in the Buddhist teachings: gods, demi-gods, humans, animals, hungry ghosts and hells. These realms can be understood on a psychological level, or as aspects of Buddhist cosmology.
These six realms can be divided into three higher realms and three lower realms. The three higher realms are:
GOD REALM: the gods lead long and enjoyable lives full of pleasure and abundance, but they spend their lives pursuing meaningless distractions and never think to practice the dharma. When death comes to them, they are completely unprepared; without realizing it, they have completely exhausted their good karma (which was the cause for being reborn in the god realm) and they suffer through being reborn in the lower realms.
DEMI-GODS REALM: the demi-gods have pleasure and abundance almost as much as the gods, but they spend their time fighting among themselves or making war on the gods. When they make war on the gods, they always lose, since the gods are much more powerful. The demi-gods suffer from constant fighting and jealousy, and from being killed and wounded in their wars with each other and with the gods.
HUMAN REALM: humans suffer from hunger, thirst, heat, cold, separation from friends, being attacked by enemies, not getting what they want, and getting what they don't want. They also suffer from the general sufferings of birth, old age, sickness and death. Yet the human realm is considered to be the most suitable realm for practicing the dharma, because humans are not completely distracted by pleasure (like the gods or demi-gods) or by pain and suffering (like the beings in the lower realms).
The three lower realms are:
ANIMAL REALM: wild animals suffer from being attacked and eaten by other animals; they generally lead lives of constant fear. Domestic animals suffer from being exploited by humans; for example, they are slaughtered for food, overworked, and so on.
HUNGRY GHOST REALM: hungry ghosts suffer from extreme hunger and thirst. They wander constantly in search of food and drink, only to be miserably frustrated any time they come close to actually getting what they want. For example, they see a stream of pure, clear water in the distance, but by the time they get there the stream has dried up. Hungry ghosts have huge bellies and long, thin necks. On the rare occasions that they do manage to find something to eat or drink, the food or water burns their neck as it goes down to their belly, causing them intense agony.
HELL REALM: hell beings endure unimaginable suffering for eons of time. There are actually eighteen different types of hells, each inflicting a different kind of torment. In the hot hells, beings suffer from unbearable heat and continual torments of various kinds. In the cold hells, beings suffer from unbearable cold and other torments.
Generally speaking, each realm is said to be the result of one of the six main negative emotions: pride, jealousy, desire, ignorance, greed, and anger. Dzongsar Khyentse states:
So we have six realms. Loosely, you can say when the perception comes more from aggression, you experience things in a hellish way. When your perception is filtered through attachment, grasping or miserliness, you experience the hungry ghost realm. When your perception is filtered through ignorance, then you experience the animal realm. When you have a lot of pride, you are reborn in the god realm. When you have jealousy, you are reborn in the asura (demi-god) realm. When you have a lot of passion, you are reborn in the human realm.
Among the six realms, the human realm is considered to offer the best opportunity to practice the dharma. Dzongsar Khyentse states:
If we need to judge the value of these six realms, the Buddhists would say the best realm is the human realm. Why is this the best realm? Because you have a choice ... The gods don't have a choice. Why? They're too happy. When you are too happy you have no choice. You become arrogant. The hell realm: no choice, too painful. The human realm: not too happy and also not too painful. When you are not so happy and not in so much pain, what does that mean? A step closer to the normality of mind, remember? When you are really, really excited and in ecstasy, there is no normality of mind. And when you are totally in pain, you don't experience normality of mind either. So someone in the human realm has the best chance of acquiring that normality of mind. And this is why in Buddhist prayers you will always read: ideally may we get out of this place, but if we can't do it within this life, may we be reborn in the human realm, not the others.
Sometimes, the wheel is represented as only having five realms because the God realm and the Demi-god realm are combined into a single realm.
In some representations of the wheel, there is a buddha or bodhisattva depicted within each realm, trying to help sentient beings find their way to nirvana.
