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SET 3 – West Point Wal-Mart
Here’s another look at the Electronics department rectangle sign, with the Photo Center and Shoes signs also visible in the right-hand background, and yet another old sign (featuring the Return Policy in dark blue) in the left-hand foreground. Man, this Electronics sign just feels almost comically oversized for the space, doesn’t it? I also get a chuckle out of the super-late-2000s remote pictured on the sign… it’s amazing how quickly technological stuff like that ages, and thus dates itself so particularly to a specific era. (Reminds me quite a bit of the flat-screen, but still bulky-in-the-back instead of paper-thin, silver TV I had around that time!)
(c) 2022 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Whan I have a bit of time I play around with Photomatix to see how much juice I can get out of some specific images. Here I put together 5 different exposures on Lightroom's virtual copies and then cropped the photo to a more suitalble frame. There's a huge deal of noise that I couldn't get rid of in the lower righty side of the image, the sea has gone a bit crazy there... Unfortunately I only count on Lightroom's noise reduction and cannot make any local adjustment, had I push too much the sliders the rest of the image would have gone extra soft.
Two SB600 behind a translucent umbrella triggered with Elinchrome Skyport.
Great War Steam Fair, Beamish Museum
Beamish - The Living Museum of the North
Beamish, the North of England Open Air Museum is an open-air museum located at Beamish, near the town of Stanley, County Durham, England. The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century.
Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution in 1825. On its 300 acres (120 ha) estate it utilises a mixture of translocated, original and replica buildings; a huge collection of artefacts, working vehicles and equipment; as well as livestock and costumed interpreters.
Galiċnik is a small village in the mountains of Macedonia known worldwide for organizing collective weddings each year on St. Peter’s day. In its time of glory, there were as many as 30 weddings being organized on July 21. Nowadays there are less and less, but the ceremony is still gathering tourists from all over the world appealed by the amazing costumes and the intricate rite.
According to the tradition, the wedding ceremony begins Saturday evening, at the sunset, when the groom hangs on the right side of his house a flag decorated with flowers. Gunfire announces his departure towards the village, where he meets his best men for a celebration that includes music, wine and well, partying. The next is the mother-in-law’s dance and then a traditional dance, after which the groom and his party head towards the bride’s home carrying torches. All through the night, everybody dances and is enjoying a nice time.
Sunday morning, the groom and his family go to visit their ancestors at the cemetery and ask for their blessing. Later on, back at his home, while the groom gets ready (gets a shave and a haircut) the party sings a farewell song, which sounds very familiar to the Romanian lyrics sang to the bride while women put her veil on.
Meanwhile, the bride gets dressed in the traditional wedding gown of the Galiċnik village, wearing a beautiful red costume, with long sleeves and fringes at the end, white batik, silver and gold coins around her waist and a red and black skirt. Both the bride’s and the groom’s wedding costumes are traditional, being hand sewed with silk and gold strings and decorated with folkloric elements specific to the Macedonian region. The costumes get so heavy that the bride’s wedding gown gets to weigh almost 40 kilos.
Later that day, the groom and his party arrive at the bride’s house riding horses. Here are welcomed by the bride who looks through her wedding band and says: “Through this ring I look at you, welcome me to your heart”. The whole wedding party heads to the village fountain, where the bride fills up pots with water, while men dance the teskoto, a celebration dance of their ancestors who faced hardships working as emigrants. Sunday after-noon, at the St. Peter and Paul church, takes place the last part of the wedding ceremony. After that, the newly-weds dance the bride’s dance and go back at the groom’s house riding their horse.
Traditional Japanese paper lanterns are just gorgeous, with a colorful picture painted on them and the soft, warm light they provide. It's hard not to like them. Unfortunately the only time you will usually see them is at festivals and other traditional events.
The specific festival these lanterns are out for is *Oshogatsu* (正月), The Japanese New Year. The first through the third everyone will visit shrine to pray for the new year, a tradition called *Hatsumode* (初詣)
Every part in specific color is available to buy so it can be built in real life. More renders soon.
A tribute to my all time favourite buildings - The Twin Towers - World Trade Center. I finished this project a few months ago but I still will be updating it with some details. I'm planning to build these in real life one day.
R.I.P. To all innocent people who lost their lives on Sep 11, 2001.
THE DRUNKEN MUSE
The story "Drunken Muse" was audio recorded on a hidden voice recorder during the conversations about two decades ago. The story-teller didn't know or consent to the recording.
en.wikipedia.org/wiki/Tape_recorder
en.wikipedia.org/wiki/8-track_tape
en.wikipedia.org/wiki/Compact_Cassette
The audio tapes on compact cassettes were never used. The records were partially damaged and lost.
Herewith the unedited transcript version.
medium.com/paul-jaisini-paints-invisible-paintings/paul-j...
I am so pumped to get back to painting as I return to the second year of the art school after a full year suspension. As always it is like time-travel culturally speaking, like walking right into the middle ages going through the antique building’s portal.
Art studios are the huge L-shaped lofts with super tall ceilings 20 feet no less with the wall to wall windows so that sunlight illuminates the space from south and east side designed for the purpose so that one could paint there from morning till sunset.
In a studio there are classical gypsum sculptures, expensive copies of Venus de Milo, David, Laocoön and the others. In the art studio there stood the noses, eyes, lips, feet, and palms on the wood shelves.
Sketching the gypsum body parts helps you to build the classic academic base on which stands the whole modern and contempo art. This sort of teaching is specific for the art schools that preserve the traditions they had been founded on. There is only few art schools like this and of this caliber left now. Could be that this is the only legendary school that continues to function as if nothing had changed in the world. In the rest of the world with billions of some art classes nobody knows what does the old tradition of art school is for, its totally unfashionable.
Studying classic art (en.wikipedia.org/wiki/Academic_art) here is the foundation for creativity in any of the art styles.
The smell of art is what defines the studio but not from human presence, something like an aroma reminiscent of the eastern market where smoke from hookaahs mix with the oil vapors, exotic fragrance from candles and spices. The Art Studios were never renovated since the times they were built over 150 years ago. The wood floors are saturated with art oils as if the floor is waxed with the organic oils from nuts, linen ( linseed oil, poppy seed oil, and so forth.) Adding to the mix the varnishes used by painters (pine wood varnish, Dammar varnish and others) It makes this ART SMELL to be the most intoxicating and ever-lasting musk.
en.wikipedia.org/wiki/Oil_painting
en.wikipedia.org/wiki/Oil_painting - Ingredients
en.wikipedia.org/wiki/Studio - Art_studio
The instance you enter the studio space you feel the belonging to a knighthood and the whole art history. You are the undivided part of those people who left their creation imprints.
Super pumped up after the long break up with the arts after my full year of non-stop party marathons I had returned to the bohemian life style.
Actually my other life style wasn't any different from the bohemian.
The only difference is that there is some meaning in the bohemian life style, something to create, to shape. Not just spend time doing sports and girls but something on a whole 'nother level only with the same sub text and by far more emotionally connected.
The bohemian I think is much more my thing, that fits me as a person. Maybe because my old man is the greatest sculptor.
He is color blind so apparently I took up the torch, I have a very special sense for color.
en.wikipedia.org/wiki/Sculpture
en.wikipedia.org/wiki/Bohemianism
en.wikipedia.org/wiki/Color_blindness
There could be an inborn human predicament or inborn genius.
I returned into the world to kiss its ground. I like everything about it, the babeville and its fashion circus.
The art students are known to come up with endless varieties of how to be stylish.
Take me for example, I am chilling in a suit jacket. It was professionally hand-tailored out of a denim Pajamas with stripes and starry silk underlining.
This “look” is completed by my python leather jeans. And over that an authentic LONG military Germany Waffen Elite Officer black Leather Coat from the WWII, only it is without a Swastika.
I never part with my large portfolio and a Field Easel.
EASEL
About 700 students attend the studies. The art school accepts only the best of best with few exception such as the kids of celebrity artists, writers and musicians and people who had real power in the city.
I wasn't enrolled for money or the A-lister parents, but for my talents. The Art specialty (painting, drawing, sculpture) teachers here are the world-wide recognized contemporary artists.
In a matter of my working ethics these important artists would point at me as the example of how fast I work, how well I sketch in color, how I always choose the most unexpected and unusual angle for my composition and so on...
en.wikipedia.org/wiki/Composition_(visual_arts)
name banner gif
Optical illusion geometric gif
(portraiture, still-life, and landscape)
en.wikipedia.org/wiki/Still_life
en.wikipedia.org/wiki/Portrait
en.wikipedia.org/wiki/Landscape_painting
en.wikipedia.org/wiki/Figure_drawing
en.wikipedia.org/wiki/Figure_painting
I never work on an académie (live drawing of a model, live painting of a model) the given eighty -- ninety hours. My whole process is about six -- nine hours to fully complete the work so I get out of the studio for some action and fun.
I’m probably the strongest in the class. My art professors know I don’t need to be there to distract the others.
When I’ve got nothing to do I start banging the head against the wall. Still I am criticized SUPER harshly for cutting the classes.
At this point I am not aware of the inner workings of “THE SYSTEM”.
I call suitcase with a secret compartment.
At the grade shows I only see the bad grades on my best artworks.
There is another side of the coin. It revealed in the future when I got to befriend a secretary at the Dean’s office. It was about the time of my graduating year.
The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about.
That was how the art school’s system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible.
I am harshly criticized for cutting a lot of classes.
There is another side of the coin. It will be revealed in the future when I got to befriend a secretary at the Dean's office. It was about the time of my graduating year.
The art teachers actually always considered me to be the leading artist among all students. They would grade all my artworks high on my personal record I knew nothing about.
That was how the art school's system pushed the talented students to go further to open up their potential. Pushing to the limits of impossible.
Willing or not but the doubts get in my head. I was thinking (rather frantically) that maybe I’m all just misguided. I will work to beef up my skills unable to accept that I am not really a “genius” artist. The bad grades were corrupting my vision.
Totally clueless that these bad grades in my case were used as "disciplinary measures" for my behavior of anarchy. These grades had nothing to do with my artworks.
And yet my best drawings and paintings are graded the lowest. At the same time the art professors are taking my works home. I always find empty walls where my works were displayed for the semester shows.
Sooner or later the missing artworks got me enraged. My classmates tell me the back story on what REALLY had happened.
All the art professors usually go the painting major's finals. So they just took my artworks right off the wall.
Ever since I heard this back story I flaunt how IDGAF to even pick up my works with the bad grades after the finals end.
Like a bunch of some doomsday looters in sight of an electronic store the art students same as the teachers vultured my artworks. Later some of my paintings and drawings were seen at the school's museum, especially the paintings.
The story of the artworks snatched off my exhibit wall developed further.
In the art school the art teachers are the privileged kind who exhibit regularly. All are the accomplished artists with big names.
Another thing about my artworks (no longer mine and in someone else's possession) is the story that involves someone with the top art rep being the art dynasty. Even so it happed that the leading art professor nicknamed Molly (for her annoying facial mole) used my art stuff to have her son who studied same years as me, just never expelled, to apply to an art academy with the highest qualification requirements. Molly's son portfolio sucked. To get him qualified to apply she gave her son all of my artworks she collected.
The juice was given to me by the reliable sources. The story was concurred by the eye--witnesses the students who were applying to the same academy together with Molly's son. Some of these students knew my work by the style, special color palette and the brushwork.
They all knew that Molly's son was using my artworks. He only had to forge his signature and remove mine.
en.wikipedia.org/wiki/Study_(art)
My drawings, sketches, paintings, watercolors are in "wide" use by others.
I tell that to describe the routine of my life.
It could explain why I was expelled three times for the chronic absence, for sabotaging the lectures -- getting my classmates to leave the studio and go to the movies or to the beach.
Fast forward to that event of the breaking point when I started to work systematically.
I was sucked into work as if a drug addiction. I was penetrating deeper to the very core of creativity. Reading books, going to the museums, working in the field, working in the museums to copy masters. I completely forgot all about life around me.
Practically I was devoured and digested with my nails and hair by that devil called the academic art. It sucked out the leftovers of my soul.
I stayed in the studio after the classes to work. There were only few students like this, spiritually close to me. To them it was their life style since the day they had entered the art school unlike me. Whenever I'd get bored with art I'd quit working and just leave without asking permission.
Now as if something had hit me hard and I started to really work. Most art students here typically come from such backgrounds when they did their baby steps and studied in the children's (secondary) art school from an early age and tutored by art teachers at home
I had a tendency to take on a higher complexity unprepared without the experience of any art school training (the eight years on a daily basic with teachers and methodical practice.)
As long as I remember myself I was drawing, during my school years, on the notebooks, with chalk on the asphalt, with stick on the sand. I did it subconsciously, not knowing what I was doing.
IDK, could be due to the several bad bike accidents when my head ended up hitting the brick...
Why did my brain moved into the direction of noticing those things that normal people should not be noticing? That the leaves on the trees are not at all green, but violet.
The falling shadows from the street lights are not at all outlined by black, the contours are the absolute blue.
The trees look like people.
There are so much more shades of colors that language could articulate.
Stuff like this filled up my head so that there was no place left for just a thought about girls, more so even the thoughts to manipulate my body functions. For instance using the
bathroom. I almost peed my pants. Truthfully I was on the edge of madness.
I remember how I hallucinated during my work imagining that someone had come into my studio and I spoke to "the guest." My brain was ill, there was no escape from that hell.
en.wikipedia.org/wiki/Violet_(color)
Once I was walking on a street without any awareness. My mind was no longer in command of anything accept the obsession with my painting. As I was pushing the limits of what was humanly possible in a matter of progress from the previous stage when I could draw and paint with intuitive results now I considered as totally armature waste of art materials. My condition would be hard to describe since I could hardly remember what was it like during that madly intense period. I know that I was working non--stop and did make some major break through. It worked but at the same time the progress turned its evil side, I wasn't able to stop even for a brief moment. Something happened to my otherwise incorruptible memory that I could only remember few things from that period. And one of those things was my death walk through the city streets on a day I was supposed to disappear.
When I realized that I was walking automatically, blind and incredibly
avoiding the cars, for the first time I felt the fear of madness that can easily take my life. It wasn't something I would fear if I was in my other life when loosing it would be quite an ordinary thing and not due to my lost mind.
Whatever it was I survived with no chances to stay alive that day. I had more chances to live on when I was shot at execution style, when I was drowning in bad storm, climbing on a building like a cat, and on many others such occasions.
Some guardian angel was looking over me as I came to the final moment of certain death, blind, deaf, disoriented and delusional.
As we finished with draperies, still life, gypsum figures we moved on to the nude. To draw and paint from the live sitter, male or female model.
There comes an old fat hag to be posed before the artists. She will be POSING even during the breaks. She sits professionally without a slight move of her flab folds for us to draw her “forms”. ‘assume it was done for the boys not to get distracted with the female anatomy.
The models with “rounded” forms were chosen so we would study the reflects and double reflects on a “sphere-like” and “cylinder-like” forms.
There would be plenty of the cast shadow (a type of shadow that is created on a form), and a drop shadow ( below the image).
en.wikipedia.org/wiki/List_of_human_positions
en.wikipedia.org/wiki/Figure_study
The working objective was to concentrate on the drawing’s construction.
When we’d get a young female model, she’d be so skeletal that we studied the skeleton. This type of models was as unattractive as the fat ones.
The art students without an eye for a drawing and technique produced their works of caricature quality. With the lost proportions the models looked like animals, skinny chickens or fat frogs.
For me it was a serious job, body didn’t exist. I x-rayed the flubs of fat to see the bones to connect them to muscles, to build a form.
en.wikipedia.org/wiki/Caricature
en.wikipedia.org/wiki/Skeleton
en.wikipedia.org/wiki/Human_skeleton
The illness I call the overdose had progressed and my end was near.
Homies who knew me used to say that I was cracked.
When I moved from the classicism to modern (I refused to see any modern or contemporary art, never wanted to see it, or ever saw it) I entered the Modern art on my own, as my foot stepped into the forth dimension.
I entered the world of mad pressure. Good I stepped in it one foot yet.
I was sleeping in the studio right on the floor near my work and placed an electric heater near by.
It was impossible to heat up whole place where fifty heavy-duty easels only took a quarter of the studio space.
In the center there was a huge round stage made from a special hard wood to hold any number of models when needed for the multiple human-figure compositions.
The place was full of easels, portable and the large for the field. The chairs, tables, palettes, boxes with paint, cases with paper and lots of other art stuff piled up into mountains.
The parquet floor was always covered in fresh oil paints even though the teachers tried in vein to prove a fact that working neatly was by far more productive.
We had a dormitory built same year as the art school which was 150 something years ago.
If you stayed late in the studio that was forbidden, you couldn't get to the dorm.
A guard at the main door was a real watch dog, he faithfully guarded the pathway knowing every student's face.
The dorm was occupied by those who couldn't pay for a room or the apartment in the city.
Ten beds were squeezed in a dorm room.
This part of the antique building was never renovated probably b/c it was planned to be turned into more art studios.
But since there were out of town students who had no place to live they were given a place in this dorm.
The beds were of a good prison-like quality so the survival was possible. Another thing is what was happening in the dorm.
On a typical day nobody there had any money left after the expensive art materials. Not a penny to get high. Alcoholic liquid (40-60%) was soaked into the bread.
From one bite of that bread you could instantly drop dead as if your legs got cut off by a train.
The receptors inside the nose absorb the fumes to hit right into the brain, this way the booze doesn't ever enter the digestive system and blood.
It kills or makes one go bonkers.
Some pissheads in desperation poured vodka into a wine bottle cap to inhale it like coke. After one cap screw it was a total alchoholocaust.
There were many ways of economizing: to use a medical thin rubber tube to suck the drink very slowly, one bottle would
serve four alkies.
It was the usual schizophrenic day for me. I had my dose of coffee and ate on a way to the studio.
Those days I didn't miss a class afraid to get expelled for the last and final time.
I couldn't understand this thing about my artworks. Why did my classmates literally begged on their knees to have the C-graded artworks I was never satisfied with.
It became my trade mark to give away all of my stuff left and right. I didn't know why I let go of my drawings and paintings so easy. Now I regret that. It would be interesting to see the growth.
Once I happened to tell a guy from my class who worked very hard on his drawing (he wasn't a good draftsman): "Oh Wow! you are doing a lot of progress, buddy, congrats!" I looked at his portfolio and pointed at a piece: "This drawing here is really mature and quite interesting, you achieved volume and air in just a linear drawing."
The guy suddenly goes red, stares at me wide-eyed with anger or confusion I couldn't quite understand...
"Am I saying something wrong?" I asked.
"You're fucking dissing me!" He answered.
"Why?" I wondered.
"This is YOUR drawing," Was the answer: "I took it, that is when I asked you and you gave it to me, don't you remember?"
I didn't recognize, didn't see my signature, as it was overlapping the drawing.
The guy was holding a grudge for this but it didn't turn him into one of my enemies.
At some point I am thankful to the teachers for their sneaky methods and experience on how to tame the most unruly and bring them into the art's stable. On the other hand these people were like sadistic fascists who used their special gases on me experimenting, would I survive it and live on.
The bohemian hyped up life only started after the classes at about seven in the evening. This part of the artist's life was full of sex, booze, and drugs, more sex booze drugs and orgies. The art youth was progressive, the sex - communal with the conveniently shared girlfriends and boyfriends.
Strangely the good times didn't concern me anymore now.
There was a small group of idiots who followed their criteria of achievement: to draw and paint a vase with flowers so that it comes to life, right out of the canvas to the carrying hands of the one who painted it. The flowers turned alive would be given to the girl/boyfriend.
The madness of the 4th dimension.
The art group was lead by me and another guy soon (one month later) to disappear forever for the reasons unknown.
After the classes me and few others searched for a studio. Found it. Not my studio. Any studio with the door unlocked.
As usual I would set a still life. Take off my nazi coat.
Set my next canvas on the easel to start quick sketching.
Out of nowhere shows up some dude who was a new student, he was much older, about twenty three, somewhere from Texas and just plain untalented.
He wanted to hang around with "the power-group" to learn.
There were few girls with the ambition to reach the level of a manly hand in creation.
We all usually worked in grave silence and even a slight noise would be extremely annoying.
If a brush would fall it seemed the atomic bomb had exploded somewhere near. We would exchange vicious cursing at the jittery creaking sneezing noise maker.
When you are focusing intensely and can't quite catch the brush stroke to complete the shaping of a form so that the image would turn real and come out of the flat surface the nerves are high strung to the limit.
The last months I just never left the studio, didn't even come outside. Slept on my German coat in the corner. It was veiled with the drapery. I'd wake up in the morning. The doorman was already used to give me the keys knowing that I sleep and work there. It came with a warning that if I am discovered I must tell any story and solemnly kept the secret.
The memories from those years distract me from telling what I want. It's about the event that had closed for me the entry into the forth dimension.
That day I was getting upset over some stupid teases: "What had happened to you!"
Whether the bros wanted to elevate my mental state, or they needed to get my works it had really caused me distraction. I was focusing on my work. Suddenly I hear the sounds of music in the studio. It jumped me: “Are you out of your fucking minds? That asshole doorman will come here."
"No he ain’t gonna."
"Why?"
"He is passed out, we had to carry him away." Was the answer.
"What is going down?" I worried.
"Not much, nothing is going down, we just want some fun. The way it is on here is so buzz-killing."
Was it some holiday, I didn’t know. Holidays passed by me, I didn’t smoke or drink and only worked. What they were saying didn’t reach me.
“Shut down the music. You’re gone but I must sleep here."
"Why must you sleep here?" Asked Lorenzo (nick-named after his personal preferences of the Benzos)
"Hmm, I guess there will be no way of working today?" I asked.
"Working, way working, you gonna make me some home works," Assured me the dude nicknamed Kuz. "For that I will make your sculpture complete."
As interesting as it was to play with the real forms in sculpting I disliked dealing with the clay. Those times I believed the painting to be so much more in gradations, possibilities and complexity. Now I changed my mind to consider any art media possess the unlimited possibilities.
I agreed. Suddenly the guys were fixing to leave and I had to ask: "So? Who will finish building up the sculpture if you're leaving?"
"No worries, will build it up, brb just a quick run for some booze before the stores closed up."
"What booze? Get out of here go to another studio. I work, don’t mess me up."
"No biggie, son, you can rest for once."
It was pointless to argue, they'd already been drunk and I was only getting nervous. My work wasn’t going good at all. I have changed the lighting set up many ways in vein.
Suddenly, out of nowhere Muse appears. A young, very-very attractive girl about eighteen. The returned gang introduced her to me:
"J-Sin, meet her... lets say Nicky."
"Eh, hello Nicky, who and what are you?" were my greetings.
She smiled to everyone and answered: "I will be posing for you today."
"We agreed about everything, will pay the price,” –explained Lorenzo barely moving his tongue, "She is gonna be happy!"
His bag full of bottles made loud clanking noise.
When the drunks got them out I counted six.
“Yes, this is going to be a wild night.” I was thinking what to do now. I approached the model, took off her coat and hanged it, removed her blouse and explained that she can go behind the curtain.
"Hey, hey! What curtain son, what’s with you? She is from the med school, our people!"
I heard the Kuz's inebriated voice. "She is THE model!"
"What -- nude?" I wondered.
"And what did you think, she'd sit covered up in here?" They burst into laughter.
Suddenly I feel elated with the anticipation of the new and amazing subject for the work. I was fed up with the poor set up and the struggle to "find" the good lighting for the gypsum head. How wonderful it turned out that I could make some picturesque oil sketches.
When the model took off her bra, her young breasts, her nipples instantly distract my attention from work.
Shit, I couldn’t focus. Since we hadn’t a glimpse at such models it was too interesting. Could be that something about this evening or the environment was different. First time in a long while the music was playing, the glasses jingled and filled up with wine.
As she posed we were all doing the quick sketching. She removed everything except her panties.
The drunken assholes wouldn’t let me focus.
"Let me finally have a chance to work." I yelled getting distracted.
They seemed to try bargaining: "We brought you the model, hey girl turn around!" Kuz pulled up her skirt and slapped her buddy. "Look at these buns, you've got to do another
drawing for the semester show."
"Boys, you are so bad!" She giggled to Kuz. "I will spank you for being soooo bad!" And she was laughing in most contagious sexy trills of her childish capricious voice.
I didn’t understand what these die--hard drunks were doing at the art school, without any talent or interest in art. My former palls in another life that was long forgotten. Today the serious artists who always worked together with me had left the moment this bad company swam by.
Now I was looking at their watery eyes winking at the model. They caressed her things as she reclined on the wooden stage to rest. I wanted to figure out why did they distract me even more now?
I was the same age as the model. I didn’t see her body, to me now it was the model for painting.
It was getting late when the cold winds penetrate the place from the drafty wall size windows. I put on my sweater in the starting freezer. The one meter or the three feet and 33/8 inch walls are like the thermos to absorb and hold the cool temperature. I looked at the laughing bunch who labored on my sculpture.
One was drawing a huge flying dick with wings with a charcoal right on a white wall.
I had finished sketching the figure. I came up to the stage to set up the heater. I asked the model if she could sit some more taking breaks whenever she needs to move.
When she looked at me she was constantly smiling.
"Sure she’ll sit! And she'll lay, right, sweet buns?"
I held my breath working imagining how awesome would be to have such a model every day. With a shaky hand I was working fast as a machine expecting any minute now she would say that she is too cold to sit another minute and she leaves, its all over. I will have to kill her and sit her lifeless body on a chair to complete my work.
“Shit! Shit! Shit!"
The heater I placed caused the red reflexes on the body. I was painting and had to get the color right. So I removed the heater. The model immediately complained about the cold. Kuz brought her a glass of wine asking me why did I remove the heater.
From wine her face flushed red. I tried to adjust the color scale, laying brushstrokes over the whole figure.
Meanwhile the music turned up it was getting real loud.
The model took her break.
I walked after her studying her forms.
"Is something wrong?" She asked.
"Its all right, could you turn this way."
"Oh, I see. Same in our med school, the nut cases," She openly declared to the others when I was on a floor looking from a lower viewpoint.
"Who is this?" She asked: "What kind of a mental is he?"
"Its a disease, but it will pass" – was the answer for her. "Sometimes it is terminal. Not his tho, his will pass, he loves the young girls very much…"
Something from the stupid jokes had reached me.
"Hon, now he needs the medical attention. You are the medic? We are forever in debt to yous for allowing us come to the mortuary and for helping with the dead bodies... What we have here is a zombie. You are the goddess who saves the body as your calling."
What I heard was polluting my pure artistic brain with that life I refused. Now I was paying attention not to the mammary glands but to her breasts. Her back muscles are slightly weak. As I looked over the skeleton the muscles slowly disappeared. No matter how hard I tried to focus my x-rays were weakened. Maybe the electricity turned off inside my head.
"Pour me some," I asked.
