Tynemouth is a Tyne and Wear Metro station, serving the coastal town of Tynemouth, North Tyneside in Tyne and Wear, England. It joined the network as a terminus station on 11 August 1980, following the opening of the first phase of the network, between Haymarket and Tynemouth via Four Lane Ends.

 

The station, designed by architect William Bell, was originally opened by the North Eastern Railway on 7 July 1882. It was designated as a Grade II* listed building on 2 November 1978.

 

Following a significant decline in the number of passengers using the North Eastern Railway's services in North Tyneside during the early 1900s, the line was electrified as part of the Tyneside Electrics network, using a 600 V DC third-rail system.

 

Owing to falling passenger numbers during the 1960s, as well as rising costs, and the need to renew life expired infrastructure and rolling stock, the Tyneside Electrics network was de-electrified and converted to diesel multiple unit operation in 1967.

 

The station has remained in constant use since opening, with British Rail continuing to use the station's former bay platforms for services from Newcastle via Wallsend until the day before the first section of the Tyne and Wear Metro opened.

 

Tynemouth joined the Tyne and Wear Metro network on 11 August 1980, with the opening of the first phase of the network between Haymarket and Tynemouth via Four Lane Ends. Prior to the introduction of through services to St James via Wallsend on 14 November 1982, all trains used the present platform 2.

 

In 2007, English Heritage placed the station on the Heritage at Risk Register. The survey is used by national and local government, a wide range of individuals and heritage groups to establish the extent of risk and to help assess priorities for action and funding decisions.

 

Work on the £3.68 million regeneration project began in early 2011, and was completed in the following year. On 2 July 2012, the station was officially reopened by Anne, Princess Royal, and subsequently removed from the register.

 

The station has two platforms, both of which have ticket machines (which accept cash, card and contactless payment), seating, next train audio and visual displays, timetable and information posters and an emergency help point.

 

There is step-free access to both platforms by road bridge, with platforms also linked by a pre-grouping wooden footbridge, which is similar in design to that at nearby Cullercoats.

 

The station has a pay and display car park, with 71 spaces. There is also cycle storage at the station, with four cycle pods and five Sheffield stands.

 

As of April 2021, the station is served by up to five trains per hour on weekdays and Saturday, and up to four trains per hour during the evening and on Sunday.

 

Rolling stock used: Class 599 Metrocar

 

A weekly market is held at the station every Saturday and Sunday, which doubles as a farmers' market once a month. The Friends of Tynemouth Station also hold book fairs several times a year at the station. The first book fair took place in August 1993.

 

Tynemouth is a coastal town in the metropolitan borough of North Tyneside, in Tyne and Wear, England. It is located on the north side of the mouth of the River Tyne, hence its name. It is 8 mi (13 km) east-northeast of Newcastle upon Tyne. It is best known[dubious – discuss] for Tynemouth Priory.

 

Historically part of Northumberland until 1974, the town was a county borough which included the nearby town of North Shields.

 

In 2001, the population of the town was recorded at 17,056. In the 2011 census, it along with North Shields had a population of 67,519. Which makes it the largest settlement in North Tyneside.

 

History

An aerial shot of Tynemouth Castle, taken in 1917, which was a major coastal fortress and the control centre of the Tyne defences, which stretched from Sunderland to Blyth.

 

The headland towering over the mouth of the River Tyne has been settled since the Iron Age.[3] The Romans may have occupied it as a signal station, though it is just north of the Hadrian's Wall frontier (the Roman fort and supply depot of Arbeia stands almost opposite it on the southern headland of the Tyne). In the 7th century a monastery was built in Tynemouth and later fortified. The headland was known as Pen Bal Crag.

 

The place where now stands the Monastery of Tynemouth was anciently called by the Saxons Benebalcrag

— John Leland at the time of Henry VIII

 

The monastery was sacked by the Danes in 800, rebuilt, and destroyed again in 875, but by 1083 it was again operational.

 

Three kings are reported to have been buried within the monastery: Oswin, King of Deira (651); Osred II, King of Northumbria (792); and, for a time, Malcolm III, King of Scots (1093). Three crowns still adorn the North Tyneside coat of arms. (North Tyneside Council, 1990).

