View allAll Photos Tagged requested
EOS 5D Mark III+Sigma 50mm F1.4 DG HSM Art
* If you have requests or comments, please describe these in photo comment space.
(Requests are welcome for future historical figures)
The Black Brunswickers (Schwarze Schar) were a volunteer corps raised by German-born Frederick William, Duke of Brunswick-Wolfenbüttel (1771–1815) to fight in the Napoleonic Wars. The Duke was a harsh opponent of Napoleon Bonaparte's occupation of his native Germany. Formed in 1809 when war broke out between the First French Empire and the Austrian Empire, the corps initially comprised a mixed force, around 2,300 strong, of infantry, cavalry and later supporting artillery.
Distinctively attired in black broadcloth with a silvered death's head badge on their hats, the volunteers were nicknamed the Black Horde or the Black Legion; their more commonly-known title was the result of the Duke's temporary capture of the German city of Braunschweig (Brunswick) from the French in 1809. The Black Brunswickers earned themselves a fearsome reputation over the following decade, taking part in several significant battles including the pre-Waterloo engagement at Quatre Bras on 16 June 1815, where the Duke lost his life. However, recruiting, the replacement of casualties, and finance had always been problematic, and the corps was disbanded in the early 1820s.
04 February 2016, 4.30pm
Crews from St Neots, Sawtry and St Ives were called to a building fire in Station Road, Tilbrook.
A fire had broken out in a baler at a straw recycling facility.
Further resources were requested at 5.40pm and fire engines from Kimbolton and Papworth attended. Relief crews were also provided by Papworth, Ramsey, Huntingdon and a water carrier from Ramsey that assisted with the firefighting operation.
Firefighters wearing breathing apparatus used hose reels and jets to extinguish the fire and assisted with removing some of the straw product from the baler.
Station Commander Dave Lynch said: "This job had the potential to develop into something more significant if it wasn't for the efforts and local knowledge of all the attending crews.
"Large amounts of straw needed to be moved manually and this work was completed by crews in breathing apparatus working in arduous conditions. Excellent collaboration between Wholetime, On-call and Tacticdal Delivery Group crews brought the job to a speedy conclusion.
"One significant factor was the knowledge the attending crews had of the factory, through previous incidents and visits. This allowed for a greater understanding of potential fire spread and hazards and in no doubt was a major contributory factor to the conclusion of this job."
The fire was extinguished by 7.45pm.
The cause of the fire was accidental, by equipment.
EOS 60D+Sigma 17-50mm F2.8 EX DC OS HSM
* If you have requests or comments, please describe these in photo comment space.
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
I am now doing requests. I used to do them before then I stopped, So I thought I would start again.
You can request:
-Poster
-Cover
Start Requesting!
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren
in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Clarence L. "Kelly" Johnson, vice president of engineering and research at Lockheed's Skunk Works, visited USAF air bases across South Korea in November 1951 to speak with fighter pilots about what they wanted and needed in a fighter aircraft. At the time, the American pilots were confronting the MiG-15 with North American F-86 Sabres, and many felt that the MiGs were superior to the larger and more complex American design. The pilots requested a small and simple aircraft with excellent performance, especially high speed and altitude capabilities. Armed with this information, Johnson immediately started the design of such an aircraft on his return to the United States.
Work started in March 1952. In order to achieve the desired performance, Lockheed chose a small and simple aircraft, weighing in at 12,000 lb (5,400 kg) with a single powerful engine. The engine chosen was the new General Electric J79 turbojet, an engine of dramatically improved performance in comparison with contemporary designs. The small L-246 design remained essentially identical to the Model 083 Starfighter as eventually delivered.
Johnson presented the design to the Air Force on 5 November 1952, and work progressed quickly, with a mock-up ready for inspection at the end of April, and work starting on two prototypes that summer. The first prototype was completed by early 1954 and first flew on 4 March at Edwards AFB. The total time from contract to first flight was less than one year.
The first YF-104A flew on 17 February 1956 and, with the other 16 trial aircraft, were soon carrying out equipment evaluation and flight tests. Lockheed made several improvements to the aircraft throughout the testing period, including strengthening the airframe, adding a ventral fin to improve directional stability at supersonic speed, and installing a boundary layer control system (BLCS) to reduce landing speed. Problems were encountered with the J79 afterburner; further delays were caused by the need to add AIM-9 Sidewinder air-to-air missiles. On 28 January 1958, the first production F-104A to enter service was delivered.
Even though the F-104 saw only limited use by the USAF, later versions, tailored to a fighter bomber role and intended for overseas sales, were more prolific. This was in particular the F-104G, which became the Starfighter's main version, a total of 1,127 F-104Gs were produced under license by Canadair and a consortium of European companies that included Messerschmitt/MBB, Fiat, Fokker, and SABCA.
The F-104G differed considerably from earlier versions. It featured strengthened fuselage, wing, and empennage structures; a larger vertical fin with fully powered rudder as used on the earlier two-seat versions; fully powered brakes, new anti-skid system, and larger tires; revised flaps for improved combat maneuvering; a larger braking chute. Upgraded avionics included an Autonetics NASARR F15A-41B multi-mode radar with air-to-air, ground-mapping, contour-mapping, and terrain-avoidance modes, as well as the Litton LN-3 Inertial Navigation System, the first on a production fighter.
Germany was among the first foreign operators of the F-104G variant. As a side note, a widespread misconception was and still is that the "G" explicitly stood for "Germany". But that was not the case and pure incidence, it was just the next free letter, even though Germany had a major influence on the aircraft's concept and equipment. The German Air Force and Navy used a large number of F-104G aircraft for interception, reconnaissance and fighter bomber roles. In total, Germany operated 916 Starfighters, becoming the type's biggest operator in the world. Beyond the single seat fighter bombers, Germany also bought and initially 30 F-104F two-seat aircraft and then 137 TF-104G trainers. Most went to the Luftwaffe and a total of 151 Starfighters was allocated to the Marineflieger units.
The introduction of this highly technical aircraft type to a newly reformed German air force was fraught with problems. Many were of technical nature, but there were other sources of problems, too. For instance, after WWII, many pilots and ground crews had settled into civilian jobs and had not kept pace with military and technological developments. Newly recruited/re-activated pilots were just being sent on short "refresher" courses in slow and benign-handling first-generation jet aircraft or trained on piston-driven types. Ground crews were similarly employed with minimal training and experience, which was one consequence of a conscripted military with high turnover of service personnel. Operating in poor northwest European weather conditions (vastly unlike the fair-weather training conditions at Luke AFB in Arizona) and flying low at high speed over hilly terrain, a great many Starfighter accidents were attributed to controlled flight into terrain (CFIT). German Air Force and Navy losses with the type totaled 110 pilots, around half of them naval officers.
One general contributing factor to the high attrition rate was the operational assignment of the F-104 in German service: it was mainly used as a (nuclear strike) fighter-bomber, flying at low altitude underneath enemy radar and using landscape clutter as passive radar defense, as opposed to the original design of a high-speed, high-altitude fighter/interceptor. In addition to the different and demanding mission profiles, the installation of additional avionic equipment in the F-104G version, such as the inertial navigation system, added distraction to the pilot and additional weight that further hampered the flying abilities of the plane. In contemporary German magazine articles highlighting the Starfighter safety problems, the aircraft was portrayed as "overburdened" with technology, which was considered a latent overstrain on the aircrews. Furthermore, many losses in naval service were attributed to the Starfighter’s lack of safety margin through a twin-engine design like the contemporary Blackburn Buccaneer, which had been the German navy air arm’s favored type. But due to political reasons (primarily the outlook to produce the Starfighter in Southern Germany in license), the Marine had to accept and make do with the Starfighter, even if it was totally unsuited for the air arm's mission profile.
Erich Hartmann, the world's top-scoring fighter ace from WWII, commanded one of Germany's first (post-war) jet fighter-equipped squadrons and deemed the F-104 to be an unsafe aircraft with poor handling characteristics for aerial combat. To the dismay of his superiors, Hartmann judged the fighter unfit for Luftwaffe use even before its introduction.
In 1966 Johannes Steinhoff took over command of the Luftwaffe and grounded the entire Luftwaffe and Bundesmarine F-104 fleet until he was satisfied that the persistent problems had been resolved or at least reduced to an acceptable level. One measure to improve the situation was that some Starfighters were modified to carry a flight data recorder or "black box" which could give an indication of the probable cause of an accident. In later years, the German Starfighters’ safety record improved, although a new problem of structural failure of the wings emerged: original fatigue calculations had not taken into account the high number of g-force loading cycles that the German F-104 fleet was experiencing through their mission profiles, and many airframes were returned to the depot for wing replacement or outright retirement.
The German F-104Gs served primarily in the strike role as part of the Western nuclear deterrent strategy, some of these dedicated nuclear strike Starfighters even had their M61 gun replaced by an additional fuel tank for deeper penetration missions. However, some units close to the German borders, e.g. Jagdgeschwader (JG) 71 in Wittmundhafen (East Frisia) as well as JG 74 in Neuburg (Bavaria), operated the Starfighter as a true interceptor on QRA duty. From 1980 onwards, these dedicated F-104Gs received a new air superiority camouflage, consisting of three shades of grey in an integral wraparound scheme, together with smaller, subdued national markings. This livery was officially called “Norm 82” and unofficially “Alberich”, after the secretive guardian of the Nibelung's treasure. A similar wraparound paint scheme, tailored to low-level operations and consisting of two greens and black (called Norm 83), was soon applied to the fighter bombers and the RF-104 fleet, too, as well as to the Luftwaffe’s young Tornado IDS fleet.
However, the Luftwaffe’s F-104Gs were at that time already about to be gradually replaced, esp. in the interceptor role, by the more capable and reliable F-4F Phantom II, a process that lasted well into the mid-Eighties due to a lagging modernization program for the Phantoms. The Luftwaffe’s fighter bombers and recce Starfighters were replaced by the MRCA Tornado and RF-4E Phantoms. In naval service the Starfighters soldiered on for a little longer until they were also replaced by the MRCA Tornado – eventually, the Marineflieger units received a two engine aircraft type that was suitable for their kind of missions.
In the course of the ongoing withdrawal, a lot of German aircraft with sufficiently enough flying hours left were transferred to other NATO partners like Norway, Greece, Turkey and Italy, and two were sold to the NASA. One specific Starfighter was furthermore modified into a CCV (Control-Configured Vehicle) experimental aircraft under control of the German Industry, paving the way to aerodynamically unstable aircraft like the Eurofighter/Typhoon. The last operational German F-104 made its farewell flight on 22. Mai 1991, and the type’s final flight worldwide was in Italy in October 2004.
