View allAll Photos Tagged statement
Die Bundesministerin der Verteidigung, Annegret Kramp-Karrenbauer, gibt ein Statement zusammen mit dem Vorstandsvorsitzenden der Deutschen Bahn AG Richard Lutz und dem Vorsitzenden der CSU im Bundestag, Alexander Dobrindt, zu der Thematik kostenloses Bahnfahren für Soldatinnen und Soldaten im Bundesministerium der Verteidigung, am 17.08.2018.
©Bundeswehr/Andrea Bienert
#boho #ethnic #outfit #white #dress with #accessories: #polymerclay #organic #gold #bangle , #greek #earrings , #statement #necklace , #brown #sandals . #jewels by #tuttosicrea www.etsy.com/shop/tuttosicrea
16 Likes on Instagram
St John the Baptist, Felixstowe, Suffolk
With one consuming roar along the shingle
The long wave claws and rakes the pebbles down
To where its backwash and the next wave mingle,
A mounting arch of water weedy-brown
Against the tide the off-shore breezes blow.
Oh wind and water, this is Felixstowe.
In winter when the sea winds chill and shriller
Than those of summer, all their cold unload
Full on the gimcrack attic of the villa
Where I am lodging off the Orwell Road,
I put my final shilling in the meter
And only make my loneliness completer.
In eighteen ninety-four when we were founded,
Counting our Reverend Mother we were six,
How full of hope we were and prayer-surrounded
"The Little Sisters of the Hanging Pyx".
We built our orphanage. We built our school.
Now only I am left to keep the rule.
Here in the gardens of the Spa Pavillion
Warm in the whisper of the summer sea,
The cushioned scabious, a deep vermillion,
With white pins stuck in it, looks up at me
A sun-lit kingdom touched by butterflies
And so my memory of the winter dies.
Across the grass the poplar shades grow longer
And louder clang the waves along the coast.
The band packs up. The evening breeze is stronger
And all the world goes home to tea and toast.
I hurry past a cakeshop's tempting scones
Bound for the red brick twilight of St.John's.
"Thou knowest my down sitting and mine uprising"
Here where the white light burns with steady glow
Safe from the vain world's silly sympathising,
Safe with the love I was born to know,
Safe from the surging of the lonely sea
My heart finds rest, my heart finds rest in Thee.
John Betjeman - Felixstowe, or The Last of Her Order
Much as we go to Long Melford to find out about the 15th century, so future historians will come to St John the Baptist to chart the course of the century just ended. For this church is the definitive statement in Suffolk of the liturgy and practice of 20th century High Church Anglicanism. Neither as eclectic as Spooner's Ipswich St Bartholomew, or as provincial as Phipson's Ipswich St Mary le Tower, this mighty church, the last work of the great Sir Arthur Blomfield, is the nearest thing Suffolk has to the grand and uncompromising High Church temples of west London.
It has an unparalleled collection of 20th century stained glass; the best of this consists of a range of saints, spanning the century, from St Etheldreda in her high Victorian camp, to the modern Sts Hilda and Bede, both illustrative of the current Celtic revival in Anglican spirituality. Also worthy of note among them are the Arts and Crafts influenced James, Peter and John, the Lady Chapel glass east window of the Suffolk triumverate of Edmund, Felix and Fursey, and, as recently as 1982, St Thomas More, who exists elsewhere in a Suffolk Anglican Church at the extremis of Kettlebaston.
Father James Mather informs me that More is at last recognised in the Anglican calendar in the new Common Worship lectionary, but this was not the case in 1982. As the foundations of Anglicanism were bought at the cost of More's life, it is bold indeed that this window commemorates More's martyrdom. Much of the glass is by Powell and co., and forms a document of that studio's work as well.
But I am getting ahead of myself. Felixstowe is the nearest thing Suffolk has got to a traditional seaside town, albeit not as brash as Walton-on-the-Naze and Clacton across the river in Essex, or Yarmouth over the Norfolk border. The town separates naturally into a number of areas, each with its own main churches: Felixstowe Ferry, Old Felixstowe, Felixstowe Town, Felixstowe West End, and Felixstowe Docks. Suburbs include the medieval parishes (and medieval churches) of Walton and the two Trimleys, but only Old Felixstowe has a medieval parish church in the town itself.
As the town expanded westwards at the turn of the century, the West End grew as an area of substantial red-brick town houses, some of them hotels and guesthouses, some sanitoriums, but the whole piece grander than anything else in urban Suffolk outside of Southwold or the Christchurch Park area of Ipswich. Nestled into this very comfortable area, St John the Baptist on Orwell Road is a beacon, the town's tallest building, a landmark from land and sea alike. It was also the only Suffolk church enshrined in verse by John Betjeman, in his poem Felixstowe, or the last of her order; not surprisingly, since it would be quite at home among the London churches he loved.
Edwardian Felixstowe lost its holiday industry long ago. It is now but the favourite destination for daytrippers from Ipswich, the urban sprawl of which lies a bare six miles from the edge of Felixstowe's. But this area still has a holiday town atmosphere. There is a steep descent down the wonderfully named Convalescent Hill to the beach below, with crowds thronging the shingle and the leisure centre; but up here, it is another age, with the comfortable spring sunshine baking the red bricks of the quiet three-storey houses.
St John the Baptist's concrete-white spire emerges above its lower stages, the redness of which intensify from a distance. Blomfield had built the rest of the church in the early 1890s, but the spire and the Lady chapel followed in 1899, the year of his death. You enter nowadays through Munro Cautley's 1940 south porch; the main entrance beneath the tower is no longer used. The first impression is of a dimness, the smell of incense, rich light from the coloured glass. Betjeman wrote of St John's "red brick twilight", and the same is true today as then.
The windows previously referred to line the walls of the north and south aisles and Lady chapel. The last is in the south aisle, and is now partitioned off by glass doors to enable a prayerful silence when the rest of the building is in use, as at Ipswich St Bartholomew. The lowness of the aisles accentuates the over-arching nave roof, and draws the eyes to the 'Big Six' candlesticks on the high altar. No Vatican II altar in the nave here, for the chancel gates and Suffolk-style screen still contain clergy and choir stalls in front of the tiled and marbled sanctuary. So, as at Ipswich St Mary le Tower, High Church externals are maintained, whatever the liturgy. Either side of the high altar are gilded mosaics illustrating Christ's gift of peace.