Six months of my immaculate virginity and celibacy was broken by a wine glass. The red wine like the blood of innocents was running in my throat filling up the brain that shortly was boiling with vigor. So I said:
"Could you please remove your panties?"
"It wasn’t the deal," protested the model with her eyes glowing like honey.
Lorenzo interrupted her:
"For god’s sake, take of your panties, what is it to you, aren't you a medic?"
"I thought someone here was shy, as for me" She lustfully licked her lips. "Well, of course its nothing."
"Who is shy?" Asked someone.
"Him the weirdo!" She giggled in a very cute bubbly little voice.
"Are you shy?"
"It seems it was me who asked her to remove the panties." I explained.
She just jumped right out of her panties not without pleasure it seemed.
I imagined how to position her, what pose should she take.
"Hey!" I asked Kuz to pour me another glass. He was cheering me on yet reminding that I should first finish the drawing.
"Later," I mumbled turning to the model: "Would you please sit on a chair and spread your pretty legs a little, as much as you wish."
"Hey, Alex, so he is normal?" She asked.
I was far away from normality. A actual girl weaved from the reality. But the process was a transformation with splitting dimensions.
She was turning more real when I touched her to show how to position her legs.
I glimpsed at the red pubic hair seeing the pink flesh of her vaginal lips.
I couldn't focus on my work. Could the “female anatomy” destroy the temple of magic I was erecting for the eight months?
I returned to my easel and continued working. She was fidgeting changing poses uncomfortable this something hurting that... But it was only natural, she was sitting naked on a plain hard wooden chair. She was sliding from one side of the chair to another. I was buzzed from wine and couldn’t work, but I tried to complete my work just to annoy these assholes who screwed up my day. First work was washed off with turpentine and I wiped up the canvas dry with a rag.
I was sketching now not with a charcoal but brushing in umber. It resulted in an interesting tonality and I was captured again. The model squirming on her hard chair complained.
"Yo, why don’t you lay her down, what is she suffering for?" Asked Alex, "Lay her the fuck down, why not."
Right! I thought a little and told her to lay on the stage. Underneath her I spread some drapery.
After few wine glasses I took off my sweater, my cheeks were on fire. Hers too. I unbuttoned my shirt, my blood was boiling, the body was washed with the warmth.
The heater was moved away.
"So true that wine warms you up," she said to Alex.
"Jay, so tell me how to lay her down there. Sit, sit, you poor thingy, I'll assist you" And he jumped on the stage. "Do you want her legs spread this way?" he asked opening
up her legs so that her whole anatomy was showing.
"Is this ok for you?" He winked at me: "Is it good?"
"Oh no, can’t show it like this at the mid-semester show." Thinking some I added: " Let it be, lift her leg a little higher, like this. Turn her head down."
"Like this?" He kissed her on the lips.
"Alex, the fuck you're doing, I don’t have any time."
"Work, keep drawing, go on!" he said. "We won’t disturb you."
I was outraged after I just washed everything off my canvas ready to work, but this wasn't going anywhere. I kept asking Alex what did he mean by not disturbing me when he messed everything up. I heard the girls laughing trills. "For real, he is ill!"
"The sick can be cured." Insisted Alex. "Will hill him." He slurred.
Of course, I own them my very life. If it weren't for them –- that’s it, finito.
Kissing her on the lips and winking at me Alex continued bugging me: “Is this right?”
For like ten minutes I was staring in the infinity in the emptiness… Then I yelled: "Why are you sucking her? Get away from her, let her lay there quietly."
Only to hear some nonsensical mumbling.
"But I want you to work on the position, is this position right?"
"Right, just fuck off of her."
Meanwhile Kuz, I noticed, was taking off his pants. He said: “Let him go fuck himself. Motherfucker is gonna fuck us up today, if he doesn’t want it, so fuck it.”
Now I thought I knew what they wanted from me.
I saw Alex’s naked butt as he laid on the stage, banging the girl and his ass wiggled.
I started sketching their nude asses.
My consciousness was still in the process of transforming.
I thought of how interesting were their poses.
Lorenzo came up to me and took the brushes from my hands placing all in my field easel he closed up.
"Listen, J-man, you’re being a fucking buzzkill. Go draw some vases, fuck off to another studio. You don’t want it. For free?"
I didn't understand him what did he mean. He explained:
"What do you see Alex is doing right now?"
"He is fucking his girlfriend." I said.
Lorenzo continued:
"Whose girlfriend? What we have here is a
scientist, from the med school who is helping us in our artistic quests, to understand the core of anatomy not only from the outside but from the inside. I recommend you, in order to comprehend, as you must know, you can only know the truth from the inside, experiencing the inside, to understand the outside. That’s why I seize the brushes. Here is another glass of wine. Drink!"
I looked at him as a doctor listening to his drunken bullshit.
"The most important thing for you is to understand from the inside. See, you can’t understand it from the outside, it’s not how things are done."
"Yes knowing the internal anatomy helps, take a muscle, body doesn’t exist without muscles." I agreed.
"Hell yeah, yeah… ha ha…that’s what I am going about. Look how Alex is working how he is learning."
I looked at the bare ass's motions back and forth, at the girl who was lifting her legs and actively moving her hips. Alex jumped off, wiped up his cock with the drapery, he also wiped out the girl. “Who is next?”
Kuz was kissing her from one side, when Lorenzo said:
"He worked very hard today, he must learn from the inside. You see, because he just can’t break through the inside."
When Kuz was mounting her, Lorenzo spanked him loudly:
"You can wait, the man needs the muse, get it? Understanding the Muse comes only from the inside.." They all bust into laughter.
Lorenzo nearly helped my cock inside the girl cheering on: "Just do it, little one, everything is gonna be great. Honey, turn him back into a soldier that we've lost."
"The man is gone, the man known yesterday is not the man you meet, forever, around the corner, in London or in the street..." chanted Nick appearing from nowhere. He continued slurring his poems.
Hearing the noise I didn’t know what’s going on as I kissed her breasts.
"Feel the forms." I heard the racket near by as I was buzzing off the wine and licking the girl's body. On the other side Lorenzo had joined in groping her breasts. To be more at ease I moved her body closer to the stage’s edge. I was on top.
I didn't hear any sounds of music, the entry door was covered with the draperies as the orgy just steamed up for the whole night.
I woke up on the stage from loud knocking.
The art students asked me what happened to the busted still life set.
I exhaled my dragon breath to hear no more questions. Took my coat and left the building. Walking the street I met Alex.
"Your face is not yet blushed, your eyes are a bit foggy, can’t say anything after the sleepless night. Like Cures Like."
He grinned getting money out of his pocket. "Let us get some treatment."
We walked to the known spot for aching heads gathering.
Unsure on the specific spec of this Dacia Denem Estate, so just going off of the badges on the back! Perhaps the most surprising car to see at the show, I had no idea a Dacia Estate was made at this time. Having sat inside this, the seats were surprisingly comfy although I can imagine it isn't amazing to drive. Kudos to whoever imported this in July 2018!
G501 ATL
Specific perfection ENB www.nexusmods.com/skyrim/mods/62978/?
Thanatos Dragon www.nexusmods.com/skyrim/mods/31229/?
Parois lambrissées en platane avec incrustation de bouquets de fleurs en pâte de verre de Lalique.
Translation / Traduction 🇬🇧 UK
Paneled wood paneling in plane with inlays of flowers in Lalique glass paste.
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Georges Nagelmackers
Né le 25 juin 1845 à Liège et mort le 10 juillet 1905 à Villepreux, est un ingénieur civil et industriel belge, fondateur de la Compagnie des wagons-lits et de la Compagnie internationale des Grands Hôtels.
Il est le créateur des grands trains de luxe européens et notamment du premier Orient-Express.
Translation / Traduction 🇬🇧 UK
Georges Nagelmackers
Born on June 25, 1845 in Liège and died on July 10, 1905 in Villepreux, is a Belgian civil and industrial engineer, founder of the Compagnie des carriages-lit and the Compagnie internationale des Grands Hôtels.
He is the creator of the great European luxury trains, especially the first Orient Express.
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L'Orient-Express est un train de luxe créé par la Compagnie internationale des wagons-lits (CIWL) qui, depuis 1883, assure la liaison entre Paris, Vienne, ainsi que Venise, à partir de 1919, et Constantinople ( puis Istanbul ), desservant plusieurs capitales de nations européennes. Dans les années 1920, avec des artistes-décorateurs comme René Prou ou bien René Lalique, le style « Orient-Express » atteignit son apogée. C'est après plusieurs changements d'itinéraire, deux guerres et enfin par l'abaissement continu de son prestige pendant la Guerre froide, que le service quotidien Direct-Orient-Express vers Istanbul et Athènes cessa en 1977, vaincu par la faiblesse de sa vitesse commerciale (à peine 55 km/h vers la fin) due aux interminables arrêts douaniers dans les pays communistes traversés, ainsi qu'à l'état obsolète de leurs réseaux, et malmené par la concurrence grandissante de l'aviation de masse........
Source:
fr.wikipedia.org/wiki/Orient-Express#Pullman_Orient-Express
Voitures Pullman CIWL
Les voitures Pullman de la CIWL sont des voitures-salon construites à la fin des années 1920.
Elles proposaient, dans un cadre raffiné, des fauteuils individuels en vis-à-vis autour d'une table pour 2 avec lampe. La prestation sera élargie à la deuxième classe ( avec banquettes à la place des fauteuils ).
Description
On dénombre 4 séries de voitures Pullman et 211 unités.
Type « Sud-Express »
Pour moderniser le Sud-Express, la CIWL reçoit en 1926 ;
• 10 voitures-salon (n° 2737 à 2748) construites par la Société Lorraine des anciens établissements de Dietrich et correspondant à 5 couplages d'une voiture de 24 places et d'une voiture de 18 places avec cuisine pour restauration à la place dans les 2 voitures.
• 3 voitures supplémentaires avec cuisine (n° 2839 à 2841) construites par Dyle & Bacalan (Royaume-Uni).
Les dernières voitures de ce type ont circulé jusqu'en 1971.
Type « Flèche d'Or »
En 1926, pour son nouveau train Paris - Londres « la Flèche d'or », la CIWL prend livraison de :
• 1926 : 15 voitures de 24 places avec cuisine n° 4001 à 4015 construites par BRC
• 1926 : 15 voitures de 32 places (8 baies) sans cuisine n°4016-4030 construites par Metropolitan
• 1926 : 15 autres couplages (n° 4051 à 4080 avec et sans cuisine) réalisées par Metropolitan.
Les dernières voitures de ce type ont circulé jusqu'en 1969.
• 1927 : 30 voitures supplémentaires construites par CGC (n° 4031 à 4050) et BRC (n° 4081 à 4090)
Type « Étoile du Nord »
Soucieuse d'élargir sa clientèle à la 2e classe, la CIWL fait construire en 1927 :
• 20 voitures de 38 places avec cuisine (n° 4091 à 4110)
• 20 voitures de 51 places (n° 4111 à 4130)
Elles sont utilisées sur la liaison Paris - Amsterdam « Étoile du nord » en couplage d'une voiture de 1re classe avec deux voitures offrant des places de deuxièmes classes (voitures avec banquettes).
Type « Côte d'Azur »
Les voitures les plus luxueuses entrent en service sur la liaison Paris - Vintimille (« Train bleu ») en décembre 1929. Il s'agit de 34 voitures (n° 4131 à 4164) réalisées par EIC en deux lots :
• voitures de 20 places avec cuisine
• voitures de 28 places.
Ces voitures de première classe disposent de 7 baies élargies. Les fauteuils sont plus larges et inclinables.
Ces deux derniers modèles de voitures ont circulé respectivement jusqu'en 1963 et 1969.
Voitures particulières
• 1951 : les voitures 4160, 4162 et 4164 sont repeintes aux couleurs du train bleu
• 1967 : la 4013 devient une voiture-douches pour trains de croisières affrétés
• 1975 : la 4148 devient une voiture-bar pour rames affrétées.
Source:
fr.wikipedia.org/wiki/Voitures_Pullman_CIWL
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Piano Petrof
Petrof est la plus grande manufacture européenne de pianos (en nombre d'instruments fabriqués) actuelle (2019). L'entreprise, familiale, a été fondée en 1864 par Anthony Petrof, facteur (constructeur) tchèque de pianos. Elle est aujourd'hui une des rares marques indépendantes (pas de capitaux étrangers au capital social de l'entreprise).
Histoire :
Le premier piano de l'entreprise Petrof a été construit en 1864 à Hradec Králové, en République tchèque. C'est en 1894 que l'entreprise, d'abord orientée sur le marché local, s'ouvre à l'exportation. Une filiale est du reste ouverte l'année suivante à Temesvar, en Hongrie. En 1928, une filiale est ouverte à Londres, en collaboration avec le prestigieux facteur Steinway & sons.
En 1948, l'entreprise est nationalisée. Un département de recherches sur les pianos droits et à queue s'ouvre en 1954.
La famille Petrof revient aux commandes en 1991. Jack Petrof prend la tête de l'entreprise; il s'agit de la quatrième génération. En 1994, un nouveau centre de recherches s'ouvre, moderne et doté de la chambre insonorisée la plus grande du moment en République tchèque. En 2004, enfin, l'entreprise passe aux mains de la cinquième génération de Petrof ; elle est dirigée par Zuzana Ceralová Petrofová. Petrof est à présent représenté partout dans le monde, excepté en Afrique.
Source:
Translation / Traduction 🇬🇧 UK
Piano Petrof
Petrof is Europe's largest pianos factory (in number of instruments manufactured) today (2019). The family-owned company was founded in 1864 by Anthony Petrof, Czech pianos manufacturer. Today, it is one of the few independent brands (no foreign capital to the company's capital stock).
History:
Le premier piano de l'entreprise Petrof a été construit en 1864 à Hradec Králové, en République tchèque. C'est en 1894 que l'entreprise, d'abord orientée sur le marché local, s'ouvre à l'exportation. Une filiale est du reste ouverte l'année suivante à Temesvar, en Hongrie. En 1928, une filiale est ouverte à Londres, en collaboration avec le prestigieux facteur Steinway & sons.
In 1948, the company was nationalized. A research department on straight and tail pianos opened in 1954.
The Petrof family came to power in 1991. Jack Petrof takes the lead; this is the fourth generation. In 1994, a new research center opened, modern and equipped with the largest soundproofed room of the moment in the Czech Republic. Finally, in 2004, the company took over the fifth generation of Petrof; it is headed by Zuzana Ceralová Petrofová. Petrof is now represented all over the world, except in Africa.
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Voyage en train à bord de l’Orient Express
Il y a des voyages et des trains mythiques. Il y a des noms qui restent les symboles d’une époque. Le Transsibérien et le voyage de luxe dans l’Orient Express ont fait et font toujours rêver certains. Les guerres, le communisme, la recherche de la vitesse, de l’efficacité, au détriment de l’expérience si spécifique d’un long voyage en train ainsi que la concurrence de l’avion ont peu à peu étouffé cette correspondance de légende. Mais certaines légendes renaissent par la passion et l’obsession de certains. Il en fut ainsi pour Sir James Sherwood qui, pour le plus grand bonheur des amoureux du train, ressuscita avec une patience méticuleuse la riche histoire de l’Orient Express.
– VOYAGE A BORD DE L’ORIENT EXPRESS –
Voyager à bord de l’Orient Express ce n’est pas un simple transport d’un point A au point B. L’Orient Express est le train des rois et le roi des trains dans le digne héritage de son ingénieur le belge Georges Nagelmakers. Voyage à bord de ce train mythique, c’est la promesse d’une aventure en train chic, exclusive, luxueuse. Un projet idéal pour une escapade romantique. Le raffinement au bord de l’Orient Express n’est en rien tapageur, il représente l’essence même de cet engagement de porter avec justice et justesse une certaine idée du luxe.
Source :
www.bien-voyager.com/voyage-a-bord-de-lorient-express/
Translation / Traduction 🇬🇧 UK
Journey by train on the Orient Express
There are mythical journeys and trains. There are names that remain symbols of an era. The Transsiberian and the luxury trip in the Orient Express have made and still make some people dream. Wars, communism, the search for speed, efficiency, to the detriment of the so specific experience of a long train journey and the competition of the plane have gradually stifled this correspondence of legend. But some legends are reborn by the passion and obsession of some. This was the case for Sir James Sherwood, who, to the delight of the train lovers, revived with meticulous patience the rich history of the Orient Express.
- TRAVEL ON THE EAST EXPRESS -
Traveling on the Orient Express is not just a transport from point A to point B. The Orient Express is the king of the kings and the king of the trains in the worthy legacy of his engineer, the Belgian Georges Nagelmakers. Traveling on this legendary train promises a chic, exclusive, luxurious train adventure. An ideal project for a romantic getaway. The refinement on the banks of the Orient Express is not in any way glaring, it represents the essence of this commitment to bring justice and justice to a certain idea of luxury.
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La Compagnie Internationale des Wagons-Lits et des Grands Express Européens en 1960
la CIWL en 1960
www.codimage.fr/pages/histoire-de-la-ciwl.html
Venice Simplon-Orient-Express
www.belmond.com/fr/trains/europe/venice-simplon-orient-ex...
Voyage d’exception dans un Train de Luxe. ( Calais - Paris - Venise ) / An exceptional trip on a Luxury Train
It's Freight Car Friday but instead of a specific car this week is just a simple view of the classic all American mixed freight train. It's heavy with boxcars including older Plate C cars and modern high cube Plate Fs along with a nice mix of gondolas, tank cars, covered hoppers, coiled steel cars, and center beam flat cars....a true modelers delight.
This is Norfolk Southern train 14Z, a Knoxville to Allentown manifest that came off the Pulaski District from Bristol and points south at Walton just a couple miles behind them.
They are approaching the Switchback Road grade crossing on Main 1 of modern day NS' Christianburg District at about MP N295.5 as they pass beneath the famous Vicker coal tower. This imposing structure was built in 1951 as a further example of the N&W's commitment to steam far longer than many other Class 1s. Alas it only served a short nine years before the last fire was dropped in May 1960. Prior to this being built there was a fascinating balloon loop trestle and loaded coal hoppers were spotted atop it to load coal directly from the railcar into the tender of a steam locomotive below.
Montgomery County, Virginia
Saturday March 30, 2024
What is Alpha Company?
Alpha Company is a highly-specific themed-based military MOC group, centered around a fictional part modern, part sci-fi Infantry Company in an alternative timeline of the contemporary world.
What are the Alpha Company Forums' goals?
- Develop and Promote the fan-created Prometheus Saga alternative universe canon, including background stories, official models, building instructions and other resources, made freely available for fans to create derivative works.
- Foster a spirit of friendship and international cooperation amongst Fans of Lego (FOLs) by providing the resources for staff-moderated community-driven projects.
- Encourage a higher level of building quality and graphical design by exposing members to the works of critically-acclaimed builders, minifigure customisers and decal designers, providing opportunities to learn from their work through detailed "Behind The Scenes" deconstruction.
- Promote the proliferation of baseline LEGO Military models for customisation and integration into collaborative displays at Lego Fan Conventions and other public events.
- Allow members to participate in role-play Infantry, Airborne and Armored Company units inspired by the structure and characteristics of real-life organised Armed Forces, or to create new units based on those officially accepted as canon.
Who founded Alpha Company, and when?
Alpha Company was founded in 2007 by Adam "kaboom" Dufrense, Chandler Parker and Robin "GreenLead" Chang, operating initially as a group within the BrickArms Forums. The group officially opened its own forums as an independent entity on July 4, 2009.
For more information, visit : www.alphacompanyforums.com/
We took an all-day photography tour with Oahu Photography Tour. It was a lot of fun. I recommend it highly.
Our second stop was at Waimea Valley Botanical Garden.
en.wikipedia.org/wiki/Waimea_Valley
Waimea Valley is an area of historic cultural significance on the North Shore of Oahu, Hawaii. The valley, being an important place in Hawaiian religion, includes several historical structures including stone terraces and walls constructed during the time of the Hawaiian monarchy. The nutrient-rich volcanic soil combined with a rainy environment provided the resourceful Hawaiians of the area the opportunity to create one of the most prosperous farming communities in all of Polynesia. The area had complex fish ponds, domesticated animal pens, various large farming beds, and was famous for the cultivation of pink taro root stock, a coveted item to the Ali`i (the Hawaiian elite).[1][2] Much of the garden floor was once cultivated for taro, sweet potato, and bananas, with new crops and orchards introduced by Europeans after their arrival.
Formerly known as the Waimea Valley Audubon Center and the Waimea Arboretum and Botanical Garden, the Waimea Valley is a historical nature park including botanical gardens. It is located at 59-864 Kamehameha Highway, Haleiwa, Oahu, Hawaii and is open daily except for Christmas and New Year's Day; an admission fee is charged.
www.waimeavalley.net/admission
Google AI
The plant is likely a Quesnelia marmorata, also known as the "Grecian Urn Plant".
It is a species of bromeliad native to the Atlantic Forest ecoregion of southeastern Brazil.
The plant is known for its tall, narrow, silver-green leaves with mottled or marbled bands that curve outwards at the top.
A specific cultivar, 'Tim Plowman', is prized for its tightly curled leaf tips that form an almost perfect "O" shape.
It typically grows to a height of 14-18 inches and produces flowers with pinkish maroon bracts and lavender-blue petals.
en.wikipedia.org/wiki/Quesnelia_marmorata
Quesnelia marmorata is a species of flowering plant in the family Bromeliaceae, endemic to the Atlantic Forest ecoregion of southeastern Brazil.[1][2]
Hawaii 2025
Oahu 2025
MCA Museum of Contemporary Art Chicago
From the Tropics with Love
Mexico City–based architecture firm Pedro y Juana (Ana Paula Ruiz Galindo and Mecky Reuss) created the site-specific installation
mcachicago.org/Exhibitions/Pedro-Y-Juana-From-The-Tropics...
Coronavirus disease 2019 (COVID-19) is an infectious disease caused by severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2).[8] The disease was first identified in December 2019 in Wuhan, the capital of China's Hubei province, and has since spread globally, resulting in the ongoing 2019–20 coronavirus pandemic.[9][10] As of 26 April 2020, more than 2.89 million cases have been reported across 185 countries and territories, resulting in more than 203,000 deaths. More than 822,000 people have recovered.[7]
Common symptoms include fever, cough, fatigue, shortness of breath and loss of smell.[5][11][12] While the majority of cases result in mild symptoms, some progress to viral pneumonia, multi-organ failure, or cytokine storm.[13][9][14] More concerning symptoms include difficulty breathing, persistent chest pain, confusion, difficulty waking, and bluish skin.[5] The time from exposure to onset of symptoms is typically around five days but may range from two to fourteen days.[5][15]
The virus is primarily spread between people during close contact,[a] often via small droplets produced by coughing,[b] sneezing, or talking.[6][16][18] The droplets usually fall to the ground or onto surfaces rather than remaining in the air over long distances.[6][19][20] People may also become infected by touching a contaminated surface and then touching their face.[6][16] In experimental settings, the virus may survive on surfaces for up to 72 hours.[21][22][23] It is most contagious during the first three days after the onset of symptoms, although spread may be possible before symptoms appear and in later stages of the disease.[24] The standard method of diagnosis is by real-time reverse transcription polymerase chain reaction (rRT-PCR) from a nasopharyngeal swab.[25] Chest CT imaging may also be helpful for diagnosis in individuals where there is a high suspicion of infection based on symptoms and risk factors; however, guidelines do not recommend using it for routine screening.[26][27]
Recommended measures to prevent infection include frequent hand washing, maintaining physical distance from others (especially from those with symptoms), covering coughs, and keeping unwashed hands away from the face.[28][29] In addition, the use of a face covering is recommended for those who suspect they have the virus and their caregivers.[30][31] Recommendations for face covering use by the general public vary, with some authorities recommending against their use, some recommending their use, and others requiring their use.[32][31][33] Currently, there is not enough evidence for or against the use of masks (medical or other) in healthy individuals in the wider community.[6] Also masks purchased by the public may impact availability for health care providers.
