View allAll Photos Tagged published
Chris Martindale with a Wallride to Big Drop. Seattle, WA
Chris rides for MacNeil, and this was published on their website: www.macneilbmx.com/blog/2011/01/martindale-photos/
Marina And The Diamonds
Friday, June 5th, 2015
Bowery Presents
Webster Hall, NYC
© 2015 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
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This photograph was published in the Illustrated Chronicle on the 1st of September 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
The Postcard
A postally unused postcard published by H.E. Classey of Colliers Wood, London S.W.
The photograph must have been taken prior to the 3rd. June 1918 because the back of the card states that a halfpenny stamp was required. Rates were raised to one penny towards the end of the Great War in order to help pay for it.
The man evidently lived at no. 72 - if anyone recognises the house, which is presumably somewhere near Colliers Wood, please leave a note.
Sarah Addison Allen
Garden Spells
First published in: 2007
This edition: Bantam Books / Bantam Dell, 2008
ISBN: 978-0-553-59032-6
Cover design by Jamie S. Warren Youll; cover art by Melody Cassen
Read the review here: ofbooks.blogspot.com/2010/03/r-085-garden-spells.html
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R&R series © Karin E. Lips 2008-2010 (and beyond)
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Copyright © Karin Elizabeth. All rights reserved.
R&R series © Karin Elizabeth. Do NOT copy and repost or reproduce the review or photo anywhere without my permission.
No group images or (admin) invites wanted in my comments. I will delete your comments.
Play nice.
I block assholes.
THIS IS NOT FREE STOCK.
This photograph was published in the Illustrated Chronicle on the 2nd of July 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
'Fake' pot plant and window, Ramsgate kent. Published, Folk Archive: Contemporary Popular Art from the UK
by Jeremy Deller and Alan Kane.
© 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.
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Non enfatizziamo troppo il ruolo del disco nella società moderna. Alla fine un disco non è altro che un cerchio di plastica con un buco. I dischi si dividono in: dischi e cd. Il disco, detto anche vinile, è nero, è più grande, ha il buco più piccolo e si sente meglio; ma fruscia. Il disco in questione però è un cd, quindi più piccolo, col buco più grande e non fruscia. Si chiama "L'album biango" ed è stato registrato e prodotto agli inizi del XXI secolo dagli Elio e le Storie Tese, insieme a Max Costa.
Perché l'avete intitolato "L'album biango"? Così. C'è chi dice che ci siamo ispirati all'album bianco dei Beatles, chi ci trova dei riferimenti all'albume dell'uovo cotto (perché quello crudo è trasparente), ma la risposta esatta è: "Così." Una caratteristica dell'album biango è che se provi a scriverlo su un computer moderno diventa "L'album bianco". Tu credi di aver sbagliato, invece è stato il correttore automatico. Allora tu lo riscrivi e scopri che "biango" è sottolineato da una linea rossa tratteggiata come a dire: "OK se proprio insisti scriverò "biango", ma sappi che non mi è andata giù". Non mi è andata giù? Ma che cazzo vuoi, correttore automatico di merda che continui a correggermi parole che non voglio correggere unicamente per cercare di giustificare la tua esistenza, ringrazia Dio che non riesco a disattivarti.
Su questo "L'album bianco" c'è poco altro da dire, se non che è colmo di ospiti straordinari come Area, Eugenio Finardi, Nek, Vittorio Cosma, Fabio Treves e che è costato molta molta tanta fatica agli Elio e le Storie Tese i quali in più di un'occasione, mentre lo stavano registrando elettronicamente, si sono guardati e si sono domandati: "Ma cosa stiamo facendo?"
La storica band comprende Elio (cantante, flautista), Vittorio Cosma (pianola) - che sostituisce nel tour Rocco Tanica -, Cesareo (chitarra alto), Faso (chitarra basso), Christian Meyer (batteria), Jantoman (ulteriori pianole), Paola Folli (cantante) e Mangoni.