SANSKRIT TERMS FOR THE SIX REALMS
The Sanskrit terms for the six realms are:
Deva realm: God realm
Asura realm: Demi-god realm
Manuṣya realm: Human realm
Tiryagyoni realm: Animal realm
Preta realm: Hungry Ghost realm
Naraka realm: Hell realm
OUTER RIM: THE TWELVE LINKS
The outer rim of the wheel is divided into twelve sections that represent the Twelve Nidānas. As previously stated, the three inner layers of the wheel show that the three poisons lead to karma, which leads to the suffering of the six realms. The twelve links of the outer rim show how this happens - by presenting the process of cause and effect in detail.
These twelve links can be understood to operate on an outer or inner level.
On the outer level, the twelve links can be seen to operate over several lifetimes; in this case, these links show how our past lives influence our current lifetime, and how our actions in this lifetime influence our future lifetimes.
On the inner level, the twelve links can be understood to operate in every moment of existence in an interdependent manner. On this level, the twelve links can be applied to show the effects of one particular action.
By contemplating on the twelve links, one gains greater insight into the workings of karma; this insight enables us to begin to unravel our habitual way of thinking and reacting.
The twelve causal links, paired with their corresponding symbols, are:
Avidyā lack of knowledge – a blind person, often walking, or a person peering out
Saṃskāra constructive volitional activity – a potter shaping a vessel or vessels
Vijñāna consciousness – a man or a monkey grasping a fruit
Nāmarūpa name and form (constituent elements of mental and physical existence) – two men afloat in a boat
Ṣaḍāyatana six senses (eye, ear, nose, tongue, body, and mind) – a dwelling with six windows
Sparśa contact – lovers consorting, kissing, or entwined
Vedanā pain – an arrow to the eye
Tṛṣṇa thirst – a drinker receiving drink
Upādāna grasping – a man or a monkey picking fruit
Bhava coming to be – a couple engaged in intercourse, a standing, leaping, or reflective person
Jāti being born – woman giving birth
Jarāmaraṇa old age and death – corpse being carried
THE FIGURE HOLDING THE WHEEL: IMPERMANENCE
The wheel is being held by a fearsome figure who represents impermanence. The 14th Dalai Lama states:The fierce being holding the wheel symbolizes impermanence, which is why the being is a wrathful monster, though there is no need for it to be drawn with ornaments and so forth ... Once I had such a painting drawn with a skeleton rather than a monster, in order to symbolize impermanence more clearly.
This figure is most commonly depicted as Yama, the lord of death. Regardless of the figure depicted, the inner meaning remains the same–that the entire process of cyclic existence (samsara) is transient; everything within this wheel is constantly changing.
Yama has the following attributes:
He wears a crown of five skulls that symbolize the impermanence of the five aggregates. (The skulls are also said to symbolize the five poisons.)
He has a third eye that symbolizes the wisdom of understanding impermanence.
He is sometimes shown adorned with a tiger skin, which symbolizes fearfulness. (The tiger skin is typically seen hanging beneath the wheel.)
His four limbs (that are clutching the wheel) symbolize the sufferings of birth, old age, sickness, and death.
THE MOON: LIBERATION
Above the wheel is an image of the moon; the moon represents liberation from the sufferings of samsara.
Thubten Chodron states:
The moon is nirvana [i.e. liberation]. Nirvana is the cessation of all the unsatisfactory experiences and their causes in such a way that they can no longer occur again. It's the removal, the final absence, the cessation of those things, their non-arising. The Buddha is pointing us to that.
Chögyam Trungpa states:
The truth of cessation is a personal discovery. It is not mystical and does not have any connotations of religion or psychology. It is simply your experience ... Likewise, cessation is not just a theoretical discovery, but an experience that is very real to you–a sudden gain. It is like experiencing instantaneous good health: you have no cold, no flu, no aches, and no pains in your body. You feel perfectly well, absolutely refreshed and wakeful! Such an experience is possible.
Some drawings may show an image of a "pure land" to indicate liberation, rather than a moon.
THE BUDDHA POINTING TO THE MOON: THE PATH TO LIBERATION
The upper part of the drawing also shows an image of the Buddha pointing toward the moon; this represents the path to liberation.
Thubten Chodron states:
So the Buddha's gesture is like the path to enlightenment. It's not that the Buddha is the cause of nirvana. The Buddha is a cooperative condition of our nirvana. He indicates the path to us, he points out to us what to practice and what to abandon in order to be liberated. When we follow the path, we get the result, which is nirvana.