To the west, a little screened baptistery in the north aisle. The window behind it is the oldest in the church, and illustrates St Felix baptising and preaching. It is dedicated in memory of a child called Felix, who died in the 1890s. One of Blomfield's hallmarks is the way his buildings appear to be a cluster of smaller buildings around the great nave, like a medieval city. That illusion is successfully created here by the way the rooflines contrast, particularly that of the Lady chapel with the nave. From the south east, the direction from which you would commonly approach, this is particularly striking.
The feeling of a citadel is further reinforced by the way St John the Baptist is shoe-horned into its site, with barely room to breathe except on the north side, where the former rectory lawn spreads towards the house. In the old days, it must have been pleasant to step from High Mass into a summer fete or garden party. But High Mass has gone, and the rectory is now derelict, alas.
More romantic still is the convent that sits to the west of the church, which instantly recalls Betjeman's poem. As one stands outside, with the 'crashing tide' below, the sisters come and go, and it would be romantic to imagine that they are a surviving relic of the extraordinary flourishing of Anglican religious orders at the turn of the 19th and 20th centuries. Indeed, you might almost imagine that this is the very convent that Betjeman had in mind, despite the fact that he suggested himself that these orders were withering away when he wrote this poem in the 1950s. But in fact, this is a Catholic convent, the house of the Religious of Jesus and Mary.
Governor Inslee, Oregon Governor Brown, California Governor Newsom and British Columbia Premier John Horgan smile as they complete the signing of the Pacific Coast Collaboration Statement of Cooperation.
But hardly cold enough for a hat. It may be more a fashion statement!
In February 2011 we travelled to Goa (yet again) for a week. John had been working in Bangalore and Bethan and I met him in Goa.
I got up early a few times to meet Janine and her volunteers and take some nore photos of the children that they care for.
These are the children of Goa's migrant workers. Janine Gaiddon from France comes to Colva in South Goa for five months every year to help the children. She gives over a hundred a day breakfast, provides basic first aid and helps those who go to school remain by donating uniforms, stationery and giving them lunch. She is a truly amazing lady. She is funded by a small charity, Terre d'Espoir, which she and her late husband set up in their home town in Brittany.
Voici les enfants des ouvriers migrant du Goa. Janine Gaiddon de France vient à Colva, dans la région Sud du Goa pendant 5 mois tous les ans afin d'aider ces enfants. Elle fournit plus de 100 déjeuners par jour, donne des premiers soins de base et aide ceux qui fréquentent l'école à y rester, en faisant don d'uniformes, de fournitures et en leurs donnant un repas du midi. C'est une femme réellement extraordinaire. Elle est subventionnée par une petite organisation caritative, Terre d'Espoir, dont sont les fondateurs cette dernière même et son mari défunt, qui la mirent en place en Bretagne.
continuing my exploration of faux metal setting for glass and gems; large iridescent black glass cab set with rhinestones, pearls and glass beads--will be posted to my shop next week.
The Postcard
A postally unused postcard that was published by A. & C. Needes, Heraldic Stationers, 198b, Upper Richmond Road, Putney.
Although the card was not posted, someone has written a long message in French across the divided back to girl named Germaine.
The statement on the back of the card that it was printed in Germany has been crossed out, which indicates that the message was written during or soon after the Great War.
Barnes Common
Barnes Common is common land in the south east of Barnes, London, adjoining Putney Lower Common to the east and bounded to the south by the Upper Richmond Road.
Along with Barnes Green, it is one of the largest zones of common land in London with 50 hectares (122 acres) of protected commons. It is also a Local Nature Reserve. Facilities include a full-size football pitch and a nature trail.
The common is made up of mixed broadleaf woodland, scrubland and acid grassland and is generally flat. It is owned by the Dean and Chapter of St Paul's Cathedral, acting through the Church Commissioners, and managed by the London Borough of Richmond upon Thames, advised and assisted by the Friends of Barnes Common.
Singer and rock musician Marc Bolan died on the common on the 16th. September 1977 when the car he was being driven in crashed into a tree, at what is now Marc Bolan's Rock Shrine.
Marc Bolan
Marc Bolan, who was born Mark Feld in Hackney, London on the 30th. September 1947, was an English musician, singer, songwriter, record producer, and poet. He is known as one of the pioneers of the glam rock movement of the early 1970's.
In the late 1960's, Marc rose to fame as the founder and leader of the psychedelic folk band Tyrannosaurus Rex, with whom he released four critically acclaimed albums.
Bolan had started as an acoustic singer-writer before heading into electric music prior to recording T. Rex's first single "Ride a White Swan" which went to number two in the UK singles chart.
Bolan's March 1971 appearance on the BBC's music show Top of the Pops, wearing glitter on his face for the UK chart topper "Hot Love", is cited as the beginning of the glam rock movement.
Music critic Ken Barnes called Bolan:
"The man who started it all".
T. Rex's 1971 album "Electric Warrior", with all songs written by Bolan, has been described by AllMusic as:
"The album that essentially kick-
started the UK glam rock craze."
Producer Tony Visconti, who worked with Bolan during his heyday, stated:
"What I saw in Marc Bolan had nothing
to do with strings, or very high standards
of artistry; what I saw in him was raw talent.
I saw genius. I saw a potential rock star in
Marc - right from the minute, the hour I
met him."
From 1973, Marc started marrying rock with other influences, including funk, soul, gospel, disco and R&B.
Bolan died in a car crash on the 16th. September 1977, two weeks before his 30th. birthday. In 1977, a memorial stone and bust of Bolan, Marc Bolan's Rock Shrine, was unveiled at the site where he died in Barnes, south west London.
His musical influence as guitarist and songwriter was profound; he inspired many later acts over the following decades. As a member of T. Rex, Bolan was posthumously inducted into the Rock and Roll Hall of Fame in 2020.
The Rock and Roll Hall of Fame is a museum and hall of fame located in downtown Cleveland, Ohio, on the shore of Lake Erie. The museum documents the history of rock music and the artists, producers, engineers, and other notable figures who have influenced its development.
Marc Bolan - The Early Years
Marc was born at Hackney Hospital, and grew up at 25 Stoke Newington Common, east London, the son of Phyllis Winifred (née Atkins) and Simeon Feld, a lorry driver. His father was an Ashkenazi Jew of Russian and Polish ancestry, while his mother was of English descent.
Moving to Wimbledon, southwest London, he fell in love with the rock and roll of Gene Vincent, Eddie Cochran, and Chuck Berry, and hung around coffee bars such as the 2i's in Soho.
Bolan was a pupil at Northwold Primary School, Upper Clapton. At the age of nine, he was given his first guitar and began a skiffle band.