Currently, there is no vaccine or specific antiviral treatment for COVID-19.[6] Management involves the treatment of symptoms, supportive care, isolation, and experimental measures.[34] The World Health Organization (WHO) declared the 2019–20 coronavirus outbreak a Public Health Emergency of International Concern (PHEIC)[35][36] on 30 January 2020 and a pandemic on 11 March 2020.[10] Local transmission of the disease has occurred in most countries across all six WHO regions.[37]
File:En.Wikipedia-VideoWiki-Coronavirus disease 2019.webm
Video summary (script)
Contents
1Signs and symptoms
2Cause
2.1Transmission
2.2Virology
3Pathophysiology
3.1Immunopathology
4Diagnosis
4.1Pathology
5Prevention
6Management
6.1Medications
6.2Protective equipment
6.3Mechanical ventilation
6.4Acute respiratory distress syndrome
6.5Experimental treatment
6.6Information technology
6.7Psychological support
7Prognosis
7.1Reinfection
8History
9Epidemiology
9.1Infection fatality rate
9.2Sex differences
10Society and culture
10.1Name
10.2Misinformation
10.3Protests
11Other animals
12Research
12.1Vaccine
12.2Medications
12.3Anti-cytokine storm
12.4Passive antibodies
13See also
14Notes
15References
16External links
16.1Health agencies
16.2Directories
16.3Medical journals
Signs and symptoms
Symptom[4]Range
Fever83–99%
Cough59–82%
Loss of Appetite40–84%
Fatigue44–70%
Shortness of breath31–40%
Coughing up sputum28–33%
Loss of smell15[38] to 30%[12][39]
Muscle aches and pains11–35%
Fever is the most common symptom, although some older people and those with other health problems experience fever later in the disease.[4][40] In one study, 44% of people had fever when they presented to the hospital, while 89% went on to develop fever at some point during their hospitalization.[4][41]
Other common symptoms include cough, loss of appetite, fatigue, shortness of breath, sputum production, and muscle and joint pains.[4][5][42][43] Symptoms such as nausea, vomiting and diarrhoea have been observed in varying percentages.[44][45][46] Less common symptoms include sneezing, runny nose, or sore throat.[47]
More serious symptoms include difficulty breathing, persistent chest pain or pressure, confusion, difficulty waking, and bluish face or lips. Immediate medical attention is advised if these symptoms are present.[5][48]
In some, the disease may progress to pneumonia, multi-organ failure, and death.[9][14] In those who develop severe symptoms, time from symptom onset to needing mechanical ventilation is typically eight days.[4] Some cases in China initially presented with only chest tightness and palpitations.[49]
Loss of smell was identified as a common symptom of COVID‑19 in March 2020,[12][39] although perhaps not as common as initially reported.[38] A decreased sense of smell and/or disturbances in taste have also been reported.[50] Estimates for loss of smell range from 15%[38] to 30%.[12][39]
As is common with infections, there is a delay between the moment a person is first infected and the time he or she develops symptoms. This is called the incubation period. The incubation period for COVID‑19 is typically five to six days but may range from two to 14 days,[51][52] although 97.5% of people who develop symptoms will do so within 11.5 days of infection.[53]
A minority of cases do not develop noticeable symptoms at any point in time.[54][55] These asymptomatic carriers tend not to get tested, and their role in transmission is not yet fully known.[56][57] However, preliminary evidence suggests they may contribute to the spread of the disease.[58][59] In March 2020, the Korea Centers for Disease Control and Prevention (KCDC) reported that 20% of confirmed cases remained asymptomatic during their hospital stay.[59][60]
A number of neurological symptoms has been reported including seizures, stroke, encephalitis and Guillain-Barre syndrome.[61] Cardiovascular related complications may include heart failure, irregular electrical activity, blood clots, and heart inflammation.[62]
Cause
See also: Severe acute respiratory syndrome coronavirus 2
Transmission
Cough/sneeze droplets visualised in dark background using Tyndall scattering
Respiratory droplets produced when a man is sneezing visualised using Tyndall scattering
File:COVID19 in numbers- R0, the case fatality rate and why we need to flatten the curve.webm
A video discussing the basic reproduction number and case fatality rate in the context of the pandemic
Some details about how the disease is spread are still being determined.[16][18] The WHO and the U.S. Centers for Disease Control and Prevention (CDC) say it is primarily spread during close contact and by small droplets produced when people cough, sneeze or talk;[6][16] with close contact being within approximately 1–2 m (3–7 ft).[6][63] Both sputum and saliva can carry large viral loads.[64] Loud talking releases more droplets than normal talking.[65] A study in Singapore found that an uncovered cough can lead to droplets travelling up to 4.5 metres (15 feet).[66] An article published in March 2020 argued that advice on droplet distance might be based on 1930s research which ignored the effects of warm moist exhaled air surrounding the droplets and that an uncovered cough or sneeze can travel up to 8.2 metres (27 feet).[17]
Respiratory droplets may also be produced while breathing out, including when talking. Though the virus is not generally airborne,[6][67] the National Academy of Sciences has suggested that bioaerosol transmission may be possible.[68] In one study cited, air collectors positioned in the hallway outside of people's rooms yielded samples positive for viral RNA but finding infectious virus has proven elusive.[68] The droplets can land in the mouths or noses of people who are nearby or possibly be inhaled into the lungs.[16] Some medical procedures such as intubation and cardiopulmonary resuscitation (CPR) may cause respiratory secretions to be aerosolised and thus result in an airborne spread.[67] Initial studies suggested a doubling time of the number of infected persons of 6–7 days and a basic reproduction number (R0 ) of 2.2–2.7, but a study published on April 7, 2020, calculated a much higher median R0 value of 5.7 in Wuhan.[69]
It may also spread when one touches a contaminated surface, known as fomite transmission, and then touches one's eyes, nose or mouth.[6] While there are concerns it may spread via faeces, this risk is believed to be low.[6][16]
The virus is most contagious when people are symptomatic; though spread is may be possible before symptoms emerge and from those who never develop symptoms.[6][70] A portion of individuals with coronavirus lack symptoms.[71] The European Centre for Disease Prevention and Control (ECDC) says while it is not entirely clear how easily the disease spreads, one person generally infects two or three others.[18]
The virus survives for hours to days on surfaces.[6][18] Specifically, the virus was found to be detectable for one day on cardboard, for up to three days on plastic (polypropylene) and stainless steel (AISI 304), and for up to four hours on 99% copper.[21][23] This, however, varies depending on the humidity and temperature.[72][73] Surfaces may be decontaminated with many solutions (with one minute of exposure to the product achieving a 4 or more log reduction (99.99% reduction)), including 78–95% ethanol (alcohol used in spirits), 70–100% 2-propanol (isopropyl alcohol), the combination of 45% 2-propanol with 30% 1-propanol, 0.21% sodium hypochlorite (bleach), 0.5% hydrogen peroxide, or 0.23–7.5% povidone-iodine. Soap and detergent are also effective if correctly used; soap products degrade the virus' fatty protective layer, deactivating it, as well as freeing them from the skin and other surfaces.[74] Other solutions, such as benzalkonium chloride and chlorhexidine gluconate (a surgical disinfectant), are less effective.[75]
In a Hong Kong study, saliva samples were taken a median of two days after the start of hospitalization. In five of six patients, the first sample showed the highest viral load, and the sixth patient showed the highest viral load on the second day tested.[64]
Virology
Main article: Severe acute respiratory syndrome coronavirus 2
Illustration of SARSr-CoV virion
Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2) is a novel severe acute respiratory syndrome coronavirus, first isolated from three people with pneumonia connected to the cluster of acute respiratory illness cases in Wuhan.[76] All features of the novel SARS-CoV-2 virus occur in related coronaviruses in nature.[77] Outside the human body, the virus is killed by household soap, which bursts its protective bubble.[26]
SARS-CoV-2 is closely related to the original SARS-CoV.[78] It is thought to have a zoonotic origin. Genetic analysis has revealed that the coronavirus genetically clusters with the genus Betacoronavirus, in subgenus Sarbecovirus (lineage B) together with two bat-derived strains. It is 96% identical at the whole genome level to other bat coronavirus samples (BatCov RaTG13).[47] In February 2020, Chinese researchers found that there is only one amino acid difference in the binding domain of the S protein between the coronaviruses from pangolins and those from humans; however, whole-genome comparison to date found that at most 92% of genetic material was shared between pangolin coronavirus and SARS-CoV-2, which is insufficient to prove pangolins to be the intermediate host.[79]
Pathophysiology
The lungs are the organs most affected by COVID‑19 because the virus accesses host cells via the enzyme angiotensin-converting enzyme 2 (ACE2), which is most abundant in type II alveolar cells of the lungs. The virus uses a special surface glycoprotein called a "spike" (peplomer) to connect to ACE2 and enter the host cell.[80] The density of ACE2 in each tissue correlates with the severity of the disease in that tissue and some have suggested that decreasing ACE2 activity might be protective,[81][82] though another view is that increasing ACE2 using angiotensin II receptor blocker medications could be protective and these hypotheses need to be tested.[83] As the alveolar disease progresses, respiratory failure might develop and death may follow.[82]
The virus also affects gastrointestinal organs as ACE2 is abundantly expressed in the glandular cells of gastric, duodenal and rectal epithelium[84] as well as endothelial cells and enterocytes of the small intestine.[85]
ACE2 is present in the brain, and there is growing evidence of neurological manifestations in people with COVID‑19. It is not certain if the virus can directly infect the brain by crossing the barriers that separate the circulation of the brain and the general circulation. Other coronaviruses are able to infect the brain via a synaptic route to the respiratory centre in the medulla, through mechanoreceptors like pulmonary stretch receptors and chemoreceptors (primarily central chemoreceptors) within the lungs.[medical citation needed] It is possible that dysfunction within the respiratory centre further worsens the ARDS seen in COVID‑19 patients. Common neurological presentations include a loss of smell, headaches, nausea, and vomiting. Encephalopathy has been noted to occur in some patients (and confirmed with imaging), with some reports of detection of the virus after cerebrospinal fluid assays although the presence of oligoclonal bands seems to be a common denominator in these patients.[86]
The virus can cause acute myocardial injury and chronic damage to the cardiovascular system.[87] An acute cardiac injury was found in 12% of infected people admitted to the hospital in Wuhan, China,[88] and is more frequent in severe disease.[89] Rates of cardiovascular symptoms are high, owing to the systemic inflammatory response and immune system disorders during disease progression, but acute myocardial injuries may also be related to ACE2 receptors in the heart.[87] ACE2 receptors are highly expressed in the heart and are involved in heart function.[87][90] A high incidence of thrombosis (31%) and venous thromboembolism (25%) have been found in ICU patients with COVID‑19 infections and may be related to poor prognosis.[91][92] Blood vessel dysfunction and clot formation (as suggested by high D-dimer levels) are thought to play a significant role in mortality, incidences of clots leading to pulmonary embolisms, and ischaemic events within the brain have been noted as complications leading to death in patients infected with SARS-CoV-2. Infection appears to set off a chain of vasoconstrictive responses within the body, constriction of blood vessels within the pulmonary circulation has also been posited as a mechanism in which oxygenation decreases alongside with the presentation of viral pneumonia.[93]
Another common cause of death is complications related to the kidneys[93]—SARS-CoV-2 directly infects kidney cells, as confirmed in post-mortem studies. Acute kidney injury is a common complication and cause of death; this is more significant in patients with already compromised kidney function, especially in people with pre-existing chronic conditions such as hypertension and diabetes which specifically cause nephropathy in the long run.[94]
Autopsies of people who died of COVID‑19 have found diffuse alveolar damage (DAD), and lymphocyte-containing inflammatory infiltrates within the lung.[95]
Immunopathology
Although SARS-COV-2 has a tropism for ACE2-expressing epithelial cells of the respiratory tract, patients with severe COVID‑19 have symptoms of systemic hyperinflammation. Clinical laboratory findings of elevated IL-2, IL-7, IL-6, granulocyte-macrophage colony-stimulating factor (GM-CSF), interferon-γ inducible protein 10 (IP-10), monocyte chemoattractant protein 1 (MCP-1), macrophage inflammatory protein 1-α (MIP-1α), and tumour necrosis factor-α (TNF-α) indicative of cytokine release syndrome (CRS) suggest an underlying immunopathology.[96]
Additionally, people with COVID‑19 and acute respiratory distress syndrome (ARDS) have classical serum biomarkers of CRS, including elevated C-reactive protein (CRP), lactate dehydrogenase (LDH), D-dimer, and ferritin.[97]
Systemic inflammation results in vasodilation, allowing inflammatory lymphocytic and monocytic infiltration of the lung and the heart. In particular, pathogenic GM-CSF-secreting T-cells were shown to correlate with the recruitment of inflammatory IL-6-secreting monocytes and severe lung pathology in COVID‑19 patients.[98] Lymphocytic infiltrates have also been reported at autopsy.[95]
Diagnosis
Main article: COVID-19 testing
Demonstration of a nasopharyngeal swab for COVID-19 testing
CDC rRT-PCR test kit for COVID-19[99]
The WHO has published several testing protocols for the disease.[100] The standard method of testing is real-time reverse transcription polymerase chain reaction (rRT-PCR).[101] The test is typically done on respiratory samples obtained by a nasopharyngeal swab; however, a nasal swab or sputum sample may also be used.[25][102] Results are generally available within a few hours to two days.[103][104] Blood tests can be used, but these require two blood samples taken two weeks apart, and the results have little immediate value.[105] Chinese scientists were able to isolate a strain of the coronavirus and publish the genetic sequence so laboratories across the world could independently develop polymerase chain reaction (PCR) tests to detect infection by the virus.[9][106][107] As of 4 April 2020, antibody tests (which may detect active infections and whether a person had been infected in the past) were in development, but not yet widely used.[108][109][110] The Chinese experience with testing has shown the accuracy is only 60 to 70%.[111] The FDA in the United States approved the first point-of-care test on 21 March 2020 for use at the end of that month.[112]
Diagnostic guidelines released by Zhongnan Hospital of Wuhan University suggested methods for detecting infections based upon clinical features and epidemiological risk. These involved identifying people who had at least two of the following symptoms in addition to a history of travel to Wuhan or contact with other infected people: fever, imaging features of pneumonia, normal or reduced white blood cell count, or reduced lymphocyte count.[113]
A study asked hospitalised COVID‑19 patients to cough into a sterile container, thus producing a saliva sample, and detected the virus in eleven of twelve patients using RT-PCR. This technique has the potential of being quicker than a swab and involving less risk to health care workers (collection at home or in the car).[64]
Along with laboratory testing, chest CT scans may be helpful to diagnose COVID-19 in individuals with a high clinical suspicion of infection but are not recommended for routine screening.[26][27] Bilateral multilobar ground-glass opacities with a peripheral, asymmetric, and posterior distribution are common in early infection.[26] Subpleural dominance, crazy paving (lobular septal thickening with variable alveolar filling), and consolidation may appear as the disease progresses.[26][114]
In late 2019, WHO assigned the emergency ICD-10 disease codes U07.1 for deaths from lab-confirmed SARS-CoV-2 infection and U07.2 for deaths from clinically or epidemiologically diagnosed COVID‑19 without lab-confirmed SARS-CoV-2 infection.[115]
Typical CT imaging findings
CT imaging of rapid progression stage
Pathology
Few data are available about microscopic lesions and the pathophysiology of COVID‑19.[116][117] The main pathological findings at autopsy are:
Macroscopy: pleurisy, pericarditis, lung consolidation and pulmonary oedema
Four types of severity of viral pneumonia can be observed:
minor pneumonia: minor serous exudation, minor fibrin exudation
mild pneumonia: pulmonary oedema, pneumocyte hyperplasia, large atypical pneumocytes, interstitial inflammation with lymphocytic infiltration and multinucleated giant cell formation
severe pneumonia: diffuse alveolar damage (DAD) with diffuse alveolar exudates. DAD is the cause of acute respiratory distress syndrome (ARDS) and severe hypoxemia.
healing pneumonia: organisation of exudates in alveolar cavities and pulmonary interstitial fibrosis
plasmocytosis in BAL[118]
Blood: disseminated intravascular coagulation (DIC);[119] leukoerythroblastic reaction[120]
Liver: microvesicular steatosis
Prevention
See also: 2019–20 coronavirus pandemic § Prevention, flatten the curve, and workplace hazard controls for COVID-19
Progressively stronger mitigation efforts to reduce the number of active cases at any given time—known as "flattening the curve"—allows healthcare services to better manage the same volume of patients.[121][122][123] Likewise, progressively greater increases in healthcare capacity—called raising the line—such as by increasing bed count, personnel, and equipment, helps to meet increased demand.[124]
Mitigation attempts that are inadequate in strictness or duration—such as premature relaxation of distancing rules or stay-at-home orders—can allow a resurgence after the initial surge and mitigation.[122][125]
Preventive measures to reduce the chances of infection include staying at home, avoiding crowded places, keeping distance from others, washing hands with soap and water often and for at least 20 seconds, practising good respiratory hygiene, and avoiding touching the eyes, nose, or mouth with unwashed hands.[126][127][128] The CDC recommends covering the mouth and nose with a tissue when coughing or sneezing and recommends using the inside of the elbow if no tissue is available.[126] Proper hand hygiene after any cough or sneeze is encouraged.[126] The CDC has recommended the use of cloth face coverings in public settings where other social distancing measures are difficult to maintain, in part to limit transmission by asymptomatic individuals.[129] The U.S. National Institutes of Health guidelines do not recommend any medication for prevention of COVID‑19, before or after exposure to the SARS-CoV-2 virus, outside of the setting of a clinical trial.[130]
Social distancing strategies aim to reduce contact of infected persons with large groups by closing schools and workplaces, restricting travel, and cancelling large public gatherings.[131] Distancing guidelines also include that people stay at least 6 feet (1.8 m) apart.[132] There is no medication known to be effective at preventing COVID‑19.[133] After the implementation of social distancing and stay-at-home orders, many regions have been able to sustain an effective transmission rate ("Rt") of less than one, meaning the disease is in remission in those areas.[134]
As a vaccine is not expected until 2021 at the earliest,[135] a key part of managing COVID‑19 is trying to decrease the epidemic peak, known as "flattening the curve".[122] This is done by slowing the infection rate to decrease the risk of health services being overwhelmed, allowing for better treatment of current cases, and delaying additional cases until effective treatments or a vaccine become available.[122][125]
According to the WHO, the use of masks is recommended only if a person is coughing or sneezing or when one is taking care of someone with a suspected infection.[136] For the European Centre for Disease Prevention and Control (ECDC) face masks "... could be considered especially when visiting busy closed spaces ..." but "... only as a complementary measure ..."[137] Several countries have recommended that healthy individuals wear face masks or cloth face coverings (like scarves or bandanas) at least in certain public settings, including China,[138] Hong Kong,[139] Spain,[140] Italy (Lombardy region),[141] and the United States.[129]
Those diagnosed with COVID‑19 or who believe they may be infected are advised by the CDC to stay home except to get medical care, call ahead before visiting a healthcare provider, wear a face mask before entering the healthcare provider's office and when in any room or vehicle with another person, cover coughs and sneezes with a tissue, regularly wash hands with soap and water and avoid sharing personal household items.[30][142] The CDC also recommends that individuals wash hands often with soap and water for at least 20 seconds, especially after going to the toilet or when hands are visibly dirty, before eating and after blowing one's nose, coughing or sneezing. It further recommends using an alcohol-based hand sanitiser with at least 60% alcohol, but only when soap and water are not readily available.[126]
For areas where commercial hand sanitisers are not readily available, the WHO provides two formulations for local production. In these formulations, the antimicrobial activity arises from ethanol or isopropanol. Hydrogen peroxide is used to help eliminate bacterial spores in the alcohol; it is "not an active substance for hand antisepsis". Glycerol is added as a humectant.[143]
Prevention efforts are multiplicative, with effects far beyond that of a single spread. Each avoided case leads to more avoided cases down the line, which in turn can stop the outbreak in its tracks.
File:COVID19 W ENG.ogv
Handwashing instructions
Management
People are managed with supportive care, which may include fluid therapy, oxygen support, and supporting other affected vital organs.[144][145][146] The CDC recommends that those who suspect they carry the virus wear a simple face mask.[30] Extracorporeal membrane oxygenation (ECMO) has been used to address the issue of respiratory failure, but its benefits are still under consideration.[41][147] Personal hygiene and a healthy lifestyle and diet have been recommended to improve immunity.[148] Supportive treatments may be useful in those with mild symptoms at the early stage of infection.[149]
The WHO, the Chinese National Health Commission, and the United States' National Institutes of Health have published recommendations for taking care of people who are hospitalised with COVID‑19.[130][150][151] Intensivists and pulmonologists in the U.S. have compiled treatment recommendations from various agencies into a free resource, the IBCC.[152][153]
Medications
See also: Coronavirus disease 2019 § Research
As of April 2020, there is no specific treatment for COVID‑19.[6][133] Research is, however, ongoing. For symptoms, some medical professionals recommend paracetamol (acetaminophen) over ibuprofen for first-line use.[154][155][156] The WHO and NIH do not oppose the use of non-steroidal anti-inflammatory drugs (NSAIDs) such as ibuprofen for symptoms,[130][157] and the FDA says currently there is no evidence that NSAIDs worsen COVID‑19 symptoms.[158]
While theoretical concerns have been raised about ACE inhibitors and angiotensin receptor blockers, as of 19 March 2020, these are not sufficient to justify stopping these medications.[130][159][160][161] Steroids, such as methylprednisolone, are not recommended unless the disease is complicated by acute respiratory distress syndrome.[162][163]
Medications to prevent blood clotting have been suggested for treatment,[91] and anticoagulant therapy with low molecular weight heparin appears to be associated with better outcomes in severe COVID‐19 showing signs of coagulopathy (elevated D-dimer).[164]
Protective equipment
See also: COVID-19 related shortages
The CDC recommends four steps to putting on personal protective equipment (PPE).[165]
Precautions must be taken to minimise the risk of virus transmission, especially in healthcare settings when performing procedures that can generate aerosols, such as intubation or hand ventilation.[166] For healthcare professionals caring for people with COVID‑19, the CDC recommends placing the person in an Airborne Infection Isolation Room (AIIR) in addition to using standard precautions, contact precautions, and airborne precautions.[167]
The CDC outlines the guidelines for the use of personal protective equipment (PPE) during the pandemic. The recommended gear is a PPE gown, respirator or facemask, eye protection, and medical gloves.[168][169]
When available, respirators (instead of facemasks) are preferred.[170] N95 respirators are approved for industrial settings but the FDA has authorised the masks for use under an Emergency Use Authorisation (EUA). They are designed to protect from airborne particles like dust but effectiveness against a specific biological agent is not guaranteed for off-label uses.[171] When masks are not available, the CDC recommends using face shields or, as a last resort, homemade masks.[172]
Mechanical ventilation
Most cases of COVID‑19 are not severe enough to require mechanical ventilation or alternatives, but a percentage of cases are.[173][174] The type of respiratory support for individuals with COVID‑19 related respiratory failure is being actively studied for people in the hospital, with some evidence that intubation can be avoided with a high flow nasal cannula or bi-level positive airway pressure.[175] Whether either of these two leads to the same benefit for people who are critically ill is not known.[176] Some doctors prefer staying with invasive mechanical ventilation when available because this technique limits the spread of aerosol particles compared to a high flow nasal cannula.[173]
Severe cases are most common in older adults (those older than 60 years,[173] and especially those older than 80 years).[177] Many developed countries do not have enough hospital beds per capita, which limits a health system's capacity to handle a sudden spike in the number of COVID‑19 cases severe enough to require hospitalisation.[178] This limited capacity is a significant driver behind calls to flatten the curve.[178] One study in China found 5% were admitted to intensive care units, 2.3% needed mechanical support of ventilation, and 1.4% died.[41] In China, approximately 30% of people in hospital with COVID‑19 are eventually admitted to ICU.[4]
Acute respiratory distress syndrome
Main article: Acute respiratory distress syndrome
Mechanical ventilation becomes more complex as acute respiratory distress syndrome (ARDS) develops in COVID‑19 and oxygenation becomes increasingly difficult.[179] Ventilators capable of pressure control modes and high PEEP[180] are needed to maximise oxygen delivery while minimising the risk of ventilator-associated lung injury and pneumothorax.[181] High PEEP may not be available on older ventilators.
Options for ARDS[179]
TherapyRecommendations
High-flow nasal oxygenFor SpO2 <93%. May prevent the need for intubation and ventilation
Tidal volume6mL per kg and can be reduced to 4mL/kg
Plateau airway pressureKeep below 30 cmH2O if possible (high respiratory rate (35 per minute) may be required)
Positive end-expiratory pressureModerate to high levels
Prone positioningFor worsening oxygenation
Fluid managementGoal is a negative balance of 0.5–1.0L per day
AntibioticsFor secondary bacterial infections
GlucocorticoidsNot recommended
Experimental treatment
See also: § Research
Research into potential treatments started in January 2020,[182] and several antiviral drugs are in clinical trials.[183][184] Remdesivir appears to be the most promising.[133] Although new medications may take until 2021 to develop,[185] several of the medications being tested are already approved for other uses or are already in advanced testing.[186] Antiviral medication may be tried in people with severe disease.[144] The WHO recommended volunteers take part in trials of the effectiveness and safety of potential treatments.[187]
The FDA has granted temporary authorisation to convalescent plasma as an experimental treatment in cases where the person's life is seriously or immediately threatened. It has not undergone the clinical studies needed to show it is safe and effective for the disease.[188][189][190]
Information technology
See also: Contact tracing and Government by algorithm
In February 2020, China launched a mobile app to deal with the disease outbreak.[191] Users are asked to enter their name and ID number. The app can detect 'close contact' using surveillance data and therefore a potential risk of infection. Every user can also check the status of three other users. If a potential risk is detected, the app not only recommends self-quarantine, it also alerts local health officials.[192]
Big data analytics on cellphone data, facial recognition technology, mobile phone tracking, and artificial intelligence are used to track infected people and people whom they contacted in South Korea, Taiwan, and Singapore.[193][194] In March 2020, the Israeli government enabled security agencies to track mobile phone data of people supposed to have coronavirus. The measure was taken to enforce quarantine and protect those who may come into contact with infected citizens.[195] Also in March 2020, Deutsche Telekom shared aggregated phone location data with the German federal government agency, Robert Koch Institute, to research and prevent the spread of the virus.[196] Russia deployed facial recognition technology to detect quarantine breakers.[197] Italian regional health commissioner Giulio Gallera said he has been informed by mobile phone operators that "40% of people are continuing to move around anyway".[198] German government conducted a 48 hours weekend hackathon with more than 42.000 participants.[199][200] Two million people in the UK used an app developed in March 2020 by King's College London and Zoe to track people with COVID‑19 symptoms.[201] Also, the president of Estonia, Kersti Kaljulaid, made a global call for creative solutions against the spread of coronavirus.[202]
Psychological support
See also: Mental health during the 2019–20 coronavirus pandemic
Individuals may experience distress from quarantine, travel restrictions, side effects of treatment, or fear of the infection itself. To address these concerns, the National Health Commission of China published a national guideline for psychological crisis intervention on 27 January 2020.[203][204]
The Lancet published a 14-page call for action focusing on the UK and stated conditions were such that a range of mental health issues was likely to become more common. BBC quoted Rory O'Connor in saying, "Increased social isolation, loneliness, health anxiety, stress and an economic downturn are a perfect storm to harm people's mental health and wellbeing."[205][206]
Prognosis
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The severity of diagnosed cases in China
The severity of diagnosed COVID-19 cases in China[207]
Case fatality rates for COVID-19 by age by country.
