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Chasing Daylight for Cosmopolitan HK
Photography : Shavonne Wong/ Zhiffy Photography
Art Direction & Styling : Irene Chan
Model : Ting Wai /Style Management
Make-up & Hair : Angel Wong
Styling Assistant & Coordination : Tammy Chan
Blog post and BTS images:
Published by Hutchinsons, undated, cloth spine.
I was going to sell this but I have now changed my mind!
Avon published an earlier edition of this classic with a much different cover: www.flickr.com/photos/57440551@N03/12299034524/in/set-721...
Can't beat Bogie and Bacall in the 1946 film noir version of "The Big Sleep." Here's a brief look back: www.youtube.com/watch?v=0uaNG3xd9gs
published in Sunday, Daily Times
Photographer: Fayyaz Ahmed
Model: Ayyan
Hair & Makeup: Nighat Misbah@Depilex
Designer: Sonya Batla
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The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The Daily Mail published my Bear Cub Photos and Story today :-D
www.dailymail.co.uk/news/article-2710473/Can-t-sweet-spot...
Bain News Service,, publisher.
Socialists meeting in Union Square, New York
5/1/08 (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Subjects:
New York
Format: Glass negatives.
Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Bain News Service photograph collection (DLC) 2005682517
General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00342
Call Number: LC-B2- 66-13
PLEASE NOTE BEFORE USING THIS PHOTO: Your license to use it is restricted to purposes that are affirming of equal access to facilities for all LGBTQ humans. Any use of this photo surrounded by homophobic, transphobic, or discriminatory language is not permitted and license to use is invalid per the respect of moral rights in the Creative Commons license. Any uses of this photo discovered to violate these terms will have license immediately revoked as well. Thank you! :)
This photo replaces a previous photo that I did not take. I took this one. See the rest of the photos in Gender Neutral Restrooms group for more inspiration.
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Published in New West Holllywood law requires gender-neutral public restrooms | Take Two | 89.3 KPCC
Published in Transgender Hopkins County High School Student Working on Petition to Use Bathroon of Choice | WKU Public Radio
Published in Vlaanderen krijgt genderneutrale toiletten - Buitenland - TROUW
Published in SF School Adds Gender-Neutral Kindergarten Bathrooms - Breitbart
Published in Jacksonville City Council scuttles bill that would let transgender men [ sic ] into women’s bathrooms - Liberty Unyielding - Note: comment placed on article about the inaccuracy of the headline.
Published in Out & About - Amerikanske teenagere har mangfoldig kønsforståelse
Published in Single-sex schools 'not equipped to deal with transgender issues' | Education News | News | The Independent
Published in HB 2: Louie Gohmert’s Lie, and What It Reveals.
Published in New Jersey School Board Allows T----s to Use Bathroom According to Their Gender Identity : Nation : Christianity Daily (Comment left ordering change of terminology or takedown, per violation of policy above)
Published in www.minnpost.com/mental-health-addiction/2016/10/brian-ro...
Published in Tech CEOs oppose Texas 'bathroom bill' in ongoing support of transgender rights - SiliconANGLE
The Postcard
A postally unused postcard that was published by The Promenade Studio, Whitley Bay. The card, which has a divided back, has been hand-stamped with the date 25 Jul 1930. This day was in fact a Friday.
Annie Ross
So what else happened on the day that the card was hand-stamped?
Well, the 25th. July 1930 marked the birth in Surrey of Annie Ross.
Born Annabelle McCauley Allan Short, Annie was a British-American singer and actress who was active between 1937 and 2020.
Known professionally as Annie Ross, she was best known as a member of the jazz vocal trio Lambert, Hendricks & Ross.
Annie Ross - The Early Years
Annie Ross was born in Surrey, England, the daughter of Scottish vaudevillians John "Jack" Short and Mary Dalziel Short (née Allan).
Her brother was Scottish entertainer and theatre producer and director Jimmy Logan. She first appeared on stage at age three. At the age of four, she travelled to New York by ship with her family; she later recalled that:
"We got the cheapest ticket, which
was right in the bowels of the ship".
Shortly after arriving in New York, she won a token contract with MGM through a children's radio contest run by Paul Whiteman. She subsequently moved with her aunt, Scottish-American singer and actress Ella Logan, to Los Angeles, and her mother, father and brother returned to Scotland.