While at school, he played guitar in "Susie and the Hula Hoops", a trio whose vocalist was a 12-year-old Helen Shapiro. During lunch breaks at school, he would play his guitar in the playground to a small audience of friends. At 15, he was expelled from school for bad behaviour.
Bolan briefly joined a modelling agency and became a "John Temple Boy", appearing in a clothing catalogue for the menswear store. He was a model for the suits in their catalogues, as well as for cardboard cut-outs to be displayed in shop windows.
He appeared as an extra in an episode of the television show Orlando, dressed as a mod, and Town magazine featured him as an early example of the mod movement in a photo spread.
When asked about his sexuality during an interview in 1975, Bolan said that he was bisexual.
Marc Bolan's Music Career
Early Career: 1964–1967
In 1964, Marc Bolan met his first manager, Geoffrey Delaroy-Hall, and recorded a slick commercial track backed by session musicians called "All at Once" (a song very much in the style of his youthful hero, Cliff Richard, the "English Elvis").
This was later released posthumously by Danielz and Caron in 2008 as a very limited edition seven-inch vinyl after the original tape recording was passed on to them by Delaroy-Hall. This track is one of Bolan's first professional recordings.
Marc then changed his stage name to Toby Tyler when he met and moved in with child actor Allan Warren, who became his second manager. This encounter afforded Bolan a lifeline to the heart of show business, as Warren saw Bolan's potential while he spent hours sitting cross-legged on Warren's floor playing his acoustic guitar.
Bolan at this time liked to appear wearing a corduroy peaked cap similar to his then-current source of inspiration, Bob Dylan. A series of photographs was commissioned with photographer Michael McGrath, although he recalls that Bolan "left no impression" on him at the time.
Warren also hired a recording studio and had Bolan's first acetates cut. Two tracks were later released, the Bob Dylan song "Blowin' in the Wind" and Dion's "The Road I'm On (Gloria)".
A version of Betty Everett's "You're No Good" (still unreleased) was later submitted to EMI, but was turned down.
Warren later sold Bolan's contract and recordings for £200 to his landlord, property mogul David Kirch, in lieu of three months' back rent, but Kirch was too busy with his property empire to do anything for Marc.
A year or so later, Bolan's mother pushed into Kirch's office and shouted at him that he had done nothing for her son. She demanded he tear up the contract and he willingly complied.
The tapes of the first two tracks produced during the Toby Tyler recording session vanished for over 25 years, before resurfacing in 1991 and selling for nearly $8,000. Their eventual release on CD in 1993 made available some of the earliest of Bolan's known recordings.
He signed to Decca Records in August 1965. At this point his name changed to Marc Bolan via Marc Bowland. There are several accounts of why Bolan was chosen, including that it was derived from James Bolam, that it was a contraction of Bob Dylan, and - according to Bolan himself - that Decca Records chose the name.
Marc recorded his debut single "The Wizard" with the Ladybirds on backing vocals (later finding fame with Benny Hill), and studio session musicians playing all the instruments. "The Wizard" was released on the 19th. November 1965. It featured Jimmy Page and Big Jim Sullivan, and was produced by Jim Economides, with music director Mike Leander.
Two solo acoustic demos recorded shortly afterwards by the same team ("Reality" and "Song for a Soldier") have still only been given a limited official release in 2015 on seven-inch vinyl. Both songs are in a folk style reminiscent of Dylan and Donovan. A third song, "That's the Bag I'm In", written by New York folk singer and Dylan contemporary Fred Neil, was also committed to tape, but has not yet been released.
In June 1966, a second official single was also released, with session-musician accompaniment, "The Third Degree", backed by "San Francisco Poet", Bolan's paean to the beat poets. Neither song made the charts.
In 1966, Bolan turned up at Simon Napier-Bell's front door with his guitar and proclaimed that he was going to be a big star, and he needed someone to make all of the arrangements.
Napier-Bell invited Bolan in and listened to his songs. A recording session was immediately booked, and the songs were very simply recorded (most of them were not actually released until 1974, on the album The Beginning of Doves).
Only "Hippy Gumbo", a sinister-sounding, baroque folk-song, was released at the time as Bolan's third unsuccessful single. One song, "You Scare Me to Death", was used in a toothpaste advertisement. Some of the songs also resurfaced in 1982, with additional instrumentation added, on the album You Scare Me to Death.
Napier-Bell managed the Yardbirds and John's Children, and was at first going to slot Bolan into the Yardbirds. In early 1967 he eventually settled instead for John's Children because they needed a songwriter, and he admired Bolan's writing ability. The band achieved some success as a live act, but sold few records. A John's Children single written by Bolan called "Desdemona" was banned by the BBC for its line "lift up your skirt and fly".
Marc's tenure with the band was brief. When the band split following an ill-fated German gig with the Who, Bolan took some time to reassess his situation.
Bolan's imagination was filled with new ideas, and he began to write fantasy novels (The Krakenmist and Pictures Of Purple People) as well as poems and songs, sometimes finding it hard to separate facts from his own elaborate myth - he famously claimed to have spent time with a wizard in Paris who gave him secret knowledge and could levitate.
The time spent with the wizard was often alluded to but remained "mythical". In reality the wizard was probably American actor Riggs O'Hara, with whom Bolan made a trip to Paris in 1965. Given time to re-invent himself, after John's Children, Bolan's songwriting took off and he began writing many of the poetic and neo-romantic songs that appeared on his first albums with T. Rex.
Tyrannosaurus Rex: 1967–1970
John's Children collapsed when, among other problems, the band's equipment had been repossessed by their label Track Records.
Bolan, unperturbed, rallied to create Tyrannosaurus Rex, his own rock band together with guitarist Ben Cartland, drummer Steve Peregrin Took and an unknown bass player.
Napier-Bell recalled of Bolan:
"He got a gig at the Electric Garden,
then put an ad in Melody Maker to
get the musicians. The paper came
out on Wednesday, the day of the gig.
At three o'clock he was interviewing
musicians, at five he was getting ready
to go on stage.
It was a disaster. He just got booed off
the stage."
Following this concert, Bolan pared the band down to just himself and Took, and they continued as a psychedelic-folk rock acoustic duo, playing Bolan's songs, with Took playing assorted hand and kit percussion and occasional bass to Bolan's acoustic guitars and voice.
Napier-Bell said of Bolan that after the first disastrous electric gig:
"He didn't have the courage to try it
again; it really had been a blow to his
ego. Later he told everyone he'd been
forced into going acoustic because
Track had repossessed all his gear.
