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TAKING THE PLUNGE
A -4C day didn't stop 21 participants from diving into a hole in the ice near Domain, Man., March 22. The Pitura Seed Farms polar plunge raised well over $73,000 for STARS Air Ambulance.
Participants brave the freezing water in support of STARS.
Lily Allen
Highline Ballroom
New York City
May 15th, 2014
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My story and photographs about GYC (Generation of Youth for Christ) were published in the Southwestern Record February 2012 edition.
This photograph was published in the Illustrated Chronicle on the 26th of July 1916.
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.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
outtakes for the inside-out - be the change project in athens, greece. a subset was selected for the action, which will take place friday, june 21, 2013.
more information:
Two accounts, published in the 1640s, one in Spanish, one in Nahuatl, tell how, while walking from his village to Mexico City in the early morning of December 9, 1531 (then the Feast of the Immaculate Conception in the Spanish Empire), the peasant Juan Diego saw on the slopes of the Hill of Tepeyac a vision of a girl of fifteen or sixteen years of age, surrounded by light. Speaking to him in Nahuatl, the local language, she asked that a church be built at that site, in her honor; from her words, Juan Diego recognized the Lady as the Virgin Mary. Diego told his story to the Spanish Archbishop, Fray Juan de Zumárraga, who instructed him to return to Tepeyac Hill, and ask the lady for a miraculous sign to prove her identity. The first sign was the Virgin healing Juan's uncle. The Virgin told Juan Diego to gather flowers from the top of Tepeyac Hill. Although December was very late in the growing season for flowers to bloom, Juan Diego found at the usually barren hilltop Castilian roses, not native to Mexico, which the Virgin arranged in his peasant tilma cloak. When Juan Diego opened the cloak before Bishop Zumárraga on December 12, the flowers fell to the floor, and in their place was the image of the Virgin of Guadalupe, miraculously imprinted on the fabric.
The icon is now displayed in the Basilica of Our Lady of Guadalupe, one of the most visited Marian shrines. The icon is Mexico’s most popular religious and cultural image.
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È un sodalizio che dura da più di 30 anni, quello tra Franco Battiato e Alice, il duo della musica leggera in concerto al Teatro degli Arcimboldi il 9 marzo 2016. Il maestro catanese e la cantautrice romagnola sua protegée alternano brani del repertorio da solisti alle canzoni nate dalla loro proficua collaborazione.
Accompagnati dall’Ensemble Symphony Orchestra diretta da Carlo Guaitoli, Ensemble con cui Battiato si è già esibito per un breve tour nel luglio 2015 e che è composto dallo stesso Guaitoli (direzione d’orchestra e pianoforte), Angelo Privitera (tastiere e programmazione), Davide Ferrario e Antonello D’Urso (chitarre), Andrea Torresani (basso) e Giordano Colombo (batteria).
Un concerto con brani diversi fra loro ma affini, esattamente come Franco Battiato e Alice che hanno saputo rinnovare un'unione artistica ormai indissolubile, inseguendo la poesia delle note.
Il concerto sarà diviso in parti diverse ma comunicanti tra loro, verrà a rinnovarsi un’intesa artistica profonda tra due anime affini, nella celebrazione di un legame che è rimasto solido anche quando i rispettivi percorsi non si sono incrociati direttamente. Un viaggio doppio iniziato nel tempo e ora fotografato nelle altezze del divenire. Il 1980 è l’anno della loro prima collaborazione, con l’album di Alice “Capo Nord” e il singolo Il vento caldo dell’estate, un lavoro che avrà prosecuzione nel 1981 nell’album omonimo “Alice” sfociando subito nella vittoria a Sanremo con Per Elisa. Duetti come Chanson Egocentrique e I treni di Tozeur, con la quale si esibiscono all’Eurofestival, seguiranno rispettivamente nel 1982 e nel 1984. Nel 1985 Alice dedicherà al repertorio di Battiato l’intero album “Gioielli rubati”. Quello di Battiato per Alice nei primi anni ’80 è stato qualcosa che è andato oltre il mero lavoro di produzione e collaborazione, nel senso che il maestro catanese ha colto e valorizzato in quella fase le corde espressive e compositive della cantautrice di Forlì, che poi ha continuato il proprio percorso artistico raggiungendo sempre nuove tappe musicali. Alice è reduce da “Weekend”, il suo ultimo album uscito nel 2014 proprio in questi giorni, mentre Battiato sta pubblicando la retrospettiva “Le nostre anime”, a ripercorrere e rileggere da inediti punti di vista quarant’anni di carriera, non solo musicale, con la versione estesa in cofanetto che affianca a canzoni e brani i suoi film e la trasmissione televisiva “Bitte Keine Reklame”.
