View allAll Photos Tagged published
Blogged at apinnick.wordpress.com/2010/04/04/matzah-trek/. Appeared in Appeared in "http://www.amny.com/eat-and-drink/jewish-delis-nyc-deli-man-taught-us-valuable-lessons-1.10026087"
88 opens fire
Collings Foundation 2008
2015 Published - Book by Scott Lee Thompson
German World War II Reenacting
The Wehrmacht In Living History
Publisher: Schiffer Publishing
www.schifferbooks.com/german-world-war-ii-reenacting-the-...
Published by Russ Cochran, West Plains, MO, 1976. Hardcover book, Limited Edition, #671/2000. Volume One, published in 1976, features the art of Clinton Pettee, Fred J. Arting, and N. C. Wyeth, reproducing one painting by each, then concentrating on the black and white and color work of J. Allen St. John, all of it beautifully reproduced from the original art, with four paintings being done as huge double-page foldouts. No dustjacket, as issued. 9" x 12", 271 pages of artwork featuring the books and publications of Edgar Rice Burroughs.
Genealogy and the living members (pre WW2) of family on my father's side.
Written and published by my grandfather in 1941.
Yearly family reunions managed also by him in Budapest, Kárpátia Restaurant.
Photos of a 1940 family reunion in this book.
1941. Farkas Gedeon Könyvnyomdája, Szerencs
ALL RIGHT RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
Model : Perfidia
Mua : Valeria Spiga
Dress by - www.wix.com/ValeriaSpiga/TramaNera
Boys and girls of every age
Wouldn't you like to see something strange?
Come with us and you will see
This, our town of Halloween
This is Halloween, this is Halloween
Pumpkins scream in the dead of night
This is Halloween, everybody make a scene
Trick or treat till the neighbors gonna die of fright
It's our town, everybody scream
In this town of Halloween
I am the one hiding under your bed
Teeth ground sharp and eyes glowing red
I am the one hiding under yours stairs
Fingers like snakes and spiders in my hair
This is Halloween, this is Halloween
View obverse
Message:
Dear Lettie & Oscar, A line to let you know we received your card and have not forgotten you. We are both well and Mule is getting fat and well liked in her work. Our show is doing good Bus. & well liked. I am playing some nice part. I'll be an actress some day maybe. My but it is hot down here in Kansas. We have 7 more weeks on this circuit. Will write soon again. Merle sends love to both. Best regards, Ladie. Nekt week Sedalia, Mo c/o the Revere stock co. Airdome.
(The Airdome was an variety of open air theater operating in Atchison and several other cities during the Vaudeville era)
Addressed:
Mrs Oscar Payne, 408 1/2 up 4th St., Evansville, Ind
Published by J. A. Lantz, Atchison, Kans. Made in Germany. 07 20207
Stamp: 1C Washington from the third bureau issue.
Cancel identified as a linear Columbia Machine cancel (Columbia postal supply Co.) with eight bar cancel (killer) using Bob Swanson's limited Machine Cancel identifier.
Atchison, Kans. 6 PM Jul 14 (19)13
Justin Morales "On Location"
March 20th, 2016
New York City
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Talk about excited! I was stoked when Phil Massaro of Massaro Ballistic Laboratories told me he wanted me to shoot his mug for the cover if the internationally published Gun Digest magazine. But, was even more stoked when he called and said it was done and awaiting to be put on shelves. Emotional when I actually saw it, and man...it's an awesome feeling. Congrats to us. Haha!
Follow me on Twitter: @jfieldingphoto and on Facebook www.facebook.com/jfieldingphoto
© 2013. All Rights Reserved. Do not use, or copy this image without my consent.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
-----------------------------
Lo spettacolo
Un’affascinante fusione della tradizione di oltre 3000 anni di arte acrobatica cinese con l’approccio multidisciplinare del Cirque du Soleil, Dralion trae ispirazione dalla filosofia orientale e dalla sua infinita ricerca di armonia tra umani e natura. Il nome dello spettacolo deriva da due creature emblematiche: il drago, simbolo dell’Est, e il leone, simbolo dell’Ovest.
In Dralion i quattro elementi che governano l’ordine naturale prendono forma umana. Ogni elemento è rappresentato dal proprio colore evocativo: l’aria è blu, l’acqua è verde, il fuoco è rosso e la terra è ocra. Nel mondo di Dralion le culture si mescolano, Uomo e Natura sono una cosa sola, e viene raggiunto l’equilibrio.
CAST
Dralion features 50 members in its performance troupe, of which about 5 or 6 play principal characters.
Azala (air): The goddess of air who is dressed in blue, keeper of the sun and the guardian of immortality.
Gaya (earth): The goddess of earth, dressed in ochre.
Océane (water): The goddess of water, dressed in green.
Yao (fire): The god of fire, dressed in red, who is both good and evil.
L'Âme Force: The show's singers who symbolize harmony between the four elements.
Kala: Represents the heart of the wheel of time, making time evolve.
Little Buddha: The chosen child who possesses powers that will eventually allow him to become an Âme-Force, but dreams of being a regular child.
Dralions: Mythical creatures inspired by the imagery of the Chinese lion dance and dragon dance.
Clowns: The clowns manage to push this otherwise harmonious universe slightly off-kilter.
Description: Program published for the 1987 Ingleside Invaders baseball team. The programs were self-produced by the team under direction of their head coach Dan Harrington, with help from assistant coaches and other community members. Mr. Harrington has given his approval to the San Francisco Public Library for these publications to be reproduced here on Flickr in digital format. Mr. Harrington has written a description of these publications and the Ingleside Invaders baseball team..
"The last of the Sandlot League teams in San Francisco is the Ingleside Invaders, the only team to sign up in 1990 for the 18-and-under division of SF Rec-Park Baseball, the direct descendent of the Sandlot League known in the 1980s as the Neighborhood League. (I don't know when the Sandlot League started, but it is thought to have its origins before 1900).