Chögyam Trungpa states:
The nature of the path is more like an exploration or an expedition than following a path that has already been built. When people hear that they should follow the path, they might think that a ready-make system exists, and that individual expressions are not required. They may think that one does not have to surrender or give or open. But when you actually begin to tread on the path, you realize that you have to clear out the jungle and all the trees, underbrush, and obstacles growing in front of you. You have to bypass tigers and elephants and poisonous snakes.
Mark Epstein states:
The entire Wheel of Life is but a representation of the possibility of transforming suffering by changing the way we relate to it. As the Buddha taught in his final exhortation to his faithful attendant Ananda, it is only through becoming a "lamp unto yourself" that enlightenment can be won. Liberation from the Wheel of Life does not mean escape, the Buddha implied. It means clear perception of oneself, of the entire range of the human experience ...
According to the Buddhist tradition, the Buddha told his followers:
I have shown you the path that leads to liberation
But you should know that liberation depends upon yourself.
INSCRIPTION
Drawings of the Bhavacakra usually contain an inscription consisting of a few lines of text that explain the process that keeps us in samara and how to reverse that process.
PSYCHOLOGICAL INTERPRETATION
From a psychological point of view, different karmic actions contribute to one's metaphorical existence in different realms, or rather, different actions reinforce personal characteristics described by the realms.
Mark Epstein states:
The core question of Buddhist practice, after all, is the psychological one of "Who am I?" Investigating this question requires exploration of the entire wheel. Each realm becomes not so much a specific place but rather a metaphor for a different psychological state, with the entire wheel becoming a representation of neurotic suffering.
WITHIN THE THERAVADA TRADITION
T. B. Karunaratne states:
Though in Theravāda literature there is no mention of an actual pictorial execution of a "Wheel of Life," yet the concept of comparing Dependent Origination to a wheel is not unknown. In the Path of Purification (Visuddhimagga), the famous commentator Buddhaghosa Acariya says:
"It is the beginningless round of rebirths that is called the 'Wheel of the round of rebirths' (saṃsāracakka). Ignorance (avijjā) is its hub (or nave) because it is its root. Ageing-and-death (jarā-maraṇa) is its rim (or felly) because it terminates it. The remaining ten links (of the Dependent Origination) are its spokes (i.e. karma formations [saṅkhāra] up to process of becoming [bhava])."
WIKIPEDIA
American postcard by Flying A, no. 29. Photo: Flying A.
American actor Sydney Ayres (1879-1916) was a handsome, dark wavy-haired leading man who appeared on the New York stage and starred in early silent films. Ayres also directed and wrote scenarios. He worked for various studios including Edison, Laemmle, Nestor, Selig, and Flying A, before he passed away at age 37.
Daniel Sydney Ayres was born in 1879 in New York City, USA.
At age 21, Sydney worked as a drama teacher while living with his parents in Oakland. Ayres began his professional acting career in a production of 'Faust' in the Oakland theater company of Lewis Morrison. He was a huge celebrity in Oakland and a leading man at Oakland's Ye Liberty Playhouse. This was followed up by a North America tour with the famed Orpheum Theater as one of their featured actors. He appeared as a wavy-haired leading man on the New York stage. Then he starred for various pioneering film studios including Edison, American, Powers, Rex, Big U (Universal), Laemmle, Nestor, and Selig. Previously married, Sydney Ayres met lovely young Anna Franck, the daughter of a prominent Oakland family. The two married in 1912, but Ayres' first wife publicly claimed their divorce was not finalised and accused him of bigamy. This was a tremendous scandal at the time, with front-page news accounts. Ayres provided proof he was divorced, stating the former wife had deserted him five years prior and had not received service of the divorce papers. "I have nothing to say against the woman making this charge. She cannot harm me anymore, for I have done no wrong."