 

The queens of Edward I and Edward II stayed in the Castle and Priory while their husbands were campaigning in Scotland. King Edward III considered it to be one of the strongest castles in the Northern Marches. After the Battle of Bannockburn in 1314, Edward II fled from Tynemouth by ship.

 

A village had long been established in the shelter of the fortified Priory, and around 1325 the prior built a port for fishing and trading. This led to a dispute between Tynemouth and the more powerful Newcastle over shipping rights on the Tyne, which continued for centuries. For more history see North Shields.

 

Prince Rupert of the Rhine landed at Tynemouth in August 1642 on his way to fight in the English Civil War.

 

Tynemouth was incorporated as a borough in 1849. The first Town Clerk was Thomas Carr Leitch.

 

Tynemouth was later administered as a county borough with its headquarters at Tynemouth Town Hall in North Shields until 1974.

 

Tynemouth was listed in the 2018 Sunday Times report on best places to live in Northern England.

 

Climate

Tynemouth has a very moderated oceanic climate heavily influenced by its position adjacent to the North Sea. As a result of this, summer highs are subdued and, according to the Met Office 1981–2010 data, average around 18 °C (64 °F). Due to its marine influence, winter lows especially are very mild for a Northern English location. Sunshine levels of 1515 hours per annum are in the normal range for the coastal North East, which is also true for the relatively low amount of precipitation at 597.2 millimetres (23.51 in).

 

Attractions and amenities

Beaches

Tynemouth Longsands

In the late 18th century, sea-bathing from Tynemouth's east-facing beaches became fashionable. King Edward's Bay and Tynemouth Longsands are very popular with locals and tourists alike.

 

Prior's Haven is a small beach within the mouth of the Tyne, sheltered between the Priory and the Spanish Battery, with the pier access on its north side. It was popular with Victorian bathers and is now home to Tynemouth Rowing Club and the local sailing club.

 

King Edward's Bay (possibly a reference to Edward II) is a small beach on the north side of the Priory, sheltered on three sides by cliffs and reached by stairways or, by the fit and adventurous who understand the weather and tides, over the rocks round the promontories on the north or south sides.

 

Longsands is the next beach to the north, an expanse of fine sand 1,200 yards (1,100 m) long, lying between the former Tynemouth outdoor swimming pool and Cullercoats to the north. The outdoor pool opened in 1925 and was considered a major tourist attraction in its heyday.

 

In 2013, Longsands was voted one of the best beaches in the country by users of the world's largest travel site TripAdvisor. TripAdvisor users voted the beach the UK's fourth favourite beach in its 2013 Travellers' Choice Beaches Awards. The beach was also voted the 12th best in Europe.

King Edward's Bay

 

Front Street

A statue of Queen Victoria by Alfred Turner, unveiled on 25 October 1902, is situated at the edge of the Village Green which is home to the War Memorials for the residents of Tynemouth lost during the Second Boer War of 1899–1902. Designed by A.B. Plummer, it was unveiled on 13 October 1903 by William Brodrick, 8th Viscount Midleton.

 

The larger central memorial is made of white granite with a cruciform column rising from between four struts in a contemporary design for its time. The front face has a relief sword and wreath carved onto it with the inscription below. The other three faces hold the honour roll for those lost during both World Wars. It was unveiled in 1923. DM O'Herlihy was named as the original designer but a press report stated that a Mr Steele designed the monument and credited O'Herlihy with preparatory works on the village green. The 82 names from World War II were added in 1999.

 

Tynemouth Clock Tower on Front Street was erected in 1861 by William Scott, esq., a native of the town. Designed by Oliver and Lamb with carvings by Robert Beall, the tower housed a clock by Joyce of Whitchurch. At ground level there were drinking fountains (and drinking troughs for dogs) on the north and south sides, a marine barometer (by Negretti and Zambra) to the west and an access door to the east. Made of polychrome bricks and ashlar, the tower (which has been Grade II listed since 1986) is described as being in the Venetian Gothic style.

 

Kings Priory School

Located on Huntingdon Place, Kings Priory School (formerly The King's School and Priory Primary School) is a co-educational academy with over 800 pupils aged between 4 and 18. Though founded in Jarrow in 1860, the school moved to its present site in Tynemouth in 1865 originally providing a private education for local boys. The school has an Anglican tradition, but admits students of all faiths. Formerly a fee-paying independent school, in 2013 the school merged with the local state Priory Primary School to become a state academy.