In fact he'd been forced to go acoustic
because he was scared to do anything
else."
The original version of Tyrannosaurus Rex with Took released three albums; two reached the top fifteen in the UK Album Chart. They also had a top 40 hit "Debora" in 1968.
Bolan and Took were supported with airplay by BBC Radio 1 DJ John Peel. One of the highlights of this era was when the duo played at the first free Hyde Park concert in 1968. Although the free-spirited, drug-taking Took was fired from the group after their first American tour, they were a force within the hippie underground scene while they lasted.
Their music was filled with Bolan's otherworldly poetry. In 1969, Bolan published his first and only book of poetry entitled The Warlock of Love. Although some critics dismissed it as self-indulgence, it was full of Bolan's florid prose and wordplay, selling 40,000 copies, and in 1969 - 70 became one of Great Britain's best-selling books of poetry. It was reprinted in 1992 by the Tyrannosaurus Rex Appreciation Society.
In keeping with his early rock and roll interests, Bolan began bringing amplified guitar lines into the duo's music, buying a white Fender Stratocaster decorated with a paisley teardrop motif from Syd Barrett.
After replacing Took with Mickey Finn, he let the electric influences come forward even further on A Beard of Stars, the final album to be credited to Tyrannosaurus Rex. It closed with the song "Elemental Child", featuring a long electric guitar break influenced by Jimi Hendrix.
T. Rex, Glam Rock and Other Styles: 1971–1975
Becoming more adventurous musically, Bolan bought a modified vintage Gibson Les Paul guitar (featured on the cover of the album T. Rex), and then wrote and recorded his first hit "Ride a White Swan", which was dominated by a rolling hand-clapping back-beat, Bolan's electric guitar and Finn's percussion.
At this time he also shortened the group's name to T. Rex. Bolan and his producer Tony Visconti oversaw the session for "Ride a White Swan", the single that changed Bolan's career. The song was inspired in part by Mungo Jerry's success with "In the Summertime", moving Bolan away from predominantly acoustic numbers to a more electric sound.
Recorded on the 1st. July 1970 and released later that year, it made slow progress in the UK Top 40, until it finally peaked in early 1971 at number two. Inspired by his muse, June Child, Bolan developed a fascination with women's clothing, an unlikely characteristic for a British male rocker at the time.
Bolan followed "Ride a White Swan" and T. Rex by expanding the group to a quartet with bassist Steve Currie and drummer Bill Legend, and cutting a five-minute single, "Hot Love", with a rollicking rhythm, string accents and an extended sing-along chorus inspired somewhat by "Hey Jude".
Bolan performed "Hot Love" on the BBC Television show Top of the Pops wearing glitter on his face: the performance was later recognized as the foundation of glam rock. For the viewers, it was a defining moment:
"Bolan was magical, but also sexually
heightened and androgynous".
The song was number one for six weeks, and was quickly followed by "Get It On", a grittier, more adult tune that spent four weeks in the top spot. The song, re-titled "Bang a Gong (Get It On)" when released in the United States, reached No. 10 in the Billboard Hot 100 in early 1972, the only top 40 single the band had in the US.
When performing "Get it On" on Top of the Pops, Bolan wore bigger glitter teardrops under the eyes, along with a shiny jacket.
In November 1971, the band's record label, Fly, released the Electric Warrior track "Jeepster" without Bolan's permission. Outraged, Bolan took advantage of the timely lapsing of his Fly Records contract and left for EMI, who gave him his own record label, the T. Rex Wax Co.
Its bag and label featured an iconic head-and-shoulders image of Bolan. Despite the lack of Bolan's endorsement, "Jeepster" peaked at number two in the UK.
In 1972, Marc achieved two more UK number ones with "Telegram Sam" and "Metal Guru" taken from The Slider, and two number twos in "Children of the Revolution" and "Solid Gold Easy Action".
In the same year he appeared in Born to Boogie, a documentary by Ringo Starr about T. Rex, including a concert filmed at London's Wembley Empire Pool in March 1972. Mixed in were surreal scenes shot at John Lennon's mansion in Ascot and a session with T. Rex joined by Ringo Starr on a second drum kit, and Elton John on piano.
At this time T. Rex record sales accounted for about six percent of total British domestic record sales.
The band was reportedly selling 100,000 records a day; however, no T. Rex single ever became a million-seller in the UK, despite many gold discs and an average of four weeks at the top per number one hit.
Bolan took to wearing top hats and feather boas on stage, as well as putting drops of glitter on each of his cheekbones. Stories are conflicting about his inspiration for this - some say it was introduced by his personal assistant, Chelita Secunda.
However Bolan told John Pidgeon in a 1974 interview on Radio 1 that he noticed the glitter on his wife's dressing table prior to a photo session, and casually daubed some on his face there and then. Other performers - and their fans - soon took up variations on the idea.
The glam era also saw the rise of Bolan's friend David Bowie, whom Bolan had come to know in the underground days (Bolan had played guitar on Bowie's 1970 single "Prettiest Star"; Bolan and Bowie also shared the same manager, Les Conn, and producer, Tony Visconti).
However their friendship was also a rivalry, which continued throughout Marc's career. Bowie's 1972 song "All the Young Dudes" name-checked T. Rex.
Bowie's song "Lady Stardust" is generally interpreted as alluding to fellow glam rock icon Bolan. The original demo version was entitled "He Was Alright (A Song for Marc)".
In 1973, Bolan played twin lead guitar alongside his friend Jeff Lynne on the Electric Light Orchestra songs "Ma-Ma-Ma Belle" and "Dreaming of 4000" (originally uncredited) from On the Third Day, as well as on "Everyone's Born to Die", which was not released at the time, but appears as a bonus track on the 2006 re-master.
For the following recording sessions, Marc recruited soul female singers for the backing vocals on "20th. Century Boy", which peaked at number 3 in March, and mid-year "The Groover" which went to number four.
Tanx, parts of which found him heading towards soul, funk and gospel, was both a commercial and critical success in several European countries. "Truck On (Tyke)" missed the UK top 10, reaching only No. 12 in December.
However, "Teenage Dream" from the 1974 album Zinc Alloy and the Hidden Riders of Tomorrow showed that Bolan was attempting to create richer, more involved music than he had previously attempted with T. Rex.
He expanded the line up of the band to include a second guitarist, Jack Green, and other studio musicians, and began to take more control over the sound and production of his records, including by then girlfriend Gloria Jones on keyboards as well as backing vocals.