"The Invaders ball club was a successful representative of the neighborhood, with players from many public, private and parochial high schools chipping in small amounts of money (no more than $25), getting to keep full uniforms; businesses donated funds (except for the Marines who still owe me fifty bucks!) while receiving ad-space for the team's self-produced publications showing stories about "the Greater Ingleside" history and contemporary times to the rest of San Francisco. The Invaders made some life-long friendships and fielded some good baseball teams!
"My recently passed father Richard Harrington took many of the photos, while my brother Richard Jr, who passed away in 1998, compiled some stats and kept book for many of the games. The 1986 paper stock was provided by the Coca-Cola bottlers on Bayshore Blvd. and printed by the team, complete with a team picture in the relatively new light rail vehicle (LRV) "streetcar" yard off Ocean Ave.
"Ingleside finished second in 1986, 87, and 88. Ingleside was surprised in a playoff game in 1989. But it did give the best example of multiple schools represented on the same summer team and a model to use for the RBI Baseball and Softball program run independently by Dan Harrington (calling in lots of favors for help) in 1997 at Crocker-Amazon and Balboa Park, and in conjunction with City College baseball courses (John Vanoncini) and Columbia Park and San Francisco Boys and Girls Clubs from 1998 to 2010."
--Dan Harrington, May 2014
Collection: Ingleside Branch Archives
Repository: San Francisco Public Library - Ingleside Branch
The Postcard
A postally unused Natural Color Postcard published by E.C. Kropp Co. of Milwaukee, Wis. The photography was by the Oregon State Highway Department, and the card was printed in the USA.
On the divided back of the card the publishers have printed a rather uninformative paragraph:
'For those who like to explore,
the Oregon Caves are just the
thing for thrills and excitement.
Lovely as the Palace of the
Mountain King, these dark
mysterious caves extend far
back into the depths of the
Earth's crust.
Trails and paths lead
unerringly to chambers of
rare and grotesque beauty'.
Oregon Caves National Monument and Preserve
Oregon Caves National Monument and Preserve is a protected area in the northern Siskiyou Mountains of southwestern Oregon in the United States. The 4,554-acre (1,843 ha) park is 20 miles (32 km) east of Cave Junction, on Oregon Route 46. The protected area, managed by the National Park Service (NPS), is in southwestern Josephine County, near the Oregon–California border.
History of the Caves
Elijah Davidson, a resident of nearby Williams, discovered the cave in 1874. Over the next two decades, private investors failed in efforts to run successful tourist ventures at the publicly owned site.
After passage of the Antiquities Act by the United States Congress, in 1909 President William Howard Taft established Oregon Caves National Monument, to be managed by the United States Forest Service (USFS).
The growing popularity of the automobile, construction of paved highways, and promotion of tourism by boosters from Grants Pass led to large increases in cave visitation during the late 1920's and thereafter.
Among the attractions at the remote monument is the Oregon Caves Château, a six-storey hotel built in a rustic style in 1934. It is a National Historic Landmark, and is part of the Oregon Caves Historic District within the monument.
In 2014, the protected area was expanded by about 4,000 acres (1,600 ha) and re-designated a National Monument and Preserve. At the same time, the segment of the creek that flows through the cave was renamed for the mythological Styx and added to the National Wild and Scenic Rivers System.
Cave Geology
Oregon Caves is a solutional cave, with passages totalling about 15,000 feet (4,600 m), formed in marble. The parent rock was originally limestone that metamorphosed to marble during the geologic processes that created the Klamath Mountains, including the Siskiyous.
Although the limestone formed about 190 million years ago, the cave itself is no older than a few million years. Valued as a tourist cave, the cavern also has scientific value; sections of the cave that are not on tour routes contain fossils of national importance.
Park Activities
The NPS, which assumed control of the monument in 1933, offers tours of the cave from mid-April until early November.
Activities at the park include cave touring, hiking, photography, and wildlife viewing. One of the park trails leads through the forest to Big Tree, which at 13 feet (4.0 m) is the widest Douglas fir in Oregon.
Lodging and food are available at The Château and in Cave Junction. Camping is available in the preserve at the Cave Creek Campground, at a local USFS campground, and private sites in the area.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Little Steven, uno dei personaggi più eclettici della storia del rock, storico chitarrista della E Street Band di Bruce Springsteen, reduce dai successi televisivi di Soprano e Lillyhammer, torna in Italia sul palco dell’Alcatraz di Milano, il 13 giugno 2019 con il Summer Of Sorcery Tour.
Steven Van Zandt è un musicista, performer, songwriter, arrangiatore, produttore musicale, produttore televisivo, attore, regista, produttore teatrale, compositore di colonne sonore, produttore di eventi live, dj, attivista, storico, insegnante, membro della New Jersey Hall of Fame e della Rock and Roll Hall of Fame ed è riconosciuto come una delle principali autorità sia nel mondo del Rock and Roll contemporaneo che di quello tradizionale.
Dopo aver contribuito alla creazione del Jersey Shore sound insieme agli Asbury Jones è divenuto un membro fondatore della E Street Band di Bruce Springsteen ed è andato avanti fino a diventare un artista solista di successo, esibendosi con la sua formazione Little Steven and The Disciples of Soul. Nel 2017 ha fatto uscire “Soulfire” il suo primo album dopo 15 anni ritornando alle sue radici Rhythm and Blues che Rolling Stone ha inserito tra i migliori dischi del 2017.
Ha appena fatto uscire “Soulfire LIVE!” un box set contenente 3 cd registrato durante quello che è stato il suo primo tour solista dopo 20 anni.
Le sue canzoni sono state eseguite da artisti come Jackson Browne, Pearl Jam, Jimmy Cliff, Damian Marley, Margo Price, Gary U.S Bonds, Darlene Love, Nancy Sinatra, Brian Setzer, Black Uhuru e molti altri.
Steven ha co-prodotto gli storici album di Bruce Springsteen “The River” e “Born in the USA”. Ha anche prodotto album per Southside Johnny and The Asbury Jukes, Gary U.S Bonds, Ronnie Spector, Demolition 23, Majek Fashek e molti altri. Ha prodotto e arrangiato “Introducing Darlene Love”, l’album acclamato dalla critica della leggendaria Darlene Love, star del documentario premio Oscar “Twenty Feet From Stardom”.