Annie did not see her parents again until fourteen years later. At the age of seven, she sang "The Bonnie Banks o' Loch Lomond" in Our Gang Follies of 1938, and played Judy Garland's character's sister in Presenting Lily Mars (1943).
At the age of 14, Annie wrote the song "Let's Fly", which won a songwriting contest and was recorded by Johnny Mercer and The Pied Pipers.
At the end of 10th. grade, she left school, changed her name to Annie Ross, and went to Europe, where she established her singing career. Annie changed her surname to Ross during the plane trip to Prestwick; in a 2011 interview, she said:
"My aunt was very fanciful, and she
said I had an Irish grandmother called
Ross, so that's where that surname
came from".
Annie Ross's Career
In 1952, Ross met Prestige Records owner Bob Weinstock, who asked her to write lyrics to a jazz solo in a similar way to King Pleasure, a practice that would later be known as vocalese. The next day, she presented him with "Twisted", a treatment of saxophonist Wardell Gray's 1949 composition of the same name, a classic example of the genre.
The song, first released in 1952, was an underground hit, and resulted in her winning Down Beat magazine's New Star award.
In February 1956, the British music magazine NME reported that Ross's version of the song "I Want You to Be My Baby" was banned by the BBC due to the lyric "Come upstairs and have some loving".
Annie recorded seven albums with Lambert, Hendricks & Ross between 1957 and 1962. Their first, Sing a Song of Basie (1957), was to have been performed by a group of singers hired by Jon Hendricks and Dave Lambert with Ross brought in only as vocal consultant.
However it was decided that the trio should attempt to record the material and overdub all the additional vocals themselves, but the first two tracks were recorded and deemed unsatisfactory, so they ditched the dubbing idea.
The resulting album was a success, and the trio became an international hit. Over the next five years, Lambert, Hendricks & Ross toured the world, and recorded such albums as The Hottest New Group in Jazz (1959), Sing Ellington (1960), High Flying (1962), and The Real Ambassadors (1962), written by Dave Brubeck and featuring Louis Armstrong and Carmen McRae.
Ross left the group in 1962, and in 1964 opened a nightclub in London. Annie's Room hosted Joe Williams, Nina Simone, Stuff Smith, Blossom Dearie, Anita O'Day, Jon Hendricks, and Erroll Garner.
Her adulthood film roles included Liza in the film Straight On till Morning (1972), Claire in Alfie Darling (1976), Diana Sharman in Funny Money (1983), Vera Webster in Superman III (1983), Mrs. Hazeltine in Throw Momma from the Train (1987), Rose Brooks in Witchery (1988), Loretta Cresswood in Pump Up the Volume (1990), Tess Trainer in Robert Altman's Short Cuts (1993), and Lydia in Blue Sky (1994).
Annie also appeared as Granny Ruth in the horror films Basket Case 2 (1990) and Basket Case 3: The Progeny (1991). She also had a bit part in Robert Altman's The Player in 1992. Ross also starred in Scottish Television's comedy-drama Charles Endell Esquire (1979).
Annie provided the speaking voice for Britt Ekland in The Wicker Man (1973), and Ingrid Thulin's singing voice in Salon Kitty (1976). On stage, she appeared in Cranks (1955; London and New York City), The Threepenny Opera (1972), The Seven Deadly Sins (1973) at the Royal Opera House, Kennedy's Children (1975) at the Arts Theatre, London, Side by Side by Sondheim, and in the Joe Papp production of The Pirates of Penzance (1982).
Annie Ross's Personal Life
In 1949, Ross had a brief affair with drummer Kenny Clarke. This affair produced a son, Kenny Clarke Jr. (born 1950), who was raised by Clarke's brother and his wife.
During her time with Lambert, Hendricks & Ross, Annie became addicted to heroin. In the late 1950's she had an affair with the comedian Lenny Bruce, who was also having drug problems. By 1960, Carol Sloane was substituting for her on tour. After a performance by the trio in London in May 1962, she remained in London to confront her drug addiction.
In 1963, she married actor Sean Lynch; they divorced in 1975, and he died in a car crash soon afterwards. By that time, she had also lost her home, and declared bankruptcy.