From diagram published in BOS Mag n°275
Square Tant paper 35x35cm
Finally achieved, after a slight hesitation at step 27. I shall never again forget that the little thick tail-less arrow not only means "push in" but most certainly DOES indeed mean "PUSH IN" ! :-)
Thanks Roman, felt like folding a Fujimoto-San hydrangea
Dominion, published by Rio Grande Games and designed by Donald X. Vaccarino, is the pioneering deck‑building card game where players start with a small deck of basic cards and gradually acquire new ones from a shared supply to build a more powerful deck. Each turn, players play actions, buy cards using treasure, and add them to their deck for future use, aiming to balance resource generation with victory points. Set in a medieval theme, the game emphasizes strategy, replayability, and efficiency, with the winner being the player who accumulates the most victory points by the end of play.
© 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.
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Marcus Miller torna ad esibirsi dal vivo con una band di giovani musicisti ai Magazzini Generali di Milano.
Dopo un'assenza dalle scene nel 2014, in cui si è concentrato nel comporre nuova musica ispirato dal ruolo di portavoce dell'UNESCO per lo Slave Route Project, Marcus ha registrato un nuovo CD tra Rio, Parigi, Los Angeles e Lafayette (Louisiana).
Marcus Miller, vincitore di due Grammy Awards, dell'Edison Award for Lifetime Achievement in Jazz 2013, del Victorie du Jazz 2010 e nominato Artista per la Pace Uncesco 2013 non è solo un musicista eccezionale, un bassista e multi strumentista apprezzato in tutto il mondo ma anche un dotato compositore e produttore.
Il leggendario album "Tutu", scritto e prodotto per Miles Davis, lo ha consacrato alla fama internazionale quando aveva solo 25 anni.
Nel corso della sua carriera Miller ha collaborato con moltissimi artisti di talento tra cui Eric Clapton, George Benson, Luther Vandross, Roberta Flack, Aretha Franklin, Chaka Khan, Al Jarreau, George Duke, Wayne Shorter, Lalah Hathaway e Herbie Hancock. Ha anche prodotto i suoi album, vere e proprie pietre miliari del genere, come The Sun Don't Lie, Tales, M2, Silver Rain, Free, A Night in MonteCarlo (con l'Orchestra Filarmonica di Montecarlo) e Renaissance che gli ha dato l'occasione di intraprendere un tour mondiale con una nuova band composta da giovani talentuosi musicisti, forse ricordando le sue audizioni con un certo Miles Davis che ha fatto la stessa cosa per Marcus ed altri giovani musicisti di talento come Herbie Hancock e Wayne Shorter.
Marcus Miller - bass, bass clarinet
Alex Han - saxophone
Lee Hogans - trumpet
Brett Williams - keyboards
Adam Agati - guitar
Louis Cato - drums
Lady Gaga
ARTRAVE THE ARTPOP BALL
FT LAUDERDALE (FL)
May 4th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Headlong through the winter.
Though not on the solstice itself, I trod Pfeiffer Beach on its shortest day of 2012. In October of 2011, I visited the same sands to capture a few images before dawn (still haven’t published) and, though it took 14 months to return, I felt like I was home.
We came on a weekday so as to avoid the throngs of other photographers jockeying for the same postage-stamp of beach. Places like this take on a life of their own amongst photographers—typically because of one or a set of popular images. And though I don’t always succeed, I usually try to do something a bit different than the cliche landscape when at these spots.
Shooting the sunset through the Doorway at Pfeiffer Beach epitomized so much of what I love about this hobby—quietude and contemplation during the long wait for light, followed by frenetic activity when it arrives—all tempered by constant self-admonishment to enjoy it with my eyes as well as my camera.
When at long last the sun dipped low enough to wink at us through the aperture of that doorway, the stack looked for all the world like the brow-ridge of a scaled and world-weary leviathan, lurching for a moment from the brine to peer at the strange and wonderful land creatures that have come for a moment to wade in the ten feet of common ground shared between marine and terrestrial.
His gaze cast a thin strip of gold upon the waves and the brown-sugar sand; and between rogue waves and the steady surge and slap of the surf, I ran that amber runway, placing my camera here and there. I hung my lens just above the spray and the splash and dragged the shutter a bit to bring back a few memories of the setting sun and the receding sea in the last, magenta minutes of an early December evening.