Nel 1985 Van Zandt ha formato la Artists United Against Apartheid e ha scritto “Sun City” una canzone a cui hanno partecipato più di 50 Artisti per protestare contro l’Apartheid. Molti analisti politici ritengono che quella canzone sia stata uno dei colpi fatali all’Apartheid, con Nelson Mandela rimesso in libertà solo pochi anni dopo. Steve è stato premiato due volte dall’ONU per il suo attivismo politico: per il progetto Sun City e per il suo coinvolgimento nell’ “International Peace Day” insieme a Peter Gabriel. Ha anche fondato la Solidarity Foundation per promuovere la sovranità delle popolazioni indigene e per favorire uno sviluppo economico in armonia con la terra.
Steven ha recitato in tutte le sette stagioni dei Soprano interpretando Silvio Dante, un personaggio da lui creato. Ha poi recitato, scritto, prodotto, musicato e diretto (l’ultimo episodio) la serie Lilyhammer che è stato il primo contenuto originale programmato da Netflix.
Steve e sua moglie Maureen sono membri del board del Count Basie Theatre e hanno contribuito all’espansione del leggendario teatro ad uno dei migliori Arts Center del mondo che comprende musica, teatro e danza.
Stevie Van Zandt - Guitar, Vocals
Marc Ribler - Music Director, Guitar, Slide Guitar
Rich Mercurio - Drums
Jack Daley - Bass
Andy Burton - B3 Organ, Accordion, Synthesizers
Lowell “Banana” Levinger - Piano, Mandolin, Esraj
Eddie Manion - Horn Director, Baritone Sax
Stan Harrison - Tenor Sax, Alto Sax, Flute, Oboe
Clark Gayton - Trombone
Ravi Best - Trumpet
Ron Tooley - Trumpet
Anthony Almonte - Percussion
Jessica Wagner - Backing Vocals
Sara Devine - Backing Vocals
Tania Jones - Backing Vocals
Portishead 'A' had a total of seven Metro Vic sets ranging from 550 kW to 55 MW in size the last being commissioned in 1948.
Steam was supplied by 17 chain grate fired boilers at 325 psi. The station closed in the late 1970s.
Photo from 'Turbine Lubrication' published by The Vacuum Oil Company. No date.
The Postcard
A postally unused Milton Artlette-Glazette Series postcard that was published by the Woolstone Bros. of London EC. The card, which has a divided back, was printed at their works in Germany.
Although the card was not posted, it bears a recipient's name and address:
To Dolly Bray,
Cliff Street,
Cheddar,
Som.
There was also a message:
"Dear Dolly,
Just another to add
to your collection.
How are you getting
on? Hoping you are
well.
Let us know when
you are coming up
to Bristol won't you.
Yours sincerely,
V. Warburton."
Teignmouth
Teignmouth is a seaside town and fishing port in the English county of Devon. It lies on the north bank of the estuary mouth of the River Teign, about 12 miles (19 km) south of Exeter. The town had a population of 15,000 at the 2021 census.
From the 1800's onwards, the town grew rapidly in size from a fishing port associated with the Newfoundland cod industry to a fashionable resort of some note in Georgian times; there was further expansion after the opening of the South Devon Railway in 1846. Today, its port still operates, and the town remains a popular seaside and day-trip holiday location.
-- History of Teignmouth
During the 17th. century, in common with other Channel ports, Teignmouth ships suffered from raids from Dunkirkers, who were privateers from Flemish ports. It is possible that smuggling was the town's most significant trade at this time, though cod fishing in Newfoundland was also of great importance.
In July 1690, after the French Admiral Anne Hilarion de Tourville defeated an Anglo-Dutch fleet at the Battle of Beachy Head, the French fleet was anchored in Torbay, and some of the galley fleet travelled the short distance up the coast and attacked Teignmouth. A petition to the Lord Lieutenant from the inhabitants described the incident:
'On the 26th. day of July 1690 by Foure of the
clocke in the morning, your poor petitioners
were invaded by the French to the number of
1,000 or thereabouts, who in the space of three
hours tyme, burnt down to the ground the
dwelling houses of 240 persons of our parish
and upwards, plundered and carried away all
our goods, defaced our churches, burnt ten of
our ships in the harbour, besides fishing boats,
netts and other fishing craft.'
After examining 'creditable persons', the Justices of the Peace concluded that:
'By the late horrid invasion there were within
the space of 12 houres burnt downe and
consumed 116 dwelling houses ... and also
172 dwelling houses were rifled and plundred
and two parish churches much ruined, plundred
and defaced, besides the burning of ten saile
of shipps with the furniture thereof, and the
goods and merchandise therein.'
As a result, the Crown issued a church brief that authorised the collection of £11,000 for the aid of the town. Churches from as far afield as Yorkshire contributed, and the collections enabled the further development of the port. This was the last invasion of England, and French Street, with its museum, is named in memory of the occasion.
In the 1600's and 1700's, there are records of a windmill on the Den – an area that was then a large sand dune and is now a grassy public open space near the seafront. By 1759, this windmill had been demolished.
The Newfoundland fisheries continued to provide the town's main employment into the early 19th. century (e.g. Job Brothers & Co.) With the men in Newfoundland for most of the year, the women did the local fishing and rowed the ferries across the estuary. Early tourists, such as Fanny Burney, referred to the women as the "Amazonians" of Shaldon and Teignmouth, and wrote of their strength, health and tendency to wear trousers or hitch their skirts up to their knees in order to fish.
As the fisheries declined, tourism increased. A tea house was built on the Den in 1787 amongst the local fishermen's drying nets. By 1803, Teignmouth was called a "fashionable watering place," and the resort continued to develop during the 19th. century. Its two churches were rebuilt soon after 1815, and the first bridge across the estuary to Shaldon was built in 1827.
