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Replacing an earlier scanned 6"x4" print with a better version 10-Apr-22 (DeNoise AI).
'Lufthansa Express' titles
Named: "Emden".
First flown with the Airbus test registration F-WWCE, this aircraft was delivered to Lufthansa as D-AIDD in Mar-89. It was leased to Hapag-Lloyd in May-04. Hapag-Lloyd was renamed Hapagfly in Apr-05.
It was returned to Lufthansa in Nov-05 and stored at Bournemouth, UK. The aircraft was sold to a lessor in Feb-06 and was due to be leased to Eagle Aviation (France) as F-GTIA. However the lease fell through and it was sold to Blue Airways (Kyrgyzstan - surprise!) as EX-31088 in Mar-06.
It was officially wet-leased to Mahan Air (Iran) in Jan-07. The aircraft was sold to Mahan Air as EP-MHO in Apr-08. It was permanently retired at Kerman, Iran in Jul-20 after 31 years in service. It's due to be preserved at Kerman. Updated 10-Apr-22.
Replacing the alternator while on the camp site
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This is what happens when I casually look at maps, see a church and think I don't recognise the name, we go and I take hundreds of shots, only to discover upon my return we were last there in January of 2017, making this the fourth visit.
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An impressive church of mainly fourteenth-century date. The tower, which was still under construction in the early sixteenth century, is one of the most striking features. Externally it is memorable for the composition of the west door and window. The doorway has finely carved spandrels and label-stops, but the window above has two designs incorporated into it - Tudor arches for the bottom four lights, and Perpendicular arches above. It is quite a thing and obviously the result of local designs dying hard! The tower is topped by an excellent weathervane dated 1751. Inside, the tower arch is also memorable, a tall much-moulded feature, almost as impressive as the tower arch at Horsmonden. The north aisle shows evidence of rebuilding - the two octagonal pillars of fourteenth-century form replaced circular pillars, one of which survives. The church is very light, the east window containing only plain glass, which helps us to appreciate the furnishings and memorials of mainly twentieth-century date. In the south aisle is a tablet to Alfred Lyttleton (d. 1913), which was probably carved by Eric Gill. The interesting reredos of the high altar dates from 1967 and depicts St John the Baptist baptising Christ in a local river.
www.kentchurches.info/church.asp?p=Wittersham
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LIES the next parish westward from Stone, being usually called Witsham.
THIS PARISH, which partakes of the gross unhealthy air of the adjoining marshes, is a lonely unsrequented place; it is about two miles and an half acros each way. The village, with the church and parsonage, stand nearly in the middle of it, upon high ground, the ridge of which runs through the centre of it, surrounded, excepting on the east, where it joins Stone, by a large tract of marsh-lands, which reach to the extremity of the island, excepting where they join the parish of Ebeney towards the north-east. At the west end of the high ground is a hamlet, called Pinyon Quarter, in which stands Palstre-court, and there are several other houses interspersed over it. The soil is a kind of loam, which in some places has the quarry or sand stone mixed with it. There are some small pieces of coppice wood in the different parts of the upland of it.
A fair is held here yearly, on the seast of St. Philip and James, May 1, for toys and pedlary.
THE MANOR OF ALDINGTON claims over the greatest part of this parish, as does the manor of Lambin, in Rolvenden, over a small district in it; subordinate to the former is the manor of Wittersham.
WITTERSHAM was given, in the year 1032, to Christ church, in Canterbury, for fosterland, that is, for the food and sustenance of the monks, by Eadsy a priest, with the consent of king Canute and Elfgive his queen, but there is no mention made any where of that church's having ever been in possession of it. But in later times this manor appears to have become a lay fee; for king Henry IV. in his 8th year, granted licence to Richard Lentwardyn and John Hurleigh, clerks, to give and assign to the master and fellows of All Saints college, in Maidstone, founded by archbishop Courtney in king Richard the IId.'s reign, the manor of Wyghtresham, among other premises in this county, which were not held of him. After which, this manor continued part of the possessions of the college till the suppression of it, in the 1st year of king Edward VI. anno 1546, at which time it was let to Sir Thomas Wyatt, at the yearly rent of fourteen pounds, (fn. 1) when the manor-house or court-lodge of it, from its belonging to the above foundation, had acquired the name it still goes by, of Wittersham college. This manor coming thus into the hands of the crown, was afterwards granted to Sir Henry Crispe, of Quekes, who settled it on his son Nicholas Crispe, esq. of Grimgill, in Whitstaple, who had been sheriff at the latter part of the first year of queen Elizabeth. He possessed it only for his life, during which there appears to have been a suit at law concerning the title to it, and on his death in 1564 it came to Thomas Parrot and Thomas Shirley, who were by inquisition found to be the two coheirs of his daughter Dorothy, and they held their separate moieties of the queen in capite, both which were afterwards alienated before the end of that reign to Thomas Bishop, esq. of Sussex, afterwards knighted, and anno 19 James I. created a baronet, who bore for his arms, Argent,on a bend,cotized,three bezants. He lived to a great age, and left surviving one son Sir Edward, his successor in title and estate, and two daughters, on the youngest of whom, Frances, he had settled this manor, anno 18 James I. on her marriage with John Alford, son of Edward, of Offington, in Sussex, esq. whose youngest daughter and coheir Elizabeth, married in the year 1659, Charles Bickerstaffe, esq. afterwards knighted, and of Wilderness, in Seale, whom she survived, and afterwards, with her only daughter and heir Frances, an act having been obtained for the purpose anno 2 queen Anne, alienated it to Mr. William Blackmore, gent. of Tenterden, who in 1707 gave it by will to his nephew John, son of his brother James Blackmore, deceased, and his descendant Thomas Blackmore, esq. of Briggins, in Hertfordshire, is the present owner of this manor.