General characteristics:
Crew: 1
Length: 54 ft 8 in (16.66 m)
Wingspan: 21 ft 9 in (6.63 m)
Height: 13 ft 6 in (4.11 m)
Wing area: 196.1 ft² (18.22 m²)
Airfoil: Biconvex 3.36 % root and tip
Empty weight: 14,000 lb (6,350 kg)
Max takeoff weight: 29,027 lb (13,166 kg)
Powerplant:
1× General Electric J79 afterburning turbojet,
10,000 lbf (44 kN) thrust dry, 15,600 lbf (69 kN) with afterburner
Performance:
Maximum speed: 1,528 mph (2,459 km/h, 1,328 kn)
Maximum speed: Mach 2
Combat range: 420 mi (680 km, 360 nmi)
Ferry range: 1,630 mi (2,620 km, 1,420 nmi)
Service ceiling: 50,000 ft (15,000 m)
Rate of climb: 48,000 ft/min (240 m/s) initially
Lift-to-drag: 9.2
Wing loading: 105 lb/ft² (510 kg/m²)
Thrust/weight: 0.54 with max. takeoff weight (0.76 loaded)
Armament:
1× 20 mm (0.787 in) M61A1 Vulcan six-barreled Gatling cannon, 725 rounds
7× hardpoints with a capacity of 4,000 lb (1,800 kg), including up to four AIM-9 Sidewinder, (nuclear)
bombs, guided and unguided missiles, or other stores like drop tanks or recce pods
The kit and its assembly:
A relatively simple what-if project – based on the question how a German F-104 interceptor might have looked like, had it been operated for a longer time to see the Luftwaffe’s low-viz era from 1981 onwards. In service, the Luftwaffe F-104Gs started in NMF and then carried the Norm 64 scheme, the well-known splinter scheme in grey and olive drab. Towards the end of their career the fighter bombers and recce planes received the Norm 83 wraparound scheme in green and black, but by that time no dedicated interceptors were operational anymore, so I stretched the background story a little.
The model is the very nice Italeri F-104G/S model, which is based on the ESCI molds from the Eighties, but it comes with recessed engravings and an extra sprue that contains additional drop tanks and an Orpheus camera pod. The kit also includes a pair of Sidewinders with launch rails for the wing tips as well as the ventral “catamaran” twin rail, which was frequently used by German Starfighters because the wing tips were almost constantly occupied with tanks.
Fit and detail is good – the kit is IMHO very good value for the money. There are just some light sinkholes on the fuselage behind the locator pins, the fit of the separate tail section is mediocre and calls for PSR, and the thin and very clear canopy is just a single piece – for open display, you have to cut it by yourself.
Since the model would become a standard Luftwaffe F-104G, just with a fictional livery, the kit was built OOB. The only change I made are drooped flaps, and the air brakes were mounted in open position.
The ordnance (wing tip tanks plus the ventral missiles) was taken from the kit, reflecting the typical German interceptor configuration: the wing tips were frequently occupied with tanks, sometimes even together with another pair of drop tanks under the wings, so that any missile had to go under the fuselage. The instructions for the ventral catamaran launch rails are BTW wrong – they tell the builder to mount the launch rails onto the twin carrier upside down! Correctly, the carrier’s curvature should lie flush on the fuselage, with no distance at all. When mounted as proposed, the Sidewinders come very close to the ground and the whole installation looks pretty goofy! I slightly modified the catamaran launch rail with some thin styrene profile strips as spacers, and the missiles themselves, AIM-9Bs, were replaced with more modern and delicate AIM-9Js from a Hasegawa air-to-air weapons set. Around the hull, some small blade antennae, a dorsal rotating warning light and an angle-of-attack sensor were added.
Painting and markings:
The exotic livery is what defined this what-if build, and the paint scheme was actually inspired by a real world benchmark: some Dornier Do-28D Skyservants of the German Marineflieger received, late in their career, a wraparound scheme in three shades of grey, namely RAL 7030 (Steingrau), 7000 (Fehgrau) and 7012 (Basaltgrau). I thought that this would work pretty well for an F-104G interceptor that operates at medium to high altitudes, certainly better than the relatively dark Norm 64 splinter scheme or the Norm 83 low-altitude pattern.
The camouflage pattern was simply adopted from the Starfighter’s Norm 83 scheme, just the colors were exchanged. The kit was painted with acrylic paints from Revell, since the authentic tones were readily available, namely 75, 57 and 77. As a disrupting detail I gave the wing tip tanks the old Norm 64 colors: uniform Gelboliv from above (RAL 6014, Revell 42), Silbergrau underneath (RAL 7001, Humbrol’s 127 comes pretty close), and bright RAL 2005 dayglo orange markings, the latter created with TL Modellbau decal sheet material for clean edges and an even finish.
The cockpit interior was painted in standard medium grey (Humbrol 140, Dark Gull Grey), the landing gear including the wells became aluminum (Humbrol 56), the interior of the air intakes was painted with bright matt aluminum metallizer (Humbrol 27001) with black anti-icing devices in the edges and the shock cones. The radome was painted with very light grey (Humbrol 196, RAL 7035), the dark green anti-glare panel is a decal from the OOB sheet.
The model received a standard black ink washing and some panel post-shading (with Testors 2133 Russian Fulcrum Grey, Humbrol 128 FS 36320 and Humbrol 156 FS 36173) in an attempt to even out the very different shades of grey. The result does not look bad, pretty worn and weathered (like many German Starfighters), even though the paint scheme reminds a lot of the Hellenic "Ghost" scheme from the late F-4Es and the current F-16s?
The decals for the subdued Luftwaffe markings were puzzled together from various sources. The stencils were mostly taken from the kit’s exhaustive and sharply printed sheet. Tactical codes (“26+40” is in the real Starfighter range, but this specific code was AFAIK never allocated), iron crosses and the small JG 71 emblems come from TL Modellbau aftermarket sheets. Finally, after some light soot stains around the gun port, the afterburner and some air outlets along the fuselage with graphite, the model was sealed with matt acrylic varnish.
A simple affair, since the (nice) kit was built OOB and the only really fictional aspect of this model is its livery. But the resulting aircraft looks good, the all-grey wraparound scheme suits the slender F-104 well and makes an interceptor role quite believable. Would probably also look good on a German Eurofighter? Certainly more interesting than the real world all-blue-grey scheme.
In the beauty pics the scheme also appears to be quite effective over open water, too, so that the application to the Marineflieger Do-28Ds made sense. However, for the real-world Starfighter, this idea came a couple of years too late.
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren
in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog.
We often come across fairy drawings but this is the first time we've seen drawings of fairy animals. When our friend Pepper turned eight this year, she sent us (at our request) drawings of several fairy animals some of which we turned into her birthday present. These creatures are all made with recycled fabrics and some golden fairy thread to show they have magical powers. They are also carried in their special woodland tote wrapped with a cord and leaf.
See also:
Magical Penguin and Fish
recycled fabrics
recycled polyfil stuffing
original drawing by
eight-year-old girl
Sorry if the pics are sort of dim, we have an overcast sky here since the morning.
For ~meganism~ Here's the back of her hair. As you see, its very much like Flawless, but with slightly more volume. It is very hard with gel, I could not get that comb into it much.
Travys [YSteC] Class Be 2/6 2000 'L'Arnon' arrives at the request stop at Valeyres-sous-Montagny with R18, the 13:11 Ste-Croix to Yverdon-les-Bains.
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Don Gatehouse
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V1551-01
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 9/11/2001
Persistent URL: catalog.archives.gov/id/20933015
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
varanasi, india
1972
city life
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
(Previous KOM League Flash Reports are available on request)
Ausust 19, 2013
No Flash Report updates have transpired in the last four days. I'm not planning any Flash Reports for the foreseeable future. No one is corresponding with me about what is on their mind and fortunately I don't have any deaths to report. I do know a couple of guys have had a rough time lately do to surgery and other age related problems but they don't come under the heading of "Urgent Messages." When those arrive I'll report on them. The two people I'm tracking right now, due to health problems, are; Don Keeter and Leonard Van de Hey. Keeter is in a Kansas City rehabilitation facility and Van de Hey is in a Wisconsin hospital following surgery. Word received today was that there will be more of the same for the former Carthage Cub from 1950-51.
This note was posted August 12, 2013. There won't be another Flash Report for a few days. If you have anything to submit for the next report feel free to do so by contacting me at j03.john@gmail.com Thanks for checking out this site. The traffic on this site has picked up significantly since the Flash Reports have become a feature.
For the latest interview with former KOM Leaguer, Bill Virdon, go to this site: Celebrate West Plains: Bill Virdon reflects on his career - KY3 News
m.ky3.com
m.ky3.com/display/6497/story/458e4da0908d50238e442ec6fee3...
The next report will have an update on what happened with regard to the guy offering to give me a Mickey Mantle baseball card and also more information on the late Roger Vander Weide's baseball career. His older brother Robert was "top dog" in the operation of the Orlando Magic when they entered the National Basketball Association.
August 15, 2013. The photos are viewed by a number of former KOM league ballplayers and their families. I learned, by posting these photos that Leonard Van de Hey, a member of the 1950-51 Carthage Cubs had surgery yesterday in Wisconsin. Also, a nice note was received from the daughter of the late Johnny LaPorta, Carthage Cubs 1949-50 that she enjoys the photos. Her mother, Angie, the greatest scorekeeper in the history of Carthage baseball, is residing in a nursing home in the Chicago area and still retains the memories of many of the KOM era.
In the next Flash Report an article will address the subject of radio stations that broadcast KOM League games. If you heard a game or games over KGLC in Miami, OK, KSEK Pittsburg, KS, KDMO Carthage, MO, KIND Independence, KS, KWON Bartlesville, OK or WBBZ in Ponca City and wish to share a memory I'd love to include it in the article. There were no games aired of Iola, Blackwell or Chanute home games since those towns didn't have a radio station until nearly a decade after the KOM League folded.
The voice of Miami baseball was Russ Martin. He pastored the First Christian in Miami and was well known for the dramatic phrases and embellishment of games when they became a bit drab. For a while, Joe Pollock, former KOM spedster with three different clubs was his play by play color man.
Pittsburg Browns games were carried on KSEK radio. That station was on the Liberty network and carried a game of the day with Gordon McLendon and Lindsey Nelson doing most of the games. If you got bored you go up to the top of the radio dial and get the Mutual Broadcasting Company game with Al Helfer doing the announcing on radio station WMBH in Joplin. In the evening that station carried the Joplin Miner games with Bill Grigsby doing the play by play. As a point of trivia the last KOM game broadcast was in 1998 with Grigsby doing most of the play by play and not so ably assisted by Yours truly. That was about as much fun as I ever had. By the way one of the announcers for Pittsburg was Thad Sandstrom who later headed up the WIBW radio and TV empire. If you want to know the fate of Mr. Sandstrom check that out on the Internet. The story is too long and gory to place here.
Bill Platt, James DeStefano (aka Jim King), Fred Pralle and Keith Upson broadcast for Ponca City, Carthage, Bartlesville and Independence, respectively. The story of Upson is contained under the last photo on this site. He is shown with the 1948 Independence Yankees. There are some great tales about the last four guys mentioned but I'll hold off writing anything about them to see if anyone has read the material to this point.
I'm under pressure to keep this site moving along since g-mail loves me at about the same level socialism admires free enterprise.
By the way readers are encouraged to use the "Add a comment" in the space provided by Flickr.