Annie became a United States citizen in 2001.
Annie died in New York City on the 21st. July 2020 from emphysema and heart disease, four days before her 90th. birthday.
Annie Ross's Awards and Honours
Ross received the ASCAP Jazz Wall of Fame award (2009), the National Endowment for the Arts Jazz Masters' Award (2010), and the MAC Award for Lifetime Achievement (2011).
In July 2006 a one-woman play entitled Twisted: The Annie Ross Story by Brian McGeachan premiered at The Space Theatre in London, starring Verity Quade. It focused on Annie's stormy relationship with her aunt, Broadway legend Ella Logan, her brief affair with the comedian Lenny Bruce and her addiction to heroin. The play transferred to the Brockley Jack Theatre in London that same year, with Ross being played by Betsy Pennington.
A documentary about Ross's life, entitled No One But Me, premiered at the Glasgow Film Festival in 2012.
Published by The Rochester News Company, Rochester N.Y.
See this album for a view of several images from the same (John J. Lee?) photo session:
www.flickr.com/photos/115892967@N03/albums/72157718776362296
Shots used in 1-800-boardup's 2015 calendar.
January 2016: Firefighters from Station 160(LACoFD) prepare to put water on a fully involved garage.
This photo of Selene Theia, Taken during her studio day at Inspire Studio has been published in the October issue of Femme Rebelle ALLURE.
Note: this photo was published to illustrate the Verizon Building (i.e., the one in the background) on the 42nd Street section of a blog page titled "New York Songlines: 6th Avenue." It was also published in a May 27, 2010 blog titled "Parks Lure in Women, so the Men Will Follow." And it was published in a Sep 15, 2010 blog with the bizarre title of "A gas station is a place where you sometimes fill the car, but more often drain the kids” ~ Happy FRISKY Friday ~."
Moving into 2013, the photo was published in an Apr 1, 2013 blog titled "America's Greenest Cities."
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During a lunch break in the last weekend in April, I had a chance to walk around Bryant Park. These are a few of the pictures I took...
20091119_1182
Vandaag ontving ik per post mijn presentexemplaar van Heel Nederland een gids, geschreven door Rik Zaal.
Toen mij gevraagd werd of men deze foto mocht gebruiken en daar geen geld voor wilden neertellen maar me wel een presentexemplaar toezegde ben ik akkoord gegaan. Ik had toen nog geen idee van de omvang van dit boek en het PR plan eromheen (presentatie bij Pauw en Witteman, overal lezingen door Heel Nedereland e.d.)
Ik ben helemaal trots dat hier ook een foto in staat die ik gemaakt heb. Zoals jullie zien heeft de foto een prominente plaats gekregen en is de naamsvermelding direct onder de foto geplaatst.
Het boekwerk bestaat uit twee delen van elk ongeveer 650 pagina's dik.
Kost tot 1 januari 59,95, daarna 69,95.
Drawings published in winter edition of Zbir zine. Available here: gromilovic.com/news/artworks-from-the-zbir-zine/
Preview: vimeo.com/40485867
Published in REVISTA EXCLAMA - Editorial de moda
Model: Judit Civit
MUA & Hair: Lorena Perez
Styling: Angie Gómez
Styling assistant: Marcos Gonzalez
Photography and processing: Axel Montero
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Renault Espace F1.
All of photographs published here are copyright © Anthony Fosh All Rights Reserved. They may not be reproduced and/or used in any form of publication, print or the Internet without my written permission
First published as a Penguin Special 1961 (S189)
Reprinted as a Pelican 1961.
Reprinted 1962.
Cover design by Germano Facetti
It's that photo again, this time i found it in 'Professional Photographer Magazine'. It's being used in an advert for 'Canon Pro Photo Solutions' (Thanks to Miss HP for letting me know about this one)
Posted here because i keep a record of where my work has been published for the news pages on my website
Styling e Abiti: DAMA DESIGN
Mua: MARIA PILO
Modella: MONICA KOSTOVA
Organization: FAERY ACADEMY
Master : ALBERTO BUZZANCA
Foto: ALESSANDRO CARA
ALESSANDRO CARA © 2011 ALL RIGHTS RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
Once a year, Washington, DC residents get together to replant historic Vermont Avenue, Northwest, in the U Street Corridor. Vermont Avenue, Northwest was frequented by leaders including Abraham Lincoln, Martin Luther King, Jr., and the parents of the modern day LGBTQ rights movement. More info about the history of Vermont Avenue at tedeytan.com/tag/vermont-avenue - Thanks to Jeffrey Willis and DC-area businesses for sponsoring the beauty of our nation's capital.