Eventually, the vintage T. Rex line-up disintegrated. Bolan's marriage came to an end because of his affair with backing singer Jones, which began in July 1973. He spent a good deal of his time in the US during this period, continuing to release singles and albums, putting R & B influences with rock on Bolan's Zip Gun. He was not living healthily, and began to gain weight, though he subsequently improved and continued working.
Resurgence and Final Year: 1976 - 1977
In September 1975 Gloria Jones gave birth to Bolan's son, whom they named Rolan Bolan (although his birth certificate lists him as 'Rolan Seymour Feld'). That same year, Bolan returned to the UK from tax exile in the US and Monaco and to the public eye with a low-key tour.
Bolan made regular appearances on the LWT pop show Supersonic, directed by his old friend Mike Mansfield and released a succession of singles, including "New York City" which reached the top 15. By then, Bolan was current with the music scene, incorporating disco elements in Futuristic Dragon and the single "Dreamy Lady".
The last remaining member of Bolan's halcyon era T. Rex, Currie, left the group in late 1976. In early 1977, Bolan got a new band together, released a new album, Dandy in the Underworld, and set out on a fresh UK tour, taking along punk band the Damned as support to entice a young audience who did not remember his heyday barely five years previously.
Later in 1977, Granada Television commissioned Bolan to front a six-part series called Marc in which he hosted a mix of new and established bands and performed his own songs. By this time Bolan had lost weight, appearing as trim as he had during T. Rex's earlier heyday.
The show was broadcast during the post-school half-hour on ITV earmarked for children and teenagers, and it was a big success. One episode reunited Bolan with his former John's Children - bandmate Andy Ellison, then fronting the band Radio Stars.
Bolan's longtime friend and sometimes rival David Bowie was the final guest on the last episode of Marc. Bowie's solo song "Heroes" was the show's penultimate song; Bolan signed off, naming some of the musicians: "All the cats; you know who they are"; they then began to play a bluesy song, over the closing credits.
After four words of Bowie's vocals, however, Bolan stumbled forward, and off the stage, but managed to grab the microphone, and find a smile. Bowie's amusement was clearly visible, and the band stopped playing after a few seconds. With no time for a retake, the occurrence was aired.
Marc Bolan's `Personal Life
Bolan began his first serious romantic relationship with Theresa Whipman in 1965. The song Hot Love was written about her.
They broke up in 1968 when Bolan met June Ellen Child. The pair immediately fell in love and moved into a flat together after only knowing each other for a few days. They married on the 30th. January 1970. June was a former secretary to his then-managers, Blackhill Enterprises, also the managers of another of his heroes, Syd Barrett, whom June had dated.
June was also influential in raising her new husband's profile in the music industry.
Bolan's relationship with June was tumultuous. He engaged in several affairs over the course of their marriage, including one with singer Marsha Hunt in 1969, and another with artist Barbara Nessim while recording in America in 1971.
The couple separated in 1973, after June found out about Bolan's affair with his backing singer Gloria Jones.
After Bolan's death, June revealed that she had undergone multiple abortions during their marriage because she believed Bolan wasn't yet mature enough to be a father at the time.
Bolan and Gloria Jones were in a committed romantic relationship from 1973 until his death in September 1977. The couple had a son together in September 1975.
At the end of June 1976, June Bolan sued for divorce on the grounds of adultery, citing Gloria Jones as the third party. At the court hearing on the 5th. October 1976, Deputy Judge Donald Ellison declared:
“I am satisfied that the husband committed
adultery with the co-respondent, and that
the wife finds it intolerable to live with him.”
June was granted a decree nisi. Twelve months after that date, it became a decree absolute. Marc explained after the ruling:
“The facts are that she initially
left me, and we just grew apart.
There were no great scenes, no
smashing things up.
It just suddenly happened one
day. We weren’t a couple anymore.”
He also used the opportunity to shed a little light on his sexuality. He only half-jested when he said:
“Anyway, I’m gay. “I can’t say I was
a latent homosexual - I was an early
one. But sex was never a great
problem. I’m a great screwer …”
Asked about the institution of marriage, he replied:
“Gloria doesn’t want to get married and
neither do I. If I ever marry anyone again,
I’ll put in a clause that when it ends you’re
on your own - and that means financially,
too.”
The Death of Marc Bolan
Marc Bolan never learned to drive, fearing a premature death. Despite this fear, cars or automotive components are at least mentioned in, if not the subject of, many of his songs. He also owned a number of vehicles, including a white 1960's Rolls-Royce that was loaned by his management to the band Hawkwind on the night of his death.
On the 16th. September 1977, Bolan was a passenger in a Mini 1275GT driven by Gloria Jones as they headed home from Morton's club and restaurant in Berkeley Square. After she crossed a small humpback bridge near Gipsy Lane on Queens Ride, Barnes, southwest London, the car struck a fence post and then a tree. Bolan was killed instantly, while Jones suffered a broken arm and broken jaw.
The car crash site has subsequently become a shrine to his memory, where fans leave tributes beside the tree. In 2013, the shrine was featured on the BBC Four series Pagans and Pilgrims: Britain's Holiest Places. The site, referred to as Marc Bolan's Rock Shrine, is owned and maintained by the T. Rex Action Group.
Marc's funeral service was held on the 20th. September 1977 at the Golders Green Crematorium in North London, where his ashes were later buried under a rose bush. At Bolan's funeral, attended by David Bowie, Rod Stewart, Tony Visconti, and Steve Harley, a swan-shaped floral tribute was displayed outside the service in recognition of his breakthrough hit single "Ride a White Swan".
There are two plaques dedicated to his memory at the Crematorium. The first was placed there in the mid-1990's in white marble and was installed by the Tyrannosaurus Rex Appreciation Society with the help of fans worldwide.
The second was installed by the official Marc Bolan fan club and fellow fans in September 2002, to commemorate the 25th. anniversary of his passing. The inscription on the stone, which also bears his image, reads '25 years on - his light of love still shines brightly'. Placed beneath the plaque there is a ceramic figure of a white swan.
Bolan had arranged a discretionary trust to safeguard his money. A small, separate Jersey-based trust fund has allowed his son to receive some income. However, the bulk of Bolan's fortune, variously estimated at between £20 and £30 million (approx $38 – $57 million), remains in trust.
Marc Bolan's Legacy
Bolan strongly influenced artists of many genres, including glam rock, punk, post-punk, new wave, indie rock and brit pop. He was the early guitar idol of Johnny Marr, who later found fame as the guitarist of the influential indie rock band the Smiths.
In 1979, Siouxsie and the Banshees released a cover of "20th Century Boy" as the B-side to the single "The Staircase (Mystery)". The band had played the song live for several months, and on the first anniversary of Bolan's death in 1978, they played the song as the encore when they performed at Aylesbury Friars.
In December 1980, "Telegram Sam" was the fourth single released by British gothic rock band Bauhaus. Also in 1980, the Bongos were the first American group, with "Mambo Sun", to enter the Billboard charts with a T. Rex cover.
Since then, Bongos frontman Richard Barone has recorded several other Bolan compositions ("The Visit," "Ballrooms of Mars"), worked with T. Rex producer Tony Visconti for his current solo album, Glow that includes a remake of Bolan's "Girl" from Electric Warrior, and has himself produced tracks for Bolan's son Rolan.
In 1983, the band Girlschool covered "20th Century Boy" on their Play Dirty. In 1984, the Replacements released a cover of "20th Century Boy" as a B-side to the single "I Will Dare"; it is also included on the re-issue version of their album Let It Be.
In 1985, Duran Duran splinter band Power Station, with Robert Palmer as vocalist, took a version of "Get It On" into the UK Top 40 and to US No. 6, the first cover of a Bolan song to enter the charts since his death.
They also performed the tune at the Live Aid concert. In 1986, Violent Femmes covered the song "Children of the Revolution" on their album, The Blind Leading the Naked.
In 1989, X released a live cover of "20th Century Boy" as the B-side to their single "Kurenai". In 1990, Baby Ford did a cover of "Children of the Revolution" that appeared on the album Oooh, The World of Baby For.
In 1991, T-Bolan a Japanese rock band debuted. The name of this band was inspired by T. Rex and its vocalist Marc Bolan.
"20th Century Boy" introduced a new generation of devotees to Bolan's work in 1991 when it was featured on a Levi's jeans TV commercial featuring Brad Pitt, and was re-released, reaching the UK Top 20. The song was performed by the fictional band the Flaming Creatures (performed by Placebo, reprised by Placebo and David Bowie at the 1999 BRIT Awards) in the 1998 film Velvet Goldmine.
In every decade since his death, a Bolan greatest hits compilation has placed in the top 20 UK albums and periodic boosts in sales have come via cover versions from artists inspired by Bolan, including Morrissey.
In 1993, Guns N' Roses covered "Buick MacKane" on "The Spaghetti Incident?", and their guitarist Slash has worn a t-shirt with an image of Bolan on the front. The main riff of Oasis' 1994 hit "Cigarettes & Alcohol" is lifted from "Get It On".
In 1993, Adam Ant covered the track live on his Persuasion tour. The song was included on a private preview show on the 21st. February 1993 in Burbank, Los Angeles which was recorded and released, complete with the cover version, as a live bonus CD with 1994 pressings of his Antmusic: The Very Best of Adam Ant collection.
The Cameron Crowe-created movie Almost Famous features a scene where a Black Sabbath groupie is telling aspiring journalist William Miller (said to be created in Crowe's own image) about how, "Marc Bolan broke her heart, man. It's famous," regarding the character of Penny Lane, played by Kate Hudson.
In 2000, Naoki Urasawa created a Japanese manga entitled 20th Century Boys that was inspired by Marc Bolan's song, "20th Century Boy". The series is a multiple award-winner, and has also been released in North America.
The story was adopted into three successful live-action movies from 2008 to 2009, which were also released in the US, Canada and the UK.
"I Love to Boogie" was briefly used on an advert for Robinson's soft drink in 2001, bringing Bolan's music to a new generation.
In 2003, Depeche Mode's Martin Gore recorded covers of "Life Is Strange" and "Left Hand Luke and the Beggar Boys", and included them as b-sides of the single "Stardust".
In 2006, Def Leppard released their album Yeah!, which contains covers of their favourite bands while growing up, the first song on this album is "20th Century Boy". Joe Elliott wanted to sing "Metal Guru" while Vivian Campbell wanted "Telegram Sam" but ended up agreeing to "20th. Century Boy".
It's not the first time that Def Leppard has sung a T. Rex song; there is a live version of Get It On.
"Children of the Revolution" was similarly performed by Elton John and Pete Doherty of the Libertines at Live 8, in 2005. U2's Bono and Gavin Friday also covered "Children of the Revolution" on the Moulin Rouge! soundtrack.
Marc's music is still widely used in films, recent notable cases being Breakfast on Pluto, Death Proof, Lords of Dogtown, Billy Elliot, Jarhead, Moulin Rouge!, Herbie: Fully Loaded, Breaking-Up, Hot Fuzz, Click, School of Rock, Scott Pilgrim vs. the World and Dallas Buyers Club.
Bolan is still cited by many guitar-centric bands as a huge influence (Joy Division/New Order's Bernard Sumner has said that the first single he owned was "Ride a White Swan".) However, Marc always maintained that he was a poet who put lyrics to music. The tunes were never as important as the words.
In the 2006 TV series Life on Mars, William Matheson portrays Marc Bolan, circa 1973, in a bar in Manchester. Time-travelling Sam Tyler recognises him, has a fan boy moment, and warns him to be careful of riding in Minis.
In the American version of the series, the character is replaced by that of Jim Croce, who died later that year in a plane crash, and Sam warns him. However, the T. Rex version of "Get It On" is played in the New York dance club in that scene.
In 2007, the English Tourist Board included Bolan's Rock Shrine in their guide to Important Sites of Rock 'n Roll interest 'England Rocks'.
As reported in 2011, a school is planned in his honour, to be built in Sierra Leone: The Marc Bolan School of Music and Film. A musical, 20th Century Boy, based on Bolan's life, and featuring his music, premiered at the New Wolsey Theatre in Ipswich in 2011.
In September 2020 a tribute album produced by Hal Willner, Angelheaded Hipster, was released featuring covers of Bolan songs by a variety of artists including Nick Cave, U2, Elton John, Joan Jett, Nena and Todd Rundgren.
Thoughts From Marc Bolan
"If God were to appear in my room, obviously
I would be in awe, but I don't think I would be
humble. I might cry, but I think he would dig me
like crazy."
"I personally believe that I was... a previous life
or something... a previous reincarnation, a bard
of some sort, because most of the things I write
about are descriptions of places I've never been
to."
"I tend to play a lot of blues things at home,
because most blues things are basically within
a 12-bar pattern."
"My head is perfectly clean inside."
"I'm serious about the music, but I'm not serious
about the fantasy. It's no big deal being on TV!"
