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Outgoing LIRR President Phil Eng attends his final MTA Board meeting on Thursday, Feb. 24, 2022.
(Marc A. Hermann / MTA)
This is a tribute to Phil who lived in Saint Louis (MO), United States from 1941 to 1958.
Cited sources: Saint Louis Zoo and STL Today
Photos: The Circus No Spin Zone and STL Today
Some photos (c) LIFE Magazine.
See more charts and family trees on Gorilla Genealogy.
PHIL COLLINS en concert au Mercedes-Benz Arena à Stuttgart (Allemagne) le 05/06/2019.
©TOUS DROITS RÉSERVÉS
©ALL RIGHT RESERVED
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Lennie's on the Turnpike
Newbury Street (Route 1)
Peabody, Massachusetts
Phil Woods playing saxophone
September 1963
Citation: Lennie's on the Turnpike Collection, Salem State University Archives and Special Collections, Salem, Massachusetts
Lennie's on the Turnpike
Newbury Street (Route 1)
Peabody, Massachusetts
Phil Woods playing saxophone
September 1963
Citation: Lennie's on the Turnpike Collection, Salem State University Archives and Special Collections, Salem, Massachusetts
Another gorgeous day it was for a 'bridge run'! I was eagerly training for a half-marathon in Sept. but missed the online sign-up date! =( Hopefully, I can stay motivated and injury-free for another one in Nov.
Here's to a wonderful start to your work week! Happy Monday, folks!
Training Update: Took a week off due to a calf strain. Feels like it's okay to begin running again!
LG GR500 Camera Phone
FREE FOTOLAB
2004 –ongoing, itinerant photo lab and photographic archive
Photography has ever proved a fertile ground for interesting conundrums of art and commerce, culture and law. Just over one hundred years ago a doting father arranged to have a portrait photograph taken of his infant daughter, a decision which would subsequently embroil him in the now little known litigation of Holmes v. Langfier and Newnes (1903). In short, Langfier (the photographer) had passed the image of the child onto George Newnes, then proprietor of the weekly periodical Woman’s Life. Newnes reproduced it on the cover of his magazine, as a result of which Holmes sued for both breach of copyright and breach of contract. Langier and Newnes countered that they had the permission of the Holmes’ wife to reproduce the image. Regardless of the court’s actual decision (Holmes was successful), the case triggers various lines of enquiry – questions of authorship and ownership, of lawful and unlawful use and appropriation, of the private and the public, and of trust, autonomy and respect. These questions, and more, are the same ones with which Phil Collins’ free fotolab wrestles.
Art or exploitation? Unabashed voyeurism or the conceit of an arch–raconteur?
How best to understand the Faustian pact which lies at the heart of free fotolab? The basic premise of the project is as follows: you hand over a roll of 35mm film for developing, the film is developed and a set of 4” x 6” prints produced for free but only on condition that you agree to let the developer (Collins) use any of the images in any way he sees fit, whether by exhibition, publication, sale, alteration, and so on. In exchange for developing the film you cede all claims as to authorship, ownership, exploitation and control of the images captured thereon. As such, these photographs are not the covertly taken images of otherwise unknown individuals by photographers like Walker Evans (Many are Called), Sophie Calle (Double Game) or Luc Delahaye (L’Autre); neither are they truly found photographs such as those re–presented by Thomas Dworzak (Taliban) or in Robert Flynn Johnson and William Boyd’s recent Anonymous. Rather these images are negotiated. As such, at the same time as introducing the domestic and the unseen into the gallery, they bring into the home the weight of the legal edifice which bears upon the production and potentiality of any photograph.
These are images taken by and for ordinary people but then, after the fact, willingly released into the hands of another. Those who participate are confronted with the concept of their photographs as perhaps something other than the ordinary, as a potential commodity, as public information, or an unanticipated invasion of their private domain. These are no longer simple snapshots but the potential focus for a maelstrom of legal rights, obligations, relationships and tensions. In this regard free fotolab also provides an opportunity for considering the fissures between the theoretical and doctrinal assumptions which the legal regime perpetuates as to these questions, and the reality of everyday perceptions of and attitudes to the same.
Ronan Deazley, 2005