Published in Rainy in the Flickr pool - Greater Greater Washington
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this page without written permission and consent.
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Opening-act di Juliette and the Licks, il 6 giugno al Circolo Magnolia di Segrate a Milano, i Gambardellas.
I Gambardellas nascono nel 2012 come one-man-band dalla volontà di Mauro Gambardella, batterista già attivo da anni nella scena indipendente italiana (George Merk, The R’s, Paletti), che sentiva il bisogno e l’urgenza di intraprendere un progetto solista che lo rappresentasse pienamente.
La prima uscita discografica del nuovo progetto vede la luce nel febbraio 2013: “Sloppy Sounds”, album, co-prodotto dal produttore bergamasco Fabio “FabzTheDale” Dalè e dallo stesso Mauro e mixato dal noto produttore Fabio Trentini (Guano Apes), è la piena rappresentazione delle influenze e gusti musicali del suo creatore: un caleidoscopio di sonorità che vanno dal garage rock al power pop, una musica che da notevole importanza alla struttura delle canzoni e dove predominano ritornelli catchy. L’album ottiene ottimo riscontro sia dal pubblico che dalla critica e i video dei tre singoli si aggiudicano esclusive su alcuni dei più importanti siti nazionali: Flash (rockol.it), Tito (rollingstonemagazine.it) e Needs (xl.repubblica.it).
Nello stesso anno parte lo Sloppy Sounds Tour che porta i Gambardellas ad esibirsi in più di 40 concerti in Italia, aprendo anche live di: Ministri, Fast Animals and Slow kids, Il pan del Diavolo, King of the Opera e Aucan.
Nel settembre 2013 i Gambardellas diventano una band a tutti gli effetti grazie all’ingresso ufficiale tra le fila di Glenda Frassi (chitarra-cori) e Grethel Frassi (tastiere-cori), già presenti nella precedente formazione live. Nello stesso mese la nuova formazione entra all’IndieHub studio di Milano per registrare un nuovo lavoro: “Ashes” (BigWave Records), EP prodotto da Giovanni Spinotti (ex assistente di Bob Clearmountain) e dai Gambardellas, segna un importante punto di svolta sonora per la band e rappresenta una passaggio a una maggiore maturità compositiva di una band in continua crescita. Il sound del nuovo lavoro è più scuro del precedente ed è decisamente più scarno. Anche i testi risultano essere più critici e di denuncia, ambientazioni cupe e profonde, che si rispecchiano anche nell’immagine della band.
L’Ashes tour porta i Gambardellas, tra il 2014 ed il 2015, in tutta Italia ed in Europa per più di 60 date collezionando aperture prestigiose (tra le quali: Linea77, BudSpencerBluesExplosion, Brunori SAS, Boxerin Club, Maria Antonietta, Giuradei, Luminal) e a partecipazioni a manifestazioni di spicco italiane ed estere come il Woodstock Poland Festival (unici italiani a partecipare al festival che ha contato 750.000 presenze nel 2014 e una line up di tutto rispeto: Hatebreed, Skid Row, Volbeat) e il Milano Film Festival.
Terminato il tour europeo nel novembre 2015, i Gambardellas tornano in studio di registrazione per registrare il secondo full lenght della loro carriera. L’album viene registrato e prodotto presso gli UpStudios di Pavia nei mesi tra febbraio e maggio 2015. Attualmente la band è pronta a tornare on the road in attesa dell’uscita del nuovo album.
Mauro Gambardella: lead vocals, drums
Glenda Frassi: guitars, backing vocals
Grethel Frassi: backing vocals, keys
published in Lounge, Pakistan Today
label: iris by afshan
model: aamina sheikh
hair & makeup: wajid khan
photography: fayyaz ahmed
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