The KOM League
Flash Report
for
August 5, 2013
______________________________________________________________________ _________________
The back-up site for Flash Reports and photos is:
Flickr: komleague's Photostream
www.flickr.com/photos/60428361@N07/
______________________________________________________________________ ________
Likes this stuff:
Just to let you know that I thoroughly Love the letters and the photos. To me it’s like getting a package from home. So I definitely do NOT want to become a member of the "Infrequent Flyer Club." You can send those letters and pictures my way any time you want to. Sue - KCMO
Ed comment:
It is most likely that Sue is referring to the photos that one of my readers has sent her way. But, I can always hope someone likes the Flash Report. Last week a nice summary was sent to me by Bill O’Donnell. I was going to use it to justify why I still prepare these reports but it got lost somewhere in the innards of the e-mail file. So, Bill, after reading this and you still feel the same way you might want to re-send me a copy of that.
But, on the other hand, if you receive these reports and think they have outlived their usefulness you can let me know. The beneficial aspect of these reports for me, according to what I read in the literature, is that keeping the mind occupied might help stave off old age memory and mental problems. And, it may help folks as old as you to read this material and see if you can make sense of it. That way we are either both crazy or dually sane.
______________________________________________________________________ _____
Message from Dave Vander Weide
John, you posted in my dad's guest book. Thank You. His funeral is tomorrow August 6. Would you happen to be able to e-mail me any stats on my dad? I know his family would love it. I remember as a kid going through a trunk with all his baseball gear and seeing him in a uniform with the Carthage name on it.
This is the obituary for Roger Vander Weide
obits.mlive.com/obituaries/grandrapids/obituary.aspx?n=ro...
If you click on the foregoing URL you’ll see his photo along with the obituary. For those of you who can’t or won’t do so here is the obituary.
VANDER WEIDE, ROGER Aged 85, was peacefully called home to his Lord and Savior on August 1, 2013. He was preceded in death by two sisters and five brothers. He is survived by his loving wife of 64 years, Thelma. He loved his children, David (Jean), Steven (Yvonne), and Robert; his grandchildren, Susan (Mike) Meeuwsen, Jenny (Mike) O'Neill, Ryan (Jenna) Vander Weide, Lisa (Joel) Terpstra, Chad, Josh, Hannah, Katie, Ben, Jessa, and Addie Vander Weide; and his great- grandchildren, Devin, Alexia, Breckton, Bellary Meeuwsen, Katelyn, Kylie, Kelsey O'Neill, Emma Vander Weide, Lillian, Natalie Terpstra were his pride and joy. Roger is also survived by his brother, Russell and Barbara Vander Weide. Roger owned Vander Weide Plumbing. He was a pitcher in the St. Louis Cardinals organization, and was an elder and Sunday school teacher at Hope Reformed Church. Funeral services will be held Tuesday, 11:00 AM at the Zaagman Memorial Chapel, 2800 Burton St. SE, with Rev. Peter TeWinkle and Rev. Dr. Robert Eckard officiating. Interment Chapel Hill Memorial Gardens. The family will greet relatives and friends at the funeral chapel Monday from 2-4 and 6-8 PM. Memorial contributions may be made to Breton Manor Rehab. - See more at: obits.mlive.com/obituaries/grandrapids/obituary.aspx?n=ro...
Ed note:
Vander Weide pitched for the Carthage Cubs in late 1947 and early 1948 but not enough to make it into the official records that were reported in the Baseball Guides. However, due to his late arrival, in 1947, he got into the team photo that included manager Al Kluttz. By that time Woody Fair was back in the Carolina league and Al, brother of big league catcher, Clyde Kluttz was in charge of the Carthage club. Also on that team was Ray Diering the younger brother of Chuck who was with the St. Louis Cardinals, Eddie Vargo who became a long time National league umpire, Wayne Boyer one of the famous baseball family from Alba, Mo. and Bob Mahoney who made it to the major leagues with the other St. Louis team, the Browns and also the Chicago “Pale Hose.” A lot of scribes used to call the White Sox by that name.
It was mentioned that Vander Weide is in the 1947 Carthage team photo. For those of you with the book “The KOM League Remembered” published by Arcadia, that photo is on page 27. Even if you don’t have that book the photo is still there. In that photo are 20 faces which include the batboy, Frederick “Pee Wee” Smith. Of that group only four are still alive. Even Harry Smith’s older brother, Pee Wee, has passed away. Harry is mentioned since he was the Carthage batboy in 1949 and on page 65 of the book mentioned previously struck the most casual photo of any batboy ever did for a team photo. For you who don’t have the book now nor ever will he is laying down in front of the Carthage team that had a few guys who turned in long baseball careers including the best known member, Bob Speake. Since Hal Brown is in that photo and receives these Flash Reports I’m mentioning him to let him know he isn’t forgotten. Of the 18 fellows in the 1949 Carthage Cub team photo only five are still living. Harry Smith suffered the same fate of his older brother Pee Wee and passed away a number of years ago at Carthage, MO. Pee Wee died in Kansas City.
Since it wasn’t mentioned in the obituary I’ll mention it here since I’ll get questions about the date of his birth. It was June 16, 1928 in Grand Rapids, Michigan.
______________________________________________________________________ _____
Still remembering the short term players:
Over the years I've discussed whether Carroll Lloyd "Biff" Jones ever played a game in the KOM. I found a column this morning where the Omaha, Nebr. native played shortstop one night for Ponca City at Bartlesville and had two singles in four at bats. He was born 6/17/1929 in Omaha and died 12/28/2008 while living with his son in Tonopah, NV.
Biff was with Ponca City for a very short time and upon his release he went to Chanute, KS on the way home to Omaha, and tried to get a shot with them. Dick McCoy verified that Biff did go to Nevada and died there for he and his wife Mollie attended the funeral. I happened to get interested in Biff in recent days as I had found his name on the roster of an Omaha team that played in the National Baseball Congress Tournament at Wichita in 1960.
Also on that 1947 team was George E. Seely (sometimes spelled Seeley). He was born either 1/1/1924 or 1/3/1924 according to the records I've uncovered. George pitched in two games for Ponca City before being sent to Zanesville, Ohio. If I have the right George Seely and I think that I do, he graduated from high school in 1943, went to the Univ. of Colorado until being inducted into the US Army, also in 1943. After his final year in baseball, which I think was 1948 he got a degree in education and wound up teaching school for many years in Pueblo.
Note from a baseball researcher
Hi: I have Carroll Jones playing ten games for Ponca City in 1947. Was he a first baseman?
He played in 2 games at first for Sheboygan in 1947. Ray Nemec
Ed reply:
The Ponca City News showed him playing shortstop upon his arrival. He wasn't going to play that position too long for Boyd Bartley and Jim Baxes were going to play the position for the lions share of the time.
Nemec’s reply:
Hi John: Is there any way to check a few more games to see if Jones did play another position? Since Boudreau played in 122 games at 1B, I doubt that Jones played 1B. If he did it may have been only one game
He doesn’t show in the SS fielding of players in ten games or more
Ed reply:
Jones didn't play any first base for Ponca City that I found. And, he didn't have that many at shortstop either. I found what I reported earlier in a scrapbook kept by a female fan of those teams for 2-3 years. I imagine Jones did a little pinch hitting after he got two hits in his first game. I'll look at that scrapbook again and see if anything else appears. I think he played for Ponca City prior to the arrival of Baxes from Santa Barbara. After Baxes got there nobody but Bartley was going even get a shot at playing short.
When Jones went back to Omaha and took up amateur ball he was basically an outfielder. In 1960 when the Omaha Thomases went to the NBC tourney in Wichita he was their left fielder.
The Omaha team was sponsored by the Thomas Plumbing Company. They had their share of ex-Joplin Miners, Independence Yankees, Iola Indians and Ponca City Dodgers on the1960 team. Don Hunter and Biff Jones had played at Ponca City, Robert "Bugs" Redden at Iola, Bill Holderness played for Independence in '49 with Mantle and later committed suicide, and Dave Benedict another of Mantle's teammates at Joplin was also on the team. You probably know that Dave Benedict's son was Bruce.
If any reader would like to chime in on additional information regarding Biff Jones, join the crowd that might not be large enough to fill a pay telephone booth. That is, if there are still any remaining in the era of cell phones.
______________________________________________________________________ ____
I wasn’t kidding
In a recent Flash Report I mentioned that my first book “Majoring in The Minors” was like a pretty girl, hard to get. Here is a note from “back east.” “Hi John, I thought I would see if I could hunt up your book. There is one on Ebay listed at $160, supposedly a discount from the original price of $200. Well, I decided to see how flexible the dealer is and sent in a $35 offer. She countered at $125. I then sent in another offer with a note stating that I really didn't want to pay more than $50, but since the book also has several autographs, the highest I could pay would be $60 She declined the offer with a note saying the lowest she would go was $100. I have a hunch that she might consider splitting the difference, but I was really stretching my budget to offer the $60. Maybe you have someone else that might continue the haggling and reach agreement. I will still keep my eyes open during my tag sale and flea market hunting. Enjoy the summer!!!!!!! John, I believe there are 28 players that signed the book plus yourself. Book was 111 of 300. Bob
Ed note:
I looked at that signature page once again. Only 26 guys signed it. Stokes Dodson and Nick Najjar signed twice. We had a book signing and those were being passed back and forth and guys didn't know if they had signed before or not. I could write pretty good size book just telling the stories I know about those 26 guys. Of course, it wouldn't be read. Bob Saban who signed that was the cousin of Lou Saban who coached the Boston Patriots and he was also kin to the current coach of the Alabama football team.
I looked closely at the top of one of those pages. I believe that is the hard cover edition. That book is worth more than the soft cover that came out four years prior to that. If that's the hardcover then it was signed by all those guys at Chanute, Kansas in 2000. That book was purchased by a public library. That is why it's in mint condition. I could buy that for $100 and still make a buck on it due to the autographs. But I'm not going to do it.
A tip from the old batboy
I believe that book is still listed on E-bay and if you don’t have the hard copy edition it would be worth the money if for no other reason than 26 autographs that you could never assemble.
______________________________________________________________________ _____
Recent honors bestowed on former KOM leaguers.
By Anvil Welch Globe Sports Writer
INDEPENDENCE, Kan. — Bill Virdon broke into professional baseball in 1950 with the Independence Yankees of the Class D KOM League.
Virdon, who’s lived in Springfield (Mo.) for more than 50 years, returned to southeast Kansas last Saturday for only the second time since 1950. The previous visit came in 1996 during a KOM League reunion engineered by league historian John G. Hall of Columbia.
Virdon, who was accompanied by wife Shirley, was inducted into the Independence Baseball Hall of Fame to highlight a Baseball Game Luncheon at the Independence Historical Museum & Art Center, 8th and Myrtle.
Virdon never played for the Yankees. He was traded to the Cardinals and was the National League Rookie of the Year in 1955. He was dealt to the Pirates early in the 1956 season. The left-handed batting, right-handed throwing Virdon patrolled center field for the Pirates most of the time through the 1965 campaign.
Guests last week, in addition to the Virdons, included longtime University of Kansas sports voice Bob Davis and Ban Johnson players Charles Stepp and Merle Blair. Also, seated up front for the meal of hot dogs, peanuts and cracker jacks were researchers Jan Johnson and Mike Webber.
Virdon, who answered several questions from the audience, had at least one very pleasant surprise in the crowd.
Bill Robinson, who lives in Wichita, and his late wife Virginia housed Virdon and another player in Independence.
“I don’t know anything negative about Bill Virdon,” Robinson said. “I never played baseball. We had a pleasant time.