 

Former King's School was named in reference to the three ancient kings buried at Tynemouth Priory: Oswin, Osred and Malcolm III. Its most famous old boy is Stan Laurel, one half of the comedy duo Laurel and Hardy. Hollywood film director Sir Ridley Scott, and racing driver Jason Plato also attended the school.

 

Tynemouth Pier and lighthouse

This massive stone breakwater extends from the foot of the Priory some 900 yards (810 metres) out to sea, protecting the northern flank of the mouth of the Tyne. It has a broad walkway on top, popular with Sunday strollers. On the lee side is a lower level rail track, formerly used by trains and cranes during the construction and maintenance of the pier. At the seaward end is a lighthouse.

 

The pier's construction took over 40 years (1854–1895). In 1898 the original curved design proved inadequate against a great storm and the centre section was destroyed. The pier was then rebuilt in a straighter line and completed in 1909. A companion pier at South Shields protects the southern flank of the river mouth.

 

A lighthouse had built on the old North Pier (first lit in 1895, it displayed three lights mounted vertically: green over white over red, with a range of 7 nautical miles (13 km; 8.1 mi)); however, when the pier had to be rebuilt to a new design, an entirely new lighthouse was required. The work was undertaken by Trinity House, beginning in 1903; the lighthouse was finished before the pier itself, and was first lit on 15 January 1908. The revolving optic, manufactured by Barbier, Bénard, et Turenne, displayed a flash three times every ten seconds; it remains in use today. The light source was an incandescent oil vapour lamp, which (together with the optic) produced a 70,000 candle-power light with a range of 15 nautical miles (28 km; 17 mi). The lighthouse was also equipped with a reed fog signal, powered by compressed air, which was mounted 'on the cupola'; it sounded one long blast every ten seconds. It was manned by four keepers, with two on duty at any one time. In September 1961 a new, more powerful electric light was installed by the Tyne Improvement Commissioners (powered from the mains). Then in 1967 the lighthouse (by then staffed by six keepers on rotation) was automated; a diesel generator was installed along with an electric foghorn.

 

Before the pier was built, a lighthouse stood within the grounds of Tynemouth Priory and Castle. It was demolished in 1898. It stood on the site of the now-disused Coastguard Station.

 

On 20 October 2023, the dome of the lighthouse was "forcibly removed by the relentless combination of sea and wind" caused by Storm Babet.

 

The Spanish Battery

The Spanish Battery c. 1870.

The headland dominates the river mouth and is less well known as Freestone Point. Settlements dating from the Iron Age and later have been discovered here. The promontory supposedly takes its name from Spanish mercenaries who manned guns there in the 16th century to defend Henry VIII's fleet. Most of the guns had been removed by 1905. It is now a popular vantage point for watching shipping traffic on the Tyne.

 

Beyond the Battery, and commanding the attention of all shipping on the Tyne, is the giant memorial to Lord Collingwood, the Collingwood Monument. Collingwood was Nelson's second-in-command at the Battle of Trafalgar, who completed the victory after Nelson was killed in action. Erected in 1845, the monument was designed by John Dobson and the statue was sculpted by John Graham Lough. The figure is some 23 feet (7.0 m) tall and stands on a massive base incorporating a flight of steps flanked by four cannons from HMS Royal Sovereign – Collingwood's ship at Trafalgar.

 

The Black Middens

These rocks in the Tyne near the Monument are covered at high water, and the one rock that can sometimes be seen then is called Priors Stone. Over the centuries they have claimed many ships whose crew "switched off" after safely negotiating the river entrance. In 1864, the Middens claimed five ships in three days with many deaths, even though the wrecks were only a few yards from the shore. In response a meeting was held in North Shields Town Hall in December 1864 at which it was agreed that a body of men should be formed to assist the Coastguard in the event of such disasters. This led to the foundation of the Tynemouth Volunteer Life Brigade.

 

Tynemouth Aquarium

Blue Reef Aquarium

Undersea aquatic park, containing seahorses, sharks, giant octopus, frogs, otters and many other creatures. Its Seal Cove is a purpose-built outdoor facility providing an environment for a captive-bred colony of harbour seals. The 500,000-litre (110,000 imp gal; 130,000 US gal) pool includes rocky haul-out areas and underwater caves, specially created to ensure marine mammals are kept in near natural conditions. It was previously known as the Blue Reef Aquarium Tynemouth.

Transport

 

Maintaining transport links between Tynemouth and Newcastle is Tynemouth Metro station, originally opened in 1882 as a mainline station catering for the thousands of holiday-makers who flocked to the Tynemouth beaches. Its ornate Victorian ironwork canopies have earned it Grade II listed status. They were restored in 2012, and the station now provides a venue for a weekend "flea market", book fairs, craft displays, coffee shops, restaurants, exhibitions and other events.

 

Tynemouth is the end point for the 140-mile (230 km) long Coast to Coast Cycle Route from Whitehaven or Workington in Cumbria.

 

Religion

Tynemouth's Parish Church is the Church of the Holy Saviour in the Parish of Tynemouth Priory. It was built in 1841[45] as a chapel of ease to the main Anglican church in the area, Christ Church, North Shields. In Front Street there were two other churches, the Catholic Parish of Our Lady & St Oswins, opened in 1899, and also Tynemouth Congregational Church, which closed in 1973 and is now a shopping arcade.

 

Notable residents

Susan Mary Auld – naval architect

Thomas Bewick – engraver, spent many holidays at Bank Top and wrote most of his memoirs there in 1822

Septimus Brutton – played a single first-class cricket match for Hampshire in 1904

Toby Flood – England rugby player, was a pupil at The King's School

Ralph Pake – professional footballer

Ray Slater - (1931–2005), professional footballer

Andy Taylor – former lead guitarist for the new wave group Duran Duran was born in Tynemouth in 1961 at the Tynemouth Jubilee Infirmary.

John of Tynemouth (canon lawyer) – (died 1221), Canon lawyer, author, teacher at Oxford University later canon and judge.

John of Tynemouth (chronicler) – (fl. c. 1350), vicar of Tynemouth, author of world history and of British hagiography.

John of Tynemouth (geometer) – (fl. early 13th century), author of a book on geometry later relied on by Adelard of Bath and Roger Bacon. Possibly the same man as the canon lawyer.

 

Notable visitors

Charles Dickens visited Tynemouth and wrote in a letter from Newcastle, dated 4 March 1867:

 

'We escaped to Tynemouth for a two hours' sea walk. There was a high wind blowing, and a magnificent sea running. Large vessels were being towed in and out over the stormy bar with prodigious waves breaking on it; and, spanning the restless uproar of the waters, was a quiet rainbow of transcendent beauty. the scene was quite wonderful. We were in the full enjoyment of it when a heavy sea caught us, knocked us over, and in a moment drenched us and filled even our pockets.'

 

Giuseppe Garibaldi sailed into the mouth of the River Tyne in 1854 and briefly stayed in Huntingdon Place. The house is marked by a commemorative plaque.

 

Lewis Carroll states in the first surviving diary of his early manhood, that he met 'three nice little children' belonging to a Mrs Crawshay in Tynemouth on 21 August 1855. He remarks: 'I took a great fancy to Florence, the eldest, a child of very sweet manners'.

 

Algernon Charles Swinburne arrived hot foot from Wallington Hall in December 1862 and proceeded to accompany William Bell Scott and his guests, probably including Dante Gabriel Rossetti on a trip to Tynemouth. Scott writes that as they walked by the sea, Swinburne declaimed his Hymn to Proserpine and Laus Veneris in his strange intonation, while the waves 'were running the whole length of the long level sands towards Cullercoats and sounding like far-off acclamations'.

 

Peter the Great of Russia is reputed to have stayed briefly in Tynemouth while on an incognito visit to learn about shipbuilding on the Tyne. He was fascinated by shipbuilding and Western life. Standing 6 feet 8 inches (203 cm) and with body-guards, he would not have been troubled by the locals.

  

The Mouth of the Tyne Festival currently continues the local festival tradition. This annual free festival is held jointly between Tynemouth and South Shields and includes a world-class open-air concert at Tynemouth Priory.

Tynemouth pageant

Tynemouth Pageant is a community organisation in North Tyneside, Tyne and Wear, England, devoted to staging an open-air dramatic pageant every three years in the grounds of Tynemouth Castle and Priory, by kind permission of English Heritage who run the historic monastic and defensive site at the mouth of the River Tyne.

www.bittersweetblog.com

The Karpas Peninsula is a long, finger-like peninsula that is one of the most prominent geographical features of the island of Cyprus. Its farthest extent is Cape Apostolos Andreas, and its major population centre is the town of Rizokarpaso (Greek: Ριζοκάρπασο; Turkish: Dipkarpaz). The peninsula de facto forms the İskele District of Northern Cyprus, while de jure it lies in the Famagusta District of the Republic of Cyprus.

 

It covers an area of 898 km2, making up 27% of the territory of Northern Cyprus. It is much less densely populated than the average of Northern Cyprus, with a population density of 26 people per km2 in 2010. The town of Trikomo (İskele), the district capital, is considered to be the "gateway" and the geographical starting point of the peninsula, along with the neighboring village of Bogazi (Boğaz). Apart from Trikomo, the most important towns and municipalities in the area are Yialousa, Galateia, Rizokarpaso, Komi Kebir and Akanthou.

 

The peninsula hosts a number of historical sites such as Kantara Castle and Apostolos Andreas Monastery, as well as the ruins of Agia Trias Basilica and the ancient cities of Karpasia and Aphendrika among numerous others.

 

There are more than 46 sandy beaches in the peninsula, which are the primary Eastern Mediterranean nesting grounds for the loggerhead (Caretta caretta) and green sea turtles (Chelonia mydas). The Golden Beach is situated around 15 km from the town of Rizokarpaso and is considered one of the finest and most remote beaches of Cyprus. It is one of the least tourist-frequented beaches in the island. The Karpas Peninsula is home to the Karpas donkey, known as a symbol of Cyprus; there are campaigns carried out jointly by Turkish and Greek Cypriots to conserve the rare donkeys of the peninsula.

 

Most of the activities in the Karpas Peninsula are related to agriculture, fishing, hunting, and some to micro-tourism. Local farmers take advantage of this natural environment to grow different fruits and vegetables mostly as sub-subsistence farming (although for local commerce too). The region is mostly known for its karpuz (Turkish for "watermelon"). Several tourist businesses can be found in the town of Rizokarpaso. These are generally restaurants serving traditional Turkish-Cypriot Cuisine, including meze.

 

Due to its geographical position, the Karpas Peninsula is somewhat protected from human interference. This makes it a pristine natural environment, home to many inland and marine species. When hunting season starts, the Karpas's forests are a popular location to go hunting for partridges. Meanwhile, the coastal region, with its clear waters, moderate northern currents, and rocky bottom with cave-like structures, is home to two of the most highly valued fish species: the orfoz (dusky grouper) and lahos (Epinepheluses). The price per kilogram of each species ranges from 35-80 Turkish lira, depending on the location and the season. However, fishing rates in the Karpas region and most of North Cyprus dramatically decreased last century because of the use of dynamite. This is why the Zafer Burunu (the tip of the peninsula) is now a protected natural heritage area, where marine species are slowly recovering to healthy population parameters.

 

Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.

 

Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.

 

A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.

 

Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.

 

Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.

 

Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.

 

Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.

 

The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.

 

Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.

 

Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.

 

By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.

 

EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.

 

However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.

 

On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.

 

In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.

 

By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.

 

In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.

 

The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.

 

After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".

 

As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.

 

Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.

 

On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.

 

The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.

 

Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.

 

The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.

 

Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.

 

Main articles: Bloody Christmas (1963) and Battle of Tillyria

An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."

 

In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.

 

Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.

 

In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.

 

Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.

 

Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.

 

Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.

 

The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:

 

UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.

 

The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.

 

By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."

 

After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.

 

On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.

 

The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.

 

During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.

 

In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.

 

Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.

 

A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.

Serving the Sapphire 490 service to Bluewater Bus Stn.

Wright Streetlite DF

Servings: 6

Ingredients

Vegetable oil, for frying

1/2 to 1 teaspoon hot (chinese) chili powder

1/2 to 1 teaspoon hot paprika

About 6 (1 1/2 pounds total) Chinese (long) eggplants, trimmed, peeled and cut lengthwise into 2- or 3-inch-long, thick "steak" fries (about 8 fries from each eggplant)

Water

1/2 cup cornstarch

Leaves and tender stems from 4 to 6 stems cilantro, coarsely chopped

 

Directions

Heat at least 4 inches of oil in a large, heavy-bottomed pot over medium-high heat until the oil reaches 350 degrees.

Place a wire rack over several layers of paper towels.

Combine the chili powder and paprika (to taste) in a small bowl.

Meanwhile, wet the eggplant fries with a little water. Spread the cornstarch on a rimmed baking sheet.

Working in batches, lightly and evenly coat the eggplant fries with the cornstarch, shaking off any excess. Discard any remaining cornstarch.

Carefully add about 8 fries at a time to the hot oil; fry for 2 minutes, or until just browned, crisped and tender. Use a Chinese skimmer or slotted spatula to transfer to the rack to drain. Repeat to fry all the eggplant.

Transfer the still-warm, crisped eggplant fries to a serving bowl; season with the chili powder-paprika mixture to taste; this dish is supposed to be spicy, and, if you can stand it, you should use enough of the mixture to color the eggplant fries a reddish-orange. Toss quickly with the cilantro; serve right away.

North of the city Aachen Eurostar set 4342 runs the EST 9450 service from Dortmund Hbf via Düsseldorf Hbf and Aachen Hbf to Paris Nord. The train has been diverted via Mönchengladbach (no stop) and is not serving Köln Hbf. A part of the railway line between Aachen and Cologne is blocked for the time of two weeks due to work on a train dispatching center in Cologne.

Aachen Uersfeld (D), 6-5-2025

 

M49291.

GTEK SAW CREW

toronto, september 2015

See more at www.genkiphotography.com/blog/2016/1/29/hong-kong-hitting...

 

Nice little local meat shop in Wanchai, Hong Kong.

Now serving #1

 

©2018 Jamie A. MacDonald

At the Vecchia Torre Bar in Griante, Lake Como, Italy

Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol

From Wikipedia, the free encyclopediaJump to:navigation, search

For the song by David Bowie, see Andy Warhol (song)

Andy Warhol

 

Warhol in 1977

Birth name Andrew Warhola

Born August 6, 1928(1928-08-06)

Pittsburgh, Pennsylvania, U.S.

Died February 22, 1987 (aged 58)

New York City, U.S.

Nationality American

Field Painting, Cinema

Training Carnegie Mellon University

Movement Pop art

Works Chelsea Girls (1966 film)

Exploding Plastic Inevitable (1966 event)

Campbell's Soup Cans (1962 painting)

 

Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.

 

Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.

 

The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]

 

Contents [hide]

1 Childhood

2 Early career

3 1960s

4 Attempted assassination

5 1970s

6 1980s

7 Sexuality

8 Religious beliefs

9 Death

10 Works

10.1 Paintings

10.2 Films

10.3 Factory in New York

10.4 Filmography

10.5 Music

10.6 Books and print

10.7 Other media

10.8 Producer and product

11 Dedicated museums

12 Movies about Warhol

12.1 Dramatic portrayals

12.2 Documentaries

13 See also

14 References

15 Further reading

16 External links

 

Childhood

 

Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.

 

In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]

 

Early career

Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]

  

Campbell's Soup I (1968)1960s

His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]

 

It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.

 

Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:

 

What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]

New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]

  

Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]

 

As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]

 

During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.

 

Attempted assassination

On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]

 

Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]

 

Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.

 

Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]

 

1970s

 

Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]

 

Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]

 

1980s

Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.

 

By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]

 

Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]

 

Sexuality

Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).

 

Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]

 

Religious beliefs

 

Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]

 

During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]

 

His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]

 

Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]

 

Death

Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]

  

Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.

 

Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]

 

In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]

 

The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]

 

The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]

 

Works

Paintings

This section needs references that appear in reliable third-party publications. Primary sources or sources affiliated with the subject are generally not sufficient for a Wikipedia article. Please add more appropriate citations from reliable sources. (February 2009)

 

By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.

 

Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.

 

To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]

 

He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]

 

In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]

 

Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.

 

The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]

 

His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":

 

Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]

Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".

 

After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]

 

The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]

 

At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]

 

Films

Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]

 

Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.

 

Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.

 

His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.

 

Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.

 

After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.

 

In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.

 

Factory in New York

Factory: 1342 Lexington Avenue (the first Factory)

The Factory: 231 East 47th street 1963-1967 (the building no longer exists)

Factory: 33 Union Square 1967-1973 (Decker Building)

Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)

Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)

Home: 1342 Lexington Avenue

Home: 57 East 66th street (Warhol's last home)

Last personal studio: 158 Madison Avenue

Filmography

Main article: Andy Warhol filmography

Music

In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]

 

Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]

 

Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".

 

Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]

  

Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print

Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.

 

The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]

 

Other self-published books by Warhol include:

 

A Gold Book

Wild Raspberries

Holy Cats

After gaining fame, Warhol "wrote" several books that were commercially published:

 

a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]

The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]

Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.

The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]

Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]

 

Other media

As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.

 

Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]

Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]

Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]

Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]

Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]

Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]

Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]

Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.

Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]

Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)

Producer and product

Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]

 

He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]

 

In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]

 

Dedicated museums

Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]

 

The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]

 

Movies about Warhol

Dramatic portrayals

 

Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]

 

After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.

 

Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]

 

Documentaries

The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]

Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]

Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]

 

78 minutes starring Dana + Eve

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video files added to my blog (LC)

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098-01 OFFICIAL VIDEO

by Jerome Duplessis

 

full-length-movie

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shot on 2003, September 16 + 20

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The Westland Lynx is a British multi-purpose military helicopter designed and built by Westland Helicopters at its factory in Yeovil. Originally intended as a utility craft for both civil and naval usage, military interest led to the development of both battlefield and naval variants. The Lynx went into operational usage in 1977 and was later adopted by the armed forces of over a dozen nations, primarily serving in the battlefield utility, anti-armour, search and rescue and anti-submarine warfare roles.

 

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Wilts & Dorset's slogan is 'serving Coast and Countryside" and the countryside doesn't get any better than this! Having passed through Orcheston village route 4 climbs up the Salisbury Plain and heads for Tilshead and Devizes.

Excuse me, here is your order Madam. Enjoy your drink!

Jon R. Cavaiani, one of 105 living recipients of this medal. His story:

 

CAVAIANI, JON R.

Rank and organization: Staff Sergeant, U.S. Army, Vietnam Training Advisory Group, Republic of Vietnam. Place and date: Republic of Vietnam, 4 and 5 June 1971. Entered service at: Fresno, Calif. Born: 2 August 1943, Royston, England. Citation: S/Sgt. Cavaiani distinguished himself by conspicuous gallantry and intrepidity at the risk of life above and beyond the call of duty in action in the Republic of Vietnam on 4 and 5 June 1971 while serving as a platoon leader to a security platoon providing security for an isolated radio relay site located within enemy-held territory. On the morning of 4 June 1971, the entire camp came under an intense barrage of enemy small arms, automatic weapons, rocket-propelled grenade and mortar fire from a superior size enemy force. S/Sgt. Cavaiani acted with complete disregard for his personal safety as he repeatedly exposed himself to heavy enemy fire in order to move about the camp's perimeter directing the platoon's fire and rallying the platoon in a desperate fight for survival. S/Sgt. Cavaiani also returned heavy suppressive fire upon the assaulting enemy force during this period with a variety of weapons. When the entire platoon was to be evacuated, S/Sgt. Cavaiani unhesitatingly volunteered to remain on the ground and direct the helicopters into the landing zone. S/Sgt. Cavaiani was able to direct the first 3 helicopters in evacuating a major portion of the platoon. Due to intense increase in enemy fire, S/Sgt. Cavaiani was forced to remain at the camp overnight where he calmly directed the remaining platoon members in strengthening their defenses. On the morning of S June, a heavy ground fog restricted visibility. The superior size enemy force launched a major ground attack in an attempt to completely annihilate the remaining small force. The enemy force advanced in 2 ranks, first firing a heavy volume of small arms automatic weapons and rocket-propelled grenade fire while the second rank continuously threw a steady barrage of hand grenades at the beleaguered force. S/Sgt. Cavaiani returned a heavy barrage of small arms and hand grenade fire on the assaulting enemy force but was unable to slow them down. He ordered the remaining platoon members to attempt to escape while he provided them with cover fire. With 1 last courageous exertion, S/Sgt. Cavaiani recovered a machine gun, stood up, completely exposing himself to the heavy enemy fire directed at him, and began firing the machine gun in a sweeping motion along the 2 ranks of advancing enemy soldiers. Through S/Sgt. Cavaiani's valiant efforts with complete disregard for his safety, the majority of the remaining platoon members were able to escape. While inflicting severe losses on the advancing enemy force, S/Sgt. Cavaiani was wounded numerous times. S/Sgt. Cavaiani's conspicuous gallantry, extraordinary heroism and intrepidity at the risk of his life, above and beyond the call of duty, were in keeping with the highest traditions of the military service and reflect great credit upon himself and the U.S. Army.