Sydney Ayres often simultaneously acted and directed films after 1913. According to IMDb, he was the director of 47 films from 1914 to 1916, and the writer of 17 films between 1911 and 1915. He was still working until the year of his death, 1916. In 1915, Ayres was involved in a serious car accident while working on a film in Hollywood. He finished the project from a wheelchair with the assistance of his wife. Ayres ended up collapsing, prompting a newspaper to write that it was caused by “thrilling ‘movie’ scenes, overwork, an automobile wreck, and other motion picture experiences.” Within a year Ayres was dead and the Oakland Tribune listed the cause of death as a “nervous breakdown.” He passed away in Oakland, California, just days after his 37th birthday. His death certificate states the cause of death was paralysis associated with multiple sclerosis which affected his spinal cord. He left his wife Ann and their two-year-old daughter as well as his parents and two sisters. Daniel Sydney Ayres is buried in Mountain View Cemetery, along with his second wife Ann Franck Ayres, and their daughter Ann Ayres Wakefield.
Sources: Michael Colbruno (Mountain View People), Melissa (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
After almost a year of getting the Oil Landscape Painting series from Tim Gagnon, I am finally diving into oil painting.
Truth be told, I would probably still be putting it off except that the Painting 1 class that I am taking this semester is using oils. Being new to this medium, I need the extra practice!
So putting away my acrylics for the next 4 months, and hoping to get through a few of these lessons alongside my class.
So I have watched this first lessons on clouds at least a dozen times in the last year before attempting it. It looked straightforward and easy. I felt like I was fighting with the oil paint. It just did not go the way I expected. I struggled a bit, but I decided to walk away before overworking it too much. Pretty content with the result.
One thing to note is that I used ultramarine blue and cobalt blue instead of the prussian blue and cerulean blue, and I used Gamsol only instead of a 50/50 liquin/Gamsol mix.
Medium = Oil on Canvas Panel
Size = 11 x 14"
Completed On = 2017.01.17 FINAL (not varnished)
Inspiration = Tim Gagnon
IPad drawing June 2016
A daily record of a woodland that I've been familiar with for 34 years. It is good to record these places in a very personal way come rain or shine. I like to see the place without making anything picturesque, rather setting down what's before me at different times of day and not overworking each piece, keeping it spontaneous and fresh. Inspired by Charles Burchfield and Emily Carr among others. In some ways a pendant to my Simon's wood series and to be part of my Looking Out exhibition.
I love this but worry that I may have overworked the textures/color a bit... I'm sort of a "more is more" person.
Of all the buses used on the City Centre shuttle at yesterdays Leeds rally, this ex West Midlands PTE Volvo Ailsa certainly gave it's all in a most entertaining fashion. It's quite some time since I've ridden passenger in such a bus, probably nine or ten years, but a 'go' on this brought it all back. The thrashing of it's uncharacteristically small front mounted Volvo engine, the whistling scream of the overworked turbocharger and the hum of the rear axle had almost all been forgotten by me. Leeds of course, saw such buses in regular service beyond most others with much missed independent Black Prince, for whom the bus carries a commemorative slip board. Walter Alexander of Falkirk built the bodywork, and indeed did so on the vast majority of the type if not all.
88:365
not in the best mood today....several things just went totally wrong
here i am, sitting in the lobby of a vendor's offices buying ink for my printer because it ran out IN THE MIDDLE OF A PRINT JOB!
what am i, an amatuer? no, been in business for 25 years (3 weeks ago was our official 25th anniv.) and you would think i know better....
like the local diner running out of syrup on Saturday morning....not cool
just been SO overworked this last month, i really need a break...
i was tempted to do a "pretty" shot to mask my feelings for the day but that's not what i want for this 365.... i really want this 365 to be real and reflective of my ongoing state of mind so, there you have it.....
on an UP note! i'm REALLY enjoying my new phone and the camera is doing great AND i do like how this shot came out =]
Continuing the lazy photos - she's been wearing these bunny ears for years now, but they are at least appropriate for Easter? ^^;
I actually took some photos for last week's A Doll a Week with my regular camera. I hope I can get around to posting them soon! And take my other photos. Oh, I am so overworked lately. >.< But this weekend is Anime Boston (and, uh, Easter...), which is good for a vacation, if not necessarily helpful in terms of getting my photos done/posted.
btw, so weird, when I hit save it ate half my comment! But only half. Hopefully it works this time.