Case fatality rates by age group:
China, as of 11 February 2020[208]
South Korea, as of 15 April 2020[209]
Spain, as of 24 April 2020[210]
Italy, as of 23 April 2020[211]
Case fatality rate depending on other health problems
Case fatality rate in China depending on other health problems. Data through 11 February 2020.[208]
Case fatality rate by country and number of cases
The number of deaths vs total cases by country and approximate case fatality rate[212]
The severity of COVID‑19 varies. The disease may take a mild course with few or no symptoms, resembling other common upper respiratory diseases such as the common cold. Mild cases typically recover within two weeks, while those with severe or critical diseases may take three to six weeks to recover. Among those who have died, the time from symptom onset to death has ranged from two to eight weeks.[47]
Children make up a small proportion of reported cases, with about 1% of cases being under 10 years, and 4% aged 10-19 years.[22] They are likely to have milder symptoms and a lower chance of severe disease than adults; in those younger than 50 years, the risk of death is less than 0.5%, while in those older than 70 it is more than 8%.[213][214][215] Pregnant women may be at higher risk for severe infection with COVID-19 based on data from other similar viruses, like SARS and MERS, but data for COVID-19 is lacking.[216][217] In China, children acquired infections mainly through close contact with their parents or other family members who lived in Wuhan or had traveled there.[213]
In some people, COVID‑19 may affect the lungs causing pneumonia. In those most severely affected, COVID-19 may rapidly progress to acute respiratory distress syndrome (ARDS) causing respiratory failure, septic shock, or multi-organ failure.[218][219] Complications associated with COVID‑19 include sepsis, abnormal clotting, and damage to the heart, kidneys, and liver. Clotting abnormalities, specifically an increase in prothrombin time, have been described in 6% of those admitted to hospital with COVID-19, while abnormal kidney function is seen in 4% of this group.[220] Approximately 20-30% of people who present with COVID‑19 demonstrate elevated liver enzymes (transaminases).[133] Liver injury as shown by blood markers of liver damage is frequently seen in severe cases.[221]
Some studies have found that the neutrophil to lymphocyte ratio (NLR) may be helpful in early screening for severe illness.[222]
Most of those who die of COVID‑19 have pre-existing (underlying) conditions, including hypertension, diabetes mellitus, and cardiovascular disease.[223] The Istituto Superiore di Sanità reported that out of 8.8% of deaths where medical charts were available for review, 97.2% of sampled patients had at least one comorbidity with the average patient having 2.7 diseases.[224] According to the same report, the median time between the onset of symptoms and death was ten days, with five being spent hospitalised. However, patients transferred to an ICU had a median time of seven days between hospitalisation and death.[224] In a study of early cases, the median time from exhibiting initial symptoms to death was 14 days, with a full range of six to 41 days.[225] In a study by the National Health Commission (NHC) of China, men had a death rate of 2.8% while women had a death rate of 1.7%.[226] Histopathological examinations of post-mortem lung samples show diffuse alveolar damage with cellular fibromyxoid exudates in both lungs. Viral cytopathic changes were observed in the pneumocytes. The lung picture resembled acute respiratory distress syndrome (ARDS).[47] In 11.8% of the deaths reported by the National Health Commission of China, heart damage was noted by elevated levels of troponin or cardiac arrest.[49] According to March data from the United States, 89% of those hospitalised had preexisting conditions.[227]
The availability of medical resources and the socioeconomics of a region may also affect mortality.[228] Estimates of the mortality from the condition vary because of those regional differences,[229] but also because of methodological difficulties. The under-counting of mild cases can cause the mortality rate to be overestimated.[230] However, the fact that deaths are the result of cases contracted in the past can mean the current mortality rate is underestimated.[231][232] Smokers were 1.4 times more likely to have severe symptoms of COVID‑19 and approximately 2.4 times more likely to require intensive care or die compared to non-smokers.[233]
Concerns have been raised about long-term sequelae of the disease. The Hong Kong Hospital Authority found a drop of 20% to 30% in lung capacity in some people who recovered from the disease, and lung scans suggested organ damage.[234] This may also lead to post-intensive care syndrome following recovery.[235]
Case fatality rates (%) by age and country
Age0–910–1920–2930–3940–4950–5960–6970–7980-8990+
China as of 11 February[208]0.00.20.20.20.41.33.68.014.8
Denmark as of 25 April[236]0.24.515.524.940.7
Italy as of 23 April[211]0.20.00.10.40.92.610.024.930.826.1
Netherlands as of 17 April[237]0.00.30.10.20.51.57.623.230.029.3
Portugal as of 24 April[238]0.00.00.00.00.30.62.88.516.5
S. Korea as of 15 April[209]0.00.00.00.10.20.72.59.722.2
Spain as of 24 April[210]0.30.40.30.30.61.34.413.220.320.1
Switzerland as of 25 April[239]0.90.00.00.10.00.52.710.124.0
Case fatality rates (%) by age in the United States
Age0–1920–4445–5455–6465–7475–8485+
United States as of 16 March[240]0.00.1–0.20.5–0.81.4–2.62.7–4.94.3–10.510.4–27.3
Note: The lower bound includes all cases. The upper bound excludes cases that were missing data.
Estimate of infection fatality rates and probability of severe disease course (%) by age based on cases from China[241]
0–910–1920–2930–3940–4950–5960–6970–7980+
Severe disease0.0
(0.0–0.0)0.04
(0.02–0.08)1.0
(0.62–2.1)3.4
(2.0–7.0)4.3
(2.5–8.7)8.2
(4.9–17)11
(7.0–24)17
(9.9–34)18
(11–38)
Death0.0016
(0.00016–0.025)0.0070
(0.0015–0.050)0.031
(0.014–0.092)0.084
(0.041–0.19)0.16
(0.076–0.32)0.60
(0.34–1.3)1.9
(1.1–3.9)4.3
(2.5–8.4)7.8
(3.8–13)
Total infection fatality rate is estimated to be 0.66% (0.39–1.3). Infection fatality rate is fatality per all infected individuals, regardless of whether they were diagnosed or had any symptoms. Numbers in parentheses are 95% credible intervals for the estimates.
Reinfection
As of March 2020, it was unknown if past infection provides effective and long-term immunity in people who recover from the disease.[242] Immunity is seen as likely, based on the behaviour of other coronaviruses,[243] but cases in which recovery from COVID‑19 have been followed by positive tests for coronavirus at a later date have been reported.[244][245][246][247] These cases are believed to be worsening of a lingering infection rather than re-infection.[247]
History
Main article: Timeline of the 2019–20 coronavirus pandemic
The virus is thought to be natural and has an animal origin,[77] through spillover infection.[248] The actual origin is unknown, but by December 2019 the spread of infection was almost entirely driven by human-to-human transmission.[208][249] A study of the first 41 cases of confirmed COVID‑19, published in January 2020 in The Lancet, revealed the earliest date of onset of symptoms as 1 December 2019.[250][251][252] Official publications from the WHO reported the earliest onset of symptoms as 8 December 2019.[253] Human-to-human transmission was confirmed by the WHO and Chinese authorities by 20 January 2020.[254][255]
Epidemiology
Main article: 2019–20 coronavirus pandemic
Several measures are commonly used to quantify mortality.[256] These numbers vary by region and over time and are influenced by the volume of testing, healthcare system quality, treatment options, time since the initial outbreak, and population characteristics such as age, sex, and overall health.[257]
The death-to-case ratio reflects the number of deaths divided by the number of diagnosed cases within a given time interval. Based on Johns Hopkins University statistics, the global death-to-case ratio is 7.0% (203,044/2,899,830) as of 26 April 2020.[7] The number varies by region.[258]
Other measures include the case fatality rate (CFR), which reflects the percent of diagnosed individuals who die from a disease, and the infection fatality rate (IFR), which reflects the percent of infected individuals (diagnosed and undiagnosed) who die from a disease. These statistics are not time-bound and follow a specific population from infection through case resolution. Many academics have attempted to calculate these numbers for specific populations.[259]
Total confirmed cases over time
Total deaths over time
Total confirmed cases of COVID‑19 per million people, 10 April 2020[260]
Total confirmed deaths due to COVID‑19 per million people, 10 April 2020[261]
Infection fatality rate
Our World in Data states that as of March 25, 2020, the infection fatality rate (IFR) cannot be accurately calculated.[262] In February, the World Health Organization estimated the IFR at 0.94%, with a confidence interval between 0.37 percent to 2.9 percent.[263] The University of Oxford Centre for Evidence-Based Medicine (CEBM) estimated a global CFR of 0.72 percent and IFR of 0.1 percent to 0.36 percent.[264] According to CEBM, random antibody testing in Germany suggested an IFR of 0.37 percent there.[264] Firm lower limits to local infection fatality rates were established, such as in Bergamo province, where 0.57% of the population has died, leading to a minimum IFR of 0.57% in the province. This population fatality rate (PFR) minimum increases as more people get infected and run through their disease.[265][266] Similarly, as of April 22 in the New York City area, there were 15,411 deaths confirmed from COVID-19, and 19,200 excess deaths.[267] Very recently, the first results of antibody testing have come in, but there are no valid scientific reports based on them available yet. A Bloomberg Opinion piece provides a survey.[268][269]
Sex differences
Main article: Gendered impact of the 2019–20 coronavirus pandemic
The impact of the pandemic and its mortality rate are different for men and women.[270] Mortality is higher in men in studies conducted in China and Italy.[271][272][273] The highest risk for men is in their 50s, with the gap between men and women closing only at 90.[273] In China, the death rate was 2.8 percent for men and 1.7 percent for women.[273] The exact reasons for this sex-difference are not known, but genetic and behavioural factors could be a reason.[270] Sex-based immunological differences, a lower prevalence of smoking in women, and men developing co-morbid conditions such as hypertension at a younger age than women could have contributed to the higher mortality in men.[273] In Europe, of those infected with COVID‑19, 57% were men; of those infected with COVID‑19 who also died, 72% were men.[274] As of April 2020, the U.S. government is not tracking sex-related data of COVID‑19 infections.[275] Research has shown that viral illnesses like Ebola, HIV, influenza, and SARS affect men and women differently.[275] A higher percentage of health workers, particularly nurses, are women, and they have a higher chance of being exposed to the virus.[276] School closures, lockdowns, and reduced access to healthcare following the 2019–20 coronavirus pandemic may differentially affect the genders and possibly exaggerate existing gender disparity.[270][277]
Society and culture
Name
During the initial outbreak in Wuhan, China, the virus and disease were commonly referred to as "coronavirus" and "Wuhan coronavirus",[278][279][280] with the disease sometimes called "Wuhan pneumonia".[281][282] In the past, many diseases have been named after geographical locations, such as the Spanish flu,[283] Middle East Respiratory Syndrome, and Zika virus.[284]
In January 2020, the World Health Organisation recommended 2019-nCov[285] and 2019-nCoV acute respiratory disease[286] as interim names for the virus and disease per 2015 guidance and international guidelines against using geographical locations (e.g. Wuhan, China), animal species or groups of people in disease and virus names to prevent social stigma.[287][288][289]
The official names COVID‑19 and SARS-CoV-2 were issued by the WHO on 11 February 2020.[290] WHO chief Tedros Adhanom Ghebreyesus explained: CO for corona, VI for virus, D for disease and 19 for when the outbreak was first identified (31 December 2019).[291] The WHO additionally uses "the COVID‑19 virus" and "the virus responsible for COVID‑19" in public communications.[290] Both the disease and virus are commonly referred to as "coronavirus" in the media and public discourse.
Misinformation
Main article: Misinformation related to the 2019–20 coronavirus pandemic
After the initial outbreak of COVID‑19, conspiracy theories, misinformation, and disinformation emerged regarding the origin, scale, prevention, treatment, and other aspects of the disease and rapidly spread online.[292][293][294][295]
Protests
Beginning April 17, 2020, news media began reporting on a wave of demonstrations protesting against state-mandated quarantine restrictions in in Michigan, Ohio, and Kentucky.[296][297]
Other animals
Humans appear to be capable of spreading the virus to some other animals. A domestic cat in Liège, Belgium, tested positive after it started showing symptoms (diarrhoea, vomiting, shortness of breath) a week later than its owner, who was also positive.[298] Tigers at the Bronx Zoo in New York, United States, tested positive for the virus and showed symptoms of COVID‑19, including a dry cough and loss of appetite.[299]
A study on domesticated animals inoculated with the virus found that cats and ferrets appear to be "highly susceptible" to the disease, while dogs appear to be less susceptible, with lower levels of viral replication. The study failed to find evidence of viral replication in pigs, ducks, and chickens.[300]
Research
Main article: COVID-19 drug development
No medication or vaccine is approved to treat the disease.[186] International research on vaccines and medicines in COVID‑19 is underway by government organisations, academic groups, and industry researchers.[301][302] In March, the World Health Organisation initiated the "SOLIDARITY Trial" to assess the treatment effects of four existing antiviral compounds with the most promise of efficacy.[303]
Vaccine
Main article: COVID-19 vaccine
There is no available vaccine, but various agencies are actively developing vaccine candidates. Previous work on SARS-CoV is being used because both SARS-CoV and SARS-CoV-2 use the ACE2 receptor to enter human cells.[304] Three vaccination strategies are being investigated. First, researchers aim to build a whole virus vaccine. The use of such a virus, be it inactive or dead, aims to elicit a prompt immune response of the human body to a new infection with COVID‑19. A second strategy, subunit vaccines, aims to create a vaccine that sensitises the immune system to certain subunits of the virus. In the case of SARS-CoV-2, such research focuses on the S-spike protein that helps the virus intrude the ACE2 enzyme receptor. A third strategy is that of the nucleic acid vaccines (DNA or RNA vaccines, a novel technique for creating a vaccination). Experimental vaccines from any of these strategies would have to be tested for safety and efficacy.[305]
On 16 March 2020, the first clinical trial of a vaccine started with four volunteers in Seattle, United States. The vaccine contains a harmless genetic code copied from the virus that causes the disease.[306]
Antibody-dependent enhancement has been suggested as a potential challenge for vaccine development for SARS-COV-2, but this is controversial.[307]
Medications
Main article: COVID-19 drug repurposing research
At least 29 phase II–IV efficacy trials in COVID‑19 were concluded in March 2020 or scheduled to provide results in April from hospitals in China.[308][309] There are more than 300 active clinical trials underway as of April 2020.[133] Seven trials were evaluating already approved treatments, including four studies on hydroxychloroquine or chloroquine.[309] Repurposed antiviral drugs make up most of the Chinese research, with nine phase III trials on remdesivir across several countries due to report by the end of April.[308][309] Other candidates in trials include vasodilators, corticosteroids, immune therapies, lipoic acid, bevacizumab, and recombinant angiotensin-converting enzyme 2.[309]
The COVID‑19 Clinical Research Coalition has goals to 1) facilitate rapid reviews of clinical trial proposals by ethics committees and national regulatory agencies, 2) fast-track approvals for the candidate therapeutic compounds, 3) ensure standardised and rapid analysis of emerging efficacy and safety data and 4) facilitate sharing of clinical trial outcomes before publication.[310][311]
Several existing medications are being evaluated for the treatment of COVID‑19,[186] including remdesivir, chloroquine, hydroxychloroquine, lopinavir/ritonavir, and lopinavir/ritonavir combined with interferon beta.[303][312] There is tentative evidence for efficacy by remdesivir, as of March 2020.[313][314] Clinical improvement was observed in patients treated with compassionate-use remdesivir.[315] Remdesivir inhibits SARS-CoV-2 in vitro.[316] Phase III clinical trials are underway in the U.S., China, and Italy.[186][308][317]
In 2020, a trial found that lopinavir/ritonavir was ineffective in the treatment of severe illness.[318] Nitazoxanide has been recommended for further in vivo study after demonstrating low concentration inhibition of SARS-CoV-2.[316]
There are mixed results as of 3 April 2020 as to the effectiveness of hydroxychloroquine as a treatment for COVID‑19, with some studies showing little or no improvement.[319][320] The studies of chloroquine and hydroxychloroquine with or without azithromycin have major limitations that have prevented the medical community from embracing these therapies without further study.[133]
Oseltamivir does not inhibit SARS-CoV-2 in vitro and has no known role in COVID‑19 treatment.[133]
Anti-cytokine storm
Cytokine release syndrome (CRS) can be a complication in the later stages of severe COVID‑19. There is preliminary evidence that hydroxychloroquine may have anti-cytokine storm properties.[321]
Tocilizumab has been included in treatment guidelines by China's National Health Commission after a small study was completed.[322][323] It is undergoing a phase 2 non-randomised trial at the national level in Italy after showing positive results in people with severe disease.[324][325] Combined with a serum ferritin blood test to identify cytokine storms, it is meant to counter such developments, which are thought to be the cause of death in some affected people.[326][327][328] The interleukin-6 receptor antagonist was approved by the FDA to undergo a phase III clinical trial assessing the medication's impact on COVID‑19 based on retrospective case studies for the treatment of steroid-refractory cytokine release syndrome induced by a different cause, CAR T cell therapy, in 2017.[329] To date, there is no randomised, controlled evidence that tocilizumab is an efficacious treatment for CRS. Prophylactic tocilizumab has been shown to increase serum IL-6 levels by saturating the IL-6R, driving IL-6 across the blood-brain barrier, and exacerbating neurotoxicity while having no impact on the incidence of CRS.[330]
Lenzilumab, an anti-GM-CSF monoclonal antibody, is protective in murine models for CAR T cell-induced CRS and neurotoxicity and is a viable therapeutic option due to the observed increase of pathogenic GM-CSF secreting T-cells in hospitalised patients with COVID‑19.[331]
The Feinstein Institute of Northwell Health announced in March a study on "a human antibody that may prevent the activity" of IL-6.[332]
Passive antibodies
Transferring purified and concentrated antibodies produced by the immune systems of those who have recovered from COVID‑19 to people who need them is being investigated as a non-vaccine method of passive immunisation.[333] This strategy was tried for SARS with inconclusive results.[333] Viral neutralisation is the anticipated mechanism of action by which passive antibody therapy can mediate defence against SARS-CoV-2. Other mechanisms, however, such as antibody-dependent cellular cytotoxicity and/or phagocytosis, may be possible.[333] Other forms of passive antibody therapy, for example, using manufactured monoclonal antibodies, are in development.[333] Production of convalescent serum, which consists of the liquid portion of the blood from recovered patients and contains antibodies specific to this virus, could be increased for quicker deployment.[334]
There is no specific scenario behind this image. We are two years away from the centenary of China Motor Bus but the company no longer has any bus interests, having diversified into property development since its loss of the Hong Kong island bus franchise. We can only imagine what might have been. This fictional Alexander Dennis Enviro 400 XLB carries what was generally described as CMB coach livery, which was briefly carried by the company’s first generation of air-conditioned double-deck buses. Thanks to Keith McGillivray for the base image (16-Apr-21).
All rights reserved. For the avoidance of doubt, this means that it would be a criminal offence to post this image on Facebook or elsewhere (please post a link instead). Please follow the link below for further information about my Flickr collection:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
The Biddulph Gate in Famagusta, Turkish Republic of North Cyprus, is a ruined structure named after General Sir Robert Biddulph. It is situated within the walled city of Famagusta but is not part of the defensive wall. The gate's current state is that of a ruin.
The history of the Biddulph Gate is closely tied to General Sir Robert Biddulph, a British military officer who served in Cyprus during the late 19th century. It is believed that the gate was named in his honor, possibly due to his contributions or association with the region.
The exact origins and architectural details of the Biddulph Gate are unclear due to its ruined state. It is possible that the gate had historical significance and functioned as an entry point or passage within the walled city of Famagusta. However, the lack of available information makes it challenging to provide an in-depth account of its original purpose or design.
Over time, the Biddulph Gate fell into disrepair and is now in a ruined state. The specific reasons for its deterioration or the events that led to its current condition remain unclear. The gate's ruinous state adds to its historical intrigue and provides a sense of mystery surrounding its past.
Despite its ruined state, the Biddulph Gate holds cultural and historical importance as a tangible reminder of Famagusta's past. It serves as a poignant symbol of the city's history and the passage of time.
Preservation and restoration efforts may be necessary to protect the Biddulph Gate and prevent further deterioration. These initiatives could focus on stabilizing the structure, conducting archaeological research, and potentially opening it up to visitors as a cultural and historical attraction.
In conclusion, the Biddulph Gate in Famagusta, Turkish Republic of North Cyprus, is a ruined structure named after General Sir Robert Biddulph. While its exact origins and original purpose are unclear due to its current state, the gate's association with General Biddulph and its location within the walled city of Famagusta contribute to its historical significance. Efforts to preserve and understand this cultural heritage site may be necessary to ensure its continued appreciation and exploration.
General Sir Robert Biddulph, (26 August 1835 – 18 November 1918) was a senior British Army officer. He served as Quartermaster-General to the Forces in 1893, and was then Governor of Gibraltar until 1900.
Military career
Educated at Twyford School and the Royal Military Academy, Woolwich, Biddulph was commissioned into the Royal Artillery in 1853. He served in the Crimean War and was present at the Siege of Sevastopol in 1854. He then served in the Indian Mutiny, and was Brigade Major during the Siege of Lucknow in 1857.
In 1871 he was selected to be Assistant Adjutant-General at the War Office and then in 1879 he succeeded Sir Garnet Wolseley as High Commissioner and Commander-in-Chief of Cyprus. In 1886, he returned to London to be Inspector-General of Recruiting and two years later became Director-General of Military Education. In 1893 he was briefly Quartermaster-General to the Forces. Later that year he became Governor of Gibraltar, serving as such until 1900. He was Colonel Commandant of Royal Artillery, and was placed on retired pay on 26 August 1902.
His final appointment, in 1904, was as Army Purchase Commissioner: in that capacity he abolished the purchase of commissions.
He was appointed Knight Grand Cross of the Order of the Bath in the 1899 Birthday Honours. Biddulph's Gate in Famagusta in Cyprus is named after him.
Famagusta is a city on the east coast of the de facto state Northern Cyprus. It is located east of Nicosia and possesses the deepest harbour of the island. During the Middle Ages (especially under the maritime republics of Genoa and Venice), Famagusta was the island's most important port city and a gateway to trade with the ports of the Levant, from where the Silk Road merchants carried their goods to Western Europe. The old walled city and parts of the modern city are de facto part of Northern Cyprus as the capital of the Gazimağusa District.
The city was known as Arsinoe or Arsinoë (Greek: Ἀρσινόη, Arsinóē) in antiquity, after Ptolemy II of Egypt's sister and wife Arsinoe II.
By the 3rd century, the city appears as Ammochostos (Greek: Ἀμμόχωστος or Αμμόχωστος, Ammókhōstos, "Hidden in Sand") in the Stadiasmus Maris Magni.[5] This name is still used in modern Greek with the pronunciation [aˈmːoxostos], while it developed into Latin Fama Augusta, French Famagouste, Italian Famagosta, and English Famagusta during the medieval period. Its informal modern Turkish name Mağusa (Turkish pronunciation: [maˈusa]) came from the same source. Since 1974, it has formally been known to Turkey and Northern Cyprus as Gazimağusa ([ɡaːzimaˈusa]), from the addition of the title gazi, meaning "veteran" or "one who has faught in a holy war".
In the early medieval period, the city was also known as New Justiniana (Greek: Νέα Ἰουστινιανία, Néa Ioustinianía) in appreciation for the patronage of the Byzantine emperor Justinian, whose wife Theodora was born there.
The old town of Famagusta has also been nicknamed "the City of 365 Churches" from the legend that, at its peak, it boasted a church for every day of the year.
The city was founded around 274 BC, after the serious damage to Salamis by an earthquake, by Ptolemy II Philadelphus and named "Arsinoe" after his sister.[6] Arsinoe was described as a "fishing town" by Strabo in his Geographica in the first century BC. In essence, Famagusta was the successor of the most famous and most important ancient city of Cyprus, Salamis. According to Greek mythology, Salamis was founded after the end of the Trojan War by Teucros, the son of Telamon and brother of Aedes, from the Greek island of Salamis.
The city experienced great prosperity much later, during the time of the Byzantine emperor Justinian. To honor the city, from which his wife Theodora came, Justinian enriched it with many buildings, while the inhabitants named it New Justiniania to express their gratitude. In AD 647, when the neighboring cities were destroyed by Arab raiding, the inhabitants of these cities moved to Famagusta, as a result of which the city's population increased significantly and the city experienced another boom.
Later, when Jerusalem was occupied by the Arabs, the Christian population fled to Famagusta, as a result of which the city became an important Christian center, but also one of the most important commercial centers in the eastern Mediterranean.
The turning point for Famagusta was 1192 with the onset of Lusignan rule. It was during this period that Famagusta developed as a fully-fledged town. It increased in importance to the Eastern Mediterranean due to its natural harbour and the walls that protected its inner town. Its population began to increase. This development accelerated in the 13th century as the town became a centre of commerce for both the East and West. An influx of Christian refugees fleeing the downfall of Acre (1291) in Palestine transformed it from a tiny village into one of the richest cities in Christendom.
In 1372 the port was seized by Genoa and in 1489 by Venice. This commercial activity turned Famagusta into a place where merchants and ship owners led lives of luxury. By the mid-14th century, Famagusta was said to have the richest citizens in the world. The belief that people's wealth could be measured by the churches they built inspired these merchants to have churches built in varying styles. These churches, which still exist, were the reason Famagusta came to be known as "the district of churches". The development of the town focused on the social lives of the wealthy people and was centred upon the Lusignan palace, the cathedral, the Square and the harbour.
In 1570–1571, Famagusta was the last stronghold in Venetian Cyprus to hold out against the Turks under Mustafa Pasha. It resisted a siege of thirteen months and a terrible bombardment, until at last the garrison surrendered. The Ottoman forces had lost 50,000 men, including Mustafa Pasha's son. Although the surrender terms had stipulated that the Venetian forces be allowed to return home, the Venetian commander, Marco Antonio Bragadin, was flayed alive, his lieutenant Tiepolo was hanged, and many other Christians were killed.
With the advent of the Ottoman rule, Latins lost their privileged status in Famagusta and were expelled from the city. Greek Cypriots natives were at first allowed to own and buy property in the city, but were banished from the walled city in 1573–74 and had to settle outside in the area that later developed into Varosha. Turkish families from Anatolia were resettled in the walled city but could not fill the buildings that previously hosted a population of 10,000. This caused a drastic decrease in the population of Famagusta. Merchants from Famagusta, who mostly consisted of Latins that had been expelled, resettled in Larnaca and as Larnaca flourished, Famagusta lost its importance as a trade centre. Over time, Varosha developed into a prosperous agricultural town thanks to its location away from the marshes, whilst the walled city remained dilapidated.
In the walled city, some buildings were repurposed to serve the interests of the Muslim population: the Cathedral of St. Nicholas was converted to a mosque (now known as Lala Mustafa Pasha Mosque), a bazaar was developed, public baths, fountains and a theological school were built to accommodate the inhabitants' needs. Dead end streets, an Ottoman urban characteristic, was imported to the city and a communal spirit developed in which a small number of two-storey houses inhabited by the small upper class co-existed with the widespread one-storey houses.
With the British takeover, Famagusta regained its significance as a port and an economic centre and its development was specifically targeted in British plans. As soon as the British took over the island, a Famagusta Development Act was passed that aimed at the reconstruction and redevelopment of the city's streets and dilapidated buildings as well as better hygiene. The port was developed and expanded between 1903 and 1906 and Cyprus Government Railway, with its terminus in Famagusta, started construction in 1904. Whilst Larnaca continued to be used as the main port of the island for some time, after Famagusta's use as a military base in World War I trade significantly shifted to Famagusta. The city outside the walls grew at an accelerated rate, with development being centred around Varosha. Varosha became the administrative centre as the British moved their headquarters and residences there and tourism grew significantly in the last years of the British rule. Pottery and production of citrus and potatoes also significantly grew in the city outside the walls, whilst agriculture within the walled city declined to non-existence.
New residential areas were built to accommodate the increasing population towards the end of the British rule,[11] and by 1960, Famagusta was a modern port city extending far beyond Varosha and the walled city.
The British period saw a significant demographic shift in the city. In 1881, Christians constituted 60% of the city's population while Muslims were at 40%. By 1960, the Turkish Cypriot population had dropped to 17.5% of the overall population, while the Greek Cypriot population had risen to 70%. The city was also the site for one of the British internment camps for nearly 50,000 Jewish survivors of the Holocaust trying to emigrate to Palestine.
From independence in 1960 to the Turkish invasion of Cyprus of 1974, Famagusta developed toward the south west of Varosha as a well-known entertainment and tourist centre. The contribution of Famagusta to the country's economic activity by 1974 far exceeded its proportional dimensions within the country. Whilst its population was only about 7% of the total of the country, Famagusta by 1974 accounted for over 10% of the total industrial employment and production of Cyprus, concentrating mainly on light industry compatible with its activity as a tourist resort and turning out high-quality products ranging from food, beverages and tobacco to clothing, footwear, plastics, light machinery and transport equipment. It contributed 19.3% of the business units and employed 21.3% of the total number of persons engaged in commerce on the island. It acted as the main tourist destination of Cyprus, hosting 31.5% of the hotels and 45% of Cyprus' total bed capacity. Varosha acted as the main touristic and business quarters.