George Templer's New Quay opened at the port; and the esplanade, Den Crescent and the central Assembly Rooms (later the cinema) were laid out. The population in the 1841 census was 4,459 inhabitants. The railway arrived in 1846, and the pier was built 1865–1867.
-- Teignmouth in the Great War and WWII
The Great War had a disruptive effect on Teignmouth; over 175 men from the town lost their lives. and many businesses did not survive. In the 1920's, as the economy started to recover, a golf course opened on Little Haldon; the Morgan Giles shipbuilding business was established, and charabancs took employees and their families for annual outings to Dartmoor and elsewhere. By the 1930's, the town was again thriving and, with the Haldon Aerodrome and School of Flying nearby, Teignmouth was advertised as the only south coast resort offering complete aviation facilities.
During the World War II, Teignmouth suffered badly from "tip and run" air raids. It was bombed 21 times between July 1940 and February 1944; 79 people were killed, 151 wounded, 228 houses were destroyed and over 2,000 damaged in the raids. Teignmouth's hospital was bombed during a raid on the 8th. May 1941, killing three nurses and seven patients. It was rebuilt and reopened in September 1954, making it the first complete general hospital in the country to be built after the formation of the National Health Service.
A US Navy plan was created, which proposed to dam the harbour and set up a seaplane base, but it was abandoned as the war turned in favour of the allies.
-- Teignmouth Port
The Old Quay was built in the mid-18th. century on land leased from Lord Clifford. The opening of the Stover Canal by James Templer in 1792 provided a boost to the port, due to the ease with which ball clay could be transported from the mines north of Newton Abbot. By 1820, this trade was supplemented by granite from the quarries near Haytor on Dartmoor, carried via the unique granite-tracked Haytor Granite Tramway which was linked to the Stover Canal. The granite to build the new London Bridge came via this route, and was sent from the New Quay, which had been built for this traffic in 1821–25 by George Templer, James's son.
The Old Quay was sold to George Hennet in 1850 and became the centre of his trading network. It had been connected to the South Devon Railway the previous year.
Teignmouth has a tradition of shipbuilding from the 17th. century. By the turn of the 19th. century, there were three shipyards in Teignmouth, with three in Shaldon and Ringmore on the opposite side of the estuary. The industry declined in the early 20th. century but, in 1921, Morgan Giles bought the last derelict shipbuilding yard and gave the industry a new stimulus. His shipyard became a major employer, building pleasure craft in peacetime and small craft such as torpedo boats during World War II. The business failed in 1968, not long after Donald Crowhurst's attempt to sail around the world.
The Shipwrecked Fishermen and Mariners' Royal Benevolent Society sent a lifeboat to Teignmouth in 1851, and kept it in a boathouse on the beach near the Custom House. In 1854, the society transferred its lifeboats to the Royal National Lifeboat Institution (RNLI). A new boathouse was provided on The Den with doors facing the harbour which was used until 1940. After a gap of fifty years, on the 3rd. November 1990, the RNLI re-opened Teignmouth Lifeboat Station with an Atlantic 21 inshore lifeboat.
Teignmouth Lighthouse was erected in 1845 to guide ships into the harbour.
-- Shaldon Bridge
The original bridge was owned by the Teignmouth and Shaldon Bridge Company. The first stone was laid on the 20th. September 1824, and it opened on the 8th. June 1827. It had 34 wooden arches, and was 1,671 feet (509 m) long, which made it the longest wooden bridge in England when built. It had abutment walls of a considerable length at either end, and a swing bridge at the Teignmouth end to allow sailing ships to pass up the estuary. It cost around £19,000 to build, but the overall expenditure was about £26,000 (equivalent to £2,843,100 in 2023), due to the costs of the necessary Act of Parliament and the purchase of the old ferry-rights. Toll houses were built at each end of the bridge, and the one on the Teignmouth side survives.
After eleven years, on the 27th. June 1838, the centre arches of the bridge collapsed; the timbers had been eaten through by shipworms. It was rebuilt in wood and re-opened on the 13th. April 1840, but it partially collapsed again in 1893.
The bridge was completely rebuilt between 1928 and 1931, using steel for the piers and main girders, and concrete for most of the deck, except for the opening span which used timber. The overall length of the new bridge was 1,130 feet (340 m) carried on 22 spans, with an overall width of 28 feet 6 inches (8.69 m) providing a carriageway of 20 feet (6.1 m) and two footpaths 4 feet 3 inches (1.30 m) wide.
The new bridge allowed the lifting of the previous weight limit of 3 long tons (3,000 kg). A bascule span was provided in place of the previous opening span.
On the 28th. October 1948, Devon County Council bought the bridge from the Shaldon Bridge Company for £92,020 (equivalent to £4,230,000 in 2023), and tolls were abolished. The original paintwork was inadequate to deal with the environment, so repairs were required in 1960 and in 1980.
In 1998, it was discovered that the bridge had severe structural defects, and work to correct this continued until 2002; the bridge remaining open throughout. After this work was completed, residents nearby noticed that in certain wind conditions the bridge "whistles". As of 2007 the problem had not been solved.
-- The Atmospheric Railway
The line built by Isambard Kingdom Brunel runs along the South Devon Railway sea wall, which is a stone embankment between the sea and cliffs that runs for several miles between Teignmouth and Dawlish Warren. This line originally worked by the atmospheric system, with steam pump houses at regular intervals to create the vacuum. However it was not successful for a host of reasons, and was converted to normal steam locomotive working. Redundant sections of the atmospheric railway pipes were used as drains all over Teignmouth; one was set in the roadside in Woodway Lane, near Woodway House.
In December 1852, a large landslip from the cliffs east of the town caused the railway to close for four days; and, in 1855 and 1859, the sea broke through the line at Teignmouth. There have been many more closures since, caused both by landslips from the cliffs and breaches by the sea, especially in winter. In 1936, the Great Western Railway surveyed an inland deviation between Exminster and Bishopsteignton, with a shorter route starting near Dawlish Warren; however, the advent of World War II brought these projects to an end.
In 2010, the sea walls and adjoining estuaries were costing Network Rail around £500,000 per year to maintain.