I once read some advice along the lines of, “Don’t photograph the scenery, photograph the light,” and I haven’t been the same since.
317/365. A photo a day for a year.
Documentary shot today. The photograph of a rainbow I took back on day 280 has been used for the cover of a local business directory magazine called The Local Oracle :)
It might not be the cover of National Geographic but it's a start!
Today's 365 project shot is a photograph of the magazine, delivered through my letterbox today, exactly how it landed on the doormat.
Alexis Mag Vol.003
like my fb page!
Photography: Shavonne Wong (zhiffyphotography)
Styling: Raudhah Hanafi
Assistants: Dewi Sriwahyuto, Li Kah Yan, & Jeslin Lee
Hair and Makeup: Julyen Z L.
Model: Victoria Stutterheim (Phantom Models)
The Postcard
A postally unused carte postale published by A. Richard, 84 Faub. du Temple, Paris, and printed by Edia of Versailles.
By 1916 the Basilica had sustained immense structural damage, along with the loss of its entire roof.
To see the Basilica of Notre-Dame de Brebières before it was destroyed during the Great War, please search for the tag 56ALB66
'From Albert to Bapaume'
'From Albert to Bapaume' by Alec Waugh:
'Lonely and bare and desolate,
Stretches of muddy filtered green,
A silence half articulate
Of all that those dumb eyes have seen.
A bettered trench, a tree with boughs
Smutted and black with smoke and fire,
A solitary ruined house,
A crumpled mass of rusty wire.
And scarlet by each ragged fen
Long scattered ranks of poppies lay,
As though the blood of the dead men
Had not been wholly washed away'.
The Golden Virgin
During the Great War, the statue of Mary and the infant Jesus on top of the Basilica, dubbed by British Troops as the 'Golden Virgin', was hit by a shell on the 15th. January 1915.
The shell led to the statue hanging just below the horizontal, and in danger of falling. The Germans said that whoever made the statue fall would lose the war.
The statue became very familiar to the thousands of British soldiers who fought in the Battle of the Somme in 1916, many of whom passed through Albert, which at the time was situated 3 miles from the front lines.
The German Army recaptured the town in March 1918 and the British, in order to prevent the Germans from using the tower as an observation post, also bombarded the Basilica. The statue fell in April 1918, and was never recovered.
'The Virgin of Albert'
George Herbert Clarke (1873-1953) wrote a poem about the statue entitled 'The Virgin of Albert'.
Here it is:
'Shyly expectant, gazing up at Her,
They linger, Gaul and Briton, side by side:
Death they know well, for daily have they died,
Spending their boyhood ever bravelier;
They wait: here is no priest or chorister,
Birds skirt the stricken tower, terrified;
Desolate, empty, is the Eastertide,
Yet still they wait, watching the Babe and Her.
Broken, the Mother stoops: the brutish foe
Hurled with dull hate his bolts, and down She swayed,
Down, till She saw the toiling swarms below, -
Platoons, guns, transports, endlessly arrayed:
"Women are woe for them! let Me be theirs,
And comfort them, and hearken all their prayers!"'
Visa Paris 568
Note the reference to 'Visa Paris 568'. This is incorrectly spelt - it should read 'Visé Paris 568'.
'Visé Paris' followed by a unique reference number means that the image was inspected and deemed by the military authorities in the French capital not to be a security risk.
'Visé Paris' indicates that the card was published during or soon after the Great War.
Published by Beacon Hill Press
Written for people struggling with eating disorders. This involved a studio shoot and my Tuesday lunch. I designed the title, printed it, crumpled it up, then scanned it and super-imposed it onto the wrapper in the photograph. bhilldesign.com
Series of four photos of Jacqueline Harbin taken by photographer Starla Little. Published in Vogue Italia in February 2014
This photograph was published in the Illustrated Chronicle 29 Aug 1916 p12.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
-Dit najaar gingen we weer ‘Samen Op Stap’. Collega’s lieten zich van hun sportiefste kant zien, trotseerden regenbuien en wandelden zelfs in het schemerdonker. Gelukkig zorgden de lekkere broodjes voor een energieboost en de Work Life-sjaaltjes voor extra warmte. Wist je dat de oudste Belgacom-deelnemer 91 jaar was? No more excuses dus voor de thuisblijvers en proficiat aan alle deelnemers!