"The prospect of being immortal doesn't excite me,
but the prospect of being a materialistic idol for four
years does appeal."
"I mean, I am my own fantasy."
"I am the 'Cosmic Dancer' who dances his way
out of the womb and into the tomb on 'Electric
Warrior.' I'm not frightened to get up there and
groove about in front of six million people on
TV, because it doesn't look cool. That's the way
I would do it at home."
"I think I am a child. Everything blows my mind."
"I've always been a wriggler. I just dig dancing."
"I feel there is a curse on rock stars."
"All rock musicians are deaf... Or insensitive to
mellow sounds."
"I don't like telephones."
"Time passes so slowly if you are unaware
of it, and so quickly if you are aware of it."
"Be strong and follow your own convictions. You
can't assume there is a lot of time to do what you
like. This is what David Bowie is afraid of: that he
will die before he gets a chance to make a real
strong contribution."
"There is so little time for us all; I need to be able
to say what I want quickly and to as many people
as possible."
"I honestly feel it could all end tomorrow.
Not just the band thing - I mean life."
One of the fun things about accessorizing is that you can take something fancy and wear it with something casual and come up with something that works! I love this Zara statement necklace. I want to wear it every day! However, "La La Land" doesn't exist. SO I took a picture of it instead.
Tamron SP AF 17-50mm f/2.8 XR
~
Follow Me on FACEBOOK ~ Visit My WEBSITE ~ Buy My PRINTS ~ TWEET Me
More info: www.craftivist-collective.com/Mini-Fashion-Statements
PRESS RELEASE 16.2.17:
Will you find a Mini Fashion Statement in your pocket this April?
As the world remembers the Rana Plaza disaster on 24 April, the Craftivist Collective will be launching a new craftivism kit to make and gently challenge people to think about how their clothing is made.
The collapse of a Bangladeshi factory in 2013 saw 1,138 garment workers killed and over 2,500 injured. There had been signs of structural failure the previous day, but workers were ordered to return to work regardless.
The Mini Fashion Statements kit is being launched in support of Fashion Revolution, a global movement born in the wake of the disaster, which calls for greater transparency, sustainability and ethics in the fashion industry.
The kit feature small scrolls on which makers all over the world are encouraged to write - slowly and in their neatest handwriting on their own or in groups - one of three provocative but not preachy messages designed to get both writer and reader thinking about the true cost of fashion and inspire them to play their part in improving the ugly side of the industry.
Shop-droppers not shop-lifters
The finished scrolls, tied with a pretty bow and featuring an invitation to “please open me”, a smiley face and a kiss, can then be ‘shop-dropped’ into the pockets of garments in fashion stores, or clothes worn by family, friends and colleagues.
This deliberately non-confrontational form of ‘guerilla activism’ using handcrafts is a designed as an alternative to some the more traditional aggressive types of activism.
Sarah Corbett, founder of the Craftivist Collective, said: “We help people learn the art of ‘gentle protest’. We want every part of the fashion industry to be beautiful, not just the clothes. Our pocket-sized scrolls are powerful and poignant little reminders of the role we can play as consumers. They’re designed to make us think about how the clothes we buy and wear are made, and how we might be able to help tackle problems like poor conditions for workers or the use of materials that are damaging to the environment.”
Asking #whomademyclothes
Orsola de Castro, co-founder and Creative Director of Fashion Revolution, said: “We want to unite the fashion industry and ignite a revolution to radically change the way our clothes are sourced, produced and purchased, so that what the world wears has been made in a safe, clean and fair way.
“The Craftivist Collective’s Mini Fashion Statements are a really simple, fun and creative way to be part of the Fashion Revolution. Made with love and placed into a pocket on a store's clothes rail, they surprise shoppers with a message that reminds us to be more curious about our clothes.
“They may be small, but they have the power to make shoppers stop and consider the people who make our clothes, their working conditions and human rights issues. This shows that activism doesn't need to shout from the rooftops, it can gently provoke from our pockets!”
The Mini Fashion Statement kits were pioneered by Sarah during workshops at Stockholm Fashion Week and Helsinki Design Week, and are the first non-stitched Craftivist Collective project. Sarah will be holding further workshops in London and Lincoln in early April to introduce people to the kits and teach them how to do ‘shop drops’ to distribute their mini fashion statements.
[Subhead:] Editor’s notes
CRAFTIVIST COLLECTIVE: Founded in 2009, the Craftivist Collective produces projects, products and kits to help individuals and groups across the globe change the world one stitch (or sentence) at a time using slow, gentle, beautiful activism. You can find out more at www.craftivist-collective.com
FASHION REVOLUTION: Fashion Revolution is a global movement calling for greater transparency, sustainability and ethics in the fashion industry. Fashion Revolution Week runs from 24-30 April 2017. For more information visit www.fashionrevolution.org
RESOURCES / CONTACT: Logos and product imagery, as well as quotes and interview opportunities, are available on request - please email press@craftivist-collective.com.
MINI FASHION STATEMENT KITS: Each kit features: a roll of high quality scrolls, each with an embossed Craftivist Collective logo; three different colours of ribbon (enough for 10 scrolls) to help make your messages stand out; ‘Crafterthought’ questions to reflect on as you write; two small free gifts; tips and message templates. They will available from 24 April at <a href=www.craftivist-collective.com/shop.
EVENT: Hackney, London: Thursday 6th April, Showroom Studio, 6.30-8pm. £10 You will learn the art of gentle protest, create beautiful small fashion statements supporting the organisation Fashion Revolution to put into the world as catalysts for change and practice the skill of shopdropping (the opposite of shoplifting).
Serbia 1 Slovenia 1
Translates roughly to "For Kosovo Serbs No Passports" "For Brazilian No Problems" Joke about Cleo a Brazilian who plays for Partizan Belgrade getting a Serbian Passport, but Kosovo Serbs not so fast...
I have a bit of an obsession with glassware. In fact, my husband has restricted my glassware purchases to an as-needed basis-- for example, if one of our glasses break, only then am I allowed to purchase another. Yes, this may sound harsh, but if you saw our overflowing glassware cabinet you would understand his strict rules.
While I normally purchase clear glassware in curvy shapes and elegant forms, lately I have been loving colored crystal and glass stemware, particularly in vintage styles.
Colored glassware makes a stylish statement on any table top, especially when it comes to Holiday entertaining. Replacing your everyday clear-crystal with dramatically colored stemware will help to set the stage for an extraordinary event that leaves your guests feeling extra special.