-- The Estuary
The town is located on the north bank of the mouth of the estuary of the River Teign. The red sandstone headland on the Shaldon side, called The Ness, is the most recognisable symbol of the town from the seaward side.
In the harbour area was the Salty; a small flat island created through dredging operations but levelled, supposedly to improve natural scouring of the main channel for shipping, in recent years to leave a large tidal sand bank frequented by seabirds and cockle-collectors. Salmon nets are still employed by locals, especially near Shaldon Bridge.
The estuary seems disproportionately large for the size of the river flowing through it; this is especially apparent at low tide, because it is a drowned valley caused by a relative rise in sea level following the last Ice Age.
-- Notable Teignmouth Buildings
Den Crescent and its central Assembly Rooms, laid out in 1826 by Andrew Patey of Exeter, still survive relatively unchanged today. The Assembly Rooms were the hub of the town's social life in the 19th. century, and lavish balls took place in the 70 ft (21 m) long ballroom. In 1871, the building was taken over by the East Devon and Teignmouth Club which had an exclusive membership taken from the gentry and professional middle class.
Over the years, the building was used as a theatre, a dance hall, a conference centre and a billiards hall. In 1934 it was converted into the Riviera Cinema, in which guise it continued until 2000; part of the building has now been converted into flats. In 2016, the lease for the historic auditorium was taken over by the Mars Hill Church, with the intention of restoring it as both a cinema and a music and arts facility.
The town's parish church, dedicated to St. James, is unusual, being octagonal in shape. A story from Cornwall suggests why these churches are rounded, for the villagers of Veryan built several circular houses so that the Devil had no corners in which to lie in wait. The church of St. Michael the Archangel is in the east of the town. St. Scholastica's Abbey (now converted to flats), on the road to Dawlish, built in 1864 by Henry Woodyer is a notable Gothic Revival building, and the Roman Catholic Church, on the same road, is a late work by Joseph Hansom, the inventor of the hansom cab.
In 1894, there were 26 public houses in Teignmouth. Pubs today include the Blue Anchor Inn on Teign Street and the Devon Arms on Northumberland Place. The River Beach is home to a varied selection of seasonal and permanent beach huts, one of which (now removed to the town's museum) was a Georgian bathing machine, minus wheels. These huts have enjoyed the boom in popularity of such properties in recent years and now change hands for figures approaching £100,000.
Teignmouth and Shaldon museum was completed in 2011. It comprises an architecturally iconic extension of the existing 18th. century museum building, with a new roof terrace looking over the town, glass tower and community facility. Some of the exhibits include a restored bathing machine; artefacts from the Church Rock wreck, such as cannons; exhibits from the nearby Haldon aerodrome, plus film footage including The Beatles' visit to the town and the 2009 homecoming concerts by Muse.
The new build cost almost £1.1m; it was enabled by a major community fund-raising effort, in combination with Lottery and UK government funding and other sources. The Church Rock wreck was found when a Zuanne Alberghetti cannon was located on the site of a 16th. century wreck, followed by further discoveries.
The town's newest public building is the Pavilions Teignmouth, a community arts and enterprise centre on the Den, opened in April 2016.
-- Teignmouth Tourism
Although reduced from its heyday, Teignmouth still receives considerable numbers of holidaymakers, especially day-trippers. It is twinned with the French town Perros-Guirec.
The resort has a sea beach and Teignmouth Pier, with amusement arcade and rides. The beach wraps around the spit at the head of the river Teign, providing a river beach commonly known as the Back Beach on the estuary side; this overlooks the harbour with its moorings for many pleasure craft, and has views up the estuary to Dartmoor.
An 18-mile (29 km) long waymarked route, known as the Templer Way, has been created between Haytor on Dartmoor and Shaldon. It closely follows the route of George Templer's granite tramway, his father James's Stover Canal and finally the estuary to Teignmouth.
Teignmouth Carnival is held during the last week of July, with the procession on the last Thursday. Since 1999, the town has hosted a summer folk festival. In 2005, Fergus O'Byrne and Jim Payne from Newfoundland, were the headline artists at that year's festival which celebrated the town's links with that region.
Since 2018, Teignmouth has hosted the annual Teign Shanty Festival; it is a folk music festival with a focus on sea shanties, with over 40 groups performing in 2021.
The seafront benefits from Teignmouth Lido, a public open-air heated swimming pool. This is one of four outdoor pools operated by Teignbridge District Council. The others are at Buckfastleigh, Ashburton and Buckland.
Teignmouth is home to the River Teign Rowing club, the largest rowing club in the UK, with almost 400 members; it competes internationally in Cornish Pilot Gig rowing, locally racing Seine boats and nationally in Sea Skiffs and Sculls. Members have competed recently as far afield as Russia.
Teign Corinthian Yacht Club was founded in 1886; it organises racing and training for sailing dinghies, yachts and powerboats. It has two centres: a clubhouse on Teignmouth seafront built in 1995, and a dinghy park on the River Teign estuary at Coombe Cellars, with a new clubhouse being built there in 2020.
-- Notable People Associated With Teignmouth
Fanny Burney, the diarist and novelist, visited Teignmouth several times in the late 18th. century. She took her first dip in the sea here in 1773, as she recorded in her journal. Elias Parish Alvars, the harpist, was born in East Teignmouth in 1808. Three years later, Thomas Abel Brimage Spratt, vice-admiral, hydrographer and geologist, was born at Woodway House.
In spring 1818, the poet John Keats spent several weeks in Teignmouth, and completed his epic poem Endymion here. His arrival coincided with a period of wet weather, and he wrote to a friend of:
"... the abominable Devonshire Weather ... the truth is,
it is a splashy, rainy, misty, snowy, foggy, haily, floody,
muddy, slipshod county."
George O. May (born 1875), who made significant contributions to the field of accounting and rose to senior partner of Price Waterhouse's American firm in the early 20th. century, was born and raised in Teignmouth.
From 1812 until his death in 1833, Edward Pellew, 1st. Viscount Exmouth had his home at Bitton House, which was then called West Cliff House. Meanwhile, Thomas Luny, the painter of seascapes, lived in the town for thirty years until his death in 1837, and executed over 2,200 paintings while living here.
Shortly afterwards George Hennet, the railway engineer and contractor who was closely involved with Brunel's railway, moved to the town and took a close interest in local affairs. He died here in 1857.
Charles Babbage (1791–1871), the mathematician, philosopher, inventor and mechanical engineer, who originated the idea of a programmable computer, also lived here for some years, and was married in St. Michael's church in the town.
Sir John Smyth (1893–1983) was a recipient of the Victoria Cross and was made 1st. Baronet of Teignmouth in 1956.
The Belgium footballer Charles Vanden Wouwer was born in Teignmouth in 1916, while his parents were staying there as Great War refugees.
The Canadian Second World War pilot Roy Sydney Baker-Falkner settled in the Teignmouth area in 1930, his brother and sister studying in Teignmouth whilst he was a cadet at the Royal Naval College, Dartmouth. He went on to be one of the few naval pilots of the Battle of Britain.He was given the freedom of Teignmouth and Exeter after leading the audacious attack on the German battleship Tirpitz. He was lost in July 1944, and remembered on the Shaldon War Memorial and at the Teign Heritage – Teignmouth & Shaldon Museum.
During the Second World War, Clive Sinclair was evacuated to Teignmouth as a child and lived there for some years.
The businessman and musician Danny Thompson was born in the town in 1939, and the writer and environmentalist John Bainbridge (born 1953) spent his teens and early adulthood here, and was educated at West Lawn School.
The three members of rock band Muse (Matt Bellamy, Chris Wolstenholme and Dominic Howard) attended Teignmouth Community College in the early 1990's. They started the band in the town and based their song "Falling Down" on their teenage years living there. The band performed two homecoming concerts entitled A Seaside Rendezvous there in September 2009.
England rugby union and Exeter Chiefs player Sam Simmonds lives in Teignmouth, as does his brother and fellow first team player Joe Simmonds. Sam helped the Chiefs win the Aviva Premiership in 2017. He has currently scored two tries for England and has one Man of the Match award.
The triple jump world record holder, Jonathan Edwards, lived in Teignmouth in his early years. He went to school at the Inverteign Juniors site (now Mill Lane). His world record has stood since 1995.
Composer Laura Rossi grew up in Teignmouth and attended school in the town.
-- Teignmouth in the Media
.
Letitia Elizabeth Landon's poetical illustration A Legend of Teignmouth, in Fisher's Drawing Room Scrap Book of 1834, accompanies an engraving of a view of Teignmouth from the Ness by Thomas Allom.
The Norman Wisdom film, Press for Time, in which Norman becomes a reporter at the seaside town of Tinmouth, was shot largely on location in Teignmouth in 1966. A bus and bicycle chase shows many scenes of the town centre and sea front as it was at the time.
Singer-songwriter Patrick Wolf wrote a song called "Teignmouth" for his 2005 album Wind in the Wires, which focuses primarily on the view of the town and the River Teign when taking a train along the coastline.
A set of my photos were just published at www.nerve.com . ... go to the site to check it out!! You'll need an account to see all the pictures, but i do have a couple on my flickr here already....but not all.... ;)
Prairie producers have been somewhat dissapointed with the canola yields so far, according to one analyst.
Christiane Baumgartner, 1967 (Transall/Transall), 2002 (Holzschnitt auf Kozopapier/Woodcut on kozo paper), Albertina - Ankauf/Acqusition, 2005
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.
Penguin First edition published in 1957.
Reprinted 1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973
Cover design by Alan Aldridge
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Ghali apre la performance di Martin Garrix per Milano Rocks, sabato 10 settembre 2022 all’Ippodromo Snai San Siro.
Fru di The Jackal ha il compito di presentare Ghali e con lui sul palco come ospiti ci sono Axell, Tedua, Digital Astro, Pyrex, Baby Gang e Charlie Charles.
Ghali Amdouni, alias Ghali, è un rapper italiano. Nato a Milano il 21 Maggio 1993 da genitori tunisini, ha sempre vissuto in Italia, nello specifico a Baggio, periferia milanese.
Ha iniziato ad avvicinarsi all'hip hop utilizzando lo pseudonimo Fobia, mutato successivamente in Ghali Foh. Nel 2011 ha fondato i Troupe D'Elite, gruppo nel quale erano presenti anche il rapper Er Nyah (ora conosciuto come Ernia), la cantante Maite e il produttore Fonzie (ora conosciuto come Fawzi).
Il 26 Gennaio 2018 Ghali ha pubblicato il suo singolo Cara Italia, brano cult che ha superato le 128milioni di visualizzazioni su YouTube, venendo certificato triplo disco di platino nel giro di un mese e restando stabilmente ai vertici delle classifiche di airplay del paese per settimane. Un successo straordinario che segna il coronamento di un percorso lungo 4 anni che porta Ghali alla ribalta come vero e proprio riferimento della musica italiana ed europea.
Gianluca Colucci, in arte Fru è un attore e comico italiano nato nel 1995. Fru è uno dei membri del gruppo comico The Jackal insieme a Simone Ruzzo, Ciro Priello, Fabio Balsamo, Claudia Napolitano e Aurora Leone.
Arrivato nel gruppo comico solamente nel 2016, undici anni dopo la fondazione della società di produzione The Jackal, Fru nel 2020 è entrato a far parte del cast della nuova serie italiana originale Netflix in collaborazione con i The Jackal, insieme a Fabio Balsamo, Generazione 56K e nel 2021 è uno dei comici in gara nel comedy show di Amazon, LOL: Chi ride è fuori e nel 2022 è in coppia con Aurora Leone nella nuova edizione di Pechino Express 2022 – La Rotta dei sultani.