Trevor Tahiem Smith, Jr. (a.k.a. Busta Rhymes)
Secret Solstice Festival
June, 2015
Reykjavik, Iceland
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Published in Sticks & Stones | Photography: Shaira Luna, styling: Quayn Pedroso, grooming: Eddie Mar Cabiltes, with Cedric at Elite
I was very excited to have one of my afghans published in the "Little Box of Throws". For this collection, search for Jean Leinhauser and Rita Weiss at amazon.com
This photograph was published in the Illustrated Chronicle on the 26th of July 1916.
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.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
Published in 2004/April EDN ASIA magazine. It told us that don't be stupid to pay the money which is worth a deer to buy a dog.
Published in Penguin Books 1968
Cover design by Richard Hollis using a photograph by Carl Struwe from Formen des Mikrokosmos
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Saranno i Motel Connection ad aprire le date italiane dei Depeche Mode. Samuel, Pisti e Pierfunk si esibiranno prima di Dave Gahan e soci il 18 luglio allo Stadio San Siro di Milano e il 20 luglio allo Stadio Olimpico di Roma. Il collettivo torinese, nel cast del concerto del Primo Maggio a Roma, ha da poco pubblicato il suo nuovo album, "Vivace", anticipato dal singolo "Midnight sun". Arriva oggi, 3 maggio, il secondo estratto dal disco, "Less is more", il cui video è in anteprima su Rockol ed è disponibile in visione di seguito. La canzone è stata inserita nella colonna sonora del film diretto da Marco Ponti: “Passione sinistra”.
Il progetto Motel Connection nasce a Torino nel gennaio 2000, dall'incontro di tre artisti torinesi già noti nel panorama musicale italiano. Samuel, già celebre voce dei Subsonica, Pisti, dance oriented Dj e produttore di forte presenza scenica, e Pierfunk, primo bassista dei Subsonica dallo spirito funk. Nel 2001 il primo lavoro firmato Motel Connection: la colonna sonora di "Santa Maradona", film di culto del regista Marco Ponti, che ha ottenuto larghi consensi sia dal pubblico che dalla critica. Un anno dopo, nel 2002, esce "Give me a good reason to wake up", primo album ufficiale dei Motel Connection, seguito da "Two", singolo di enorme successo.
Attualmente, i Motel Connection, animati dal loro costante spirito di ricerca e innovazione, si esibiscono in una nuova formula di sperimentazione musicale. Pisti e Pierfunk danno vita a dj set concepiti come laboratorio creativo per la produzione del loro nuovo progetto. Da ottobre 2011, ogni domenica, va in onda sulle frequenze di Radio M2o "Juno 106", il programma musicale targato Motel Connection espressione di un sound ricercato, intenso, penetrante, che caratterizza appieno lo spirito internazionale della band, sempre più orientato verso nuove ed alternative contaminazioni transfrontaliere che caratterizzeranno la nuova produzione attesa per il 2013.
Samuel - Voce e Chitarra
Pisti - DJ
Pierfunk - Basso
© Mark Soetebier - All Rights Reserved / Tutti i Diritti Riservati.
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The utilization in other web pages without the express written consent of the author is
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Canon EOS 600D
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Filtro Polarizzatore Green.L
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.
This photograph was published in the Illustrated Chronicle on the 26th of February 1916.
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 or 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 carte postale that was published by I. P. M. of Paris. The card was posted in Les Andelys using a 10c stamp on Monday the 27th. April 1914, one hundred days before Great Britain declared war on Germany to initiate the greatest conflict that the world had ever seen.
The card was sent to:
Miss Brett,
'Fairhaven',
Burgh Heath,
Surrey,
England.
The message on the divided back of the card was as follows:
"Petit Andelys,
26. 4. 1914.
We are spending the
weekend in this
wonderfully beautiful
place, and are lodged
just at the side of the
bridge.
I think you know all the
other places we have
seen, but I don't
remember you mentioning
this place. I hope you will
see it some day.
C. P."
The Explosion on Board the Kometa
So what else happened on the day that C. P. posted the card?
Well, on the 27th. April 1914, the Russian steamer Kometa exploded off the coast of Algeria, killing half of the 30-man crew and injuring nine more.
Albert Soboul
The day also marked the birth, in Ammi Moussa, Algeria, of the Algerian-French historian Albert Soboul.
Albert, who specialized in the French Revolution and Napoleonic periods, died at his family home in Nimes on the 13th. September 1982 at the age of 68.
Joseph Harold Moore
Also born on the 27th. April 1914, in Florence, South Carolina, was the American air force officer Joseph Harold Moore.
On the 11th. December 1959, Joseph received the Bendix Trophy for flying a F-105 Thunderchief over a 100 kilometer closed course in order to establish a world speed record of 1,216 mph.
Joseph, who was leader of Operation Rolling Thunder during the Vietnam War, died in San Antonio, Texas at the age of 92 in 2006. He was laid to rest at Fort Sam Houston National Cemetery.
This photograph was published in the Illustrated Chronicle on the 11th of February 1916. 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 or 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.
Photos by Billy Hardiman/CATHOLIC SUN
Fr. Frankie Cicero, Fr. John Nahrgang, and Fr. Vinson Nguyen are newly ordained as priests at St. Andrew the Apostle Catholic Church on Saturday, June 16, 2018, in Chandler, Arizona.
More: www.catholicsun.org
Copyright 2006-2018 The Catholic Sun. All rights reserved. This photo and all photos on this Web site credited to The Catholic Sun are provided for personal use only and may not be published, broadcasted, transmitted or sold without the expressed consent of The Catholic Sun.
Lowtide Revelry
Published in the Highland News of July 26th 2008 !!! Their photographer hadnt turned up so I got asked if Id like to contribute on of mine
Inverness Highland Games, July 2008
© sergione infuso - all rights reserved
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this page without written permission and consent.
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L'ondata rock di Carmen Consoli tornerà ad accendere per tutta l'estate i palcoscenici all'aperto dei più importanti festival italiani e internazionali: da luglio a settembre l'artista proseguirà 'L'abitudine di tornare TOUR' con la parte estiva della sua nuova tournée. Rinnovato nella scenografia, nel mood e negli arrangiamenti, con richiami anni '70 per riportare le atmosfere incandescenti di Woodstock e dell'Isola di Wight, il tour si arricchirà anche di due grandi eventi speciali: il 7 giugno il Meeting del Mare, a Mariana di Camerota, e il 21 agosto il prestigioso Meltdown Festival, a Londra. Giunto alla XIX edizione, il Meeting del Mare si svolge nel suggestivo borgo di pescatori di Marina di Camerota, nel basso cilento. La manifestazione, che ha ospitato negli anni artisti come Franco Battiato, Vinicio Capossela ed Elio e Le storie Tese, è organizzata da Don Gianni Citro, ed è ormai un appuntamento fisso di inizio estate per i giovani provenienti da tutta Italia. Il primo concerto internazionale annunciato, invece, è il prossimo 21 agosto al londinese Meltdown Festival, una delle più prestigiose manifestazioni internazionali di musica: direttore artistico di questa edizione è il premio oscar David Byrne, che ha fortemente voluto Carmen come unica protagonista italiana del suo festival, una manifestazione che costituisce un'eccellenza della cultura anglosassone e che ha già avuto nelle precedenti edizioni direttori artistici quali David Bowie, Elvis Costello, Massive Attack e Patti Smith.
Così, dopo aver entusiasmato il suo pubblico con un ritorno al grande rock, Carmen riparte con la grinta e l'energia che ha sempre contraddistinto i suoi live. Il tour inizia il prossimo 3 luglio da Padova, dallo Sherwood Festival: storica rassegna indipendente di musica e cultura, entrata ormai di diritto nella mappa dei festival estivi italiani più longevi e importanti della penisola. Nella nuova tournée la scaletta ricalcherà quella che ha infiammato il pubblico dei palasport nei mesi scorsi, con vecchi e nuovi successi della sua carriera tra esplosioni di puro rock e atmosfere acustiche, ma non mancheranno le grandi novità. Formazione musicale 'al femminile' confermata con Luciana Luccini al basso e Fiamma Cardani alla batteria.
This photograph was published in the Illustrated Chronicle 19 Aug 1916 p11.
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.
THE VOLUPTUOUS HORROR OF KAREN BLACK (VHOKB)
Bowery Electric
New York City
March 2nd, 2014
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This photograph was published in the Illustrated Chronicle on the 10th October 1916
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.