“I’m 94. I do my own driving. I’m going to break Social Security,” Robinson quipped.
“We lived on North 11th St.,” Robinson said. “Our family ran Robinson Supply. I’ve been living in Wichita six years. We make it to Independence every three or four months.”
Virdon, naturally happy to see Robinson, said he couldn’t recall the name of the roommate.
“I don’t have a clue,” Virdon, 82, said with a laugh.
Virdon, who played Ban Johnson baseball for two summers at Clay Center (Kan.) before signing with Tom Greenwade and New York for $1,800, had no problem with Independence’s role in his development as a player.
“I found a position,” Virdon said. “I wanted to be a shortstop. Bunny (player/manager Bunny Mick) put me in center field.”
Just three players on the 1950 Independence Yankees reached the major leagues — Virdon, Don Taussig, another outfielder, and pitcher John Gabler.
The Independence roster was sprinkled liberally with southwest Missouri youths (a testament to Greenwade).
Bill Drake, a 1948 Joplin High School graduate, was a right-handed pitcher on the club. Drake, who played American Legion baseball in the summer, starred in football for the Eagles for Russ Kaminsky and in track for K.E. “Doc” Baker.
“Bill’s strength, first, was as a defensive player,” Drake said of Virdon. “He was a good overall player, of course. The thing I remember as much as anything about him was simply he was a good man. He was a gentleman. I respected him.”
Drake, also a Baxter Springs Whiz Kid, continued playing baseball after his professional stint as a third baseman/pitcher with such semi-pro teams as the Miami-based Tri-State Miners and Home Street Garage of Kansas City to supplement his income.
Drake, 83, said he once hit four consecutive home runs in a game for Home Street Garage. He lives in Raytown.
Virdon was Virdon last week, indicated museum coordinator Sylvia Augustine, with his accommodating manner.
“He always has been that way, I understand,” she said. “He signed everything that was brought to him.”
Virdon, a manager of the year in both the American League (Yankees) and National League (Astros), joined individuals Mickey Mantle, Ralph Terry, Glenn Wright, Bill Walker, Cy Blanton and Eugene Packard in the Independence shrine: The Independence Producers of 1921 and 1930 also have been honored.
The Western Association Producers of 1930 claim the first night game in organized baseball on April 28 at Shulthis Stadium in Riverside Park.
Lloyd Lee Dodson enshrined
cjonline.com/sports/2013-07-17/kevin-haskin-rich-baseball...
Kevin Haskin: Rich baseball history shared at induction ceremony
Inaugural class enshrined into Shawnee County hall
There was mention of Connie Mack on Wednesday at the Bettis Family Sports Complex.
That was a reflection of just how much history was shared at the induction ceremony for the inaugural class of the Shawnee County Baseball Hall of Fame.
Lee Dodson, known simply as Mr. Baseball in Topeka, referenced Mack as one of his heroes.
“I like guys who lived to be 100, or close to it, since I’m closing in on it,’’ said Dodson, who at 89 shared some witty insight into a sport he loved ever since he attended his first game.
That happened to be at Chandler Field in Topeka. Dodson, who would go on to play professionally before coaching and organizing scores of teams and leagues, watched that day as his father managed a club.
“I couldn’t figure out,’’ said Dodson, “how the person who invented this game I was watching could make it so a ball hit to the shortstop could result in a play that was so close involving the batter who was running to first base. It was such a close race. That, and a lot of other things, absolutely hooked me.’’
Over time, Dodson figured quite a bit regarding baseball. So too did the other inductees in the inaugural class — Ken Berry, Beany Conwell, Bingo DeMoss, Marion McDonald, Mike Torrez, Fred White and Gene Wilson. The wide-ranging group represented players, builders, coaches, media and umpires.
The hall does not yet have a permanent display, though information on the inductees and history of baseball in Shawnee County can be found at www.sncobaseballhof.org.
When addressing the audience Wednesday, Berry told how he agreed to have his name affixed to a complex that would eventually be home to numerous youth teams.
“They called me up in 1969 and asked if they could put my name up,’’ recalled Berry, “and I said, ‘Sure, but you guys should know I’m only hitting .230.’ ’’
That recollection came from his 14-year career in the major leagues, in which Berry was an All-Star outfielder and two-time Gold Glove winner. Berry credited Conwell for leading the innovators who started the Ken Berry League. Conwell became the league’s first chairman of the board and was a fixture at the facility. He engaged in every task imaginable while also helping organize several teams.
In accepting the glass obelisk presented to each of the inductees, Conwell’s son, Kent, said: “As I know my dad would like to say, ‘Thank you. Now let’s go build something.’ ’’
For McDonald, his most enduring project was at Washburn.
It was in 1957 that he reinstituted a baseball program for the Ichabods as their coach.
His son, Bill, recently moved back to Topeka after spending 42 years in Michigan. He remains impressed by all the people who recall his father, who also served as a professional scout.
“I hear so many wonderful stories about my dad connecting people with baseball,’’ McDonald said.
One favorite that McDonald shared was the origin of the uniforms Washburn once wore that read “Topeka’’ across the chest.
Turns out, Marion McDonald got the Topeka Reds to donate them to WU after the minor-league team left town following the 1961 season. Bill McDonald said he heard that Pete Rose’s name tag was stitched into one of the uniforms, a story he still needs to research.
One inductee into the Shawnee County baseball hall who pitched to Rose was Torrez, who won 185 games and posted a 3.96 earned run average over 18 big-league seasons.
Another inductee, Fred White, called many of the games Torrez worked. The longtime anchor for both WIBW television and radio went on to become a broadcaster for the Kansas City Royals.
Although a family commitment prevented Torrez from attending, Berry was a contemporary who shared his respect for White, who passed away earlier this summer after battling cancer.
“I was very lucky to have someone like Fred and also Bob Hentzen of The Capital-Journal cover my games,’’ Berry said. “You couldn’t have asked for two greater guys to interview you after you played your heart out. I was very appreciative of Fred and all he did for me.’’
The inductee who was as responsible as anyone keeping games rolling smoothly was Wilson, a longtime umpire who first came to the state as a hot-shot recruit who played basketball for Kansas State. Wilson went on to umpire through four different decades. The manual he wrote for local American Legion umpires was incorporated at the national level.
“I had fun with the game,’’ said Wilson, “but I was serious too. Sometimes, though, you had to lighten up.’’
Like the time Wilson was working a Gopher League game at the very spot where he spoke Wednesday, the former SCABA diamonds.
“I crouched down and my pants ripped,’’ he recalled. “Before long, I had three mothers come down from the stands offering me safety pins.’’
Stories. Many were shared Wednesday reflecting the impressive history of baseball in Shawnee County.
DeMoss, an inductee who began playing for Negro League teams while in high school and went on to become the standout second baseman of his time, gave the class a feel that dates to almost the beginning of the 20th century.
Yet here we are in 2013 and baseball remains vibrant.
“I thank the inventors and the people that improved on it,’’ Dodson said. “Baseball has been total enjoyment for me.’’
Ed note:
Lee Dodson of the 1946 Chanute, KS Owls and Bill Virdon of the 1950 Independence Yankees are both very special individuals. I have got to know each of these fellows over the years and it was especially difficult to miss their induction ceremonies into halls of fame in two Kansas cities. It was very tough to ignore them at a high point in their lives when both of those guys came to Carthage when they hung my mug on the entrance to the Carthage ballpark in 1999. But, although I wasn’t in attendance of either of those events I’m especially proud of both those guys and want them to know it.
______________________________________________________________________ _____
Predictions
Back in 2004 there was a KOM league reunion held at Carthage, MO and when a group of old ballplayers arrived on the scene at the baseball field there was a large number of young ballplayers who were touring the nation as the representatives of the American National team. Sam Dixon struck up a conversation with one of the leaders of that group and the gentleman told him to keep an eye on one player in particular. He was a lad from San Diego and Dixon promised to look out for his eventual rise to major league stardom. After that reunion concluded Dixon handed me the sheet of paper the coach of the team had given him and told me that I should keep it. Well, I looked at it again after nine years and started down the list. I got as far as “S” and recalled the guy with that initial for his last name and he never made it. I figured with just a few names left on the list that none of those guys made it. And, then I saw two fellows with the same last name... Upton. Quickly, it came to me that Melvin Emmanuel and Justin are the same guys who play for the Atlanta Braves. Most people recognize Melvin as “B. J.”
What struck me that morning, nine years ago in Carthage, was an exodus from the ball field when it was announced that a team of random drug testers were there to check the young American team. Those guys who exited the field came out on the sidewalk slamming down their equipment and crying like babies with the full knowledge that they hadn’t played by the rules and their time on the team was over. Now roll the clock forward just nine years and word came down today that some guys who didn’t play by the rules will get to sit it out for a while. Isn’t it great that “Time wounds all heels?” These guys are getting what they deserve but maybe they aren’t getting enough of what they deserve. When the rules set forth permanent banishment from the game for rule breaking then fairness will have a new meaning.
______________________________________________________________________ _____
Conclusion:
In the last exciting edition of this newsletter it was mentioned that although all the copies of “Majoring in The Minors” were in the hands of others I still was able to share a copy that the late Tom Tarascio handed back prior to his death. I sent it along to a new friend in Pennsylvania who was coached by Jim McHugh former KOM leaguer for parts of four years.
Within days of sending along the big green book and a Mickey Mantle-Before The Glory copy I received this note. “Thank your for the book ‘Majoring in The Minors’ and ‘Mickey Mantle-Before the Glory’ and the Mantle pin. The books will be part of my summer reading. Maria McHugh donated the Jim McHugh-Jimmy Foxx letters to the Philadelphia Athletics Historical Society in Hatboro, PA. The Athletics Historical Society closed this past spring and re-located to Spikes’ Trophies, 2702 Grant Ave. Philadelphia. Thanks again John--your book made my summer.” Sincerely, Bob. G.
Ed comment:
Many years ago Jim Mc Hugh sent along a letter he had written to Jimmy Foxx when the Philadelphia A’s great Hall of Famer was ill. Foxx sent him a letter in return promising to get better in order to make his young fan happy. McHugh gave me that material a number of years ago. One day I took both of the letters and added a photo of Foxx and McHugh and sent it back to him with the explanation that it was such a great item he should share it with the family. I was pleased to learn it was now in the Philadelphia A’s Historical Society.
______________________________________________________________________ ____________________
Well, that’s it for this time
If you have anything to share with regard to the Flash Reports, let me know.
P. S.
Oh, I’m not done. Last week I received a CD from Nick DeMaio of the 1952 Miami Eagles and a teammate of the late Jim McHugh. Nick is the “big guy” with Gunsmoke. That is a country-western band out of Darien, CT. In recent weeks his group appeared on the “Shot Gun Red” show on the cable channel, RFD. Sine I couldn’t that channel through my cable service Nick was kind enough to send me a CD. The music of Gunsmoke is of the genre and era when music was still be made and the lyrics weren’t “x” rated. Gosh, I love the past for a lot of reasons and one of the biggest was the music. Thanks again Nick for your kindness.
Another P. S. or P. S. S.