Axell è nato in Senegal, ma a 12 anni si è trasferito a Torino nel quartiere Barriera di Milano. Parla francese e italiano, due lingue che si mischiano nelle sue canzoni e che gli danno un sapore internazionale, transalpino, ma unito alla fame, alla rabbia e a quel rap italiano che inevitabilmente ha assorbito nel quartiere torinese dove è cresciuto. Suona il pianoforte e la tromba, ama il rap, ma ascolta anche musica classica, la sua ultima canzone, Que Pasa, è stata condivisa anche dal calciatore interista Hachraf Hakimi. Le sue peculiarità artistiche hanno attirato l’attenzione di Ghali ed Axell ha firmato per Sto Records e ha pubblicato Que Pasa.
Tedua, pseudonimo di Mario Molinari (Genova, 21 febbraio 1994[2]), è un rapper italiano. Precedentemente noto come Incubo o Duate, è uno dei componenti di Wild Bandana, collettivo musicale genovese di cui fanno parte anche Izi, Vaz Tè, Guesan e Ill Rave.
Digital Astro, al secolo Rida Amaouch, è un artista classe 2000. Nasce ad Acireale da genitori marocchini e comincia ad avere contatti con la musica sin dalla tenera età avvicinandosi a diversi generi che lo porteranno a creare uno stile molto personale. Nel 2017 conosce il producer Sadturs che si rivelerà essere una figura chiave nel suo cammino e con il quale formerà la più classica delle coppie rapper-producer.
Nel 2020 viene notato proprio da Ghali che, intuendone le grandi potenzialità, decide di inserirlo nella cantera di Sto Records facendogli firmare il suo primo contratto. I suoi primi singoli ufficiali “Preghiera per il blocco” e “Tutto Passa” vengono fin da subito apprezzati dal pubblico che iniziano a conoscere il mondo di Digital Astro. Questo ruota attorno al racconto delle difficoltà che i ragazzi delle nuove generazioni devono affrontare.
Dark Pyrex, detto anche Principe Pyrex o Prynce, è il letterato della Dark Polo Gang. Il suo vero nome è Dylan Thomas Cerulli ed è nato nel 1994 da padre romano e madre afro-americana di New York.
Incontra Dark Side, Tony Effe e Wayne da adolescente a scuola. Inizia a rappare con loro per gioco, finché Sick Luke, figlio di Duke Montana, li convince a fare le cose sul serio confezionando i primi beat. Nasce così Dark Polo Gang, collettivo che inizialmente è addirittura un quintetto, insieme a un altro ragazzo romano, Bangerz.
Baby Gang, pseudonimo di Zaccaria Mouhib, è un rapper italiano di origini marocchine. Nasce a Lecco nel 2001 e a partire dagli undici anni passa gli anni tra carceri minorili e comunità educative.
Nel 2018 pubblica Street, il suo primo singolo, ma poco dopo viene arrestato e condannato alla detenzione nel carcere minorile Beccaria di Milano, dal quale esce grazie all’intervento di Don Claudio Burgio che lo porta nella propria comunità. Nel 2019 pubblica i singoli Fuck la Pula, Educazione e Cella 1. Ottiene un discreto successo nel 2020 grazie alla collaborazione con la 167 Gang nel singolo Baby Gang e Bimbi Soldato con Sacky. Dopo una lunga serie di singoli, nel 2021 pubblica prima EP1, progetto di 7 brani con le collaborazioni di Il Ghost, Omar, Neima Ezza, Rondodasosa e Escomar. Per fine agosto è previsto Delinquente, il suo primo disco ufficiale pubblicato per Warner Music Italy.
Charlie Charles, pseudonimo di Paolo Alberto Monachetti, è un produttore discografico e disc jockey italiano, ritenuto tra i principali esponenti della scena hip hop e trap italiana degli anni 2010.
Charlie Charles inizia la sua carriera ascoltando e producendo musica elettronica e techno, dedicandosi anche alla composizione di colonne sonore. Dopo diversi cambi di scuola, abbandonò le superiori per dedicarsi solo alla musica, creando a Seguro un proprio studio di registrazione. Intorno allo stesso periodo conosce il rapper Sfera Ebbasta, intraprendendo una collaborazione musicale culminata nel 2015 con l'album in studio XDVR. Il 2015 segna inoltre la collaborazione con Marracash per l'etichetta discografica indipendente Roccia Music, producendo vari brani e album con Ghali, Tedua, Izi, Gué Pequeno e la Dark Polo Gang, oltre a Sfera Ebbasta.
Suspended Animation Classic #141
Originally published September 8, 1991 (#36)
Doc Savage
By R. A. Jones
From the 1920s till the early 1950s, when the paperback book became dominant, people found their appetite for literature satisfied in the pages of the pulp magazines. Originally selling for one thin dime, the pulps brought the world such enduring characters as Tarzan and The Shadow.
From 1933 to 1949, the pulps also carried the adventures of a bronze-skinned superman named Doc Savage. As with many such characters, Doc Savage has likewise been the star of several comic book series.
The newest of these – subtitled “The Monarch of Armageddon” – has just been released. The story is set in 1938. Doc Savage, having spent a decade fighting evil schemes hatched all over the world, has decided he needs a vacation of sorts, a chance to be a more or less normal man.
This alone wouldn’t make for a very dramatic story, of course, so you know something is going to interfere with his plans. Or in this case – someone. A villain named John Sunlight, whom Savage had fought and beaten before, has now launched a new plan to destroy the man of bronze. Aiding the evildoer is a band of American Nazis.
I had a few problems with the scripting of this book. At times it is a bit camp, employing rather lame attempts at humor. The character of Savage himself has also been altered slightly; he is not so coolly efficient as in the original stories.
Still, it is an engaging tale that moves at a good, rapid clip. It is further aided by solid artwork and coloring. You don’t have to be a fan of Doc Savage to enjoy this book – you only need a love for adventure.
“Doc Savage” is published by Millennium at a price of $2.50, and is available in comic book specialty stores.