THE MANOR OF PALSTER, or Palstre, called in antient writings, the denne of Palstre, is situated in the western part of this parish, though it extends into the parish of Ebene. This manor, at the time of taking the survey of Domesday, was part of the possessions of the bishop of Baieux, under the general title of whose lands it is thus entered in it.
In Oxenai hundred, Osbn Paisfor holds of the bishop of Baieux, Palestrei. It was taxed at three yokes. The arable land is two carucates. In demesne there is one, and nine borderers having half a carucate. There is a church, and two servants, and ten acres of meadow, and five fisheries of twelve pence. Wood for the pannage of ten hogs. In the time of king Edwards the Consessor, and afterwards, it was worth forty shillings, now sixty shillings. Eduui the priest held it of king Edward.
On the disgrace of the bishop of Baieux, four years afterwards, the seignory paramount of this manor was granted to the family of Crevequer, of whom it was held by a family who assumed their name from it, one of whom, Philip de Palstre, held it by knight's service in Henry III.'s reign, as did his descendant Thomas de Palstre in the 20th year of king Edward III. Soon after which, it came into the family of Basing, who held it, together with a moiety of the passage of Smallhythe ferry, adjoining to it. From which name it quickly after passed into that of Charles, and Richard Charles, as appears by the inquisition taken after his death, anno 1 Richard II. died possessed of this manor, with the moiety of the above passage annexed to it, held in capite, as did his nephew Richard Charles, who on his death, s.p. became his heir, in the 11th year of that reign. His son Robert dying likewise s.p. his two sisters became his coheirs, of whom Alice entitled her husband William Snaith, esq. of Addington, to it, in whose descendants it continued till the reign of king Edward IV. in the 11th year of which, Robert Wotton, esq. of Addington, died possessed of it, holding it as above-mentioned. (fn. 2) How it passed from his heirs. I have not found; but it went soon afterwards into the possession of the family of Peckham, and in the 7th year of king Henry VII. Katherine, widow of James Peckham, esq. died possessed of it, as did their son Thomas in the 7th year of king Henry VIII. holding it in capite. He left one son, and a daughter, who married Sir George Harpur, who in her right became, by her father's will, possessed of it. He presently afterwards alienated it to Sir Thomas Wyatt, as he did to Robert Rudston, esq. who in the 2d and 3d of king Edward VI. had his lands in this county disgavelled, by the general act then passed, but being attainted for his concern in Sir Thomas Wyatt's rebellion, in the first year of queen Mary this manor became vested in the crown, where it remained till the first year of the reign of queen Elizabeth, when an act having passed for restoring him in blood as well as to his estates, it came again into his possession, and he, anno 18 Elizabeth, levied a fine of it. At length his grandson Robert Rudston, in king Charles I.'s reign, alie nated it to Sir Edward Henden, one of the barons of the exchequer, who by will in 1662 gave it to his nephew Sir John Henden, (fn. 3) in whose descendants it continued till it was at length sold, in king George I.'s reign, to Thomas May, esq. of Godmersham, afterwards Knight, who died possessed of it in 1781, as did his only son and heir Thomas Knight, esq. of Godmersham, in 1794, s.p. and by will devised it to his wife Mrs. Katherine Knight for life, remainder to Edward Austen, esq. of Rolling, and she is now in the possession of it. (fn. 4)
OWLIE, antiently written Oveley, is another manor in this parish, which had once owners of that surname, in which it remained till the beginning of Richard II.'s reign, when the family of Odiarne, who were of good note in this county, became possessed of it, who bore for their arms, Sable, a chevron,between three covered cups,or; as they were formerly painted in the window at the entrance of the north chancel of this church; in whom it remained till the latter end of Henry VIII.'s reign, in the 36th year of which Thomas Odyarne appears by his will to have died possessed of it. He resided at his mansion-house of Acteden, now called Acton, in this parish, which Thomas Rayfield, of Wittersham, brother of Robert Rayfield, abbot of Boxley, had died possessed of anno 1494, and by his will had ordered it to be sold, and which, with the manor of it, as well as this of Owlie, he devised to his two sons Thomas and John Odiarne, and they soon afterwards sold the latter to John Maney, esq. of Biddenden, whose descendant Sir John Maney, bart. of Linton, in king Charles I.'s reign, passed it away by sale to Peter Ricaut, esq. afterwards knighted, who sold it to Mr. Menell, of London. At length after some intermediate owners, it became by purchase the property of Thomas May, esq. afterwards Knight, and he died possessed of it in 1781, as did his only son and heir Thomas Knight, esq. of that place, in 1794, s.p. His widow Mrs. Katherine Knight is now by his will become possessed of it.
Charities.
THOMAS BEWFRERE, by will in 1463, ordered that his feoffees should make over to the churchwardens of Wittrisham, for ever, a parcel of land, called Ruffins land, containing five acres, in that parish, within the manor of Palstre, to be applied to the church when there was most need of it.