In this period, the urbanisation of Famagusta slowed down and the development of the rural areas accelerated. Therefore, economic growth was shared between the city of Famagusta and the district, which had a balanced agricultural economy, with citrus, potatoes, tobacco and wheat as main products. Famagusta maintained good communications with this hinterland. The city's port remained the island's main seaport and in 1961, it was expanded to double its capacity in order to accommodate the growing volume of exports and imports. The port handled 42.7% of Cypriot exports, 48.6% of imports and 49% of passenger traffic.
There has not been an official census since 1960 but the population of the town in 1974 was estimated to be around 39,000 not counting about 12,000–15,000 persons commuting daily from the surrounding villages and suburbs to work in Famagusta. The number of people staying in the city would swell to about 90,000–100,000 during the peak summer tourist period, with the influx of tourists from numerous European countries, mainly Britain, France, Germany and the Scandinavian countries. The majority of the city population were Greek Cypriots (26,500), with 8,500 Turkish Cypriots and 4,000 people from other ethnic groups.
During the second phase of the Turkish invasion of Cyprus on 14 August 1974 the Mesaoria plain was overrun by Turkish tanks and Famagusta was bombed by Turkish aircraft. It took two days for the Turkish Army to occupy the city, prior to which Famagusta's entire Greek Cypriot population had fled into surrounding fields. As a result of Turkish airstrikes dozens of civilians died, including tourists.
Unlike other parts of the Turkish-controlled areas of Cyprus, the Varosha suburb of Famagusta was fenced off by the Turkish army immediately after being captured and remained fenced off until October 2020, when the TRNC reopened some streets to visitors. Some Greek Cypriots who had fled Varosha have been allowed to view the town and journalists have been allowed in.
UN Security Council resolution 550 (1984) considers any attempts to settle any part of Famagusta by people other than its inhabitants as inadmissible and calls for the transfer of this area to the administration of the UN. The UN's Security Council resolution 789 (1992) also urges that with a view to the implementation of resolution 550 (1984), the area at present under the control of the United Nations Peace-keeping Force in Cyprus be extended to include Varosha.
Famagusta's historic city centre is surrounded by the fortifications of Famagusta, which have a roughly rectangular shape, built mainly by the Venetians in the 15th and 16th centuries, though some sections of the walls have been dated earlier times, as far as 1211.
Some important landmarks and visitor attractions in the old city are:
The Lala Mustafa Pasha Mosque
The Othello Castle
Palazzo del Provveditore - the Venetian palace of the governor, built on the site of the former Lusignan royal palace
St. Francis' Church
Sinan Pasha Mosque
Church of St. George of the Greeks
Church of St. George of the Latins
Twin Churches
Nestorian Church (of St George the Exiler)
Namık Kemal Dungeon
Agios Ioannis Church
Venetian House
Akkule Masjid
Mustafa Pasha Mosque
Ganchvor monastery
In an October 2010 report titled Saving Our Vanishing Heritage, Global Heritage Fund listed Famagusta, a "maritime ancient city of crusader kings", among the 12 sites most "On the Verge" of irreparable loss and destruction, citing insufficient management and development pressures.
Famagusta is an important commercial hub of Northern Cyprus. The main economic activities in the city are tourism, education, construction and industrial production. It has a 115-acre free port, which is the most important seaport of Northern Cyprus for travel and commerce. The port is an important source of income and employment for the city, though its volume of trade is restricted by the embargo against Northern Cyprus. Its historical sites, including the walled city, Salamis, the Othello Castle and the St Barnabas Church, as well as the sandy beaches surrounding it make it a tourist attraction; efforts are also underway to make the city more attractive for international congresses. The Eastern Mediterranean University is also an important employer and supplies significant income and activity, as well as opportunities for the construction sector. The university also raises a qualified workforce that stimulates the city's industry and makes communications industry viable. The city has two industrial zones: the Large Industrial Zone and the Little Industrial Zone. The city is also home to a fishing port, but inadequate infrastructure of the port restricts the growth of this sector. The industry in the city has traditionally been concentrated on processing agricultural products.
Historically, the port was the primary source of income and employment for the city, especially right after 1974. However, it gradually lost some of its importance to the economy as the share of its employees in the population of Famagusta diminished due to various reasons. However, it still is the primary port for commerce in Northern Cyprus, with more than half of ships that came to Northern Cyprus in 2013 coming to Famagusta. It is the second most popular seaport for passengers, after Kyrenia, with around 20,000 passengers using the port in 2013.
The mayor-in-exile of Famagusta is Simos Ioannou. Süleyman Uluçay heads the Turkish Cypriot municipal administration of Famagusta, which remains legal as a communal-based body under the constitutional system of the Republic of Cyprus.
Since 1974, Greek Cypriots submitted a number of proposals within the context of bicommunal discussions for the return of Varosha to UN administration, allowing the return of its previous inhabitants, requesting also the opening of Famagusta harbour for use by both communities. Varosha would have been returned to Greek Cypriot control as part of the 2004 Annan Plan but the plan had been rejected by a majority(3/4) of Greek Cypriot voters.
The walled city of Famagusta contains many unique buildings. Famagusta has a walled city popular with tourists.
Every year, the International Famagusta Art and Culture Festival is organized in Famagusta. Concerts, dance shows and theater plays take place during the festival.
A growth in tourism and the city's university have fueled the development of Famagusta's vibrant nightlife. Nightlife in the city is especially active on Wednesday, Friday and Saturday nights and in the hotter months of the year, starting from April. Larger hotels in the city have casinos that cater to their customers. Salamis Road is an area of Famagusta with a heavy concentration of bars frequented by students and locals.
Famagusta's Othello Castle is the setting for Shakespeare's play Othello. The city was also the setting for Victoria Hislop's 2015 novel The Sunrise, and Michael Paraskos's 2016 novel In Search of Sixpence. The city is the birthplace of the eponymous hero of the Renaissance proto-novel Fortunatus.
Famagusta was home to many Greek Cypriot sport teams that left the city because of the Turkish invasion and still bear their original names. Most notable football clubs originally from the city are Anorthosis Famagusta FC and Nea Salamis Famagusta FC, both of the Cypriot First Division, which are now based in Larnaca. Usually Anorthosis Famagusta fans are politically right wing where Nea Salamis fans are left wing.
Famagusta is represented by Mağusa Türk Gücü in the Turkish Cypriot First Division. Dr. Fazıl Küçük Stadium is the largest football stadium in Famagusta. Many Turkish Cypriot sport teams that left Southern Cyprus because of the Cypriot intercommunal violence are based in Famagusta.
Famagusta is represented by DAÜ Sports Club and Magem Sports Club in North Cyprus First Volleyball Division. Gazimağusa Türk Maarif Koleji represents Famagusta in the North Cyprus High School Volleyball League.
Famagusta has a modern volleyball stadium called the Mağusa Arena.
The Eastern Mediterranean University was founded in the city in 1979. The Istanbul Technical University founded a campus in the city in 2010.
The Cyprus College of Art was founded in Famagusta by the Cypriot artist Stass Paraskos in 1969, before moving to Paphos in 1972 after protests from local hoteliers that the presence of art students in the city was putting off holidaymakers.
Famagusta has three general hospitals. Gazimağusa Devlet Hastahanesi, a state hospital, is the biggest hospital in city. Gazimağusa Tıp Merkezi and Gazimağusa Yaşam Hastahanesi are private hospitals.
Personalities
Saint Barnabas, born and died in Salamis, Famagusta
Chris Achilleos, illustrator of the book versions on the BBC children's series Doctor Who
Beran Bertuğ, former Governor of Famagusta, first Cypriot woman to hold this position
Marios Constantinou, former international Cypriot football midfielder and current manager.
Eleftheria Eleftheriou, Cypriot singer.
Derviş Eroğlu, former President of Northern Cyprus
Alexis Galanos, 7th President of the House of Representatives and Famagusta mayor-in-exile (2006-2019) (Republic of Cyprus)
Xanthos Hadjisoteriou, Cypriot painter
Oz Karahan, political activist, President of the Union of Cypriots
Oktay Kayalp, former Turkish Cypriot Famagusta mayor (Northern Cyprus)
Harry Luke British diplomat
Angelos Misos, former international footballer
Costas Montis was an influential and prolific Greek Cypriot poet, novelist, and playwright born in Famagusta.
Hal Ozsan, actor (Dawson's Creek, Kyle XY)
Dimitris Papadakis, a Greek Cypriot politician, who served as a Member of the European Parliament.
Ṣubḥ-i-Azal, Persian religious leader, lived and died in exile in Famagusta
Touker Suleyman (born Türker Süleyman), British Turkish Cypriot fashion retail entrepreneur, investor and reality television personality.
Alexia Vassiliou, singer, left here as a refugee when the town was invaded.
George Vasiliou, former President of Cyprus
Vamik Volkan, Emeritus Professor of Psychiatry
Derviş Zaim, film director
Famagusta is twinned with:
İzmir, Turkey (since 1974)
Corfu, Greece (since 1994)
Patras, Greece (since 1994)
Antalya, Turkey (since 1997)
Salamina (city), Greece (since 1998)
Struga, North Macedonia
Athens, Greece (since 2005)
Mersin, Turkey
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.
Site-specific перформанс Ірини Плотнікової "IceDora" на фестивалі сучасного мистецтва Гогольфест 2016, Київ, Україна © repor.to/popenko
Moa nahele, Flat-stemmed whiskfern
Psilotaceae (Whiskfern family)
Indigenous to the Hawaiian Islands (Kauaʻi, Oʻahu, Molokaʻi, Lānaʻi, Maui, and Hawaiʻi Island)
Photo: Hawaiʻiloa Ridge Trail, Oʻahu
The Hawaiian name Moa nahele literally means "forest chicken." Moa is chicken, referring to a chickens' comb, and reference to the fronds. Nahele is forest.
It is less common than Psilotum nudus in the islands, but still easy to find in the right environment.
Early Hawaiian children would play a simple game of moa nahele (lit., chicken vegetation). Plants in Hawaiian Culture explains how this game was played: “Two children sat or stood facing one another, each holding a branched stem of moa. These they interlocked and then slowly pulled apart until the branches of one broke. The other child, without broken branches, was the winner and announced his victory by crowing like a rooster (moa).” One of the names ʻoʻō moa in fact means "cock's crow."
Moa was also used in lei making by early Hawaiians.
Moa (Psilotum spp.) was used for kūkae paʻa (constipation) in newborn babies and elderly men and women. It was also mixed with other plants to treat akepau (tuberculosis, consumption), and various respiratory conditions. Additionally, extracts from moa were used as laxatives. The yellow spores (seen in photo) were used for diarrhea in infants and used like talcum powder to prevent chafing from loincloths.
Etymology
The generic name is from the Greek psilos, naked or smooth, alluding to the smooth aerial stems without leaves.
The specific epithet complanatum is from the Latin complanatus, flattened, in reference to flattened stems of this species.
Although there are no specific reasons to become an alcoholic, many social, family, environmental, and genetic factors may contribute to its development.
Researchers have shown that the lack of endorphin is hereditary, and thus that there is a genetic predisposition to become addicted to alcohol. Beta-endorphin is a kind of "morphine" released by the brain in response to several situations, such as pain. In this way, beta-endorphins can be considered "endogenous analgesics" to numb or dull pains.
According to José Rico Irles, lecturer of Medicine of the UGR, and head of the research group, this low beta-endorphin level determines whether someone may become an alcoholic. When a subjects' brain with low beta-endorphin levels gets used to the presence of an exogenous surplus, then, when its own production stops, a dependence starts on the external source: alcohol. Source MedicalNewsToday.
A group of soldiers who have just received medals for their "patrol" action in the Diksmuide sector during the night of February 3 to 4, 1918. The small round medals are probably specific to Württemberg. The pants of some soldiers are torn as often after these operations. Their serious expression probably indicates that some of them died during the patrol.
Name of the patrol: "Alt Württemberg".
Last sentence of the story "Die Patrouille brachte zwei gefangene Belgier vom belgischen Infanterie-Regiment 2 ein."
In a postwar book about the unit the patrol is described (page 272-276) : www.leo-bw.de/en-GB/detail/-/Detail/details/DOKUMENT/wlb_...
REF: 30-50-9 (one sold 250)
Vortex Science Fiction / Heft-Reihe
- Lelon Kohle / The Paper Knife
- Bruce Fearing / The Unlikeliest Thing
- Emmett Herlocker / Granch Male-Left
- Rice Arden / Food for Thought
- Marion Zimmer Bradley / Women Only
- James L. Harte / Shade of Blond
- Frank Bristow / Rejects
- Jack Lewis / The Miraculous Lens
- Sylvia Jacobs / The Sportsmen
- Garen Drussaï / Grim Fairy Tale
- Lelon Kohle / The Time-Killer
- Stephen Arr / The Ball
- T. D. Hamm / The Corner
- John Foster West / Weird Catch
- Joseph Slotkin / Release
- L. Major Reynolds / One Man War
- Gene Hunter / Aunt Liz
- Richard Terzian / The Farmer's Daughter & The Martian
- C. M. Webster / The Venus Gipsy
- Don L. Johnson / Dream Drink
- Marion Zimmer Bradley / Keyhole
- J. T. Oliver / Teacher's Pet
- Garen Drussaï / The Closet
- Joseph Slotkin / Mercer's Machine
- Lucius Daniel / The Question
cover: Martin (II)
Specific Fiction Corp. / USA 1953
Reprint: Comic-Club NK 2010
ex libris MTP
There’s a very specific kind of holiday frustration that only Christmas lights can deliver—and this look captures it perfectly. Wrapped from head to toe in glowing strands, Ivanna stands frozen in that familiar moment: lights everywhere, patience nowhere. What started as festive cheer has turned into a battle of knots, twists, and wires that somehow multiplied while you weren’t looking.
The styling leans into that chaos beautifully. Strings of lights crown her head, coil around her arms, and cling to her outfit as if they have a mind of their own. Her expression says it all—equal parts disbelief and exhaustion—because no matter how carefully you store them, Christmas lights always come back tangled. It’s tradition at this point.
Set against a softly glowing tree and scattered ornaments, the look balances humor with realism. It’s messy, bright, and slightly unhinged—just like decorating for the holidays. And yet, there’s something charming about it. Because even in the frustration, there’s magic. Once the knots are (mostly) undone and the lights finally glow where they’re meant to, the stress fades, and the season feels warm again.
This look is a love letter to that shared holiday struggle—a reminder that sometimes the chaos is part of the charm, and the lights are worth it… even if they test your sanity every single year.
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Big Babyz were never something I planned to collect. I'm not entirely sure if I knew they existed back in 2011, when I rediscovered my passion for dolls. I vaguely recall seeing pictures of them floating around on the internet when I was researching the standard Bratz Babyz. But obviously these oversized toddlers did not resonate with me at the time, being that I really don't have any specific memory of my opinions on them. My first true encounter with the Big Babyz was back in March of 2012, when Dad purchased me the lot we know as "Craigslist #3." It was our very last outing together before Dad was hospitalized the final time. A day or so earlier, I had found a very tempting listing on Craigslist, that advertised a large group of brand new, unopened Bratz. There weren't any pictures on this listing, which ordinarily would have deterred me from inquiring. But since the seller lived in the town over, Dad figured there was no loss in us checking the dollies out. The majority of the dolls for sale from said lot were boxed at the time, as the seller denoted in the Craigslist ad. A few loose dolls were also present, some in better condition than others. If memory serves me correctly, there were two or three Big Babyz dolls. The seller wanted quite a bit of money for the Bratz. Being that the Big Babyz were so large, he wanted an extra $20-$30 for the two or three dolls if I'm not mistaken. Since I had no knowledge or interest in the Big Babyz line, I didn't see a point in Dad forking over the dough for them. I don't honestly recall the specifics anymore, except that one of the dolls was Jade (and I believe they may have been from the Bubble Trouble line). There was a part of me that couldn't fathom a use for such cumbersome baby dolls. But my inner Bratz addict I can never seem to repress was a bit disappointed that I wasn't able to come home with the Big Babyz too. It was my only chance since to get Big Babyz brand new. The afternoon we came home with all the "Craigslist #3" dolls sans Big Babyz, I never anticipated that I'd strongly regret not coming home with them too. But of course fate and Bratz addiction played its role, because it wasn't all that long later when Big Babyz stole my heart.
To this day, the "Craigslist #3" Big Babyz were the only dolls of their kind I ever had the chance to buy brand new. I saw quite a few used ones in my travels around that time frame, but I turned them all down. One indoor flea market in particular seemed to be loaded with the Big Babyz--I recollect seeing several in bins with stuffed animals. There was always a hidden temptation, a longing to rescue these unwanted baby dolls. But I was picky back then, and far too concerned with having a perfectly pruned collection to want to introduce such oddly sized dolls to my family. But wouldn't' you know, the most unworthy of Big Babyz was the one who broke me. It was sometime in 2013, a year after Dad passed away. Colleen and I had gotten onto the topic of Sharidan, one of my most sentimental Bratz characters. We were reminiscing about all the Sharidan luck I had in 2011/2012, and how she reminded me so much of Dad. As we were hashing out our desires for more black haired beauties, I suddenly spouted out that I had seen a Big Babyz Forever Diamondz Sharidan at a local indoor flea market. "Really?!!!" Colleen exclaimed, "We should go out and rescue her." After pretending to debate the idea for ten minutes or so, I finally caved and we jumped in my Jeep and headed out to the old mill, where the flea market was located. Stuff at this particular flea market rarely changes, and it is always inconvenient to shop at. Sellers never seem to be at their booths, and the ones that are often treat customers like they are thieves. But we were so desperate to rescue Sharidan, that none of this mattered on the day in question. We rushed to the back of the flea market, where I had last seen the Big Babyz doll. I searched high and low, all over the booth, hoping to find Sharidan. But she was gone...someone had finally bought her, just when I had changed my mind. I was feeling defeated and regretful, when one of us spotted another Big Babyz doll. She was an African American character, stuffed into a bin beneath one of the tables. What an atrocious mess she was--her hair was entirely ratted up, she had severely chipped paint on her lips and nail polish, and she was covered in strange highlighter pink marks. To top it off, unlike Sharidan who was at least partially dressed on our last encounter, this Babyz doll was nude. Looking into her warm brown eyes, I thought to myself that although she was no Sharidan, perhaps this dolly was in more desperate need of a home. Plus, I really didn't want to leave empty handed, and the inexpensive Big Babyz fashion packs on eBay were calling my name.
When we got home, Colleen and I set out to shop for a Big Babyz wardrobe, clean the new doll, and of course identify her. I was convinced she was a Sasha of sorts--I never even questioned if another African American Big Babyz character had been produced. Colleen was hired to identify this doll while I worked on other stuff. After a while of toiling she called me over to the laptop and announced that we had in fact found "Hair Flair" Felicia! I had dreamed of finding a Felicia doll since I learned of her existence two years prior. But it was never my intent to get my hands on a Big Babyz one. Within a few days, Felicia had a small wardrobe of beautiful new clothes from eBay, a fabulous hairdo, and a much fresher smell. She also had a new place to live next to my Bitty Baby wagon in my bedroom. I was enchanted by this oversized, super chubby dolly despite her inconvenience when it came to finding display space. I unexpectedly took a shine to my still somewhat shabby friend. I became obsessed with hoarding clothes for her, which inevitably lead to the acquisition of my second Big Babyz doll. Colleen was on eBay one evening, in search of more threads for Felicia. She stumbled upon a used lot which featured several fashion packs, a Lil' Angelz Jade, and a Big Babyz Jade. She fell in love with Jade's molded hair and sassy features. Colleen ended up talking me into bidding on the lot, not that it took much coercion. I had always wanted to add a regular sized "1st Edition" Jade to my collection, but so far she had been out of reach. This Big Babyz doll looked just like my dream Jade, just sporting a different ensemble. We ended up winning the lot, which meant Felicia had a friend and some additional clothes. The perk was that some of the clothes were duplicated pieces, meaning the girls could match! What I wasn't anticipating was Jade stealing the show...and my heart. I had put countless hours into Felicia's restoration, and had toiled to make her look the best she could with what I had to work with. Usually these are the kinds of dolls I have the deepest connection to. But Jade, she is magical, and the moment we met, I could hardly remember Felicia's name. While she may not have rooted hair to play around with, and those molded ponytails are a pain to work with, she is the cutest thing ever. I think that it was this Big Babyz Jade who started to make me love Jade even more as a character. I began to appreciate Jade's ability to fluidly transition from one type of Bratz doll to another. This slowly shifted her to the spot of being my favorite Bratz character--prior to this, Yasmin never had any competition.
Jade opened my heart to a world of endless possibilities. I was no longer simply more than willing to adopt another Big Babyz doll. No, now I had Big Babyz lust...but luck was not on my side. It wasn't until two years later, when I finally found more dolls to add to my small family. During the 2015 flea market season, one of our regular sellers showed up one Sunday with a set of the Twiins. I spotted Phoebe and Roxxi on the ground as we slowly walked up the hill to the final stretch of the flea market. I knew right then and there I had to come home with the duo. Phoebe and Roxxi were always to of my favorite members of the Bratz pack. They were perfect huge replicas of the original, regular sized Babyz set I had acquired some years before in "Craigslist #1." Although "Monster High Lady" wanted a bit more money than I wanted to spend for the pair, I was not about to pass up this opportunity. So with the included Motor-Bike in tow, I forked over the cash and brought my new treasures home. The only reason Phoebe and Roxxi were spared from an equally beat up fate as Felicia was the fact that they had molded tresses. But despite this, they were still scuffed and marked up all over. Not to mention, someone had taken the liberty to draw colorful marks all over their faces and body parts. Phoebe was only wearing a shirt, and neither girl had her jacket or extra accessories. But it did not matter, I felt like I had won the lottery finding both twins together. Plus, I had plenty of fashion packs for my now four dolls to share, and the knowledge and skills to restore them!
Sometimes it is what we least expect to win us over that steals our hearts. I spent a great deal of time, energy, and effort back in the day trying to force an "ideal" collection on myself. I wanted nothing but the best, the most pruned and refined collection of dolls. I rejected any doll who didn't fit this standard, who didn't seamlessly blend in with some aesthetic I thought I "needed" to have. And so I turned down a number of wonderful dolls, many of whom were in desperate need of a loving home. The more I pressured myself to fit this perfect standard, the less fun I felt I had when it came to dolls. I was trapped inside this self created box of who I thought I should be, instead of realizing why it was I collected in the first place. Dolls like Felicia are much like the ones that started my fascination with this hobby in the first place. My original Barbie was a half bald, stark naked 1989 Ice Capades Barbie--someone else's reject. But she was the most magnificent creature I had ever seen, and she captivated my two year old self. That's the thing, what drew me to dolls in the first place was never perfection or aesthetic, rather the dolls themselves...the idea that they had a story to tell, and it was my job to discover it. None of my Big Babyz were complete or in mint condition...on the contrary they were anything but flawless. But despite all their imperfections, their quirky faults, I love them just the same. I don't feel any less connected to them, or any less willing to share my love. Instead, I embrace all four of my girls for exactly who they are, and I'm so grateful I got the chance to be their dolly mama. Maybe I didn't deserve a second chance when it came to Big Babyz collecting--after all, I did turn down the first ones I saw back in 2012, when all the other dolls from their lot came home with us. But at the end of the day, I wouldn't' change a thing--I wouldn't go back and tell my former doll snob self to lighten up, to buy this doll, or to not stress out about stuff so much. Because doll collecting is just like life, it's a journey--it's about the ride, and not the final destination, and that's what makes it so exhilarating!
I actually was looking for a specific new belt and walked from store to store. In the front of one of those stores, i saw Louise arranging some clothes. And because i did not liked to step in to another one for nothing, i asked her, if they would sell some belts. I did not found the belt i was looking for, but i found a new stranger, i would like to take a portrait of. As i asked her, Louise was very friendly but asked me for a card before she agree. To my luck she had her lunch break just in10 minutes . As she came out of the store, she had her lunch and some books with her, so i did not want her, to spend to much of her time. So after a few shots i thanked Louise for her time, and we both walked our way.
Thanks for being a part of the project!
Find out more about the project and see pictures taken by other photographers at www.100strangers.com
My Snow Queen Elsa LE 2500 17'' Doll (2013) is posed next to my newly acquired Coronation Elsa LE 5000 17'' Doll (2014). They are standing in front of the cardboard backing from their original boxes, with artwork specific to each character. Snow Queen Elsa has been completely deboxed, and is supported by the included doll stand. Her gown has been opened to show her legs and blue snowflake shoes. Coronation Elsa Anna is still attached to the backing and the included doll stand.
I just got my pre-ordered Anna and Elsa Limited Edition dolls from my local Disney Store. I also got my pre-ordered Frozen Blu-ray/DVD movie combo. They had very few other Frozen items for sale, the male dolls (Classic Hans and Kristoff, and plush Kristoff) and the plush Anna and Elsa dolls. No girl's Anna or Elsa costumes, Classic Anna or Elsa dolls, or baby Sven. There were perhaps 50 people lined up in front of the entrance before the store opened at 10 am. I also got a second pre-ordered Anna from another local store today. I will take detailed photos of all my dolls, boxed, during deboxing, and fully deboxed.
Elsa Limited Edition Doll - 17'' - Frozen
Released online and in store on November 20, 2013
SOLD OUT online in about 15 minutes
$99.95
Item No. 6070040900950P
Ice dream
Elsa will provide chills of excitement with this spectacular limited edition doll. Designed and crafted by Disney Store artists, and inspired by Disney's Frozen, Elsa's side-swept blonde braid cascades over her finely detailed gown.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 2500
• Includes Certificate of Authenticity
• Sheer organza sleeves
• Sweetheart bodice detailed with reflective ''icicles''
• Elongated sheer dress overlay
• Gown detailed with shimmery ice-blue snowflake embroidery, and rhinestones
• Braided blonde hair is adorned with intricate snowflake jewels
• Rooted eyelashes
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
Anna Limited Edition Doll - 17'' - Frozen
US Disney Store Product Page
Pre-order 2014-01-10
Released 2014-03-18
SOLD OUT
$99.95
Item No. 6070040901012P
Snow wonder
Anna wraps up warm against the Kingdom of Arendelle's eternal winter in the beautifully detailed costume. Inspired by Frozen, this stunning limited edition doll is designed and crafted by Disney Store artists. See more
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 5000
• Includes Certificate of Authenticity
• Burgundy wool cape with satin lining, embroidered detailing, rhinestone accents, and pom-pom trimmed collar
• Norwegian fur-trimmed bonnet
• Satin blouse with embroidered detailing on cuffs
• Black velvet bodice with gold binding. embroidery and rhinestone accents
• Blue velvet skirt with rosemaling embroidery
• Teel knit mittens
• Embossed boots
• Braided hair
• Rooted eyelashes
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
Elsa Limited Edition Doll - 17'' - Frozen
US Disney Store Product Page
Updated 2014-03-18
SOLD OUT
$99.95
Item No. 6070040900983P
Cold standard
Elsa's crown glistens against her coiled blonde hair, her glamorous gown sparkling with rhinestones. Designed by Disney Store artists, this beautifully detailed limited edition doll is inspired by Frozen's coronation scene. See more
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 5000
• Includes Certificate of Authenticity
• Purple velvet cape with satin lining, royal crest embroidery, and sapphire blue clasp
• Teal satin floor-length gown with rosemaling embroidery, rhinestone accents, and chocolate-colored binding
• Black satin blouse with embroidery and rhinestone accents
• Satin mittens with rhinestone accents
• Patterned black slippers
• Golden coronation crown with royal gems
• Coiled blonde hair
• Rooted eyelashes
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
en.wikipedia.org/wiki/Beamish_Museum
Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.