As I was finishing up this report a telephone call was received from a gentleman who remembered me from my last fling at theater. A few years back I was the voice of Lou Gehrig in a performance attended by few and appreciated by even fewer at a local playhouse. A group from that playhouse performed at one of our KOM league reunions and they were top flight in every aspect and may well have been the top group ever at any of the dozen or so reunions conducted. Anyway, a fellow who attended that performance was the most recent caller and told me he wanted to meet me for coffee. He said that he had recently picked up a baseball card of a former KOM leaguer and wanted to give it to me. So, a coffee date has been set for Thursday morning at a local grocery store. Oh, the baseball card he has of a former KOM leaguer is that of a guy he called “Mickey Mantle.” Has anyone ever heard of that name? I’ll let you know next time about the card and a little more about the guy who is purportedly on it.
bangkok, thailand
1972
thai dance performance
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
varanasi, india
1972
city life
street vendor
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
- Die Institutionen des NS-Terrors -
Auf dem Gelände der „Topographie des Terrors”, neben dem Martin-Gropius-Bau und unweit des Potsdamer Platzes, befanden sich von 1933 bis 1945 die wichtigsten Zentralen des nationalsozialistischen Terrors: das Geheime Staatspolizeiamt mit eigenem „Hausgefängnis”, die Reichsführung-SS, der Sicherheitsdienst (SD) der SS und während des Zweiten Weltkriegs auch das Reichssicherheitshauptamt.
- Baudenkmal Berliner Mauer -
Die Berliner Mauer wurde weltweit zum Symbol der Teilung Deutschlands nach dem Zweiten Weltkrieg und darüber hinaus Symbol des Kalten Krieges zwischen Ost und West.
Der Bau der Mauer begann am 13. August 1961. Mit dieser über 150 km langen Grenzsperranlage riegelte die Regierung der Deutschen Demokratischen Republik (DDR) Ost-Berlin und das übrige Gebiet der DDR hermetisch ab. Zwischen Oktober 1949 und August 1961 waren mehr als 2,7 Millionen Menschen aus der DDR geflohen, mehrheitlich über die Sektorengrenzen zwischen Ost- und West-Berlin. Die Mauer sollte diesen Flüchtlingsstrom unterbinden und jeden unkontrollierten Grenzübergang unmöglich machen.
Die Sperranlage bestand aus mehreren Abschnitten: einer „Vorderlandmauer” und einer „Hinter-landmauer”, einem Grenzstreifen mit Kolonnenweg, Wachtürmen und Sperrbefestigungen. Bis 1989 kamen an der Berliner Mauer mindestens 136 Menschen zu Tode, 98 von ihnen waren Flüchtlinge. Die meisten fielen den Schüssen der DDR-Grenztruppen zum Opfer.
Die Reformpolitik der Sowjetunion, die rasch anwachsende Protestbewegung der DDR-Bevölkerung, aber auch die inzwischen mögliche Flucht tausender DDR-Bürger über das osteuropäische Ausland führten am 9. November 1989 zum friedlichen „Fall” der Mauer. Wenig später wurden die ersten Teile der Mauer niedergerissen. Noch vor der Wiedervereinigung Deutschlands am 3. Oktober 1990 war sie weitgehend aus dem Stadtbild Berlins verschwunden.
Das 200 m lange Reststück der Mauer an der Niederkirchnerstraße – die hier die Grenze zwischen den Bezirken Mitte (Ost-Berlin) und Kreuzberg (West-Berlin) markierte – wurde auf Wunsch der „Topographie des Terrors” mit allen Spuren der Zerstörung aus der Zeit des Mauerfalls erhalten und 1990 unter Denkmalschutz gestellt. Das Mauerfragment ist heute Bestandteil des Dokumentationszentrums Topographie des Terrors. Als eines der wenigen noch erhaltenen Mauerreste in der Stadt ist es auch eine der zentralen Stationen innerhalb des vom Berliner Senat entwickelten „Gesamtkonzepts Berliner Mauer”.
Stiftung Topographie des Terrors
Rechtsfähige Stiftung öffentlichen Rechts
Niederkirchnerstraße 8
10963 Berlin
Telefon: 030-254509-0
Öffnungszeiten
täglich 10 - 20 Uhr
Außenbereiche bis Einbruch der Dunkelheit (spätestens 20 Uhr)
Schließtage
24., 31. Dezember und 1. Januar
Eintritt frei
E-Mail: info@topographie.de
Internet: www.topographie.de
________________________________________________
- The institutions of Nazi terror -
Between 1933 and 1945, the central institutions of Nazi persecution and terror – the Secret State Police Office with its own “house prison,” the leadership of the SS and, during the Second World War, the Reich Security Main Office – were located on the present-day grounds of the “Topography of Terror” that are next to the Martin Gropius Building and close to Potsdamer Platz.
- Berlin Wall Monument -
The Berlin Wall became an international symbol of the division of Germany after the Second World War and also of the Cold War between East and West. Construction of the Berlin Wall began on August 13, 1961. The government of the German Democratic Republic (GDR) built this more than 150-kilometer-long barrier to hermetically seal off East Berlin and the rest of the territory of the GDR. More than 2.7 million people fled the GDR between October 1949 and August 1961, the majority of them across the border separating Berlin’s Eastern and Western sectors. The Wall was designed to halt this stream of refugees and make it impossible to cross the borders unchecked. The installation consisted of several sections: a Vorderlandmauer (front wall) and a Hinterlandmauer (back wall), an inner track with a patrol path, watchtowers, and barrier fortifications. By 1989 at least 136 people had lost their lives at the Wall, 98 of them while trying to flee. Most of them were shot down by GDR guards. Reforms in the Soviet Union, the rapidly growing protest movement in the GDR population, as well as the flight of thousands of GDR citizens via Eastern European countries led to the peaceful “fall” of the Wall on November 9, 1989. Soon afterwards the first sections of the barrier were torn down. Even before the reunification of Germany on October 3, 1990, the Wall had largely disappeared from the Berlin landscape.
At the request of the “Topography of Terror,” the remaining 200 meters of the Wall at Niederkirchnerstraße – which marked the border between the districts of Mitte (East Berlin) and Kreuzberg (West Berlin) – have been preserved with all the traces of the destruction that occurred during the transitional period. This fragment of the Wall, designated a historic monument in 1990, now forms part of the Topography of Terror Documentation Center. As one of the few surviving sectors of the Wall in the city, it is also one of the central sites in the “Overall Concept for the Berlin Wall” developed by the Berlin Senate.
Topography of Terror Foundation
A foundation under public law
Niederkirchnerstraße 8
10963 Berlin
Phone: 0049 30 254509–0
Opening Hours
Daily 10 a.m. – 8 p.m.
The outdoor grounds are accessible until dusk (not later than 8 p.m.)
Closed on Dec 24th, 31st, Jan 1st
Admission free
e-mail: info@topographie.de
Website: www.topographie.de/en/
..\description_code.txt
Description:
ITEM Identifier: 87-M130, 66o.
Architectural drawings. Walker Gordon laboratories: 4 negative photostats, 1929; Noyes houses, Holderness New Hampshire: negative and positive photostats, 1929; Mary Huntington Pew, Rockport,: pencil and blueprints, 1933; Conklin house: photostats, 1941; 305 Broadway, n.d.
Repository: Schlesinger Library on the History of Women in America.
Collection: Elisabeth Coit Papers
Call Number: 87-M130
Catalog Record: hollisarchives.lib.harvard.edu/repositories/8/resources/7565
Questions? Ask a Schlesinger Librarian
181,246 items / 1,429,372 views
The CROSS
The Indian Christian Church (Clergy & Laity) Initiative
Sub: Request to Announce & Cover Good Friday, 22nd April, 2011, 10.30am to 2.30 pm.
Place: Sacred Heart Church, Khar (W), Mumbai 10.30 am onwards
24th Annual Lenten Walking Pilgrimage
Thousands to Walk in Prayer & ProtestGood Friday, also called Holy Friday or Great Friday, is the Friday preceding Easter Sunday. It commemorates the crucifixion and death of Jesus Christ at Calvary.
Original Events of Good Friday
According to the New Testament, Jesus was arrested in the Garden of Gethsemane by the Temple Guards through the guidance of his disciple, Judas Iscariot. Judas received money for betraying Jesus. He told the guards that whomever he kisses is the one they are to arrest. Jesus was brought to the house of Annas, who is the father-in-law of the current high priest, Caiaphas. There he is interrogated with little result, and sent bound to Caiaphas the high priest, where the Sanhedron had assembled (John 18:1-24).
Conflicting testimony against Jesus is brought forth by many witnesses, to which Jesus answers nothing. Finally the high priest adjures Jesus to respond under solemn oath, saying "I adjure you, by the Living God, to tell us, are you the Anointed One, the Son of God?" Jesus testifies in the affirmative, "You have said it, and in time you will see the Son of Man seated at the right hand of the Almighty, coming on the clouds of Heaven." The high priest condemns Jesus for blasphemy, and the Sanhedron concurs with a sentence of death (Matthew 26:57-66). Peter also denies Jesus three times during the interrogations. Jesus already knew that Peter would deny him three times.
In the morning, the whole assembly brings Jesus to the Roman governor Pontius Pilate, under charges of subverting the nation, opposing taxes to Caesar, and making himself a king (Luke 23:1-2). Pilate authorizes the Jewish leaders to judge Jesus according to their own Law and execute sentencing, however the Jewish leaders reply that they are not allowed by the Romans to carry out a sentence of death (John 18:31).
Pilate questions Jesus, and tells the assembly that there is no basis for sentencing. Upon learning that Jesus is from Galilee, Pilate refers the case to the ruler of Galilee, King Herod, who was in Jerusalem for the Passover Feast. Herod questions Jesus but receives no answer; Herod sends Jesus back to Pilate. Pilate tells the assembly that neither he nor Herod have found guilt in Jesus; Pilate resolves to have Jesus whipped and released (Luke 23:3-16).
It was a custom during the feast of Passover for the Romans to release one prisoner as requested by the Jews. Pilate asks the crowd who they would like to be released. Under the guidance of the chief priests, the crowd asks for Barabbas, who had been imprisoned for committing murder during an insurrection. Pilate asks what they would have him do with Jesus, and they demand, "Crucify him" (Mark 15:6-14). Pilate's wife had seen Jesus in a dream earlier that day; she forewarns Pilate to "have nothing to do with this righteous man" (Matthew 27:19).
Pilate has Jesus flogged, then brings him out to the crowd to release him. The chief priests inform Pilate of a new charge, demanding Jesus be sentenced to death "because he claimed to be God's son." This possibility filled Pilate with fear, and he brought Jesus back inside the palace and demanded to know from where he came (John 19:1-9).
Coming before the crowd one last time, Pilate declares Jesus innocent, washing his own hands in water to show he has no part in this condemnation. Nevertheless, Pilate hands Jesus over to be crucified in order to forestall a riot (Matthew 27:24-26). The sentence written is "Jesus of Nazareth, King of the Jews." Jesus carries his cross to the site of execution (assisted by Simon of Cyrene), called the place of the Skull, or "Golgotha" in Hebrew and "Calvary" in Latin. There he is crucified along with two criminals (John 19:17-22).