THOMAS BEREDG, of Wittersham, by will in 1578, devised to the poor of this parish yearly, out of his lands for ever, 3s. 4d. to be given to the collectors on the Friday before Easter, under the thorne in the church-yard, to the maintaining and keeping up of which, he gave the like yearly sum, to be paid out of his lands.
JOHN TRUELOVE, of Wittersham, by will in 1597, gave to the collectors of the poor, 20l. to be employed to the use of the poor people of it, and he ordered his tenement and garden to be sold, and the money that should arise therefrom to be employed to the use of the poor, so that order should be taken that it might yield a perpetual annuity to the poor man's box.
The poor constantly maintained are about thirty, casually twenty-five.
WITTERSHAM is within the WCCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.
¶The church, which is exempt from the jurisdiction of the archdeacon, is dedicated to St. John Baptist. It is a handsome building, consisting of two isles and two chancels, having a tower steeple at the west end, built in the beginning of king Henry the VIIIth.'s reign, in which hangs a peal of bells. The north chancel, formerly called St. Mary's chapel, is now called Acton chancel, as having belonged to that manor. In the east window of it were formerly the arms of Watton. In the first of the windows on the north side, is a legend, with the name of Pitlisden, which family once owned lands in this parish. And near the entrance were the arms and the name of Odiarne, in the window of it.
The church of Wittersham is parcel of the antient possessions of the see of Canterbury, and continues so at this time, his grace the archbishop being the present patron of it.
The rectory of Wittersham is valued in the king's books at 15l. 8s. 6½d. and the yearly tenths at 1l. 10s. 10¼d. In 1588 it was valued at one hundred and sixty pounds, communicants two hundred and fifteen. There are ten acres of glebe land.
Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.
In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.
In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.
The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.
The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.
Italian postcard by Bromofoto, Milano, no. 1400. Photo: Paramount Films.
Mexican-American actor Anthony Quinn (1915-2001) started as a contract player at Paramount, where he mainly played villains and ethnic types. He became disenchanted with his career and did not renew his Paramount contract. Instead, he returned to the stage and replaced Marlon Brando as Stanley Kowalski in A Streetcar Named Desire on Broadway. This performance made his reputation and boosted his film career. For his role as Brando's brother in Viva Zapata! (Elia Kazan, 1952), Quinn won the Best Supporting Actor Academy Award. He gave his greatest performance as the circus strongman in Federico Fellini's masterpiece La Strada (1954). Quinn won his second Supporting Actor Oscar in 1957 for his portrayal of Paul Gauguin in Lust for Life (Vincente Minnelli, 1956), opposite Kirk Douglas as Vincent van Gogh. Over the next decade Quinn lived in Italy alternated between Hollywood and the European cinema.
Antonio Rudolfo Oaxaca Quinn was born in 1915, in Chihuahua, Mexico. His parents were Manuela (Oaxaca) and Francisco Quinn. After starting life in extremely modest circumstances in Mexico, his family moved to Los Angeles, where his father became an assistant cameraman at Selig Film Studios. Quinn often accompanied his father to work, and became acquainted with such stars as Tom Mix and John Barrymore, with whom he kept up the friendship into adulthood. He attended Polytechnic High School and later Belmont High, but eventually dropped out. The young Quinn boxed which stood him in good stead as a stage actor, when he played Stanley Kowalski in A Streetcar Named Desire. He won a scholarship to study architecture under Frank Lloyd Wright at the great architect's studio, Taliesin, in Arizona. Quinn was close to Wright, who encouraged him when he decided to give acting a try. After a brief apprenticeship on stage, Quinn hit Hollywood. He made his film debut with a character role in the crime drama Parole! (Lew Landers, 1936). Quinn picked up a variety of small roles in several films at Paramount, including a Cheyenne Indian in The Plainsman (1936), which was directed by his future father-in-law, Cecil B. DeMille. As a contract player at Paramount, Quinn mainly played villains and ethnic types, such as a gangster in the crime drama Dangerous to Know (Robert Florey, 1938), a Chinese gangster in Island of Lost Men (Kurt Neumann, 1939) and an Arab chieftain in the Bing Crosby-Bob Hope vehicle Road to Morocco (David Butler, 1942). He also played the sympathetic Crazy Horse in They Died with Their Boots On (Raoul Walsh, 1941) with Errol Flynn. As a Mexican national (he did not become an American citizen until 1947), he was exempt from the draft. With many actors in the service fighting World War II, Quinn was able to move up into better supporting roles. He had married DeMille's daughter Katherine DeMille, which afforded him entrance to the top circles of Hollywood society. He became disenchanted with playing supporting parts as Chief Yellow Hand in Buffalo Bill (William A. Wellman, 1944) and a Chinese in China Sky (China Sky (Ray Enright, 1945). His first lead was the Indian farmer Charlie Eagle in Black Gold (Phil Karlson, 1947) opposite his wife, Katherine DeMille. By 1947, he had appeared in more than fifty films and was still not a major star. He did not renew his Paramount contract despite the advice of others, including his father-in-law whom Quinn felt never accepted him due to his Mexican roots. Instead, he returned to the stage. His portrayal of Stanley Kowalski in A Streetcar Named Desire in Chicago and on Broadway, where he replaced Marlon Brando, made his reputation. However, IMDb also gives another explanation for his move to the stage: “Became a naturalized United States citizen in 1947, just before he was ‘gray-listed’ for his association with Communists such as screenwriter John Howard Lawson and what were termed ‘fellow travelers’, though he himself was never called before the House Un-American Activities Committee. When warned of his gray-listing by 20th Century-Fox boss Darryl F. Zanuck (a liberal), Quinn decided to go on the Broadway stage where there was no blacklist rather than go through the process of refuting the suspicions.”