-Cet automne, nous avons de nouveau "bougé ensemble". Quelques-uns de nos collègues ont montré leur facette la plus sportive, bravant les averses et poussant même jusqu'à poursuivre leur promenade dans la pénombre. Heureusement, les délicieux petits pains les ont revigorés et ils ont trouvé dans les écharpes de la Work Life de quoi se réchauffer. Saviez-vous que le plus âgé, parmi les participants de Belgacom, avait 91 ans ? Les casaniers n'ont plus d'excuses et bravo à tous les participants !
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Legal disclaimer:
The photos on this website are published solely for informational purposes. If you are clearly identifiable on an image and do not consent to its publication, email hr.marketing (at) belgacom.be and ask to have your photo removed.
Lady Gaga
ARTRAVE THE ARTPOP BALL
FT LAUDERDALE (FL)
May 4th, 2014
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
“Illiam Dhone: A Manx Historical Drama which won the Chruinnaght Gold Medal, 1924”
by J. J. Keen
Published by Yn Chruinnaght Vanninagh Ashoonagh, as “Publication No. 1”, in 1926
Printed by S. K. Broadgate & Co. Ltd., Douglas
A seven-scene play on the life, death and aftermath of William Christian (“Illiam Dhone”).The play is a masterful handling of the contentious question of the traitor/nationalist status of Illiam Dhone in handing the island over to the Parliamentarian forces during the English Civil War. Kneen manages to leave the question still open in the play, despite making Dhone a very strong and heroic character.
That J. J. Kneen (1873 - 1938) was perhaps the leading Manx linguist as well as scholar and nationalist of his day would not come as a surprise after reading this play. He had a great many articles and translations to him name, although his most famous work is probably the translation the Manx National Anthem into Manx.
Kneen was a keen playwright also, writing many plays on Manx topics and themes. This play of ‘Illiam Dhone’ is a curious instance in that Kneen deals with Dhone and the complex issues surrounding him masterfully while giving the play a very strange format - effectively splitting it into three parts:
(1) the Manx “rebellion” (in which Dhone does not appear throughout the first scene, when the Derby Monarchist rule is overthrown),
(2) the arrest, trial and execution of Dhone, eleven years later,
(3) the story of Dhone son’s overcoming a rival to marry the daughter of one of Dhone’s accusers.
It should be clear what a daring opening act it is to leap straight into the rebellion, but also what a curious final act Kneen gives the play. It almost feels as if the play would be better titled, ‘Illiam Dhone and the Curse of the Clan Christian’.
Some of the characterisation is wonderful, particularly the interplay of Lady Molineux and Bishop Rutter in Scene I, where Rutter’s almost camp reactions to her outspoken attacks of the Roundheads is brilliant when set against the raucous songs that are left to us by the historical Samuel Rutter (Bishop 1660-1662/3). But this is nothing to the brilliant handling of Dhone himself, who is heroic, clearly drawn and yet vague at the same time. This is perhaps shown in one of the key lines in the play when Dhone is refusing to try to escape from the troops out to arrest him:
Christian:
Were it a crime to be a patriot, then am I a criminal indeed. I ever placed my country before aught else.
[...]
‘Twould be as well for a mouse to struggle against a lion, as for our puny little Isle to attempt to dictate to the armed forces if the English State.
[Scene III., p. 11]
A detailed biography (and bibliography) of J. J. Keen can be found here:
www.isle-of-man.com/manxnotebook/people/antiqarn/jjkneen.htm
Samuel Rutter’s biography & the drinking song that they sing in Scene I can be found here:
www.isle-of-man.com/manxnotebook/manxnb/v08p159.htm
Illiam Dhone’s Wikipedia page is here: