View allAll Photos Tagged silvis
A quick view into NRE's backlot in Silvis reveals a few neat things as storm light fills the sky. What I wouldn't give to wander the dead lines with good light, a camera and Bill Gate's check book.
IAIS 507 and 513 work at the East end of Silvis yard as the sun sets on a another great day of Railroad action in the Quad Cities.
Local: Aeroporto Regional de Maringá - Silvio Name Junior (MGF/SBMG)
Data: 29.Ago.2014
Matrícula: PR-SID
Operador: Particular
Fabricante/Modelo: Beechcraft Baron 58
Serial Number: TH-609
Matrículas anteriores: N58MH
Ano de fabricação: 1975
BY #AntonyOne @antonydesign
Model: #SILVIA
Photography: #AntonioDavid
Stylist :#NataliaOrtiz #Antonyone
Makeup Artist: #Mariola
SS14 -SS15Talavera de la Reina (Toledo)
NRE's Silvis facility had some gems. Pick your poison.
Older locomotives put out to pasture by the lousy economy and the onslaught of newer and more efficient locomotives sit and wait for an opportunity to either get back to work or be melted down as scrap at the National Railway Equipment facility in the Quad Cities.
There were hundreds of out of work locomotives here waiting for something to happen.
In 2020, NRE announced that they had too many facilities and locomotives at Silvis, so they started scrapping everything.
Italian postcard by Ballerini & Fratini, Firenze, no. 2112. Photo: Bragaglia.
Lilia Silvi (born 1921) was a diva of the Italian telefoni bianchi comedies of the 1930s and 1940s, often paired with Amedeo Nazzari. She recently acted in Gianni e le donne (Gianni Di Gregorio 2011) and was the object of the documentary In arte, Lilia Silvi (2011).
Lilia Silvi, originally Silvana Musitelli, was born in Rome, December 23th, 1921. After visiting ballet class at the Roman Opera, she had her debut in film in 1935 in Il cantico della terra/La capanna dell'amore by Salvatore Fernando Ramponi. She used the pseudonym Alice D'Artena then. In Mario Camerini’s famous comedy Il signor Max (1937) she had s small part as an orchid seller, but it was in Max Neufeld’s comedy Assenza ingiustificata (1939) that she had her first major role as the earthquake-like schoolmate of Alida Valli. Soon she became one of the stars of the Italian cinema of the early 1940s. In her subsequent film, the sentimental comedy Scarpe grosse (Dino Falconi 1940) she had the female lead opposite Amedeo Nazzari, with whom she be a pair in various films. In Dopo divorzieremo (Nunzio Malasomma 1940), set in the US, she is casher who makes a fake marriage with the lover (Nazzari) of her roommate (Vivi Gioi) to help the other two out, but in the end Silvi and Nazzari become a pair. She also played in the Spanish version of this multilingual, now with Maria Mercader and Roberto Rey, and again Malasomma directing. In 1941 Silvi and Nazzari were paired again in one of the many adaptations of Dario Niccodemi’s Scampolo (Malasomma 1941) and in Gianni Franciolini’s comedy Giorni felici (1942). In La bisbetica domata/The Taming of the Shrew (Ferdinando Maria Poggioli 1942) the classic Shakespearian comedy was transposed to a modern Roman suburb. Nazzari plays the emigrant outsider returning to Italy who tames the volcanic Silvi, whom nobody can control. The film was a hit for both stars and resulted in a homonymous popular song, La bisbetica domata, which Silvi sang. Silvi also played opposite Elli Parvo in Arditi civili (Domenico Gambino 1940), Sergio Tofano and Andrea Checchi in Giù il sipario (Raffaello Matarazzo 1940), Nino Besozzi in Barbablù (Carlo Ludovico Bragaglia 1941), Roberto Villa in Violette nei capelli (Bragaglia 1941) and in particular La vispa Teresa (Mario Mattoli 1943), in which Silvi sang Senti il cuore che batte ( e come batte!). She plays a manicure who substitutes for a colleague (Vera Carmi) who is a ruthless golddigger, hunting for Villa. Of course Villa prefers Silvi in the end. After Il diavolo in collegio (Jean Boyer 1944) with Leonardo Cortese, Silvi’s career slowed down in the postwar era. She concentrated on revue instead, playing with Franco Scandurra Franco and Carlo Campanini. She was also very active in the theater, opposite Filippo Scelzo, Pina Cei, Annibale Betrone, and Enzo Biliotti. She did two more films: Biraghin (Carmine Gallone 1946) Andrea Checchi, and Napoleone (Carlo Borghesio 1950) with Renato Rascel as the French Emperor, after which she quitted and dedicated herself to her family. In 1940 Silvi had met and married soccer player Luigi Scarabello, who appeared in two of her films under the pseudonym of Sergio Landi (Violette nei capelli and Barbablù). Scarabello and Silvi had three children, two girls and one boy, and their union lasted a good 67 years until the death of Scarabello in 2007. In 2011 Lilia Silvi had a comeback to the set, when acting in Gianni Di Gregorio’s comedy Gianni e le donne. In the same year Mimmo Verdesca made a documentary on her: In arte, Lilia Silvi.
Sources: IMDB, Italian Wikipedia, YouTube.
www.youtube.com/watch?v=Y3OCaOlsR7I song from La vispa Teresa
www.youtube.com/watch?v=NoHNSV7ikbs&feature=relmfu trailer of La vispa Teresa
www.youtube.com/watch?v=0WnbbNaxW1k the song La bisbetica domata
Ces indiens ont conservé leurs costumes anciens, avec notamment les hommes qui portent des sortes de jupes.
10/2014 - Silvis, IL
NRE Silvis is tough to photograph. This is the only angle I could find in a reasonable amount of time. There are dozens and dozens of locomotives here available for sale or lease. The BNSF 8102 and 8105 (green and white SD60Ms) were acquired by NS this summer and two weeks later they were in Altoona.
Strobist info
Softbox on cam right rim light from back left
Model Silvi
Update
This image won me a pro account on flickr! :D
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Buon Ferragosto a tutti.
Scusate per la qualità delle foto, sono stato colto alla sprovvista e non avevo con me la macchina fotografica per cui ho fotografato con lo smartphone. Grazie perla vostra disponibilità e comprensione
Italian postcard. ASER (A. Scarmiglia Ed. Roma), No. 3. Minerva Film. Photo by Pesce.
Lilia Silvi (1921-2013) was a diva of the Italian telefoni bianchi comedies of the 1930s and 1940s, often paired with Amedeo Nazzari. After half a century of absence from the sets, she acted in Gianni e le donne (Gianni Di Gregorio 2011) and was the object of the documentary In arte, Lilia Silvi (2011).
Lilia Silvi, originally Silvana Musitelli, was born in Rome, December 23th, 1921. After visiting ballet class at the Roman Opera, she had her debut in film in 1935 in Il cantico della terra/La capanna dell'amore by Salvatore Fernando Ramponi. She used the pseudonym Alice D'Artena then. In Mario Camerini’s famous comedy Il signor Max (1937) she had s small part as an orchid seller, but it was in Max Neufeld’s comedy Assenza ingiustificata (1939) that she had her first major role as the earthquake-like schoolmate of Alida Valli. Soon she became one of the stars of the Italian cinema of the early 1940s. In her subsequent film, the sentimental comedy Scarpe grosse (Dino Falconi 1940) she had the female lead opposite Amedeo Nazzari, with whom she be a pair in various films. In Dopo divorzieremo (Nunzio Malasomma 1940), set in the US, she is casher who makes a fake marriage with the lover (Nazzari) of her roommate (Vivi Gioi) to help the other two out, but in the end Silvi and Nazzari become a pair. She also played in the Spanish version of this multilingual, now with Maria Mercader and Roberto Rey, and again Malasomma directing. In 1941 Silvi and Nazzari were paired again in one of the many adaptations of Dario Niccodemi’s Scampolo (Malasomma 1941) and in Gianni Franciolini’s comedy Giorni felici (1942). In La bisbetica domata/The Taming of the Shrew (Ferdinando Maria Poggioli 1942) the classic Shakespearian comedy was transposed to a modern Roman suburb. Nazzari plays the emigrant outsider returning to Italy who tames the volcanic Silvi, whom nobody can control. The film was a hit for both stars and resulted in a homonymous popular song, La bisbetica domata, which Silvi sang. Silvi also played opposite Elli Parvo in Arditi civili (Domenico Gambino 1940), Sergio Tofano and Andrea Checchi in Giù il sipario (Raffaello Matarazzo 1940), Nino Besozzi in Barbablù (Carlo Ludovico Bragaglia 1941), Roberto Villa in Violette nei capelli (Bragaglia 1941) and in particular La vispa Teresa (Mario Mattoli 1943), in which Silvi sang Senti il cuore che batte ( e come batte!). She plays a manicure who substitutes for a colleague (Vera Carmi) who is a ruthless golddigger, hunting for Villa. Of course Villa prefers Silvi in the end. After Il diavolo in collegio (Jean Boyer 1944) with Leonardo Cortese, Silvi’s career slowed down in the postwar era. She concentrated on revue instead, playing with Franco Scandurra Franco and Carlo Campanini. She was also very active in the theater, opposite Filippo Scelzo, Pina Cei, Annibale Betrone, and Enzo Biliotti. She did two more films: Biraghin (Carmine Gallone 1946) Andrea Checchi, and Napoleone (Carlo Borghesio 1950) with Renato Rascel as the French Emperor, after which she quitted and dedicated herself to her family. In 1940 Silvi had met and married soccer player Luigi Scarabello, who appeared in two of her films under the pseudonym of Sergio Landi (Violette nei capelli and Barbablù). Scarabello and Silvi had three children, two girls and one boy, and their union lasted a good 67 years until the death of Scarabello in 2007. In 2011 Lilia Silvi had a comeback to the set, when acting in Gianni Di Gregorio’s comedy Gianni e le donne. In the same year Mimmo Verdesca made a documentary on her: In arte, Lilia Silvi.
Sources: IMDB, Italian Wikipedia, YouTube.
www.youtube.com/watch?v=Y3OCaOlsR7I song from La vispa Teresa
www.youtube.com/watch?v=NoHNSV7ikbs&feature=relmfu trailer of La vispa Teresa
www.youtube.com/watch?v=0WnbbNaxW1k the song La bisbetica domata
IAIS in the QC today. The Silvis switcher went down to MO DIV Jct. And delivered some cars to the CPKC.
On me :
★★[ LsR ] - Sexy Silvi Set★★
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