Anthony Quinn’s success on Broadway boosted his film career. He returned to the cinema in The Brave Bulls (Robert Rossen, 1951). Director Elia Kazan cast him as Marlon Brando's brother in his biographical film of Mexican revolutionary Emiliano Zapata, Viva Zapata! (1952). Quinn won the Best Supporting Actor Academy Award for 1952, making him the first Mexican-American to win an Oscar. It was not to be his lone appearance in the winner's circle: he won his second Supporting Actor Oscar five years later for his portrayal of painter Paul Gauguin in Vincente Minnelli's biographical film of Vincent van Gogh, Lust for Life (1956), opposite Kirk Douglas. Over the next decade Quinn lived in Italy and became a major figure in world cinema, as many studios shot films in Italy to take advantage of the lower costs. He appeared in several Italian films, giving one of his greatest performances as the dim-witted, thuggish and volatile circus strongman who brutalizes the sweet soul played by Giulietta Masina in her husband Federico Fellini's masterpiece La Strada (1954). Alternating between Europe and Hollywood, Quinn built his reputation and entered the front rank of character actors and character leads. He received his third Oscar nomination (and first for Best Actor) for Wild Is the Wind (George Cukor, 1957). Quinn starred in The Savage Innocents 1959 as Inuk, an Eskimo who finds himself caught between two clashing cultures. He played a Greek resistance fighter against the Nazi occupation in the monster hit The Guns of Navarone (J. Lee Thompson, 1961) and received kudos for his portrayal of a once-great boxer on his way down in Requiem for a Heavyweight (Ralph Nelson, 1962). Back on Broadway, he was nominated for the 1961 Tony Award as Best Actor (Dramatic) for Becket. He returned to the cinema to play ethnic parts, such as an Arab warlord in David Lean's masterpiece Lawrence of Arabia (1962), and he played the eponymous lead in the Sword-and-sandal blockbuster Barabbas (Richard Fleischer, 1961) opposite Silvana Mangano. Two years later he reached the zenith of his career, playing Zorba in Alexis Zorbas/Zorba the Greek (Michael Cacoyannis, 1964)), which brought him his fourth, and last, Oscar nomination as Best Actor. The 1960s were kind to him: he played character leads in such major films as The Shoes of the Fisherman (Michael Anderson, 1968) opposite Laurence Olivier, and The Secret of Santa Vittoria (Stanley Kramer, 1969), with Anna Magnani. However, his appearance in the title role in the film adaptation of John Fowles' novel, The Magus (Guy Green, 1968), did nothing to save the film, which was one of that decade's notorious turkeys.
The following decade saw Anthony Quinn slip back into playing ethnic types again. He starred as the Hispanic mayor of a rapidly growing city in Southwest United States in the TV series The Man and the City (1971). IMDb writes about an interesting incident: “Around 1972, he announced his desire to play Henry Cristophe, the 19th-century emperor of Haiti. Upon this announcement, several prominent black actors, including Ossie Davis and Ellen Holly, stated that they were opposed to a ‘white man’ playing ‘black’. Davis stated, ‘My black children need black heroes on which to model their behavior. Henry Cristophe is an authentic black hero. Tony, for all my admiration of him as a talent, will do himself and my children a great disservice if he encourages them to believe that only a white man, and Tony is white to my children, is capable of playing a black hero.’” Quinn’s career lost its momentum during the 1970s. Aside from playing a thinly disguised Aristotle Onassis in the cinematic roman-a-clef The Greek Tycoon (J. Lee Thompson, 1978), his other major roles of the decade were as Hamza in the controversial The Message/Mohammad, Messenger of God (Moustapha Akkad, 1976), as the Italian patriarch in L'eredità Ferramonti/The Inheritance (Mauro Bolognini, 1976) opposite Dominique Sanda, yet another Arab in Caravans (James Fargo, 1978) and a Mexican patriarch in The Children of Sanchez (Hall Bartlett, 1978) with Dolores Del Rio. In 1983 he reprised his most famous role, Zorba the Greek, on Broadway in the revival of the musical Zorba, for 362 performances. Though his film career slowed during the 1990s, he continued to work steadily in films and television. Anthony Quinn lived out the latter years of his life in Bristol, Rhode Island, where he spent most of his time painting and sculpting. In 2001, he died in a hospital in Boston from pneumonia and respiratory failure linked to his battle with lung cancer. Quinn was 86 years old. He was married three times. After divorcing Katherine DeMille in 1965, he married Jolanda Addolori (1966-1997) and Kathy Benvin (1997-2001). He had ten children, five with DeMille, three with Addolori, and two with Benvin.
Sources: Jon C. Hopwood (IMDb), Pedro Borges (IMDb), Wikipedia, and IMDb.
Review LG LED IPS Monitor 23MP65HQ (LG 23EA63V replaced) An Phat PC by dtien87 ductien daoductien - www.anphatpc.com.vn
Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 28-Mar-24.
Now with full tail colours but no 'cheatline'.
First flown with the Airbus test registration F-WWII, this aircraft was delivered to the GATX Capital Corporation and leased to Onur Air (Turkiye) as TC-ONB in Jul-92.
It was returned to the lessor and leased to Ansett Australia as VH-HYY in Jun-96. It was returned to the lessor in Sep-01 and stored at Melbourne.
The aircraft was ferried to Toulouse in Feb-02. GATX were due to re-register it PH-DOE but that wasn't taken up and it was leased to Air Malta as 9H-ADZ in Mar-02. It was returned to the lessor in Oct-04.
In Nov-04 the aircraft was leased to AZAL Azerbaijan Airlines as 4K-AZ54. They bought it in Jul-10. It was permanently retired at Baku, Azerbaijan in Nov-14. Updated 02-Apr-24.
Note: Air Malta was closed down by the Maltese Government on 31-Mar-24, basically because the European Commission wouldn't let them throw any more money at it in subsidies. They must have been reading the Greek Government playbook on airline closures because on 01-Apr-24 a new slimmed down Maltese national carrier started operating, called 'KM Malta Airlines'...
these three were once my most popular mocs (on mocpages) but as time goes on, and mocers become better, they eventually decide to replace their old models, so these Lamborghini Gallardos will be replaced with new ones (hopefully better ones)
ps. wips coming soon! :D
Five thousand people attended the Replace Hazelwood Rally in Melbourne on Saturday, 6 November, increasing pressure on John Brumby and Ted Baillieu to commit to replacing all of Hazelwood power station within the next term of Government.
The future of Hazelwood has become the key test of parties’ climate change credentials at this state election. The power station was recently described by Premier Brumby as the “dirtiest and most polluting power station in Australia”.
Photo credit: James Thomas
Citadel St Helens. Opened as the Theatre Royal in 1861, designed by E Beattie & Sons, it replaced an earlier Theatre Royal on a different site, and was itself eventually replaced by the current Theatre Royal on Corporation Road and closed in 1888. It was purchased and used by the Salvation Army until the 1980's, they made extensive alterations to the building in 1904, particularly to the stage. The Citadel is a small venue which punches way above it's weight because of the atmosphere. Performers such as John Bishop, Rich Hall and Jo Brand have done stand up, whilst bands of the stature of The Verve, Oasis and Ralph McTell have done gigs on the stage.
Citadel Theatre (2nd Theatre Royal) St Helens
May 2013
This building was replaced by the four-story Stroehmann's Vienna Bakery factory expansion in 1911.
Ohio Valley Roofing Co., touted as the "largest roofers in the City" in 1906, specialized in tile, slate, tin, cornices, skylights, gravel, vulcanite, asphalt roofing, roof repairing and painting, and roofers' supplies.
- image from "Souvenir History of Wheeling", Philadelphia: Pictorial Publishing, 1906, Ohio County Public Library Archives
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The photos on the Ohio County Public Library's Flickr site may be freely used by non-commercial entities for educational and/or research purposes as long as credit is given to the "Ohio County Public Library Archives, Wheeling, WV." These photos may not be reproduced in any format for profit or other presentation without the permission of the Ohio County Public Library.
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Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
The Queen Victoria Building, now affectionately known as the QVB, was designed by George McRae and completed in 1898, replacing the original Sydney markets on the site. Built as a monument to the long reigning monarch, construction took place in dire times, as Sydney was in a severe recession. The elaborate Romanesque architecture was specially planned for the grand building so the Government could employ many out-of-work craftsmen - stonemasons, plasterers, and stained window artists - in a worthwhile project. Originally, a concert hall, coffee shops, offices, showrooms, warehouses and a wide variety of tradespeople, such as tailors, mercers, hairdressers and florists, were accommodated.
Over many decades, change saw the concert hall become the city library, offices proliferate and more tenants move in, including piano tuners, palmists and clairvoyants. Drastic 'remodelling' occurred during the austere 1930s and the main occupant was the Sydney City Council. As recently as 1959 the Queen Victoria Building was threatened with demolition. As it stands now, in all its glory. It is testimony to the original vision for the building and the superb craftsmanship of the artisans who put it all back together again.
The QVB fills an entire city block bound by George, Market, York and Druitt Streets. The dominant feature is the mighty centre dome, consisting of an inner glass dome and an exterior copper- sheathed dome. Glorious stained glass windows and splendid architecture endure throughout the building and an original 19th century staircase sits alongside the dome. Every detail has been faithfully restored, including arches, pillars, balustrades and the intricate tiled floors thus maintaining the integrity of the building.
The visual message of Sydney's coat of arms, on the cartwheel stained glass window, is that the beehive depicts business, the sailing ship - trade, and the dolphins - the harbour. Panel 1, on the left hand side, represents the Council of the City of Sydney, and symbols of architecture, while the letters I.G.B. on panel 3, on the right, represent Ipoh Gardens Berhad, the Malaysian company who restored the QVB.
The symbols are of property developers - the builders. The bottom central panel represents the heraldic symbol of a finished building and the joining of two hands denotes the fusing of two cultures. There are many interesting and charming exhibitions and attractions throughout the building, along with portraits of the Queen. There is also a letter from Queen Elizabeth II to the Citizens of Sydney to be opened and read by the Lord Mayor of Sydney in the year 2085. Outside the QVB, on Town Hall Place, facing The Town Hall are the Royal Wishing Well and Queen Victoria's statue.