The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.
The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.
History
Genesis
In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.
Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.
In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.
Establishment and expansion
In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.
The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.
In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.
With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.
At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.
In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.
Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.
Remaking Beamish
A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.
As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.
Museum site
The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.
Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).
Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).
Governance
Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).
Sections of the museum
1913
The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.
Tramway
The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.
The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.
Bakery
Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.
Motor garage
Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.
Department Store
Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.
Ravensworth Terrace
Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.
No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.
Pub
Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.
Town stables
Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.
Printer, stationer and newspaper branch office
Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.
Sweet shop
Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.
Bank
Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead
Masonic Hall
The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.
Chemist and photographer
Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.
Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.
Redman Park
Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.
Other
Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.
Unbuilt
When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.
Railway station
East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.
Rowley station
Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.
The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.
The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.
Signal box
The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.
Goods shed
The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).
Coal yard
The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.
The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.
Bridges and level crossing
The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).
Waggon and Iron Works
Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.
Other
A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.
Fairground
Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.
Colliery
Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.
Deep mine
Reconstructed pitworks buildings showing winding gear
Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.
The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.
Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.
Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.
Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).
Drift mine
The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.
Lamp cabin
The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.
Colliery railways
The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.
The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.
The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.
There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.
Other
On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.
Pit Village
Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.
Miner's Cottages
The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.
No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.
School
The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.
Chapel
Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.
Fish bar
Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.
Band hall
The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.
Pit pony stables
The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.
Other
Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.
Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.
In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.
The Georgian North (1825)
A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.
The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.
Pockerley Old Hall
The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.
Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).
Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).
To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.
The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).
Pockerley Waggonway
The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.
Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".
At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.
Wooden waggonway
Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.
St Helen's Church
St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.
The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.
While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.
Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.
Joe the Quilter's Cottage
The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.
Other
A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.
Farm (1940s)
Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.
The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.
The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.
The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.
The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).
The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.
Town (1950s)
As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.
The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.
As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.
Spain's Field Farm
In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.
1820s Expansion
In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.
There are also plans for 1820s industries including a blacksmith's forge and a pottery.
Museum stores
There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.
Open Store
Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.
Regional Museums Store
The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.
Transport collection
Main article: Beamish Museum transport collection
The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.
The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.
Agriculture
The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.
Regional heritage
Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.
In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.
Filming location
The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.
Visitor numbers
On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.
Awards
Museum of the Year1986
European Museum of the Year Award1987
Living Museum of the Year2002
Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015
Large Visitor Attraction of the Year (bronze)VisitEngland awards2016
It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.
Critical responses
In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."
According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".
Legacy
Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.
The unselective collecting policy has created a lasting bond between museum and community.
All the spots have been filled!
For specific Audition Information, follow the link below:
www.wix.com/bratznextmodel/evelated#!__audition
DEADLINE: Friday, December 23 2011
____________________________________________________________________________________
ENTRANTS
1. Adrianna Which | yasminrules123
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2. Elizabeth | °×βεℓℓα βratz×°
Head: www.flickr.com/photos/61389238@N04/6472249737/in/photostr...
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4. - | angelcoolcat13
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5. Abigail Garcia | tomboy551
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33. Charli Drew | dollsrmylife™
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34. Paine | GoneCookie
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Copyright © 2011-2012 bratznexmodel. All rights reserved.
Model: Scania R 500 V8 Highline Streamline Euro5 6X2 (R-Series 6)
VIN: YS2R6X20002062596
1. Registration: 2011-03-14
Company: Munck Gruppen, Nyborg (DK)
Fleet No.: -
Nickname: -
License plates: BW92600 (mar. 2011-?)
Previous reg.: n/a
Later reg.: n/a
Retirement age: still active aug. 2025
Photo location: Motorway 501 (Aarhus Syd Motorvejen), Viby J, Aarhus, DK
Carrying a Wirtgen W 100 CFi cold milling machine.
Munck Gruppen ("the Munck Group") consists of 6 separate units, each specialized in specific fields, but all operating in engineering areas. This truck belongs to the "Munck Asfalt" ("Munck Asphalt" = paving) department.
Other Munck departments work in areas such as supply-lines, bridge- building and renovation, port construction and civil engineering.
Tip: to locate trucks of particular interest to you, check my collections page, "truck collection" www.flickr.com/photos/lavulv/collections/72157684190396672/ - here you will find all trucks organized in more than 1800 albums, by haulier (with zip-codes), year, brand and country.
Retirement age for trucks: many used trucks are offered for sale on international markets. If sold to a foreign buyer, this will not be listed in the danish motor registry, so a "retired" truck may or may not have been exported. In other words, the "retirement age" only shows the age, at which the truck stopped running on danish license plates.
The Flatiron Building, originally the Fuller Building, is a triangular 22-story, 285-foot-tall (86.9 m) steel-framed landmarked building located at 175 Fifth Avenue in the eponymous Flatiron District neighborhood of the borough of Manhattan, New York City. Designed by Daniel Burnham and Frederick Dinkelberg, it was one of the tallest buildings in the city upon its 1902 completion, at 20 floors high, and one of only two "skyscrapers" north of 14th Street—the other being the Metropolitan Life Insurance Company Tower, one block east. The building sits on a triangular block formed by Fifth Avenue, Broadway, and East 22nd Street—where the building's 87-foot (27 m) back end is located—with East 23rd Street grazing the triangle's northern (uptown) peak. As with numerous other wedge-shaped buildings, the name "Flatiron" derives from its resemblance to a cast-iron clothes iron.
Called "one of the world's most iconic skyscrapers and a quintessential symbol of New York City", the building anchors the south (downtown) end of Madison Square and the north (uptown) end of the Ladies' Mile Historic District. The neighborhood around it is called the Flatiron District after its signature, iconic building. The building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and was designated a National Historic Landmark in 1989.
The Flatiron Building sits on a triangular block formed by Fifth Avenue to the west, Broadway to the east, and East 22nd Street to the south. The western and eastern facades converge, forming a "peak" at its northern corner where Fifth Avenue and Broadway intersect with East 23rd Street. The shape of the site arises from Broadway's diagonal alignment relative to the Manhattan street grid. The site measures 197.5 feet (60.2 m) on Fifth Avenue, 214.5 feet (65.4 m) on Broadway, and 86 feet (26 m) on 22nd Street. Above the ground level, all three corners of the triangle are curved.
Adjacent buildings include the Toy Center to the north, the Sohmer Piano Building to the southwest, the Scribner Building to the south, and Madison Green to the southeast. Entrances to the New York City Subway's 23rd Street station, served by the R and W trains, are adjacent to the building. The Flatiron Building is at the northern end of the Ladies' Mile Historic District, which extends between 15th Street to the south and 24th Street to the north. By the 1990s, the blocks south of the building had also become known as the Flatiron District
At the beginning of March 1901, media outlets reported that the Newhouse family was planning to sell "Eno's flatiron" for about $2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of the Fuller Company. The Fuller Company was the first true general contractor that dealt with all aspects of buildings' construction (except for design), and they specialized in erecting skyscrapers. Black intended to construct a new headquarters building on the site, despite the recent deterioration of the surrounding neighborhood. At the end of that March, the Fuller Company organized a subsidiary to develop a building on the site. The sale was finalized in May 1901.
Black hired Daniel Burnham's architectural firm to design a 21-story building on the site in February 1901. It would be Burnham's first in New York City, the tallest building in Manhattan north of the Financial District, and the first skyscraper north of Union Square (at 14th Street). The Northwestern Salvage and Wrecking Company began razing the site in May 1901, after the majority of existing tenants' leases had expired. Most of the Cumberland's remaining tenants readily vacated the building in exchange for monetary compensation. The sole holdout was Winfield Scott Proskey, a retired colonel who refused to move out until his lease expired later that year. Cumberland Realty unsuccessfully attempted to deactivate Proskey's water and gas supply, and Proskey continued to live in the Cumberland while contractors demolished all of the surrounding apartments. By the end of May 1901, Cumberland Realty discovered that Proskey was bankrupt, and his creditors took over the lease and razed the rest of the Cumberland that June.
The New York Herald published an image of the site on June 2, 1901, with the caption "Flatiron Building". The project's structural engineer, Corydon Purdy, filed plans for a 20-story building on the site were filed that August. The Flatiron Building was not the first building of its triangular ground-plan, although it was the largest at the time of its completion. Earlier buildings with a similar shape include a triangular Roman temple built on a similarly constricted site in the city of Verulamium, Britannia; Bridge House, Leeds, England (1875); the I.O.O.F. Centennial Building (1876) in Alpena, Michigan; and the English-American Building in Atlanta (1897). The Real Estate Record and Guide published a drawing of the building in October 1901; though the drawing was captioned "The Cumberland", it was very similar to the Flatiron Building's final design.
The Atlantic Terra Cotta Company began producing architectural terracotta pieces for the building in August 1901. Around the same time, the New York City Department of Buildings (DOB) indicated that it would refuse to approve Purdy's initial plans unless the engineers submitted detailed information about the framework, fireproofing, and wind-bracing systems. Purdy complied with most of the DOB's requests, submitting detailed drawings and documents, but he balked at the department's requirement that the design include fire escapes. For reasons that are unclear, the DOB dropped its requirement that the building contain fire escapes. In addition, the building was originally legally required to contain metal-framed windows, although this would have increased the cost of construction. The city's Board of Building Commissioners had granted an exemption to Black's syndicate, prompting allegations of favoritism. A new Buildings Department commissioner was appointed at the beginning of 1902, promising to enforce city building codes; this prompted general contractor Thompson–Starrett Co. to announce that the building's window frames would be made of fireproof wood with a copper coating.
The building's steel frame was manufactured by the American Bridge Company in Pennsylvania. The frame had risen above street level by January 1902. Construction was then halted for several weeks, first because of a delay in steel shipments, then because of a blizzard that occurred in February. Further delays were caused by a strike at the factory of Hecla Iron Works, which was manufacturing elevators and handrails for the building. The steel was so meticulously pre-cut that, according to The New York Times, the steel pieces could be connected "without so much as the alteration of a bored hole, or the exchange of a tiny rivet". Workers used air-powered tools to rivet the steel beams together, since such equipment was more efficient than steam-powered tools at conducting power over long distances. The frame was complete by February 1902, and workers began installing the terracotta tiles as the framework of the top stories were being finished. By mid-May, the building was half-covered by terracotta tiling. The terracotta work was completed the next month, and the scaffolding in front of the building was removed. The Fifth Avenue Building Company had invested $1.5 million in the project.
Officials of the Fuller Company announced in August 1902 that the structure would be officially named after George A. Fuller, founder of the Fuller Company and "father of the skyscraper", who had died two years earlier. By then, the site had been known as the "flatiron" for several years; according to Christopher Gray of The New York Times, Burnham's and Fuller's architectural drawings even labeled the structure as the "Flatiron Building". Although the Fuller name was used for some time after the building's completion, locals persisted in calling it the Flatiron, to the displeasure of Harry Black and the building's contractors. In subsequent years, the edifice officially came to be known as the Flatiron Building, and the Fuller name was transferred to a newer 40-story structure at 597 Madison Avenue.
In the weeks before the official opening, the Fuller Company distributed six-page brochures to potential tenants and real-estate brokers. The brochures advertised the building as being "ready for occupancy" on October 1, 1902. The Fuller Company took the 19th floor for its headquarters. When completed, the Flatiron Building was much taller than others in the neighborhood; when New York City Fire Department officials tested the building's standpipes in November 1902, they found that "the 'flat-iron' building would be of great aid in fighting the fire" in any surrounding buildings. Following the building's completion, the surrounding neighborhood evolved from an entertainment district to a commercial hub. Initially, the building was topped by a flagpole, which was maintained by one man, "Steeplejack" Kay, for four decades. Henry Clay Frick expressed interest in purchasing the structure in 1904 for $5 million, but he ultimately withdrew his offer.
During the building's construction, Black had suggested that the "cowcatcher" retail space be installed at the northern tip of the building, occupying 93 square feet (8.6 m2) of unused space at the extreme northern end of the lot. This would maximize use of the building's lot and produce some retail income. Burnham initially refused to consider Black's suggestion, and, in April 1902, Black asked a draftsman at the Fuller Company to draw up plans for the retail space. Black submitted plans for the annex to the DOB in May 1902. The DOB rejected the initial plans because the walls were too thin, but the department approved a revised proposal that June, to Burnham's disapproval. The retail space in the "cowcatcher" was leased by United Cigar Stores.
Another addition to the building not in the original plan was the penthouse, which was constructed after the rest of the building had been completed. By 1905, the Fuller Company needed to expand its technical drawing facilities. As a result, the company filed plans for a penthouse with the New York City Department of Buildings that March. The penthouse would cost $10,000 and would include fireproof partitions and a staircase from the existing 20th floor. The penthouse, intended for use as artists' studios, was quickly rented out to artists such as Louis Fancher, many of whom contributed to the pulp magazines which were produced in the offices below.
New York, often called New York City or simply NYC, is the most populous city in the United States, located at the southern tip of New York State on one of the world's largest natural harbors. The city comprises five boroughs, each of which is coextensive with a respective county. It is a global city and a cultural, financial, high-tech, entertainment, and media center with a significant influence on commerce, health care, scientific output, life sciences, research, technology, education, politics, tourism, dining, art, fashion, and sports. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, and is sometimes described as the world's most important city and the capital of the world.
With an estimated population in 2022 of 8,335,897 distributed over 300.46 square miles (778.2 km2), the city is the most densely populated major city in the United States. New York has more than double the population of Los Angeles, the nation's second-most populous city. New York is the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area, the largest metropolitan area in the U.S. by both population and urban area. With more than 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York City is one of the world's most populous megacities. The city and its metropolitan area are the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. In 2021, the city was home to nearly 3.1 million residents born outside the U.S., the largest foreign-born population of any city in the world.
New York City traces its origins to Fort Amsterdam and a trading post founded on the southern tip of Manhattan Island by Dutch colonists in approximately 1624. The settlement was named New Amsterdam (Dutch: Nieuw Amsterdam) in 1626 and was chartered as a city in 1653. The city came under English control in 1664 and was renamed New York after King Charles II granted the lands to his brother, the Duke of York. The city was temporarily regained by the Dutch in July 1673 and was renamed New Orange; however, the city has been named New York since November 1674. New York City was the capital of the United States from 1785 until 1790. The modern city was formed by the 1898 consolidation of its five boroughs: Manhattan, Brooklyn, Queens, The Bronx, and Staten Island, and has been the largest U.S. city ever since.
Anchored by Wall Street in the Financial District of Lower Manhattan, New York City has been called both the world's premier financial and fintech center and the most economically powerful city in the world. As of 2022, the New York metropolitan area is the largest metropolitan economy in the world with a gross metropolitan product of over US$2.16 trillion. If the New York metropolitan area were its own country, it would have the tenth-largest economy in the world. The city is home to the world's two largest stock exchanges by market capitalization of their listed companies: the New York Stock Exchange and Nasdaq. New York City is an established safe haven for global investors. As of 2023, New York City is the most expensive city in the world for expatriates to live. New York City is home to the highest number of billionaires, individuals of ultra-high net worth (greater than US$30 million), and millionaires of any city in the world
The written history of New York City began with the first European explorer, the Italian Giovanni da Verrazzano in 1524. European settlement began with the Dutch in 1608 and New Amsterdam was founded in 1624.
The "Sons of Liberty" campaigned against British authority in New York City, and the Stamp Act Congress of representatives from throughout the Thirteen Colonies met in the city in 1765 to organize resistance to Crown policies. The city's strategic location and status as a major seaport made it the prime target for British seizure in 1776. General George Washington lost a series of battles from which he narrowly escaped (with the notable exception of the Battle of Harlem Heights, his first victory of the war), and the British Army occupied New York and made it their base on the continent until late 1783, attracting Loyalist refugees.
The city served as the national capital under the Articles of Confederation from 1785 to 1789, and briefly served as the new nation's capital in 1789–90 under the United States Constitution. Under the new government, the city hosted the inauguration of George Washington as the first President of the United States, the drafting of the United States Bill of Rights, and the first Supreme Court of the United States. The opening of the Erie Canal gave excellent steamboat connections with upstate New York and the Great Lakes, along with coastal traffic to lower New England, making the city the preeminent port on the Atlantic Ocean. The arrival of rail connections to the north and west in the 1840s and 1850s strengthened its central role.
Beginning in the mid-19th century, waves of new immigrants arrived from Europe dramatically changing the composition of the city and serving as workers in the expanding industries. Modern New York traces its development to the consolidation of the five boroughs in 1898 and an economic and building boom following the Great Depression and World War II. Throughout its history, New York has served as a main port of entry for many immigrants, and its cultural and economic influence has made it one of the most important urban areas in the United States and the world. The economy in the 1700s was based on farming, local production, fur trading, and Atlantic jobs like shipbuilding. In the 1700s, New York was sometimes referred to as a breadbasket colony, because one of its major crops was wheat. New York colony also exported other goods included iron ore as a raw material and as manufactured goods such as tools, plows, nails and kitchen items such as kettles, pans and pots.
The area that eventually encompassed modern day New York was inhabited by the Lenape people. These groups of culturally and linguistically related Native Americans traditionally spoke an Algonquian language now referred to as Unami. Early European settlers called bands of Lenape by the Unami place name for where they lived, such as "Raritan" in Staten Island and New Jersey, "Canarsee" in Brooklyn, and "Hackensack" in New Jersey across the Hudson River from Lower Manhattan. Some modern place names such as Raritan Bay and Canarsie are derived from Lenape names. Eastern Long Island neighbors were culturally and linguistically more closely related to the Mohegan-Pequot peoples of New England who spoke the Mohegan-Montauk-Narragansett language.
These peoples made use of the abundant waterways in the New York region for fishing, hunting trips, trade, and occasionally war. Many paths created by the indigenous peoples are now main thoroughfares, such as Broadway in Manhattan, the Bronx, and Westchester. The Lenape developed sophisticated techniques of hunting and managing their resources. By the time of the arrival of Europeans, they were cultivating fields of vegetation through the slash and burn technique, which extended the productive life of planted fields. They also harvested vast quantities of fish and shellfish from the bay. Historians estimate that at the time of European settlement, approximately 5,000 Lenape lived in 80 settlements around the region.
The first European visitor to the area was Giovanni da Verrazzano, an Italian in command of the French ship La Dauphine in 1524. It is believed he sailed into Upper New York Bay, where he encountered native Lenape, returned through the Narrows, where he anchored the night of April 17, and left to continue his voyage. He named the area New Angoulême (La Nouvelle-Angoulême) in honor of Francis I, King of France of the royal house of Valois-Angoulême and who had been Count of Angoulême from 1496 until his coronation in 1515. The name refers to the town of Angoulême, in the Charente département of France. For the next century, the area was occasionally visited by fur traders or explorers, such as by Esteban Gomez in 1525.
European exploration continued on September 2, 1609, when the Englishman Henry Hudson, in the employ of the Dutch East India Company, sailed the Half Moon through the Narrows into Upper New York Bay. Like Christopher Columbus, Hudson was looking for a westerly passage to Asia. He never found one, but he did take note of the abundant beaver population. Beaver pelts were in fashion in Europe, fueling a lucrative business. Hudson's report on the regional beaver population served as the impetus for the founding of Dutch trading colonies in the New World. The beaver's importance in New York's history is reflected by its use on the city's official seal.
The first Dutch fur trading posts and settlements were in 1614 near present-day Albany, New York, the same year that New Netherland first appeared on maps. Only in May 1624 did the Dutch West India Company land a number of families at Noten Eylant (today's Governors Island) off the southern tip of Manhattan at the mouth of the North River (today's Hudson River). Soon thereafter, most likely in 1626, construction of Fort Amsterdam began. Later, the Dutch West Indies Company imported African slaves to serve as laborers; they were forced to build the wall that defended the town against English and Indian attacks. Early directors included Willem Verhulst and Peter Minuit. Willem Kieft became director in 1638 but five years later was embroiled in Kieft's War against the Native Americans. The Pavonia Massacre, across the Hudson River in present-day Jersey City, resulted in the death of 80 natives in February 1643. Following the massacre, Algonquian tribes joined forces and nearly defeated the Dutch. Holland sent additional forces to the aid of Kieft, leading to the overwhelming defeat of the Native Americans and a peace treaty on August 29, 1645.
On May 27, 1647, Peter Stuyvesant was inaugurated as director general upon his arrival and ruled as a member of the Dutch Reformed Church. The colony was granted self-government in 1652, and New Amsterdam was incorporated as a city on February 2, 1653. The first mayors (burgemeesters) of New Amsterdam, Arent van Hattem and Martin Cregier, were appointed in that year. By the early 1660s, the population consisted of approximately 1500 Europeans, only about half of whom were Dutch, and 375 Africans, 300 of whom were slaves.
A few of the original Dutch place names have been retained, most notably Flushing (after the Dutch town of Vlissingen), Harlem (after Haarlem), and Brooklyn (after Breukelen). Few buildings, however, remain from the 17th century. The oldest recorded house still in existence in New York, the Pieter Claesen Wyckoff House in Brooklyn, dates from 1652.
On August 27, 1664, four English frigates under the command of Col. Richard Nicolls sailed into New Amsterdam's harbor and demanded New Netherland's surrender, as part of an effort by King Charles II's brother James, Duke of York, the Lord High Admiral to provoke the Second Anglo-Dutch War. Two weeks later, Stuyvesant officially capitulated by signing Articles of Surrender and in June 1665, the town was reincorporated under English law and renamed "New York" after the Duke, and Fort Orange was renamed "Fort Albany". The war ended in a Dutch victory in 1667, but the colony remained under English rule as stipulated in the Treaty of Breda. During the Third Anglo-Dutch War, the Dutch briefly recaptured the city in 1673, renaming the city "New Orange", before permanently ceding the colony of New Netherland to England for what is now Suriname in November 1674 at the Treaty of Westminster.
The colony benefited from increased immigration from Europe and its population grew faster. The Bolting Act of 1678, whereby no mill outside the city was permitted to grind wheat or corn, boosted growth until its repeal in 1694, increasing the number of houses over the period from 384 to 983.
In the context of the Glorious Revolution in England, Jacob Leisler led Leisler's Rebellion and effectively controlled the city and surrounding areas from 1689 to 1691, before being arrested and executed.
Lawyers
In New York at first, legal practitioners were full-time businessmen and merchants, with no legal training, who had watched a few court proceedings, and mostly used their own common sense together with snippets they had picked up about English law. Court proceedings were quite informal, for the judges had no more training than the attorneys.
By the 1760s, the situation had dramatically changed. Lawyers were essential to the rapidly growing international trade, dealing with questions of partnerships, contracts, and insurance. The sums of money involved were large, and hiring an incompetent lawyer was a very expensive proposition. Lawyers were now professionally trained, and conversant in an extremely complex language that combined highly specific legal terms and motions with a dose of Latin. Court proceedings became a baffling mystery to the ordinary layman. Lawyers became more specialized and built their reputation, and their fee schedule, on the basis of their reputation for success. But as their status, wealth and power rose, animosity grew even faster. By the 1750s and 1760s, there was a widespread attack ridiculing and demeaning the lawyers as pettifoggers (lawyers lacking sound legal skills). Their image and influence declined. The lawyers organized a bar association, but it fell apart in 1768 during the bitter political dispute between the factions based in the Delancey and Livingston families. A large fraction of the prominent lawyers were Loyalists; their clientele was often to royal authority or British merchants and financiers. They were not allowed to practice law unless they took a loyalty oath to the new United States of America. Many went to Britain or Canada (primarily to New Brunswick and Nova Scotia) after losing the war.
For the next century, various attempts were made, and failed, to build an effective organization of lawyers. Finally a Bar Association emerged in 1869 that proved successful and continues to operate.
By 1700, the Lenape population of New York had diminished to 200. The Dutch West Indies Company transported African slaves to the post as trading laborers used to build the fort and stockade, and some gained freedom under the Dutch. After the seizure of the colony in 1664, the slave trade continued to be legal. In 1703, 42% of the New York households had slaves; they served as domestic servants and laborers but also became involved in skilled trades, shipping and other fields. Yet following reform in ethics according to American Enlightenment thought, by the 1770s slaves made up less than 25% of the population.
By the 1740s, 20% of the residents of New York were slaves, totaling about 2,500 people.
After a series of fires in 1741, the city panicked over rumors of its black population conspiring with some poor whites to burn the city. Historians believe their alarm was mostly fabrication and fear, but officials rounded up 31 black and 4 white people, who over a period of months were convicted of arson. Of these, the city executed 13 black people by burning them alive and hanged the remainder of those incriminated.
The Stamp Act and other British measures fomented dissent, particularly among Sons of Liberty who maintained a long-running skirmish with locally stationed British troops over Liberty Poles from 1766 to 1776. The Stamp Act Congress met in New York City in 1765 in the first organized resistance to British authority across the colonies. After the major defeat of the Continental Army in the Battle of Long Island in late 1776, General George Washington withdrew to Manhattan Island, but with the subsequent defeat at the Battle of Fort Washington the island was effectively left to the British. The city became a haven for loyalist refugees, becoming a British stronghold for the entire war. Consequently, the area also became the focal point for Washington's espionage and intelligence-gathering throughout the war.
New York was greatly damaged twice by fires of suspicious origin, with the Loyalists and Patriots accusing each other of starting the conflagration. The city became the political and military center of operations for the British in North America for the remainder of the war. Continental Army officer Nathan Hale was hanged in Manhattan for espionage. In addition, the British began to hold the majority of captured American prisoners of war aboard prison ships in Wallabout Bay, across the East River in Brooklyn. More Americans lost their lives aboard these ships than died in all the battles of the war. The British occupation lasted until November 25, 1783. George Washington triumphantly returned to the city that day, as the last British forces left the city.