Jesus agonizes on the cross for three hours, during which there is darkness over the whole land.[1] With a loud cry, Jesus gives up his spirit. There is an earthquake, tombs break open, and the curtain in the Temple is torn from top to bottom. The centurion on guard at the site of crucifixion declares, "Truly this was God's Son!" (Matthew 27:45-54)
Joseph of Arimathea, a member of the Sanhedrin and secret follower of Jesus, who had not consented to his condemnation, goes to Pilate to request the body of Jesus (Luke 23:50-52). Pilate asks confirmation from the centurion whether Jesus is dead (Mark 15:44). A soldier pierced the side of Jesus with a lance causing blood and water to flow out (John 19:34), and the centurian informs Pilate that Jesus is dead (Mark 15:45).
Joseph of Arimathea takes the body of Jesus, wraps it in a clean linen shroud, and places it in his own new tomb that had been carved in the rock (Matthew 27:59-60) in a garden near the site of crucifixion. Another secret follower of Jesus and member of the Sanhedrin named Nicodemus (John 3:1) also came bringing 75 pounds of myrrh and aloes, and places them in the linen with the body of Jesus, according to Jewish burial customs (John 19:39-40). They rolled a large rock over the entrance of the tomb (Matthew 27:60). Then they returned home and rested, because at sunset began the Sabbath (Luke 23:54-56).
On the third day, Sunday, which is now known as Easter Sunday, Jesus rose from the dead
In the Roman Catholic Church
The Roman Catholic Church treats Good Friday as a fast day, which in the Latin Rite Church is understood as having only one full meal (but smaller than a regular meal) and two collations (a smaller repast, two of which together do not equal one full meal). In countries where Good Friday is not a day of rest from work, the afternoon liturgical service is usually put off until a few hours after the recommended time of 3 p.m.
Crucifix prepared for veneration on Good Friday.The Roman Rite has no celebration of Mass after that of the Lord's Supper on Holy Thursday evening until that of the Easter Vigil, and the only sacraments celebrated are Penance and Anointing of the Sick.[2] While there is no celebration of the Eucharist, Holy Communion is distributed to the faithful only in the Service of the Passion of the Lord, but can be taken at any hour to the sick who are unable to attend this service.[3]
The altar remains completely bare, without cross, candlesticks or altar cloths.[4] It is customary to empty the holy water fonts in preparation of the blessing of the water at the Easter Vigil.[5] Traditionally, no bells are rung on Good Friday or Holy Saturday until the Easter Vigil.
The Celebration of the Passion of the Lord takes place in the afternoon, ideally at three o'clock, but for pastoral reasons a later hour may be chosen.[6] The vestments used are red.[7] Before 1970, they were black except for the Communion part of the rite, for which violet was used,[8] and before 1955 black was used throughout.[9]If a bishop celebrates, he wears a plain mitre.[10]
The liturgy consists of three parts: the Liturgy of the Word, the Veneration of the Cross, and Holy Communion.
The first part, the Liturgy of the Word, consists of the reading or chanting of Isaiah 52:13-53:12, Hebrews 4:14-16, 5:7-9, and the Passion account from the Gospel of John, which is often divided between more than one singer or reader. This part concludes with a series of prayers: for the Church, the Pope, the clergy and laity of the Church, those preparing for baptism, the unity of Christians, the Jewish people, those who do not believe in Christ, those who do not believe in God, those in public office, those in special need.[11]
The second part of the Good Friday liturgy is the Veneration of the Cross: a crucifix, not necessarily the one that is normally on or near the altar at other times, is solemnly displayed to the congregation and then venerated by them, individually if possible, while special chants are sung.[12]
Communion from the Reserved Sacrament on Good Friday (Our Lady of Lourdes, Philadelphia).The third and last part is Holy Communion according to a rite based on that of the final part of Mass, from the Our Father on. The Eucharist, consecrated at the Mass of Holy Thursday is distributed at this service.[13] Before the reform of Pope Pius XII, only the priest received Communion in the framework of what was called the "Mass of the Presanctified", which included the usual Offertory prayers, with the placing of wine in the chalice, but which omitted the Canon of the Mass.[14]
Priest and people then depart in silence, and the altar cloth is removed, leaving the altar bare except for the cross and two or four candlesticks.[15]
The Way of the Cross, celebrated at the Colloseum in Rome on Good Friday.In addition to the prescribed liturgical service, the Stations of the Cross are often prayed either in the church or outside, and a prayer service may be held from midday to 3.00 p.m., known as the Three Hours' Agony. In countries such as Malta, Italy, Philippines and Spain, processions with statues representing the Passion of Christ are held.
In Polish churches, a tableau of Christ's Tomb is unveiled in the sanctuary. Many of the faithful spend long hours into the night grieving at the Tomb, where it is customary to kiss the wounds on the Lord's body. A life-size figure of Christ lying in his tomb is widely visited by the faithful, especially on Holy Saturday. The tableaux may include flowers, candles, figures of angels standing watch, and the three crosses atop Mt Calvary, and much more. Each parish strives to come up with the most artistically and religiously evocative arrangement in which the Blessed Sacrament, draped in a filmy veil, is prominently displayed.
[edit] Acts of Reparation to Jesus Christ
El Greco's Jesus Carrying the Cross, 1580.The Roman Catholic tradition includes specific prayers and devotions as acts of reparation for the sufferings and insults that Jesus suffered during His Passion on Good Friday. These Acts of Reparation to Jesus Christ do not involve a petition for a living or deceased beneficiary, but aim to repair the sins against Jesus. Some such prayers are provided in the Raccolta Catholic prayer book (approved by a Decree of 1854, and published by the Holy See in 1898) which also includes prayers as Acts of Reparation to the Virgin Mary.[16][17][18][19]
In his encyclical Miserentissimus Redemptor on reparations, Pope Pius XI called Acts of Reparation to Jesus Christ a duty for Catholics and refered to them as "some sort of compensation to be rendered for the injury" with respect to the sufferings of Jesus.[20]
Pope John Paul II referred to Acts of Reparation as the "unceasing effort to stand beside the endless crosses on which the Son of God continues to be crucified".[21]
[edit] An example: Malta
The statue of Our Lady of Sorrows (or La Pietà) used during the Good Friday procession, Żejtun, MaltaThe Holy Week commemorations reach their peak on Good Friday as the Roman Catholic Church celebrates the passion of Jesus. Solemn celebrations take place in all churches together with processions in different villages around Malta and Gozo. During the celebration, the narrative of the passion is read in some localities. The Adoration of the Cross follows. Good Friday processions take place in Birgu, Bormla, Ghaxaq, Luqa, Mosta, Naxxar, Paola, Qormi, Rabat, Senglea, Valletta, Żebbuġ (Città Rohan) and Żejtun. Processions in Gozo will be in Nadur, Victoria (St. George and Cathedral), Xaghra and Żebbuġ, Gozo.
The following site is about Good Friday Celebration in Valletta, The Capital City of Malta. [22]
[edit] An example: The Philippines
In the predominantly Roman Catholic Philippines, the day is commemorated with street processions, the Way of the Cross, and a Passion play called the Senakulo. The Church keeps the day solemn by not tolling the church bells, and no Mass will be celebrated. In some communities (most famously in San Fernando, Pampanga), the processions include devotees who self-flagellate and sometimes even have themselves nailed to crosses as expressions of penance despite health issues and disapproval from the church.[23] After three o'clock in the afternoon of Good Friday (the time at which Jesus is traditionally believed to have died), noise is discouraged, some radio stations and television stations sign off, businesses automatically close, and the faithful are urged to keep a very solemn and prayerful disposition through to Easter Sunday.
Major television networks are paid to broadcast events at Roman Catholic parishes. These events include the reading of the Seven Last Words, the recitation of the Stations of the Cross, and the service of the Commemoration of the Lord's Passion.
[edit] Churches of Byzantine tradition
Icon of the Crucifixion, 16th century, by Theophanes the Cretan (Stavronikita Monastery, Mount Athos).Because of the penitence and sorrow associated with the Crucifixion, the Divine Liturgy is never celebrated on Good Friday, which Byzantine Christians (Eastern Orthodox and Greek-Catholics) call "Holy and Great Friday", except when this day coincides with the feast of the Annunciation (which falls on the fixed date of March 25).
The faithful revisit the events of the day through public reading of the Psalms and Gospels, and singing hymns about Christ's death. Rich visual imagery and symbolism as well as stirring hymnody are remarkable elements of these observances. In the Orthodox understanding, the events of Holy Week are not simply an annual commemoration of past events, but the faithful actually participate in the death and resurrection of Jesus.
Each hour of this day is the new suffering and the new effort of the expiatory suffering of the Savior. And the echo of this suffering is already heard in every word of our worship service - unique and incomparable both in the power of tenderness and feeling and in the depth of the boundless compassion for the suffering of the Savior. The Holy Church opens before the eyes of believers a full picture of the redeeming suffering of the Lord beginning with the bloody sweat in the Garden of Gethsemane up to the crucifixion on Golgotha. Taking us back through the past centuries in thought, the Holy Church brings us to the foot of the cross of Christ erected on Golgotha, and makes us present among the quivering spectators of all the torture of the Savior.[24]
Holy and Great Friday is observed as a strict fast, and adult Byzantine Christians are expected to abstain from all food and drink the entire day to the extent that their health permits. "On this Holy day neither a meal is offered nor do we eat on this day of the crucifixion. If someone is unable or has become very old [or is] unable to fast, he may be given bread and water after sunset. In this way we come to the holy commandment of the Holy Apostles not to eat on Great Friday."[24]
[edit] Matins of Holy and Great Friday
The Byzantine Christian observance of Holy and Great Friday, which is formally known as The Order of Holy and Saving Passion of our Lord Jesus Christ, begins on Thursday night with the Matins of the Twelve Passion Gospels. Scattered throughout this Matins service are twelve readings from all four of the Gospels which recount the events of the Passion from the Last Supper through the Crucifixion the burial of Jesus. The first of these twelve readings John 13:31-18:1 is the longest Gospel reading of the year. Just before the sixth Gospel reading, which recounts Jesus being nailed to the cross, a large cross is carried out of the sanctuary by the priest, accompanied by incense and candles, and is placed in the center of the nave (where the congregation gathers), with a two-dimensional painted icon of the body of Christ (soma or corpus) affixed to it. As the cross is being carried, the priest or a chanter chants a special antiphon:
Today He who hung the earth upon the waters is hung upon the Cross (three times).
He who is King of the angels is arrayed in a crown of thorns.
He who wraps the heaven in clouds is wrapped in the purple of mockery.
He who in Jordan set Adam free receives blows upon His face.
The Bridegroom of the Church is transfixed with nails.
The Son of the Virgin is pierced with a spear.
We venerate Thy Passion, O Christ (three times).
Show us also Thy glorious Resurrection.[25]
During the service, all come forward to kiss the feet of Christ on the cross. After the Canon, a brief, moving hymn, The Wise Thief is chanted by singers who stand at the foot of the cross in the center of the nave. The service does not end with the First Hour, as usual, but with a special dismissal by the priest.
[edit] Royal Hours
The next day, in the forenoon on Friday, all gather again to pray the Royal Hours, a special expanded celebration of the Little Hours (including the First Hour, Third Hour, Sixth Hour, Ninth Hour and Typica) with the addition of scripture readings (Old Testament, Epistle and Gospel) and hymns about the Crucifixion at each of the Hours (some of the material from the previous night is repeated). This service is somewhat more festive in character, and derives its name of "Royal" from both the fact that the Hours are served with more solemnity than normal, commemorating Christ the King who humbled himself for the salvation of mankind, and also from the fact that this service was in the past attended by the Emperor and his court.