From: www.qvb.com.au/About-QVB
We're taking a new approach to how we perform critical inspection and maintenance of subway components that are necessary to providing reliable service -- FASTRACK. The third implementation of FASTRACK is taking place on the Sixth Avenue B/D/F/M Line from 57 Street to W 4 Street from Feb. 27 to March 2, 2012. Because a section of the subway is closed to trains for seven consecutive hours, FASTRACK is a safer and more efficient way to maintain and clean New York City's sprawling subway — a system that never closes.
With no trains running along Sixth Avenue, 800 MTA employees are able to inspect signals, replace rails and cross ties, scrape track floors, clean stations and paint areas that are not reachable during normal train operation. Workers also took the opportunity to clean lighting fixtures, change bulbs and repair platform edges while performing high-intensity station cleaning.
Photo by Metropolitan Transportation Authority / Leonard Wiggins.
Experimental piece for Beyond Beyond with Kim Klassen. The canola field is Kim's photo. The sky replacement is mine. Additional texture by Kim Klassen.
We had a weekend in Borrowdale recently, a Christmas present that we tagged a day on to. After calling at work on Saturday morning to open for business we headed up the motorway to Penrith. The road through the central lakes was washed away in the recent floods and it is going to be a long job replacing it. This made the diverted journey around 145 miles but we had a good run up there. We wanted to get walking ASAP so we pulled in at Threlkeld with a view to heading up Clough Head, and subject to conditions, head over the Dodds and back by the Old Coach Road. We had left appalling weather at home, wind, rain, fog and sleet on the tops. Thankfully it was better further north. There was laying snow on the summits, it was fairly calm low down and some summits were cloud free.
We left the car at 11.10 in our winter gear, straight up through the quarries and the steep scree slope (another Red Screes), by now we were into the snow line. The cloud was down, the wind gale force and the summit frozen hard – a different world up here. South next to Calfhow Pike, the wind made it difficult to talk and it was around -4 so the there was a fair wind-chill factor. It was tough going to our next top – Great Dodd, part of the Helvellyn massif – It was to icy to walk in places which meant deviating from the path, and losing our bearings, visibility was around ten yards with spindrift creating a whiteout at times. We battled on to the top and found the summit cairn. Great Dodd isn’t the easiest top to find your way off in low visibility, we would have gone further but in these conditions it was pointless so we retraced our steps to Calfhow and clear conditions. From here we followed Mosedale beck to Mariel Bridge, which is on the Old Coach Road, this gave us a circular route back to our start. The Old Coach Road has been wrecked by the floods and the 4x4 off roaders are making it a lot worse. 9.25 miles in 3 ¼ hours and we were in Brysons Tearooms in Keswick for Coffee and cake by 3.45pm. We carried on to Borrowdale and checked in at our hotel, not a bad day really.
After a poor night in a poor bed we were breakfasted and out for 8.30. We drove the few miles up to Seatoller and we were kitted up and away at 9.10. A bitterly cold and icy morning, there was some sun but not as much as promised. We could see the summit of Great End covered in cloud, we were heading up there on to the Sca Fell massif. We followed the valley to the east of Seathwaite Fell, a new path for us. Once in the snow the going was very icy with the path ice covered in places. The snow was dry and powdery and in places it had blown over the underlying ice. At this point I might add, we do own crampons. After a winter of splashing around soaked we didn’t expect to need them and they were at home – very clever! This was our first real winters day this winter, other than an hour on Sca Fell Pike on Christmas Day, we haven’t seen winter conditions this winter. By the time we got to Esk Hause it was difficult to stay upright and on our way to Great End we had to pick our way very carefully around the worst of the ice. The spindrift made it difficult to see the ground at times, spinning around our feet in a mist. Once on the summit the cloud was thick and the wind speed high. We had been here fairly recently so I knew the layout of the summit and we had little difficulty finding the summit cairn. We were cursing our lack of crampons and the cloud. Instead of heading into the cloud along the Sca Fell Pike path we decided to get under the cloud, back to Esk Hause and head over Allen Crags and Glaramara. At this point we both took some heavy falls, as did others up there, a lot turned around and headed back down, it was deadly. The cloud had thickened, there wasn’t a ray of sun to soften things. Our chosen route was one of the hardest afternoons we had ever had. Everywhere was frozen solid, we had to kick toe or heel holes to move on slopes that we wouldn’t have broken stride on normally. Minor rock scrambles down steep crags had become life threatening in places and we proceeded with extreme care. The knees were creaking on the long descent to Seathwaite. 10.3 miles in six hours, almost half the speed of yesterday. We made it Keswick for afternoon tea – and bought some Micro Spikes for unfinished business to deal with tomorrow. A beautiful day was forecast so fingers crossed we headed back for a soak in the tub.