Starting in 1785 the Congress met in the city of New York under the Articles of Confederation. In 1789, New York became the first national capital under the new Constitution. The Constitution also created the current Congress of the United States, and its first sitting was at Federal Hall on Wall Street. The first Supreme Court sat there. The United States Bill of Rights was drafted and ratified there. George Washington was inaugurated at Federal Hall. New York remained the national capital until 1790, when the role was transferred to Philadelphia.
During the 19th century, the city was transformed by immigration, a visionary development proposal called the Commissioners' Plan of 1811 which expanded the city street grid to encompass all of Manhattan, and the opening of the Erie Canal in 1825, which connected the Atlantic port to the vast agricultural markets of the Midwestern United States and Canada. By 1835, New York had surpassed Philadelphia as the largest city in the United States. New York grew as an economic center, first as a result of Alexander Hamilton's policies and practices as the first Secretary of the Treasury.
In 1842, water was piped from a reservoir to supply the city for the first time.
The Great Irish Famine (1845–1850) brought a large influx of Irish immigrants, and by 1850 the Irish comprised one quarter of the city's population. Government institutions, including the New York City Police Department and the public schools, were established in the 1840s and 1850s to respond to growing demands of residents. In 1831, New York University was founded by U.S. Secretary of the Treasury Albert Gallatin as a non-denominal institution surrounding Washington Square Park.
This period started with the 1855 inauguration of Fernando Wood as the first mayor from Tammany Hall. It was the political machine based among Irish Americans that controlled the local Democratic Party. It usually dominated local politics throughout this period and into the 1930s. Public-minded members of the merchant community pressed for a Central Park, which was opened to a design competition in 1857; it became the first landscape park in an American city.
During the American Civil War (1861–1865), the city was affected by its history of strong commercial ties to the South; before the war, half of its exports were related to cotton, including textiles from upstate mills. Together with its growing immigrant population, which was angry about conscription, sympathies among residents were divided for both the Union and Confederacy at the outbreak of war. Tensions related to the war culminated in the Draft Riots of 1863 led by Irish Catholics, who attacked black neighborhood and abolitionist homes. Many blacks left the city and moved to Brooklyn. After the Civil War, the rate of immigration from Europe grew steeply, and New York became the first stop for millions seeking a new and better life in the United States, a role acknowledged by the dedication of the Statue of Liberty in 1886.
From 1890 to 1930, the largest cities, led by New York, were the focus of international attention. The skyscrapers and tourist attractions were widely publicized. Suburbs were emerging as bedroom communities for commuters to the central city. San Francisco dominated the West, Atlanta dominated the South, Boston dominated New England; Chicago dominated the Midwest United States. New York City dominated the entire nation in terms of communications, trade, finance, popular culture, and high culture. More than a fourth of the 300 largest corporations in 1920 were headquartered here.
In 1898, the modern City of New York was formed with the consolidation of Brooklyn (until then an independent city), Manhattan, and outlying areas. Manhattan and the Bronx were established as two separate boroughs and joined with three other boroughs created from parts of adjacent counties to form the new municipal government originally called "Greater New York". The Borough of Brooklyn incorporated the independent City of Brooklyn, recently joined to Manhattan by the Brooklyn Bridge; the Borough of Queens was created from western Queens County (with the remnant established as Nassau County in 1899); and the Borough of Richmond contained all of Richmond County. Municipal governments contained within the boroughs were abolished, and the county governmental functions were absorbed by the city or each borough. In 1914, the New York State Legislature created Bronx County, making five counties coterminous with the five boroughs.
The Bronx had a steady boom period during 1898–1929, with a population growth by a factor of six from 200,000 in 1900 to 1.3 million in 1930. The Great Depression created a surge of unemployment, especially among the working class, and a slow-down of growth.
On June 15, 1904, over 1,000 people, mostly German immigrant women and children, were killed when the excursion steamship General Slocum caught fire and sank. It is the city's worst maritime disaster. On March 25, 1911, the Triangle Shirtwaist Factory fire in Greenwich Village took the lives of 146 garment workers. In response, the city made great advancements in the fire department, building codes, and workplace regulations.
Throughout the first half of the 20th century, the city became a world center for industry, commerce, and communication, marking its rising influence with such events as the Hudson-Fulton Celebration of 1909. Interborough Rapid Transit (the first New York City Subway company) began operating in 1904, and the railroads operating out of Grand Central Terminal and Pennsylvania Station thrived.
From 1918 to 1920, New York City was affected by the largest rent strike wave in its history. Somewhere between several 10,000's and 100,000's of tenants struck across the city. A WW1 housing and coal shortage sparked the strikes. It became marked both by occasional violent scuffles and the Red Scare. It would lead to the passage of the first rent laws in the nations history.
The city was a destination for internal migrants as well as immigrants. Through 1940, New York was a major destination for African Americans during the Great Migration from the rural American South. The Harlem Renaissance flourished during the 1920s and the era of Prohibition. New York's ever accelerating changes and rising crime and poverty rates were reduced after World War I disrupted trade routes, the Immigration Restriction Acts limited additional immigration after the war, and the Great Depression reduced the need for new labor. The combination ended the rule of the Gilded Age barons. As the city's demographics temporarily stabilized, labor unionization helped the working class gain new protections and middle-class affluence, the city's government and infrastructure underwent a dramatic overhaul under Fiorello La Guardia, and his controversial parks commissioner, Robert Moses, ended the blight of many tenement areas, expanded new parks, remade streets, and restricted and reorganized zoning controls.
For a while, New York ranked as the most populous city in the world, overtaking London in 1925, which had reigned for a century.[58] During the difficult years of the Great Depression, the reformer Fiorello La Guardia was elected as mayor, and Tammany Hall fell after eighty years of political dominance.
Despite the effects of the Great Depression, some of the world's tallest skyscrapers were built during the 1930s. Art Deco architecture—such as the iconic Chrysler Building, Empire State Building, and 30 Rockefeller Plaza— came to define the city's skyline. The construction of the Rockefeller Center occurred in the 1930s and was the largest-ever private development project at the time. Both before and especially after World War II, vast areas of the city were also reshaped by the construction of bridges, parks and parkways coordinated by Robert Moses, the greatest proponent of automobile-centered modernist urbanism in America.
Returning World War II veterans and immigrants from Europe created a postwar economic boom. Demands for new housing were aided by the G.I. Bill for veterans, stimulating the development of huge suburban tracts in eastern Queens and Nassau County. The city was extensively photographed during the post–war years by photographer Todd Webb.
New York emerged from the war as the leading city of the world, with Wall Street leading the United States ascendancy. In 1951, the United Nations relocated from its first headquarters in Flushing Meadows Park, Queens, to the East Side of Manhattan. During the late 1960s, the views of real estate developer and city leader Robert Moses began to fall out of favor as the anti-urban renewal views of Jane Jacobs gained popularity. Citizen rebellion stopped a plan to construct an expressway through Lower Manhattan.
After a short war boom, the Bronx declined from 1950 to 1985, going from predominantly moderate-income to mostly lower-income, with high rates of violent crime and poverty. The Bronx has experienced an economic and developmental resurgence starting in the late 1980s that continues into today.
The transition away from the industrial base toward a service economy picked up speed, while the jobs in the large shipbuilding and garment industries declined sharply. The ports converted to container ships, costing many traditional jobs among longshoremen. Many large corporations moved their headquarters to the suburbs or to distant cities. At the same time, there was enormous growth in services, especially finance, education, medicine, tourism, communications and law. New York remained the largest city and largest metropolitan area in the United States, and continued as its largest financial, commercial, information, and cultural center.
Like many major U.S. cities, New York suffered race riots, gang wars and some population decline in the late 1960s. Street activists and minority groups such as the Black Panthers and Young Lords organized rent strikes and garbage offensives, demanding improved city services for poor areas. They also set up free health clinics and other programs, as a guide for organizing and gaining "Power to the People." By the 1970s the city had gained a reputation as a crime-ridden relic of history. In 1975, the city government avoided bankruptcy only through a federal loan and debt restructuring by the Municipal Assistance Corporation, headed by Felix Rohatyn. The city was also forced to accept increased financial scrutiny by an agency of New York State. In 1977, the city was struck by the New York City blackout of 1977 and serial slayings by the Son of Sam.
The 1980s began a rebirth of Wall Street, and the city reclaimed its role at the center of the worldwide financial industry. Unemployment and crime remained high, the latter reaching peak levels in some categories around the close of the decade and the beginning of the 1990s. Neighborhood restoration projects funded by the city and state had very good effects for New York, especially Bedford-Stuyvesant, Harlem, and The Bronx. The city later resumed its social and economic recovery, bolstered by the influx of Asians, Latin Americans, and U.S. citizens, and by new crime-fighting techniques on the part of the New York Police Department. In 1989, New York City elected its first African American Mayor, David Dinkins. He came out of the Harlem Clubhouse.
In the late 1990s, the city benefited from the nationwide fall of violent crime rates, the resurgence of the finance industry, and the growth of the "Silicon Alley", during the dot com boom, one of the factors in a decade of booming real estate values. New York was also able to attract more business and convert abandoned industrialized neighborhoods into arts or attractive residential neighborhoods; examples include the Meatpacking District and Chelsea (in Manhattan) and Williamsburg (in Brooklyn).
New York's population reached an all-time high in the 2000 census; according to census estimates since 2000, the city has continued to grow, including rapid growth in the most urbanized borough, Manhattan. During this period, New York City was a site of the September 11 attacks of 2001; 2,606 people who were in the towers and in the surrounding area were killed by a terrorist attack on the World Trade Center, an event considered highly traumatic for the city but which did not stop the city's rapid regrowth. On November 3, 2014, One World Trade Center opened on the site of the attack. Hurricane Sandy brought a destructive storm surge to New York in the evening of October 29, 2012, flooding numerous streets, tunnels, and subway lines in Lower Manhattan. It flooded low-lying areas of Brooklyn, Queens, and Staten Island. Electrical power was lost in many parts of the city and its suburbs.
Hats off Day, Burnaby Heights, BC., Canada. 2016.
The Buick LeSabre is a full-size car made by General Motors from 1959-2005. For many years, the LeSabre was considered as a full-size car, carrying the lowest base price in the Buick lineup. Prior to 1959, this position had been retained by the full-size Buick Special model (1936–58); in 1959 the LeSabre replaced the Special, a nameplate that was reintroduced in 1961 for Buick's line of compact cars. The name originated with the 1951 GM Le Sabre show car designed by Harley Earl; that car is often mistakenly attributed to the Buick division, but in fact it was presented as a GM vehicle without reference to a specific GM division.[citation needed] Buick closely related their 1956-1957 models to the GM LeSabre by replicating the top section of the rear wing into their design. The word LeSabre is French for sword.
Fifth generation (1977–1985)
The 1977 Buick LeSabre and other GM B-body full-sized cars were considerably smaller and lighter than their predecessors to the tune of losing 700-800 pounds of weight and overall length of 10 to 15 inches (380 mm). The full-sized cars were the beginning of a "corporate-wide" downsizing of vehicles in order to improve fuel economy ratings following the 1973-74 energy crisis that would filter down to intermediates in 1978, personal-luxury cars in 1979 and compacts in 1980 with subsequent downsizings of each line of vehicles scheduled in subsequent years.
Although the '77 Buick LeSabre was considerably smaller on the outside, headroom, rear seat legroom and trunk space were increased over the much larger 1976 model. The engine lineup consisted of an assortment of engines including the standard 231 cubic-inch Buick-built V6 and various optional powerplants including a Pontiac-built 301 cubic-inch V8, 350 cubic-inch V8s built by both Buick and Oldsmobile, and an Oldsmobile 403 cubic-inch V8. The V6 was standard in base and Custom coupes and sedans, the 301 V8 on the new LeSabre Sport Coupe and the 350 V8 on the Estate Wagon.
For my Video; youtu.be/vm4mDSQuVaY
This visualization uses specific colors to describe which areas on the sun cooled or heated over a 12-hour period. The use of reds and yellows imply that higher temperatures dominated earlier in the time period, while lower temperatures dominated later, meaning that the area showed steady cooling over time, but any heating happened too quickly and impulsively to be measured. The image compares wavelength 211 (which shows material in the 2 million K range) to wavelength 171 (which shows material about ten times cooler).
Credit: NASA/Viall
To read more go to: www.nasa.gov/mission_pages/sunearth/news/colorful-science...
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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My Coronation Anna LE 2500 17'' Doll (2013) is posed next to my newly acquired Snow Gear Anna LE 5000 17'' Doll (2014). They are standing in front of the cardboard backing from their original boxes, with artwork specific to each character. Coronation Anna has been completely deboxed, and is supported by the included doll stand. Snow Gear Anna is still attached to the backing and the included doll stand. They are arranged so they are looking at each other, and touching hands.
I just got my pre-ordered Anna and Elsa Limited Edition dolls from my local Disney Store. I also got my pre-ordered Frozen Blu-ray/DVD movie combo. They had very few other Frozen items for sale, the male dolls (Classic Hans and Kristoff, and plush Kristoff) and the plush Anna and Elsa dolls. No girl's Anna or Elsa costumes, Classic Anna or Elsa dolls, or baby Sven. There were perhaps 50 people lined up in front of the entrance before the store opened at 10 am. I also got a second pre-ordered Anna from another local store today. I will take detailed photos of all my dolls, boxed, during deboxing, and fully deboxed.
Anna Limited Edition Doll - 17'' - Frozen
US Disney Store
Released online and in store on November 20, 2013
SOLD OUT online in about 15 minutes
$99.95
Item No. 6070040900951P
Winter wonder
Anna's stunning beauty will warm any occasion. Designed and crafted by Disney Store artists, and inspired by Disney's Frozen, this gorgeous limited edition Anna doll features her glamorous gown studded with colorful rhinestones.
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 2500
• Includes Certificate of Authenticity
• Satin dress features romantic off-shoulder draped sleeves, velvet sweetheart bodice, and a box-pleated floor-length skirt
• Norwegian rosemaling embroidery, rhinestone accents and lace detailing
• Red hair with blonde streak and satin ribbons
• Rooted eyelashes
• Necklace
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
Anna Limited Edition Doll - 17'' - Frozen
US Disney Store Product Page
Pre-order 2014-01-10
Released 2014-03-18
SOLD OUT
$99.95
Item No. 6070040901012P
Snow wonder
Anna wraps up warm against the Kingdom of Arendelle's eternal winter in the beautifully detailed costume. Inspired by Frozen, this stunning limited edition doll is designed and crafted by Disney Store artists. See more
Magic in the details...
Please Note: Each Guest will be limited to ordering a maximum of one of this item per order.
• Limited Edition of 5000
• Includes Certificate of Authenticity
• Burgundy wool cape with satin lining, embroidered detailing, rhinestone accents, and pom-pom trimmed collar
• Norwegian fur-trimmed bonnet
• Satin blouse with embroidered detailing on cuffs
• Black velvet bodice with gold binding. embroidery and rhinestone accents
• Blue velvet skirt with rosemaling embroidery
• Teel knit mittens
• Embossed boots
• Braided hair
• Rooted eyelashes
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Inspired by Disney's Frozen
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
Here we are in a pandemic and terrible climate change. A specific site that I like to focus on is the forest, a place where trees were buried, water crept in and minerals stayed. One of the signature gifts from the earth herself. The forest breathes, listens and answers. Beautiful forest kept and calm designed by nature to cherish living things that may not be able to survive outside of their habitat. A place where it is meant for no man to enter and destroy. However, with every cause of disaster is a cry for help from mother nature, man ignores and continues for their own benefit. Forest fires, landslides, poaching, climate change, deforestation and the list goes on but man kept silencing mother nature’s cries for mercy.
Maybe if we cared a little more and helped the earth, we would still be able to save the earth. Ask yourself how many more times the earth will cry out to us before she finally goes silent? As true as me and you and all we ever knew, our world will fall away if we let it.
I’m Siti Nur Sajidah from Institute of Technical Education (ITE), Higher Nitec in Chemical Technology. I drew my masterpiece using Staphylococcus aureus on Baird Parker Agr (BPA) because the bacteria will form distinctive black colonies on the yellow agar due to tellurite reduction. Additionally, I grew some bread mould at home and cultivated the mould on top of the forest canopy. Upon incubation, the artwork turned out amazing! The deer and forest are black due to growth of S. aureus, with a tinge of greyish-white from the bread mould, which looked like the aftermath from the forest fire. Wildfire seasons were larger than in previous history, with increased extreme weather caused by climate change strengthening the intensity and scale of fires. I hope my art can build awareness on forest fire. Let us heal the planet and make it a better place to live in!
Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.
The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of Industrial Revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.
The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums.[citation needed] It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.
In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.
Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.
In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.
In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.
The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.
In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.
With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.
At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993. Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage,Beamish Museum 2014 followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.
In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.
Into the 2010s, further buildings were added - the fish and chip shop (opened 2011) band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.
Production: 105 (1964-1969)
Specific history of this car:
GT40 P/1079 was delivered new from Ford Advanced Vehicles (FAV) as one of the few privately entered factory built lightweight racing cars to Mr Jean Blaton from Brussels, Belgium. Compared to the road cars (which are today often rebuilt and used as race cars), the competition cars had a stronger race spec engine, a smaller, but improved clutch and a 140 litre fuel tank. They also featured a lighter flywheel and 25% stiffer suspension all around. Further the race cars were missing its interior trim, the door pockets, a radio, the heater and exhaust silencers compared to the normal road cars. As this car was one of the very late cars built by John Wyer, it belongs to the last series of GT40 which had slightly modified body parts and was lighter than any of the earlier cars.
The original invoice, which comes with the car, proves that Blaton received the yellow car on the 20th April 1968 in Ostende, Belgium for the Ecurie Francorchamps. This was just in time to put the car on a transporter for the 1.000 km race in Monza. The drivers Willy Mairesse and “Jean Beurlys” (the racing name of Jean Blaton) qualified the car 6th on the grid, but had to stop the race after 89 laps due to wheel problems. The where still qualified 7th overall and 2nd in class! The next race for 1079 were the 1.000 km of Spa-Francorchamps, were the car was entered by the Belgium Claude Dubois in the name of the Ecurie Francorchamps, still in its Belgium racing colors. The car was again driven by Mairesse and “Beurlys” who qualified the car in third position, only beaten by the local hero Jacky Ickx in another GT40 and a experimental Ford on pole. The start went very well but the Ecurie Francorchamps had to retire after 45 laps.
For the 1968 24 hours of Le Mans, the car was once more entered by Claude Dubois in the name of his team Ecurie Claude Dubois. The original and stamped (18 March 1968) entry form and application forms which are coming with the car, are stating Dubois, “Beurlys” and Mairesse as drivers. After some technical problems during the tests, the ended up in qualifying, now with a fresh engine, 10th on the grip. Shortly before the start of the 24 hours race it started to rain. Mairesse drove off first, but lost the car in the rain and crashed it at high speed on the Mulsanne as a door flew open.
After the accident the car remained untouched for a while before it went to Switzerland where it was restored. In the late eighties/early nineties the car was sold to a French based investment funds including some other high valued cars. The car was then offered at a French auction in 1994 and also stayed in France until the last owner bought it in the late nineties. During a further restoration the car has been fully stripped and some wrong parts have been replaced or corrected. The car was then showed to Ronnie Spain, author of the book “GT40: An individual history and race record”, who immediately recognised the car and stated it in writing as the original, ex-Jean Blaton car.
Since then, the GT40 was successfully driven at several Le Mans Classic races since 2002. It also raced on various Tour Auto events and Goodwood Revivals with great success. 1079 is probably one of the best documented GT40 race cars until today. Not only is there a more than 400 pages expertise by Ronnie Spain, but also a full technical expertise certifying the authenticity of the chassis. We are very proud to offer this rare and original racing Ford GT40 in race-ready condition. Only very seldom do original competition GT40 appear on the market as most of the cars which are found in historic motorsport are modified road cars.
Source: www.mustangdrivers.be/Dubois_ShelbyEuropa/DuboisBeurlysGT...
In December 2024 a special exhibition was held about classic sports cars having participated in Le Mans races.
Metropole Museum
Druten, the Netherlands.
:O
Description: The individual portrayed is a male of Odontomachus sp., possibly Odontomachus bauri as this is one of the most common species in this specific area of distribution and my suspicions shot skywards when I saw a picture of a male of Odontomachus bauri which I provided below, containing the same thorax designs and features. They belong in the order Hymenoptera, suborder Apocrita, infraorder Aculeata, superfamily Formicoidea, family Formicidae, subfamily Ponerinae and tribe Ponerini. They are commonly known in Brazil as a whole as "formigas-de-estalo" and specifically in the Northwestern states as "trinca-cunhão".
The males of Odontomachus differ incredibly from the females, which possess very strong jaw muscles and very large, elongate trap-jaws which stays open horizontally similar to open scissors at 180º when they are seeking prey. The trap is triggered when the prey touches the frontal trigger setae beneath the mandibles; the jaws click shut at incredible speeds and force. In fact, this is the fastest movement ever measured in any animal. Kinematic data indicate that the force of the jaws closure in Odontomachus scales positively with body size, while acceleration scales inversely with body size. The reason to this nature for foraging is still unknown. The workers generally feel their prey with their antennae, proceeding to withdraw the antennae and snaps the mandibles shut on the prey, which is held in the mandibles and lifted off the substrate, stung, and then transported to the nest. The stinging part is sometimes not necessary. This behaviour can suffer changes depending on the prey, and multiple mandibular strikes can be used to stun or dismember prey. Workers are very cautious during prey capture, especially when they are dealing with potentially dangerous prey. A few workers learned to avoid overly dangerous prey.
Some Odontomachus conduct rapid mandibular strikes for other uses, with the force being used to bounce to safety or onto intruders or eject intruders away. They can also use their mandibles for basic tasks such as nest construction and brood care.
Males (the subject portrayed) lack the intimidating appearance of the females and lack their trap-jaws. The antennal segment count of males reach a number of thirteen, while a worker's count reaches twelve. The male and the worker's antennal club are absent. Dental count on workers are between 3 and 20, while on males that count reaches zero. The mandibles are reduced and non-opposable. Their genital capsule is not fully retractile and the cerci are well developed and conspicuous. The petiolar node in Odontomachus males is more or less conical, with narrowly rounded or even pointed apex. Counting the stretched antennae, the subject portrayed measured approximately 1,3cm in length and possessed well developed wings. The head is broad, with half to just about all of the sides of the head occupied by large compound eyes with, generally, weak emarginate mesal margins in frontal (dorsal) view and weak emarginate lateral margins as seen from the sides. The clypeus is small and convex, with convex or nearly straight anterior free margin. The ocelli are large and close to each other, normally situated on an eminence. The mandibles are small and narrow with acute to bluntly rounded apices. The labrum is small, bilobed, with a median cleft, fitting into the space between the mandibles. The antennae have a short, cylindrical scape and even shorter pedicel. The trunk is rather robust. Pygidium produced as a sharp, slender downcurved spine in all known Odontomachus males. The hypogygium is linguiform, with parallel sides and rounded or subtruncate apex. The legs and tarsal claws are slender with or without a small submedian tooth. More information on the source provided below.
In addition to the incredibly powerful trap-jaws, Odontomachus also feature a stinger at the apex of the abdomen which is also used to harm prey. Salticidae spiders of the genus Enoplomischus SEEM to mimic Odontomachus ants.
Most species can be found in tropical and subtropical zones, but some can be found in temperate and even semi-desert zones. The nesting behaviour of Odontomachus often include the construction of nests in the soil, rotting wood, arboreally or in abandoned termite nests.
In general they prey arthropods, but some specialize on certain prey such as termites. Still, Odontomachus are carnivorous ants. The colony size varies a lot between species. Most species possess typically winged queens, but some do possess wingless queens. Some queens perform tasks that are typical to workers, such as foraging outside of the nest. It's possible to hear a clicking sound when the traps are triggered due to the incredible speed and force that the jaws shut close. Bites and stings from females of Odontomachus are painful and can cause local burning, which can be intense. Moments later, a skin swelling that varies in duration and that can be very itchy might appear. They are harmless to the life of humans and animals, though.
They are leaf litter ants that forages individually most of the time underneath the leaf litter. The Odontomachus bauri is distributed throughout the Neotropical zone. Colonies establish foraging territories and tend to avoid conspecific territories of neighboring nests, but are normally found in forests of many kinds, suburban habitats and even urban habitats.
Text revision by Marina de Azevedo Guerra (www.facebook.com/marina.guerragymnopaedist)
Subfamilies of Formicidae:
Aenictinae
Aenictogitoninae
Agroecomyrmecinae
Amblyoponinae
Aneuretinae
† Armaniinae (extinct)
† Brownimeciinae (extinct)
Cerapachyinae
Dolichoderinae
Dorylinae
Ecitoninae
Ectatomminae
† Formiciinae (extinct)
Formicinae
Heteroponerinae
Leptanillinae
Leptanilloidinae
Martialinae
Myrmeciinae
Myrmicinae
Paraponerinae
Ponerinae
Proceratiinae
Pseudomyrmecinae
† Sphecomyrminae (extinct)
Incertae Sedis:
† Calyptites (extinct)
Condylon
† Cretopone (extinct)
† Curticorna (extinct)
† Eoanictites (extinct)
† Eoformica (extinct)
† Fonsecahymen (extinct)
† Gerontoformica (extinct)
† Klondikia (extinct)
† Kohlsimyrma (extinct)
† Myanmyrma (extinct)
† Petropone (extinct)
Tribes within Ponerinae:
Platythyreini
Ponerini
Thaumatomyrmecini
Incertae Sedis
Genera within Ponerini:
Anochetus
† Archiponera (extinct)
Asphinctopone
Belonopelta
Bothroponera
Centromyrmex
† Cephalopone (extinct)
Cryptopone
† Cyrtopone (extinct)
Diacamma
Dinoponera
Dolioponera
Emeryopone
Feroponera
Harpegnathos
Hypoponera
Leptogenys
Megaponera
† Messelepone (extinct)
Myopias
Odontomachus
Odontoponera
Pachycondyla
Phrynoponera
Paltothryreus
Plectroctena
Ponera
Promyopias
† Protopone (extinct)
Psalidomyrmex
Simopelta
Streblognathus
Austroponera (?)
Ectomomyrmex (?)
Iroponera (?)
Parvaponera (?)
Pseudoponera (?)
Rasopone (?)
Sources:
Picture of a male of Odontomachus bauri, one of the most common species in this specific area of distribution, containing thorax designs and a few other traits that can be compared to the subject in my picture: doidoporformigas.blogspot.com.br/2010/12/odontomachus-bau...
Ant Wiki (Odontomachus): www.antwiki.org/wiki/Odontomachus
Ant Wiki (New World Ponerinae key): www.antwiki.org/wiki/Key_to_New_World_Genera_of_Ponerinae
Wikipedia (PT): pt.wikipedia.org/wiki/Odontomachus
Wikipedia (EN): en.wikipedia.org/wiki/Odontomachus
Lackluster Wikipedia article in Portuguese showcasing the Brazilian common name of trap-jaw ants but without further reliable details and explanations: pt.wikipedia.org/wiki/Formiga-de-estalo
Feeding type: Predator.