[edit] Vespers of Holy and Great Friday
The epitaphios ("winding sheet"), depicting the preparation of the body of Jesus for burial.In the afternoon, around the 3 p.m. all gather for the Vespers of the Taking-Down from the Cross, commemorating the Deposition from the Cross. The Gospel reading is a concatenation taken from all four of the Gospels. During the service, the body of Christ (the soma) is removed from the cross, as the words in the Gospel reading mention Joseph of Arimathea, wrapped in a linen shroud, and taken to the altar in the sanctuary. Near the end of the service an epitaphios or "winding sheet" (a cloth embroidered with the image of Christ prepared for burial) is carried in procession to a low table in the nave which represents the Tomb of Christ; it is often decorated with an abundance of flowers. The epitaphios itself represents the body of Jesus wrapped in a burial shroud, and is a roughly full-size cloth icon of the body of Christ. Then the priest may deliver a homily and everyone comes forward to venerate the epitaphios. In the Slavic practice, at the end of Vespers, Compline is immediately served, featuring a special Canon of the Crucifixion of our Lord and the Lamentation of the Most Holy Theotokos by Symeon the Logothete.
[edit] Matins of Holy and Great Saturday
The Epitaphios being carried in procession.On Friday night, the Matins of Holy and Great Saturday, a unique service known as the The Lamentation at the Tomb (O Epitaphios Threnos) is celebrated. This service is also sometimes called Jerusalem Matins. Much of the service takes place around the tomb of Christ in the center of the nave. A unique feature of the service is the chanting of the Lamentations or Praises (Engkomia), which consist of verses chanted by the clergy interspersed between the verses of Psalm 119 (which is, by far, the longest psalm in the Bible). At the end of the Great Doxology, while the Trisagion is sung, the epitaphios is taken in procession around the outside the church, and is then returned to the tomb. Some churches observe the practice of holding the epitaphios at the door, above waist level, so the faithful most bow down under it as they come back into the church, symbolizing their entering into the death and resurrection of Christ.
The Troparion (hymn of the day) of Good Friday is:
The noble Joseph, when he had taken down Thy most pure Body from the tree, wrapped it in fine linen, and anointed it with spices, and placed it in a new tomb.
Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto ages of ages. Amen.
The angel came to the myrrh-bearing women at the tomb and said:
Myrrh is fitting for the dead, but Christ has shown Himself a stranger to corruption.
[edit] Anglican Communion
The 1662 Book of Common Prayer did not specify a particular rite to be observed on Good Friday but local custom came to mandate an assortment of services, including the Seven Last Words from the Cross and a three-hour service consisting of Matins, Ante-communion (using the Reserved Sacrament in high church parishes) and Evensong. In recent times revised editions of the Prayer Book and Alternative Service Book have re-introduced pre-Reformation forms of observance of Good Friday corresponding to those in today's Roman Catholic Church, with special nods to the rites that had been observed in the Church of England prior to the Henrican, Edwardian and Elizabethan reforms, including Creeping to the Cross.
[edit] Other Protestant Traditions
Many Protestant communities hold special services on this day as well. In the German Lutheran tradition from the 16th to the 20th century, this was the most important holiday, and abstention from all worldly works was expected. Lutheranism had no restrictions on the celebration of Holy Communion on Good Friday; on the contrary, it was a prime day on which to receive Holy Communion, and services were often accentuated by special music such as the St. Matthew Passion by Lutheran Johann Sebastian Bach. Mid-20th century Lutheran liturgical practice moved away from Holy Communion celebrated on Good Friday, and among the major North American Lutheran bodies today, Holy Communion is not celebrated on Good Friday, but rather on Maundy Thursday. Moravians hold a Lovefeast on Good Friday as they receive Holy Communion on Maundy Thursday. The Methodist Church also commemorates Good Friday with a service of worship, often based on the Seven Last Words from the Cross.[26][27]
Some Baptist, many Sabbatarian and non-denominational churches do not celebrate Good Friday, instead observing the Crucifixion on Wednesday to coincide with the Jewish sacrifice of the Passover Lamb (which Christians believe is an Old Testament pointer to Jesus Christ). A Wednesday Crucifixion of Jesus Christ allows for Christ to be in the tomb (heart of the earth) for three days and three nights as he told the Pharisees he would be (Matthew 12:40), rather than two nights and a day if he died on Friday.
[edit] Customs associated with Good Friday
In many countries with a strong Christian tradition such as Bermuda, Brazil, Canada, Chile, Colombia, Peru, Mexico, the countries of the Caribbean, Germany, Malta, Australia, New Zealand[28][29][30] and the United Kingdom, the day is observed as a public or federal holiday.
In many English-speaking countries, most shops are closed for the day and advertising from television and radio is withdrawn to some degree.
In Canada, banks and government offices (at all levels) and public sector businesses are closed, along with most private sector businesses (except in Quebec).
In Hong Kong, all businesses and government offices are closed for a public holiday.
In the United States, Good Friday is not a government holiday. Private businesses and certain other institutions may close or not for Good Friday, according to their preferences. The stock market is closed on Good Friday. However, the vast majority of businesses are open on Good Friday. Some public schools may incidentally be closed on Good Friday because of the proximity of secular "spring break" holidays. The postal service operates, and banks regulated by the federal government do close for Good Friday.
Hot cross bunsIreland, a predominantly Catholic country, prohibits all alcohol from being sold on Good Friday. The day is a bank holiday, but not a public holiday. All pubs and many restaurants in Ireland close for the duration of the day. It is similar to Christmas Day in this regard. This tradition has come under criticism of late, with secular businesses claiming a loss in earnings by way of a religious festival. Many people cross the border to Northern Ireland to shop or visit pubs or restaurants.
In Germany, comedic theater performances and events which include public dancing are illegal on the day (although this restriction is enforced unevenly); cinemas and television are not affected, although many TV channels show religious material on the day. The enforcement of these rules even on non-Christians has met with increased opposition in the last decade.
In South Africa, the government regulates the opening of businesses and entertainment outlets on this day (as with Christmas Day). All government offices, schools and certain businesses are closed on Good Friday by law. The buying and selling of alcohol is prohibited.
In India, Good Friday is a Central Government as well as a State holiday, although Stock Markets are usually closed. Some other businesses are also closed in states where Christians are in the majority like Assam, Goa, and Kerala (higher percentage of Christians, even though not the majority) but the majority of businesses are open on Good Friday in rest of the country. Most schools are closed on Good Friday.
In Muslim-majority Indonesia, Good Friday is a national holiday. All government offices, schools and certain businesses are closed on Good Friday by law and many newspapers choose not to publish on this day. Public holiday is also observed in Singapore and in the Malaysian states of Sabah and Sarawak.
Eastern Orthodox Christians are not supposed to eat at all on this day and the next, while the Roman Catholic Church observes fasting and abstinence for this day as well as Ash Wednesday.
In many English speaking countries, hot cross buns are eaten.
In Bermuda, kites are flown. They are often handmade with wooden sticks, colorful tissue paper, glue, and string. The shape of the kite and the use of wood is meant to symbolize the cross that Jesus died on. Also, the kite flying in the sky symbolizes his ascension to heaven.
Traditionally, Roman Catholics are to abstain from eating meat every Friday of the year as penance. Nowadays, this is only a requirement during Fridays of Lent; during Fridays of the rest of the year, other methods of penance may be followed, for example an extra prayer. As a modern tradition, many Roman Catholics (and members of other Christian denominations as well) will eat fish and vegetables on Good Friday.
There is no horse racing on Good Friday in the UK. However, in 2008, betting shops will open for the first time. The BBC has for many years introduced its 7 am News broadcast on Radio 4 on Good Friday with a verse from Isaac Watts' hymn "When I Survey the Wondrous Cross".
In Sweden, Good Friday - as well as Easter Monday - is a national holiday. Some shops are open a few hours in the morning. People not particularly religious use Good Friday as a day of meeting relatives. The biggest community, Church of Sweden, does not celebrate Mass and therefore no Eucharist is distributed. Linked below is an English description of the Good Friday service. [31]
In Louisiana, the Cajuns have a tradition to not dig in the dirt on Good Friday.[citation needed]
[edit] Calculating the Date of Good Friday
Good Friday is the Friday before Easter, which is calculated differently in Eastern Christianity and Western Christianity (see Computus for details). Easter falls on the first Sunday following the Paschal Full Moon, the full moon on or after 21 March, taken to be the date of the vernal equinox. The Western calculation uses the Gregorian calendar, while the Eastern calculation uses the Julian calendar, whose 21 March now corresponds to the Gregorian calendar's 3 April. The calculations for identifying the date of the full moon also differ. See Easter Dating Method (Astronomical Society of South Australia).
new york city
summer 1978
artist supply store
soho
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
A rework of this picture, but with less (read: 'virtually no') sharpening. And you know what? My contact's instincts were correct - this version is (to my eyes, at least) more pleasing…
Of course, the B&W conversion is different as well, as I've got no record of the parameters I used for the conversion...and I'm damned if I can remember what they were :-) And (I promise) that's my last upload for the weekend :-)
And now I'm off to mow my lawns, like I should have done several hours ago...
By popular request, I've made this diptych of the pictures from day 83 and 84.
Adjusted the colours on the blue picture a little, to better match the overall saturation of the red. These were taken under completely different lighting conditions, and the the blue couch is made of matte fabric, while the red is of a more glossy leather. They are also taken at different distances and at different focal lengths. Still, I like it.
On May 19 1911 the Canterbury Acclimatisation Society wrote to the Department of Internal Affairs asking for the importation of American Bison to the West Coast of the South Island of New Zealand. From the correspondence we have on file, Internal Affairs was curious to know how much a bison would cost. There isn’t any correspondence on file to say if the request was approved.
This piece of correspondence is from the Department of Internal Affairs. The annual single number files sequence from the Department is being digitised by Archives New Zealand, starting with the most recent material. Correspondence from 1913 down to 1911 is now available online via Archway in series 8333.
Archives New Zealand Reference: ACGO 8333 IA1 1158 1911/1668
For further enquiries email research.archives@dia.govt.nz
Material from Archives New Zealand Te Rua Mahara o te Kāwanatanga
Starring Steve Reeves, Sylva Koscina, Sylvia Lopez, Gabriele Antonini, Primo Carnera, Patrizia Della Rovere, Sergio Fantoni, Carlo D'Angelo, and Marisa Valenti. Directed by Pietro Francisci.
Hercules (Steve Reeves) made the main character, the film slowly builds to the epic journey to find the Golden Fleece. As the film begins we see Hercules save Princess Iole (Sylva Koscina), the daughter of the current king of Jalco, from going over a cliff in her runaway chariot. He was en route to Jalco at King Pelias' (Ivo Garrani) request to train both his army and his obnoxious son Iphitus (Mimmo Palmara) in the ways of war. The princess informs Hercules about the details of the current state of political upheaval in Jalco. After the previous king was killed under questionable circumstances, Jason, the rightful heir to the throne of Jalco, was forced into hiding so that the king's brother Pelias could usurp control of the city for himself. Gone missing along with Jason is the fabled Golden Fleece, symbol of prosperity and success for the country. In recent years the waning fortunes of Jalco have made times difficult. There is a growing percentage of the population that believes a possible reason for this bad turn of luck is that King Pelias murdered his brother and the missing Fleece adds to the increasing unrest. Making the king more nervous is a prophecy from the oracle Sybil (Lidia Alfonsi). She foretells that a man will come to Jalco wearing only one sandal, and that this man will bring doom to Pelias.