Day three, a gorgeous icy, sunny winters day. Things looked promising. We left along yesterday’s route at the same start time – with walking poles and Micro Spikes! At the top of the valley we met a guy who had set off before us, two guys known to him were picking their way through the crags, tiny specks on the 800 foot rocky crag. Some appeared to have tried to climb the snow filled chimney that runs to the summit but we heard later that conditions weren’t suitable. Even though it was minus four the sun had softened the snow just enough to get a grip and it was easier to avoid the worst of the ice, unlike yesterday. The summit of Great End was incredible with never ending vistas. We could see a steady stream of walkers on every path by now. Word had got out that we were in for a rare treat today, plus it was school half term so a lot of people were off work. I visited every possible viewpoint as we went to the summit of Ill Crag , Broad Crag and finally Sca Fell Pike. It was 1.00 PM by now and a steady stream of elated walkers were arriving on England’s highest point. It was bitter but beautiful. We had around five miles back to the car along the Corridor Route to Styhead, Stockley Bridge and Seathwaite. Part of this route we had covered recently on Christmas Day and despite the snow and ice we powered along. We would have been back in two hours but! A mile from the car, following the manmade path down Taylorgill Force to Stockley Bridge Jayne Stumbled. It’s not often she walks in front. I normally lead and relay instructions and warnings back to her. She hit the rock path with her head and face really hard, stunned, she rolled off the path over a drop. She was vertical, resting on a rock on her knees and clinging on to the edge of the path with her fingertips. I grabbed her rucksack and held her whilst I checked her injuries. She had a bad bump on her temple, another on her forehead, split the bridge or her nose, her glasses had gone flying but would straighten. Being left handed she had stuck her left hand out and it had been bent back, it was swelling and discolouring pretty fast. When I had established that nothing was serious enough to stop her moving I got her back on to the path to see to her injuries. The pain initially made her think that she was in a worse state than ( I thought) she really was. She could move her fingers and wrist, albeit with some pain but not enough for it to be broken. The wound to the bridge of her nose although very painful wasn’t going to be a problem. The bumps on her head were turning into eggs by now. I gave her Ibuprofen and Paracetemol and she sat and composed herself for the final mile. We made it to the café in Keswick and got a slightly later afternoon break, our first of the day again. 11.3 miles today in 6 ¼ hours and fairly tough going. It was nothing more than a careless, tired perhaps, stumble on one of the horrible ( our own opinion, I might add) manmade paths made out of irregular stones which are laid at odd angles and are a nightmare to descend when wet on tired legs. A few days later and Jayne is sat on reception at the doctors looking like she’s been boxing, with a purple eye and nose, her left hand swollen and purple – otherwise she’s OK. I came down with mild food poisoning during the night and had to drive 145 miles home at 8.00 the morning after feeling extremely ill. I was due to start fasting for a Colonoscopy in three days. I ended up eating six slices of toast over a four day period – Monday evening to Thursday evening- Having had over 40 stomach endoscopies in twenty years the colonoscopy was nothing more than uncomfortable and , subject to biopsy results, everything looked OK. The trapped wind was another matter – for two days! All in all a very traumatic week. Needless to say we didn’t use the Micro Spikes.
For: the people that love to download music for free without worrying too much about viruses or fake songs...
purpose: is to show that there are other p2p sharing software out there besides plain-old virus filled limewire.
downsides: If you are using Internet explorer you'll end up gettin some pop-ups... i would recommend safari for most of us but ill talk about that in a diff vid.
11-shot HDR Panorama taken from the 5th floor deck of the Marriott Waterfront. View the original size to check out the detail. You can even read the banner that the plane is pulling. I highlighted a few of the details you can see at Max size.
In the foreground is the Pier 6 Concert Pavilion. 12 hours earlier, Several Species, a Pink Floyd cover band, was just finishing up their encore inside the tent. It's a great place to see a concert.
It took me several days to process the 11 shots through Photomatix. I did all the HDR conversions before stitching them together in Photoshop CS4. The finished product was too big for Flickr, so I had to reduce it a bit.
ALE used a total of fifty six axles of SPMT and sixteen 100t capacity jacks to remove and lower the original 450t cast iron bridge span and replace it with a 420t steel rail bridge.
Vanessa Amorosi singing her first number 1 single This is who I am from her upcoming Hazardous album!
"This Is Who I Am"
On 28 August 2009 Amorosi's new song "This Is Who I Am" was serviced to Australian radio. On 31 August 2009 Universal Music Australia released a press release for Amorosi's new single with details of new single and album.
The first single to spawn from her forthcoming album is the fierce pop-rock song "This Is Who I Am". The undoubtable hit single was produced by MachoPsycho (Pink) and mixed by Chris Lord-Alge (Green Day) and was serviced to Australian radio this week. The video for "This Is Who I Am" was recently shot in Los Angeles and directed by Christopher R Watson who is better known for his work on the international hit TV series "CSI New York" and horror film "Hostel". The video was predominately shot on green screen and will launch on September 14. - Universal Music Australia
"This Is Who I Am" debuted at number 1 on the ARIA Charts for the week beginning October 18, 2009. This is Amorosi's first number 1 single. The single holds the top spot for the second week in a row - becoming the first Australian artist to debut at #1 and hold #1 single since Silverchair's "Straight Lines" in 2007. "This Is Who I Am" has achieved Gold sales in Australia.
Her new album Hazardous is set for release on November 6, 2009.
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The Today team have galloped into Melbourne to kick off festivities for the biggest racing event on the social calendar, the 2009 Melbourne Cup Carnival.
To celebrate the Carnival, TODAY is broadcasting LIVE from Bourke Street Mall this Thursday and Friday. Karl and Lisa, along with Cam, Georgie, Richard, Steve and Richard Reid, are bringing all the fun, fashion and excitement of TODAY to the streets of Melbourne.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier Rinaldiesque structure. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Monferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Monferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. Under the Soviet government, the building was stripped of religious trappings, then turned into the Museum of Scientific Atheism.The dove sculpture was removed, and replaced by a Foucault pendulum.
During World War II, the dome was painted over in grey to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, with the objective of aiding in the location of enemy cannon.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
from The Lock Guy Pty Ltd ift.tt/1TVnWzh
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www.thelockguy.com.au/blogs/locksmith/replaced-old-cylind...