!!! (Chk Chk Chk)
Sonar Reykjavik 2016
Reykjavik, Iceland
February 2016
© 2016 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
My photo of the sausage races in Milwaukee was published by Milwaukee Public Radio station WUWM. The photo is in the middle. The original photo can be seen here:
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Lo sposalizio è stato il corpo e il pane della comunità. Il mattone fondante della comunità. Veniva consumato con il cibo e con la musica. Una specie di eucarestia in cui la nuova coppia veniva ingerita dalla comunità che gli si stringeva intorno avvolgendola di stelle filanti nell’ultimo, infinito ballo dei “ziti” (che così si chiamano tanto gli sposi quanto la pasta). La musica aumentava vorticosamente di ritmo fino ad assorbire la coppia che finiva per girare avvolta come uno spiedo in una girandola colorata di fili di carta. A quel punto era digerita e pronta per generare e rinnovare la comunità. Questa musica che accompagnava il rito era musica umile, da ballo, adatta ad alleggerire le cannazze di maccheroni e a “sponzare” le camicie bianche, che finivano madide e inzuppate, come i cristiani che le indossavano. Un repertorio di mazurke, polke, valzer, passo doppio, tango, tarantella, quadriglia e fox trot, che era in fondo comune nell’Italia degli anni ‘50, ‘60, e che si è codificato come una specie di classico del genere in un periodo nel quale lo “sposalizio” è stato la principale occasione di musica, incontro e ballo. Poi le tastiere elettroniche hanno preso il sopravvento e gli sposalizi sono diventati matrimoni. L’aria condizionata è entrata in un altro genere di ristorazioni in cui la musica è diventata una specie di dessert più parente del liscio che dell’epoca mitica dei mantici, dei violini e delle farfisa.
A Calitri, in alta Irpinia, negli anni in cui è esistita una comunità, che è poi finita frantumata nelle migrazioni che sono state il sangue vivo dello sviluppo, questa comunità si è rinnovata e celebrata in un luogo cardine del paese: la “casa dell’Eca”. Nei racconti della mia infanzia si è trasformata in “casa dell’Eco”. La casa dove nasceva l’eco. Eco della musica, degli schiamazzi, delle burle, delle feste, luogo del pantheon dei personaggi mitici che fanno una comunità in cui si viene ribattezzati e realmente ri-conosciuti, nel soprannome che la comunità stessa impone, in luogo della chiesa. Da qualche decennio la casa dell’Eco tace, e l’unico eco che si spande è quello dei racconti. Se ci si appendessero dentro le fotografie di tutte le coppie sarebbe un sacrario di guerra. Giovani con la divisa nuziale che andavano ad affrontare, sparacchiando, la vita, dopo la sparecchiatura dei tavoli della casa dell’Eca.
Qualche anno fa, un gruppo di anziani suonatori di quell’epoca aurea non priva di miseria, ha preso l’abitudine di ritrovarsi davanti alla posta nel pomeriggio assolato. Avevano l’aria di vecchi pistoleri in paglietta. A domandargli cosa facessero appostati davanti a quell’ufficio postale, rispondevano che montavano la guardia alla posta, per controllare l’arrivo della pensione. Quando l’assegno arrivava, sollevati tiravano fuori gli strumenti dalle custodie e si facevano una suonata. Il loro repertorio fa alzare i piedi e la polvere e fa mettere a ammollo le camicie sui pantaloni. Ci ricorda cose semplici e durature. Lo eseguono impassibili e solenni, dall’alto del migliaio di sposalizi in cui hanno sgranato i colpi. Hanno nomi da gloria nella polvere: Tottacreta, Matalena, il Cinese, Parrucca. Il più impassibile di loro non aveva nemmeno bisogno di un soprannome, tanto era lapidario il nome originale: Rocco Briuolo. Ora Rocco è andato a suonare “due Paradisi” tra i santi che ha dipinto come fossero suoi compari. Tra santo Canio e santo Liborio. Ora può, come nella vecchia canzone, dire a san Pietro guardando giù, che “il Paradiso nostro è questo qua”. E con ragione, perché la sua umanità, il suo violino e il suo pennello, hanno portato un poco di divino in noi, che l’abbiamo conosciuto. La sua “Banda della Posta” lo accompagna con la filosofia nella quale è vissuto: un lavoro ben fatto, che non si prende mai sul serio. A lui è dedicato questo disco fatto di racconti in musica, cic’ tu cic’ e bottaculo. A quadriglie, a cinquiglie, fino all’incontrè.
Banda della Posta:
Giuseppe Caputo , "Matalena" - violino
Franco Maffucci , "Parrucca"- chitarra e voce
Giuseppe Galgano, "Tottacreta"- fisarmonica
Giovanni Briuolo- chitarra , mandolino
Vincenzo Briuolo- mandolino , fisarmonica
Giovanni Buldo , "Bubù"- basso
Antonio Daniele- batteria
Crescenzo Martiniello, "Papp'lon" - organo
Gaetano Tavarone , "Nino"- chitarre
On the left, built in 1885, this set of Second Empire-style sawtooth-front stair-stepped brick rowhouses stand on Vine Street between Cincinnati’s Over-the-Rhine, CUF, and Mount Auburn neighborhoods. The rowhouses were built as development expanded up Vine Street Hill into Corryville in the latter half of the 19th Century, and provided efficient, attractive housing for working-class and middle-class families, whom were likely predominately German. The rowhouse on the end, at 2283 Vine Street, also has a notable history from the counter-culture movements of the Vietnam War era. This rowhouse was home to the offices of The Eye, a counter-cultural progressive newspaper, founded in Yellow Springs, Ohio, which covered topics such as feminism, civil rights, LGBTQ+ rights, anti-war sentiment, and music and arts during its brief period of existence between 1968 and 1975. The house was home to the newspaper’s editorial staff and operations in 1970-71, when a mysterious act of arson caused heavy fire damage to the structure, which remains unsolved. The unit was renovated afterwards and converted back into housing, but the newspaper only printed sporadically after the fire, with the last issue being published in 1975. The set of rowhouses have, in recent years, been home to predominately low-income people of color, and many have been divided up into rental units. However, the ongoing gentrification down the hill and development pressure descending from the University of Cincinnati up the hill are causing the property values to rise in this area.