 

Participated in and photographed one of several community service projects my church led. It was great seeing the kids and adults spend their Saturday morning doing something for others in this way.

Serving sun, sea, and serious style vibes! ☀️🌊 This crochet dress is giving beach goddess realness. When in doubt, just add sunshine and salty air! 🌴✨ #BeachBabe #CrochetVibes #OceanBreeze #SummerChic #VacationMode

Maid Fabienne finishes her duty of preparing the coffee table. Well done!

After our brief stopover in Scarborough, let's wind the clock back to go in more detail about a now-withdrawn type. A batch of Alexander ALX400s were delivered to Stagecoach in Manchester in time for the 2002 Commonwealth Games held in the city, some of them being decked out in special purple livery in that year as that also coincided with the Golden Jubilee of Queen Elizabeth II. However, by 2008 (correct me if I'm wrong here), it seemed that the top minds of Stagecoach thought that Manchester had had enough of their six year old buses, with a slew of new Enviro 400s being brought into Stagecoach's biggest operational area outside of London, and so had them transferred to the East Midlands, alongside some 53-plate Plaxton Presidents. Most of them took up a place on the Hull city streets, some of them in Mansfield and some of them in Grimsby-Cleethorpes, but alas - all good things must come to an end, and so the ALX400s for Hull, including late ex-Mansfield transfer 17709, were withdrawn in the summer of 2019 to be replaced by new Enviro 400 MMCs. We may still have the Presidents, but Hull doesn't quite feel the same without these.

 

Pictured here heading out on Prospect Street to serve route 14 is Stagecoach in Hull's now-withdrawn 17717, a 2002 Dennis Trident ALX400 that was once numbered 1617 when new to Stagecoach in Manchester, a Stagecoach Enviro 400 also following up behind. Pictured being passed by 17717 is East Yorkshire's 121 branded 811, a 2017 MCV EvoSeti serving - wait for it - the 121 inbound to Hull Interchange. Interesting to note here is that 17717 used to carry an three-quarter all-over livery advertising Kellog's 'Squares'. Ooh, makes me crave one thinking about it...

Best if viewed large. If you don't think the osprey on the nest appreciates the delivery view in it's largest form and have a look at it's eyes!!!!

Young lady was part of the seving and waitress staff at the Medieval Banquet at Bosworth Hall in Warwickshire.

I don't know if Amtrak every uses the upstairs serving station in a Sighterseer lounge, but it appears ready for use. Shown is the lounge aboard the westbound Capitol Limited.

I just love my new muse! I'm so glad I have her now. I love her soft dark brown hair & her perfectly painted face! Here she is on her first photo opp working it! I think, my other dolls better work their plastic asses off because, Noelle is here to give them all a run for their money!

This miniature doll's tea set is marked Hecho en Mexico, 925. The teapot shown is about 1 inch high.

The passenger train is returning from Bagou, on the Shibanxi narrow gauge railway, in Sichuan Province, China. The latest, must have item of furniture arrived on the 'up' train, and is awaiting collection, to be installed in a nearby residence. December 2008.

© Photo - David Hill.

June 15, 2017 | AHSF's Associate Board event benefiting the Refugee Health Clinic at Eastmont Wellness, a member of Alameda Health System

Jakarta - Java, Indonesia

 

Sunda Kelapa (Sundanese: ᮞᮥᮔ᮪ᮓ ᮊᮜᮕ, Sunda Kalapa) is the old port of Jakarta located on the estuarine of Ciliwung River. "Sunda Kalapa" (Sundanese: "Coconut of Sunda") is the original name, and it was the main port of Hindu Sunda Kingdom of Pajajaran. The port is situated in Penjaringan sub-district, of North Jakarta, Indonesia. Today the old port only accommodate pinisi, a traditional two masted wooden sailing ship serving inter-island freight service in the archipelago. Although it is now only a minor port, Jakarta has its origins in Sunda Kelapa and it played a significant role in the city's development.

 

Wikipedia