Curious as to who really killed the previous king, Hercules nevertheless sets about teaching the enthusiastic men of Jalco the skills they'll need to be fighting men. They are very responsive to his tutelage except for Iphitus, who proves himself to be a pompous, spoiled ass. Unable to best young Ulysses in an archery contest, he challenges Hercules to a test of skill and runs off when he loses. Hercules should've smacked the boy around to teach him manners and courtesy but his growing affection for his sister Iole tempers his actions.
At this point the film seeks to include one of the legendary Twelve Labors of Hercules into the story. The Nemedian Lion is reported to be attacking people in an outlying area so Hercules rushes off to stop it. But the vain Iphitus follows and, although Herc kills the beast, the king's son and heir is fatally wounded by it. Pelias is crushed by this and even though he fears Hercules he is pushed by a plotting subordinate (Arturo Dominici, Black Sunday) to punish the demigod in some way as revenge. The king banishes him from Jalco until he fights the Cretan Bull — another of the Twelve Labors. When Herc turns to Iole for sympathy, the weeping girl rejects him.
A confused Hercules leaves the city and goes to visit the Sybil for answers. Expressing his frustration at his inability to strongly feel the higher emotions of love or hate, he seeks a way to become more like the people he lives amongst. Cursing his birthright, he renounces his immortality and sets off with just the strength of a mortal man to fulfill his destiny. Of course, this makes offing that big bull pretty damned hard! And after a rough day kicking bull butt Herc stumbles across the now grown-to-manhood Jason (Fabrizio Mioni) just as Chiron, his last protector, dies. Chiron explains that Jason must reclaim the Golden Fleece and the throne of his murdered father to set things right. Hercules pledges to help the young man in his quest with both of them urged on by Chiron's revelation that the name of the person who killed Jason's father is written on the Fleece.
From here on the adventure kicks into high gear with fights, nefarious plotting and mythological monsters being the order of the day. The only slow spot in the second half of the story is the stretch on the isle of the Amazons but even with the lady's sadly modest costumes this is a diverting interlude. Having watched a fair number of peplum over the years I can see how this film really did set both the tone and structure for what followed. Very much a film of separate tales strung loosely together it still manages to keep its momentum (most of the time) and the script weaves just enough of the legend of Hercules in to make it feel like a larger than life myth. This is the film that made Steve Reeves a star and it's easy to see why. Filling the role of Hercules wonderfully, Reeves comes off as a fierce warrior comfortable with the weapons of war as well as a confused man striving to fit in with people he is naturally superior to. He looks great with a muscular build that makes him stand out without being overly large and bulky. He looks realistic and at the same time towers over all the other muscular men surrounding him. I began to wonder if at times he wasn't somehow being photographed in some special way to make him look so spectacular. This might not be too off the mark when you realize Mario Bava was responsible for the lighting and special effects in the film. Still a couple of years away from assuming the director's chair for his own Hercules movie (the fantastic Hercules in the Haunted World), Bava instills amazing mood and texture into nearly every scene. His trademark colored lighting is in evidence much of the time, with Herc's prophetic scene with Sybil being a great example of set design and skillful lighting creating a masterful piece of cinema. (This film was followed by a direct sequel, Hercules Unchained, in 1959.)
Hercules Unchained (Ercole e la Regina di Lidia, "Hercules and the Queen of Lydia") picks up right where the first film left off. Having completed his voyage with the Argonauts, our hero disembarks in Greece with his new bride Iole (the gorgeous Sylva Koscina) and young Prince Ulysses (Gabriele Antonini). Ulysses, heir to the throne of Ithaca, is accompanying them to receive mentoring from Hercules and to tour the city-state of Thebes, Herc's home town. Even before they arrive there's trouble. (And I'm not counting the sappy ballad, "Evening Star", which Iole sings during the journey — though I certainly could've done without it. It's the worst dubbing in the picture.) While passing through a rocky, bone-strewn valley, their wagon is stopped by a loudmouthed, boastful giant named Antaeus (Italian pro wrestler Primo Carnera) who demands not only their horses and provisions as tribute, but the lovely Iole as well. Hercules isn't going to stand for that, of course (he hasn't been married long enough), so he and Antaeus have to fight. It's an amusing — and alas, all too short — sequence, as Herc is genuinely puzzled that each time he coldcocks him Antaeus gets right back on his feet, laughing maniacally. Ulysses provides the crucial information that the giant draws renewed strength whenever he touches the ground, so Hercules picks Antaeus up and tosses him off a cliff into the sea.
Hercules Unchained just isn't as fun as the first Reeves-Herc flick. Modern viewers will probably find it tedious. It could certainly use more action. Once waylaid by the Waters of Forgetfulness nearly 45 minutes goes by before Herc recovers his wits and realizes it's clobbering time. In between we get love scenes with Omphale, Ulysses' outwitting of the queen's guards, Eteocles ranting and Iole pining. Oh, and of course there's the obligatory floor show courtesy of Omphale's dancing girls — it just wouldn't be a peplum without a dance number! (You might notice the zipper up the back of the lead dancer's costume... Didn't know they had those in the Bronze Age, huh?) When Herc finally does break bad it's the usual statue throwing, bar bending kind of stuff you'll get in virtually every other pepla. Things pick up considerably near the end, though, which sees Reeves wrestling tigers and leading the soldiers of Thebes in a big cast-of-thousands battle against the mercenaries. Better late than never, I suppose.
So why not a lower film rating, then? It a word: cheese. When I was 8 years old I remember taking these movies (and TV shows like Sons of Hercules) very seriously. Now they're just silly fun. This isn't to say these films are ineptly made. In the case of Hercules Unchained, the production values, special effects* etc., are as good as anything out of Hollywood from that time. But the dubbing, voice acting and dialog are often laughable, and the acting can sometimes be over-the-top. (With the Eteocles character all these elements are combined.) As femme fatale Omphale, Lopez is caked with so much makeup she looks like a plastic animatronic figure in Disneyland's Vegas Showgirls of the Ancient World attraction. (Were there such a thing, that is... And did I mention the über-scary eyebrows? I did?) Hercules is really grouchy in this film, too. It's amusing to watch Reeves bellow with indignation — his voice dubbed by someone else, even though his line readings are in English — as he muscles his way through one situation after the other.
While Hercules Unchained may provide some unintentional laughs, the film is certainly too slow and creaky for action fans who just want to see the Greek demigod doing what he does best: picking up big, heavy things and whuppin' ass. At least it's Steve Reeves in the role and not Reg Park or Alan Steel. I'm giving it an extra rating point for that aspect alone.
The best of fotovilag.hu
Thank you for visiting. The images in this photostream are the work of a collective rather than a single person. We are unable to respond to each comment or request but we are thankful for viewing our photostream.
The Luxury of being yourself
We have selected pictures on our website, but can always add more depending on the requests we do get and the current trend in the world of luxury fine art:
We do wedding photography and videography:
We do once in a while have discounted luxury fine art, please do keep checking:
Fine Art Photography Prints & Luxury Wall Art:
We do come up with merchandises over the years, but at the moment we have sold out and will bring them back depending on the demands of our past customers and those we do take on daily across the globe.
Follow us on Instagram!
Facebook:
www.facebook.com/william.stone.989/
500px:
500px.com/p/wsimages?view=photos
Twitter:
LinkedIn:
www.linkedin.com/in/william-stone-6bab1a213/
Pinterest:
www.pinterest.co.uk/wsimages_com/
Smugmug:
Instagram:
We tend to celebrate light in our pictures. Understanding how light interacts with the camera is paramount to the work we do. The temperature, intensity and source of light can wield different photography effect on the same subject or scene; add ISO, aperture and speed, the camera, the lens type, focal length and filters…the combination is varied ad multi-layered and if you know how to use them all, you will come to appreciate that all lights are useful, even those surrounded by a lot of darkness.
We are guided by three passions, simple but overwhelmingly strong, our longing to capture in print, that which is beautiful, the constant search for the one picture, and constant barrage of new equipment and style of photography. These passions, like great winds, have blown us across the globe in search of the one and we do understand the one we do look for might be this picture right here for someone else out there.
“A concise poem about our work as stated elow
A place without being
a thought without thinking
creatively, two dimensions
suspended animation
possibly a perfect imitation
of what was then to see.
A frozen memory in synthetic colour
or black and white instead,
fantasy dreams in magazines
become imbedded inside my head.
Artistic views
surrealistic hues,
a photographer’s instinctive eye:
for he does as he pleases
up to that point he releases,
then develops a visual high.
- M R Abrahams
Some of the gear we use at William Stone Fine Art are listed here:
Some of our latest work & more!
Embedded galleries within a gallery on various aspects of Photography:
There are other aspects closely related to photography that we do embark on:
All prints though us is put through a rigorous set of quality control standards long before we ever ship it to your front door. We only create gallery-quality images, and you'll receive your print in perfect condition with a lifetime guarantee.
All images on Flickr have been specifically published in a lower grade quality to amber our copyright being infringed. We have 4096x pixel full sized quality on all our photos and any of them could be ordered in high grade museum quality grade and a discount applied if the voucher WS-100 is used. Please contact us:
We do plan future trips and do catalogue our past ones, if you believe there is a beautiful place we have missed, and we are sure there must be many, please do let us know and we will investigate.
In our galleries you will find some amazing fine art photography for sale as limited edition and open edition, gallery quality prints. Only the finest materials and archival methods are used to produce these stunning photographic works of art.
We want to thank you for your interest in our work and thanks for visiting our work on Flickr, we do appreciate you and the contributions you make in furthering our interest in photography and on social media in general, we are mostly out in the field or at an event making people feel luxurious about themselves.
WS-172-27860969-51456256-1859537-2162022052752
My girlfriend requested my pink chocolate flowers, but I needed to mix it up a bit!! after a while I feel like is this all I can make, LOL and probably with all that is going on - YES! LOL but still yummy thank goodness
Portrait of Anna Howard Shaw, ca. 1890-1895.
Questions? Ask a Schlesinger Librarian
After 20 years, the Government of British Columbia’s procurement portal is in need of an overhaul.
A recently posted negotiated request for proposals (NRFP) is looking for submissions to update the BC Bid system with a focus on improved transparency and better access so more companies, especially small- and medium-sized ones, can do business with government, announced Minister of Citizens’ Services Jinny Sims today.
Learn more: news.gov.bc.ca/releases/2017CITZ0032-002022
Today William processed an order in the FPP Store with a special message...Can I have an autograph of you!?..You Got It!
Customers of The FPP Store already know of the little goodies we slip in your package...free FPP stickers, buttons, prints, film and now upon request...original autographed prints! Ha Haaa! Super Positive!
What's The FPP?
An Internet Radio Show & On-Line Resource for Film Shooters Worldwide! Join the fun!