Replaced VU Meter Lamps by two Blue 5mm LED's (3,5V / 20mA) in series with one resistor of 240 Ohm.
Watch the polarity: on this device the + was on the left (black wire)
On the right VU meter you can see the factory installed green tube lamp.
Middle age Male in Lincoln, NE; desiring alloy or silver filling tooth #2 be replaced with white or tooth colored filling. Old alloy tooth #2 replaced with composite resin.
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
Hamilton. Formerly known as the Grange Hamilton is as Scottish as it comes in heritage terms. It sits astride Burn Grange a creek that flows into the Wannon River. It is surrounded by a rich volcanic basalt plain. It claims to be the Wool Capital of the world, the source of its early wealth, but today the economy is very mixed with beef cattle being important. Thomas Mitchell in 1836 said of the Hamilton town site “A finer country could scarcely be imagined: enormous trees of the mimosa or wattle, of which the bark is so valuable, grew almost everywhere”. This was the Australia Felix that he so greatly praised. Mitchell named the creek Grange Burn. The Wedge family established a sheep run called the Grange near here in 1839. In November 1939 the government surveyor who later laid out Portland, recommended this spot for a town. Wedges moved on partly because of conflict with the local Aboriginal groups but other pastoralists replaced them. Sheep were killed, shepherds killed and of course whites retaliated with guns against the Aboriginal people. No official reports of murder were made. Governor La Trobe visited the Grange in 1841 and because of violence between blacks and whites he sent Acheson French as a police magistrate there with troopers for support. The violence had died out by 1842. A village emerged around 1848 and the town was gazetted in 1851. It was named after Hamilton near Glasgow as most settlers were Scottish.
The Grange/Hamilton.
White settlers moved into this area in 1839 settling on land on the Grange Burn (or river) which is a tributary of the Wannon which goes into the Glenelg River. The Wedge family who came in 1839 called their sheep run The Grange. The government surveyor Charles Tyers who had surveyed Portland recommended a spot on the Grange River for a town which the Commissioner of Lands for the Port Philip District of NSW approved a few months later in early 1840. By then the Wedges had left because of ongoing conflict and hostility with the local Aboriginal people. One of their shepherds had been killed and there was undoubtedly retaliation for that. Other settlers fared better in their relations with Aborigines because they treated them better and freely gave out meat and flour rations. One of the infamous massacres of Aboriginal people in Victoria occurred near Hamilton on 8th March 1840. This occurred just north of Coleraine on Konongwootong station (57,000 acres) run by the Whyte brothers. They also perpetrated the massacre with no official action taken. Around 40 Aboriginal men, women and children were surrounded and massacred after 127 sheep had been taken for meat. Various sources put the death toll at between 20 to 50 members of the Jardwadjali tribe but Aboriginal tradition estimates it at a higher figure. The Whyte brother stayed on and Konongwootong was divided between the brothers in 1849 and then for closer settlement in 1921.
Violence between black and white subsided in 1841 after Governor La Trobe visited the Grange (Hamilton) and appointed a magistrate and ordered police troopers to be stationed at The Grange. A rudimentary Courthouse, barracks and police station followed on the corner of Martin and Thompson streets. Thus began the city of Hamilton out of violence. The town’s first policeman also established the Grange Inn in 1843 and a blacksmith set up a workshop in 1844 as a tiny town began to emerge. Shanties, a few houses and a store opened in 1848 to serve the surrounding sheep stations and the government order a full town survey in 1849. It was gazetted as Hamilton in 1851.The first police magistrate was Acheson French hence those street names in the town. He developed a mansion on his property which he called Monivae(1878).It is now a Catholic College. The first school in Hamilton opened in 1852 and a second hotel in 1853 followed by the first Catholic and Anglican Churches in 1857 and a Presbyterian Church in 1858. The 1854 census noted 230 people living in Hamilton and this grew to 1,197 in the 1861 census, 2,967 in 1881 and 4,024 in the 1901 census. By the 1860s the town had nine hotels, seven churches, two breweries, a tannery, a coach building works, flourmill and a Mechanics Institute. In the 1870s the town prospered more as the rail link to the port facilities at Portland was completed and the town was linked to Melbourne via Ararat and Ballart.
The Botanical Gardens designed by William Guilfoyle.
Land was set aside for a botanic gardens in 1853 but nothing happened until 1870 when the first gardener was appointed and some plantings occurred. In 1881 William Guilfoyle was commissioned to design the gardens. He employed his usual techniques of winding paths, a feature lake with white swans, fountain, aviary and animal enclosure, a rotunda, giant trees, rare plants and trees, garden beds and sweeping lawns. Some of these garden features were added later such as the fountain in 1917 and the rotunda in 1988. A list some of the rare plants is located beside the majestic entrance gates also a feature of Guilfoyle’s design. These unusual plants include California Live Oak, Himalayan Oak, Kentucky Coffee Tree, and some rare pines which he often used in his plans. Because he chose plants adaptable to drought and suited to the country they have thrived and grown into massive specimens. This is one of the most intact of Guilfoyle’s garden plans and was a commission he undertook whilst serving as Director of the Melbourne Botanic Gardens.
To release the memory you will need to push the metal handles that are located on the sides of the memory away from the memory.
The memory chip will pop up.
Take it out. Insert the new memory at a 45 degree angle (just like the old memory was when it poped up) and push it down until you hear a click.