PROJECT NOAH (Português): www.projectnoah.org/spottings/1747050567
While the mall doesn't have a specific photo policy on its website or posted at the mall, Macy's is pretty clear about no photography. The store has a fair amount of people walking about, so I am not really interested in flouting this rule. Even still, I managed to grab this shot just open entering from the upper level of the Macy's parking deck.
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Tri-County Center opened on September 26, 1960. When it opened, the open-air center contained such stores as Shillito's, Pogue's, Kroger, a Kresge 5 and 10, and over 45 other stores. The center was enclosed by 1968 and renamed Tri-County Mall. Sears came to the mall around that same time. Between 1989 and 1992, the mall saw the addition of a second floor, along with the construction of MacAlpin's as a fourth anchor.
Today, Sears is the only mall anchor that has not had a name change. Shillito's became Shillito Rikes in 1982 when the two stores combined. In 1986, the store became a Lazarus; it was known as Lazarus-Macy's in 2003, then simply Macy's in 2005. Pogue's was renamed L.S. Ayres in 1983 and was closed in 1988. J.C.Penney took over that space, closing in July 2005. Today, the former J.C.Penney store is the site of an additional mall entrance, B.J.'s Restaurant & Brewhouse, Ethan Allan Furniture, and several smaller stores. The upper level of the former J.C.Penney became an indoor theme park, which is no longer open. McAlpin's became Dillard's in 1998. The Dillard's store was "downgraded" to a clearance center in 2013 and closed in 2015. As of today, that space is still vacant.
Palmer, Alfred T.,, photographer.
Students at Washington High School at class, training for specific contributions to the war effort, Los Angeles, Calif.
1942 Sept.
1 transparency : color.
Notes:
Title from FSA or OWI agency caption.
Transfer from U.S. Office of War Information, 1944.
Subjects:
Washington High School (Los Angeles, Calif.)
Schools
World War, 1939-1945
Vocational education
United States--California--Los Angeles
Format: Transparencies--Color
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Farm Security Administration - Office of War Information Collection 12002-40 (DLC) 93845501
General information about the FSA/OWI Color Photographs is available at hdl.loc.gov/loc.pnp/pp.fsac
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/fsac.1a35367
Call Number: LC-USW36-287
The name for this dolmen is steeped in Basque pagan mythology - myths and living stories that are certainly deeply medievalist while being distanced from the original early Neolithic signification of around 4,500 ybp. Whilst the rough translation of its name - 'Soriginetxe' - is 'witches hut', the Basque category for witch - Sorgin - is quite specific, and is best detached from more 'traditional' ideas of pagan witches. In Basque myths, Sorgina are mostly female assistants to the Godess Mari - mischievous and even nasty 'spirits' that helped people navigate complexity and in-conclusion and provided spice for evening story telling and a shiver for when walking past certain stones or gullies. Contrast this with the pagan witch - local women that people visited freely or paid fees for herbal advice, ritual prescription, general advice, protection and prediction. Witches (sorcières) were common in rural communities, certainly offering advice up to the first world war. They existed in a gray zone between belief, the open armed shrug and stern advice to keep away. These women worked outside of the church and might attract significant and polarized community reactions, with, at times, real cues forming as visitors arrived from far and wide (an example recounted from living memory).
The Catholic inquisitions against 'witches' (1538 ... 1610 ...) were generalist terror strategies and often served to upset Protestant or Moorish influences and reduce local Pagan decentralization and nuance. In the Basque region of this dolmen and beyond into the hills and valleys of the Sorgina, the witch hunts spilled up from Spain and down from France with thousands of local people turned towards distress and hundreds of women and even children murdered with public cruelty and private torture.
To the north, in a area currently in France, joyful and technical traditional dances occurred around the light and heat of a wood fire - protected from the rhythms of the Basque rain in a large cave mouth. These local gatherings were stigmatized as witch rituals with a resulting loss of life after lengthy periods of community stress. To the south of this dolmen, the town of Logroño hosted a series of trials, once again with a barbarous loss of life.
The dolmen itself retains a resolute synergy with the natural landscape - proof of existence weighted with lightness : standing taller than some of the miseries of history.
AJM 01.02.17
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Androgyny is the combination of masculine and feminine characteristics into an ambiguous form. Androgyny may be expressed with regard to biological sex, gender identity, gender expression, or sexual identity.
When androgyny refers to mixed biological sex characteristics in humans, it often refers to intersex people. As a gender identity, androgynous individuals may refer to themselves as non-binary, genderqueer, or gender neutral. As a form of gender expression, androgyny can be achieved through personal grooming or fashion. Androgynous gender expression has waxed and waned in popularity in different cultures and throughout history.
Contents
1Etymology
2History
3Symbols and iconography
4Biological
5Psychological
5.1Bem Sex-Role Inventory
5.2Personal Attribues Questionnaire
6Gender identity
7Gender expression
7.1Androgyny in fashion
8Alternatives
9Contemporary trends
10See also
11References
12External links
Etymology[edit]
Androgyny as a noun came into use c. 1850, nominalizing the adjective androgynous. The adjective use dates from the early 17th century and is itself derived from the older French (14th Century) and English (c. 1550) term androgyne. The terms are ultimately derived from Ancient Greek: ἀνδρόγυνος, from ἀνήρ, stem ἀνδρ- (anér, andr-, meaning man) and γυνή (gunē, gyné, meaning woman) through the Latin: androgynus,[1] The older word form androgyne is still in use as a noun with an overlapping set of meanings.
History[edit]
See also: Sexuality in ancient Rome § Hermaphroditism and androgyny
Androgyny among humans – expressed in terms of biological sex characteristics, gender identity, or gender expression – is attested to from earliest history and across world cultures. In ancient Sumer, androgynous and hermaphroditic men were heavily involved in the cult of Inanna.[2]:157–158 A set of priests known as gala worked in Inanna's temples, where they performed elegies and lamentations.[2]:285 Gala took female names, spoke in the eme-sal dialect, which was traditionally reserved for women, and appear to have engaged in homosexual intercourse.[3] In later Mesopotamian cultures, kurgarrū and assinnu were servants of the goddess Ishtar (Inanna's East Semitic equivalent), who dressed in female clothing and performed war dances in Ishtar's temples.[3] Several Akkadian proverbs seem to suggest that they may have also engaged in homosexual intercourse.[3] Gwendolyn Leick, an anthropologist known for her writings on Mesopotamia, has compared these individuals to the contemporary Indian hijra.[2]:158–163 In one Akkadian hymn, Ishtar is described as transforming men into women.[3]
The ancient Greek myth of Hermaphroditus and Salmacis, two divinities who fused into a single immortal – provided a frame of reference used in Western culture for centuries. Androgyny and homosexuality are seen in Plato's Symposium in a myth that Aristophanes tells the audience.[4] People used to be spherical creatures, with two bodies attached back to back who cartwheeled around. There were three sexes: the male-male people who descended from the sun, the female-female people who descended from the earth, and the male-female people who came from the moon. This last pairing represented the androgynous couple. These sphere people tried to take over the gods and failed. Zeus then decided to cut them in half and had Apollo repair the resulting cut surfaces, leaving the navel as a reminder to not defy the gods again. If they did, he would cleave them in two again to hop around on one leg. Plato states in this work that homosexuality is not shameful. This is one of the earlier written references to androgyny. Other early references to androgyny include astronomy, where androgyn was a name given to planets that were sometimes warm and sometimes cold.[5]
Philosophers such as Philo of Alexandria, and early Christian leaders such as Origen and Gregory of Nyssa, continued to promote the idea of androgyny as humans' original and perfect state during late antiquity.”[6] In medieval Europe, the concept of androgyny played an important role in both Christian theological debate and Alchemical theory. Influential Theologians such as John of Damascus and John Scotus Eriugena continued to promote the pre-fall androgyny proposed by the early Church Fathers, while other clergy expounded and debated the proper view and treatment of contemporary “hermaphrodites.”[6]
Western esotericism’s embrace of androgyny continued into the modern period. A 1550 anthology of Alchemical thought, De Alchemia, included the influential Rosary of the Philosophers, which depicts the sacred marriage of the masculine principle (Sol) with the feminine principle (Luna) producing the "Divine Androgyne," a representation of Alchemical Hermetic beliefs in dualism, transformation, and the transcendental perfection of the union of opposites.[7] The symbolism and meaning of androgyny was a central preoccupation of the German mystic Jakob Böhme and the Swedish philosopher Emanuel Swedenborg. The philosophical concept of the “Universal Androgyne” (or “Universal Hermaphrodite”) – a perfect merging of the sexes that predated the current corrupted world and/or was the utopia of the next – also plays a central role in Rosicrucian doctrine[8][9] and in philosophical traditions such as Swedenborgianism and Theosophy. Twentieth century architect Claude Fayette Bragdon expressed the concept mathematically as a magic square, using it as building block in many of his most noted buildings.[10]
Symbols and iconography[edit]
The Caduceus
In the ancient and medieval worlds, androgynous people and/or hermaphrodites were represented in art by the caduceus, a wand of transformative power in ancient Greco-Roman mythology. The caduceus was created by Tiresias and represents his transformation into a woman by Juno in punishment for striking at mating snakes. The caduceus was later carried by Hermes/Mercury and was the basis for the astronomical symbol for the planet Mercury and the botanical sign for hermaphrodite. That sign is now sometimes used for transgender people.
Another common androgyny icon in the medieval and early modern period was the Rebis, a conjoined male and female figure, often with solar and lunar motifs. Still another symbol was what is today called sun cross, which united the cross (or saltire) symbol for male with the circle for female.[11] This sign is now the astronomical symbol for the planet Earth.[12]
Mercury symbol derived from the Caduceus
A Rebis from 1617
"Rose and Cross" Androgyne symbol
Alternate "rose and cross" version
Biological[edit]
See also: Sex differences in humans
Historically, the word androgynous was applied to humans with a mixture of male and female sex characteristics, and was sometimes used synonymously with the term hermaphrodite.[13] In some disciplines, such as botany, androgynous and hermaphroditic are still used interchangeably.
When androgyny is used to refer to physical traits, it often refers to a person whose biological sex is difficult to discern at a glance because of their mixture of male and female characteristics. Because androgyny encompasses additional meanings related to gender identity and gender expression that are distinct from biological sex, today the word androgynous is rarely used to formally describe mixed biological sex characteristics in humans. [14] In modern English, the word intersex is used to more precisely describe individuals with mixed or ambiguous sex characteristics. However, both intersex and non-intersex people can exhibit a mixture of male and female sex traits such as hormone levels, type of internal and external genitalia, and the appearance of secondary sex characteristics.
Psychological[edit]
Though definitions of androgyny vary throughout the scientific community, it is generally supported that androgyny represents a blending of traits associated with both masculinity and femininity. In psychological study, various measures have been used to characterize gender, such as the Bem Sex Role Inventory, the Personal Attributes Questionnaire.[15]
Broadly speaking, masculine traits are categorized as agentic and instrumental, dealing with assertiveness and analytical skill. Feminine traits are categorized as communal and expressive, dealing with empathy and subjectivity.[16] Androgynous individuals exhibit behavior that extends beyond what is normally associated with their given sex.[17] Due to the possession of both masculine and feminine characteristics, androgynous individuals have access to a wider array of psychological competencies in regards to emotional regulation, communication styles, and situational adaptability. Androgynous individuals have also been associated with higher levels of creativity and mental health.[18][19]
Bem Sex-Role Inventory[edit]
The Bem Sex-Role Inventory (BSRI) was constructed by the early leading proponent of androgyny, Sandra Bem (1977).[20][better source needed] The BSRI is one of the most widely used gender measures. Based on an individual's responses to the items in the BSRI, they are classified as having one of four gender role orientations: masculine, feminine, androgynous, or undifferentiated. Bem understood that both masculine and feminine characteristics could be expressed by anyone and it would determine those gender role orientations.[21]
An androgynous person is an individual who has a high degree of both feminine (expressive) and masculine (instrumental) traits. A feminine individual is ranked high on feminine (expressive) traits and ranked low on masculine (instrumental) traits. A masculine individual is ranked high on instrumental traits and ranked low on expressive traits. An undifferentiated person is low on both feminine and masculine traits.[20]
According to Sandra Bem, androgynous individuals are more flexible and more mentally healthy than either masculine or feminine individuals; undifferentiated individuals are less competent.[20] More recent research has debunked this idea, at least to some extent, and Bem herself has found weaknesses in her original pioneering work. Now she prefers to work with gender schema theory.
One study found that masculine and androgynous individuals had higher expectations for being able to control the outcomes of their academic efforts than feminine or undifferentiated individuals.[22]
Personal Attribues Questionnaire[edit]
The Personal Attributes Questionnaire (PAQ) was developed in the 70s by Janet Spence, Robert Helmreich, and Joy Stapp. This test asked subjects to complete to a survey consisting of three sets of scales relating to masculinity, femininity, and masculinity-femininity. These scales had sets of adjectives commonly associated with males, females, and both. These descriptors were chosen based on typical characteristics as rated by a population of undergrad students. Similar to the BSRI, the PAQ labeled androgynous individuals as people who ranked highly in both the areas of masculinity and femininity. However, Spence and Helmreich considered androgyny to be a descriptor of high levels of masculinity and femininity as opposed to a category in and of itself.[15]
Gender identity[edit]
An individual's gender identity, a personal sense of one's own gender, may be described as androgynous if they feel that they have both masculine and feminine aspects. The word androgyne can refer to a person who does not fit neatly into one of the typical masculine or feminine gender roles of their society, or to a person whose gender is a mixture of male and female, not necessarily half-and-half. Many androgynous individuals identify as being mentally or emotionally both masculine and feminine. They may also identify as "gender-neutral", "genderqueer", or "non-binary".[23] A person who is androgynous may engage freely in what is seen as masculine or feminine behaviors as well as tasks. They have a balanced identity that includes the virtues of both men and women and may disassociate the task with what gender they may be socially or physically assigned to.[24] People who are androgynous disregard what traits are culturally constructed specifically for males and females within a specific society, and rather focus on what behavior is most effective within the situational circumstance.[24]
Many non-western cultures recognize additional androgynous gender identities. Jewish culture recognizes the Tumtum and Androgynos genders. In Chinese culture exists the Yinyang ren gender. The Bugis of Indonesia recognize five genders, Bissu representing the androgynous category. In Hawaiian culture, the third gender Māhū is recognized. In Oaxacan Zapotec culture, the Muxe are recognized as a third gender. In India, the Hijra is the third androgynous gender. Samoans accept Fa’afafine as a third gender. Native American culture includes Two Spirit as a general third gender.
Gender expression[edit]
Gender expression, which includes a mixture of masculine and feminine characteristics, can be described as androgynous. The categories of masculine and feminine in gender expression are socially constructed, and rely on shared conceptions of clothing, behavior, communication style, and other aspects of presentation. In some cultures, androgynous gender expression has been celebrated, while in others, androgynous expression has been limited or suppressed. To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles, or has blurred lines between gender roles.
The word genderqueer is often used by androgynous individuals to refer to themselves, but the terms genderqueer and androgynous are neither equivalent nor interchangeable.[25] Genderqueer is not specific to androgynes, and does not denote gender identity. It may refer to any person, cisgender or transgender, whose behavior falls outside conventional gender norms. Furthermore, genderqueer, by virtue of its ties with queer culture, carries sociopolitical connotations that androgyny does not carry. For these reasons, some androgynes may find the label genderqueer inaccurate, inapplicable, or offensive. Androgneity is considered by some to be a viable alternative to androgyn for differentiating internal (psychological) factors from external (visual) factors.[26]
Terms such as bisexual, heterosexual, and homosexual have less meaning for androgynous individuals who do not identify as men or women to begin with. Infrequently the words gynephilia and androphilia are used, and some describe themselves as androsexual. These words refer to the gender of the person someone is attracted to, but do not imply any particular gender on the part of the person who is feeling the attraction.[citation needed]
Louise Brooks exemplified the flapper. Flappers challenged traditional gender roles, had boyish hair cuts and androgynous figures.[27]
Androgyny in fashion[edit]
Throughout most of twentieth century Western history, social rules have restricted people's dress according to gender. Trousers were traditionally a male form of dress, frowned upon for women.[28] However, during the 1800s, female spies were introduced and Vivandières wore a certain uniform with a dress over trousers. Women activists during that time would also decide to wear trousers, for example Luisa Capetillo, a women's rights activist and the first woman in Puerto Rico to wear trousers in public.[29]
Coco Chanel wearing a sailor's jersey and trousers. 1928
In the 1900s, starting around World War I traditional gender roles blurred and fashion pioneers such as Paul Poiret and Coco Chanel introduced trousers to women's fashion. The "flapper style" for women of this era included trousers and a chic bob, which gave women an androgynous look.[30] Coco Chanel, who had a love for wearing trousers herself, created trouser designs for women such as beach pajamas and horse-riding attire.[28] During the 1930s, glamorous actresses such as Marlene Dietrich fascinated and shocked many with their strong desire to wear trousers and adopt the androgynous style. Dietrich is remembered as one of the first actresses to wear trousers in a premiere.[31]
Yves Saint Laurent, the tuxedo suit "Le Smoking", created in 1966
Throughout the 1960s and 1970s, the women's liberation movement is likely to have contributed to ideas and influenced fashion designers, such as Yves Saint Laurent.[32] Yves Saint Laurent designed the Le Smoking suit and first introduced in 1966, and Helmut Newton’s erotized androgynous photographs of it made Le Smoking iconic and classic.[33] The Le Smoking tuxedo was a controversial statement of femininity and has revolutionized trousers.
Elvis Presley, however is considered to be the one who introduced the androgynous style in rock'n'roll and made it the standard template for rock'n'roll front-men since the 1950s.[34] His pretty face and use of eye makeup often made people think he was a rather "effeminate guy",[35] but Elvis Presley was considered as the prototype for the looks of rock'n'roll.[34] The Rolling Stones, says Mick Jagger became androgynous "straightaway unconsciously" because of him.[35]
However, the upsurge of androgynous dressing for men really began after during the 1960s and 1970s. When the Rolling Stones played London's Hyde Park in 1969, Mick Jagger wore a white "man's dress" designed by British designer Mr Fish.[36] Mr Fish, also known as Michael Fish, was the most fashionable shirt-maker in London, the inventor of the Kipper tie, and a principal taste-maker of the Peacock revolution in men's fashion.[37] His creation for Mick Jagger was considered to be the epitome of the swinging 60s.[38] From then on, the androgynous style was being adopted by many celebrities.
Annie Lennox was known for her androgyny in the 1980s
During the 1970s, Jimi Hendrix was wearing high heels and blouses quite often, and David Bowie presented his alter ego Ziggy Stardust, a character that was a symbol of sexual ambiguity when he launched the album The Rise and Fall of Ziggy Stardust and Spiders from Mars.[39] This was when androgyny entered the mainstream in the 1970s and had a big influence in pop culture. Another significant influence during this time included John Travolta, one of the androgynous male heroes of the post-counter-culture disco era in the 1970s, who starred in Grease and Saturday Night Fever.[40]
Continuing into the 1980s, the rise of avant-garde fashion designers like Yohji Yamamoto,[41] challenged the social constructs around gender. They reinvigorated androgyny in fashion, addressing gender issues. This was also reflected within pop culture icons during the 1980s, such as David Bowie and Annie Lennox.[42]
Power dressing for women became even more prominent within the 1980s which was previously only something done by men in order to look structured and powerful. However, during the 1980s this began to take a turn as women were entering jobs with equal roles to the men. In the article “The Menswear Phenomenon” by Kathleen Beckett written for Vogue in 1984 the concept of power dressing is explored as women entered these jobs they had no choice but to tailor their wardrobes accordingly, eventually leading the ascension of power dressing as a popular style for women.[43] Women begin to find through fashion they can incite men to pay more attention to the seduction of their mental prowess rather, than the physical attraction of their appearance. This influence in the fashion world quickly makes its way to the world of film, with movies like "Working Girl" using power dressing women as their main subject matter.
Androgynous fashion made its most powerful in the 1980s debut through the work of Yohji Yamamoto and Rei Kawakubo, who brought in a distinct Japanese style that adopted distinctively gender ambiguous theme. These two designers consider themselves to very much a part of the avant-garde, reinvigorating Japanism.[44] Following a more anti-fashion approach and deconstructing garments, in order to move away from the more mundane aspects of current Western fashion. This would end up leading a change in Western fashion in the 1980s that would lead on for more gender friendly garment construction. This is because designers like Yamamoto believe that the idea of androgyny should be celebrated, as it is an unbiased way for an individual to identify with one's self and that fashion is purely a catalyst for this.[citation needed]
Also during the 1980s, Grace Jones's a famous singer and fashion model gender-thwarted appearance in the 1980s which startled the public, but her androgynous style of heavily derivative of power dressing and eccentric personality has inspired many, and has become an androgynous style icon for modern celebrities.[45] This was seen as controversial but from then on, there was a rise of unisex designers later in the 1990s and the androgynous style was widely adopted by many.
In 2016, Louis Vuitton revealed that Jaden Smith would star in their womenswear campaign. Because of events like this, gender fluidity in fashion is being vigorously discussed in the media, with the concept being articulated by Lady Gaga, Ruby Rose, and in Tom Hooper's film The Danish Girl. Jaden Smith and other young individuals, such as Lily-Rose Depp, have inspired the movement with his appeal for clothes to be non-gender specific, meaning that men can wear skirts and women can wear boxer shorts if they so wish.[46]
Alternatives[edit]
[icon]
This section needs expansion. You can help by adding to it. (August 2009)
An alternative to androgyny is gender-role transcendence: the view that individual competence should be conceptualized on a personal basis rather than on the basis of masculinity, femininity, or androgyny.[47]
In agenderism, the division of people into women and men (in the psychical sense), is considered erroneous and artificial.[48] Agendered individuals are those who reject genderic labeling in conception of self-identity and other matters.[49] [50][51][52] They see their subjectivity through the term person instead of woman or man.[49]:p.16 According to E. O. Wright, genderless people can have traits, behaviors and dispositions that correspond to what is currently viewed as feminine and masculine, and the mix of these would vary across persons. Nevertheless, it doesn't suggest that everyone would be androgynous in their identities and practices in the absence of gendered relations. What disappears in the idea of genderlessness is any expectation that some characteristics and dispositions are strictly attributed to a person of any biological sex.[53]
Contemporary trends[edit]
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (January 2015) (Learn how and when to remove this template message)
Jennifer Miller, bearded woman
X Japan founder Yoshiki is often labelled androgynous, known for having worn lace dresses and acting effeminate during performances[54]
South Korean pop star G-Dragon is often noted for his androgynous looks[55][56]
Androgyny has been gaining more prominence in popular culture in the early 21st century.[57] Both fashion industries[58] and pop culture have accepted and even popularised the "androgynous" look, with several current celebrities being hailed as creative trendsetters.
The rise of the metrosexual in the first decade of the 2000s has also been described as a related phenomenon associated with this trend. Traditional gender stereotypes have been challenged and reset in recent years dating back to the 1960s, the hippie movement and flower power. Artists in film such as Leonardo DiCaprio sported the "skinny" look in the 1990s, a departure from traditional masculinity which resulted in a fad known as "Leo Mania".[59] This trend came long after musical superstars such as David Bowie, Boy George, Prince, Pete Burns and Annie Lennox challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s.[citation needed] Musical stars such as Brett Anderson of the British band Suede, Marilyn Manson and the band Placebo have used clothing and makeup to create an androgyny culture throughout the 1990s and the first decade of the 2000s.[60]
While the 1990s unrolled and fashion developed an affinity for unisex clothes there was a rise of designers who favored that look, like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion hit the public mainstream in the 2000s (decade) that featured men sporting different hair styles: longer hair, hairdyes, hair highlights.[citation needed] Men in catalogues started wearing jewellery, make up, visual kei, designer stubble. These styles have become a significant mainstream trend of the 21st century, both in the western world and in Asia.[61] Japanese and Korean cultures have featured the androgynous look as a positive attribute in society, as depicted in both K-pop, J-pop,[62] in anime and manga,[63] as well as the fashion industry.[64]
See also[edit]
List of androgynous people
Bigender
Epicenity
Futanari
Gender bender
Gender dysphoria
Gender neutrality
Gonochorism
Gynandromorph
Gynomorph
Hermaphrodite
List of transgender-related topics
Non-binary gender
Pangender
Postgenderism
Sexual Orientation Hypothesis
Third gender
Transsexualism
Trigender
True hermaphroditism
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External links[edit]
Look up androgyny in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Androgyny.
Androgyny: study and collection of articles
Androgyne Online
Sandra Bem and androgyny
The Two-Spirit Tradition
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Intersex
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Lesbian, gay, bisexual, and transgender (LGBT) topics
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Categories: AndrogynyNon-binary genderHuman appearanceFashion aestheticsLGBT
Hel Peninsula, Pomerelia, Poland
CAUTION! SIGNIFICANTLY THREATENED BY HABITAT LOSS!
Rare migrant. In flock of other sandpipers you’ll have to struggle to find one. I had a lot of luck because (ironically) during my one week trip to Hel Peninsula those two were the only sandpipers I have seen there.
I invite you to check my album page where I prepared sections with photos from specific locations.
Specific name polistiformis means "Polistes-like", a genus of paper wasp.This species is a paper wasp mimic (and a good one!).
Larvae bore in the horizontal roots of wild and cultivated grapes (Vitis). Can be a serious pest.
This dress from Tacha is appropriately called "chill dude". Ha!
I am getting REALLY sick of the Blythe community harping on people for "copying". Not only is it childish, it's usually undeserved. Just because someone has the same idea as you doesn't mean it's a copy. A specific lip shape and carve, or a style of dress is in NO way tied to one person. Besides, you have to look at people's intentions. If someone honestly thinks they came up with an idea, who the eff cares what they do? I have not seen one case of "copying" that has been outright malicious and intended to harm. Most are just people having an idea and executing it. You shouldn't have to scour the internet to find out if it has been done before. Sure there are a few bad apples in the blythe world who are in fact malicious but I've never seen that in respect to handiwork.
People who jump on others for this come across as insecure and petty. This is a freaking hobby, people. I understand that you make money on selling dresses, hats, and dolls, but it's a hobby. This isn't a multi-million dollar thing we're talking about. It's not Apple's iPhone against Google's Nexxus One. It's not Diane von Furstenberg against Forever21. It's a doll dress/hat/custom.
Grow up and leave people alone.
If someone has a problem with someone else's stuff, go to that person privately and tell your friends to leave them alone and stay out of it. Usually the support will be on the side of the person being harped on and you'll end up looking like an idiot.