Green and gold tumblers -- Pier 1
Champagne glasses in amethyst, moss and aquamarine -- Replacements
Renaissance stemware -- Gracious Style
Financial statements for businesses usually include income statements, balance sheets, statements of retained earnings and cash flows. For more information please visit us our website.
In a farmer's field .....
Today, 16 January 2022, our temperature is 0°C (windchill -4°C) just after noon. Sunrise is at 8:32 am and sunset is at 5:00 pm. A sunny day. A few days ago, our deepfreeze finally come to an end - at least until the next one - and we have been enjoying much milder weather. We do have a Special Weather Statement for tomorrow night (Monday), though - "Strong winds, snow, blowing snow and a rapid drop in temperature expected for southern Alberta. Be prepared for poor travel conditions." Hopefully, it will miss my city!
Yesterday, 15 January 2022, I was finally able to get out for a drive out of the city. The last time I had been for a drive was on 24 October 2021! I had been wanting to get out for the last few days, but each day involved having to do something in connection with the car accident on 20 December 2021, when a young driver T-boned the loaner vehicle I was driving just a couple of roads away from home. Apparently, the Police Accident Report that was made at the time of the accident had been sitting on someone's desk, waiting to be authorized. This resulted in my having to make and answer endless phone calls and emails to various people, plus having to go to the nearest Police Station to pick up a driver's copy of the now-authorized report. I was told that an accident benefit adjuster is now supposed to phone me. I have never put in an accident benefit claim for anything before. I read that ones payments will go up if a claim is put in, so I don't think it's worth doing. My only financial expenses during the week after the accident, were several taxi rides. The rest of the 'damages' were pretty much stress, including being without a vehicle for the Christmas week. Oh, and whiplash and other muscle injury, for which I won't be getting physio. So, I don't think it's worth going through all the hassle of putting in a claim and then having my payments increase..
Anyway, yesterday, I decided to go for a drive SE of the city, really just to get out and see something other than my four walls. Not a lot to see, but it was good to drive a few quiet, peaceful back roads, and on a lovely sunny day. I was surprised to see a lot less snow on the ground than I was expecting. It also surprised me, though, that I found it so very tiring to do a shortish drive like this, along familiar roads.
View of a busy downtown street lined with parked cars. Many businesses are visible,
including Fleishmen's Big Store, Henebry Jeweler, and Cannon Shoes at right. At left
is Nunn Bush Shoes, Jewel Box, Belk's, and Hotel Lafayette. The card is numbered F-1
and IC H1647.
Digital Collection:
North Carolina Postcards
Publisher:
Carolina News Co., Fayetteville, N.C.;
Date:
1930; 1931; 1932; 1933; 1934; 1935; 1936; 1937; 1938; 1939; 1940; 1941; 1942; 1943;
1944; 1945; 1946; 1947; 1948; 1949; 1950; 1951; 1952; 1953; 1954
Location:
Fayetteville (N.C.); Cumberland County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
WSDOT has marked a major milestone in its effort to replace the aging and vulnerable State Route 520 floating bridge. After 13 years of thorough analysis and input from thousands of people, the state has announced a preferred alternative for the I-5 to Medina: Bridge Replacement and HOV Project.
Major safety, transit and environmental improvements are in store for the SR 520 corridor from I-5 in Seattle across Lake Washington to Medina. The SR 520 preferred alternative takes key steps to get ready for future light rail, help manage traffic in the Arboretum and transform the future highway with a landscaped lid and median for a parkway experience.
The new floating bridge and highway will have six lanes, including two general-purpose lanes and a new transit/HOV lane in each direction. Adding transit/HOV lanes makes travel in the corridor faster and more reliable for buses and carpools and supports regional plans for completing the HOV system to reduce the number of single-occupancy vehicles.
Details are on our website, including images of what a new, larger landscaped lid at Montlake Boulevard would look like. The preferred SR 520 alternative directly responds to input we received from the public, the City of Seattle, the University of Washington and environmental regulatory agencies. Work continues on design refinements for the Montlake area with those groups as well as transit agencies.
Highlights include:
Room for future light rail: The bridge deck will accommodate future light rail trains and the west end of the floating bridge will have room for trains to leave the corridor and head to the University of Washington area. Pontoons could be added to the floating bridge in the future to carry the weight of the trains.
Less traffic in the Arboretum: The project removes the ramps that currently carry traffic directly to Lake Washington Boulevard and the Washington Park Arboretum. Westbound off-ramps instead will carry buses and general purpose traffic to 24th Avenue E. and continue on to Montlake Boulevard.
Buses and a lid at Montlake: New direct-access ramps will carry buses to a new landscaped park lid at the Montlake Boulevard interchange. The open space will extend from Montlake Boulevard into the Arboretum.
Parkway on Portage Bay: A slimmed-down Portage Bay Bridge will be built as a 45-mph landscaped parkway with a 6-foot-wide planted median. The 105-foot-wide bridge is narrower than the 154 feet previously planned in the 2006 draft environmental impact statement.
Identifying a preferred design keeps us on track for opening a new bridge to traffic in 2014.
www.wsdot.wa.gov/Communications/ExpressLane/2010/05_07.htm
www.wsdot.wa.gov/Projects/SR520Bridge/I5ToMedina/Default....
SR 520 - I-5 to Medina: Bridge Replacement and HOV Project
Status
February 2011
ESSB 6392 reports now available
We've sent two final reports to the governor and state legislators (High Capacity Transit Planning and Financing and the Washington Park Arboretum Mitigation Plan). This completes the requirements of Senate Bill 6392.
Floating bridge construction
Three teams have until spring to submit their bids and proposals for the new SR 520 floating bridge. Construction starts in 2012 and the bridge opens in 2014.
Overview
The I-5 to Medina: Bridge Replacement and HOV Project will replace the interchanges and roadway between I-5 in Seattle and the eastern end of the floating bridge.
Why is WSDOT pursuing this project?
About 115,000 vehicles and more than 190,000 people cross Lake Washington every day on the SR 520 floating bridge. It’s a key regional route for commuters and freight.
After floating for nearly 50 years, the four-lane bridge is often clogged by traffic and is showing its age.
The floating bridge pontoons are vulnerable to windstorms, and bridge support columns are vulnerable to earthquakes.
The End Result
The I-5 to Medina Bridge Replacement and HOV Project includes a new floating bridge and highway with six lanes, including two general-purpose lanes and one new transit/HOV lane in each direction.
The project also takes key steps to get ready for future light rail, help manage traffic in the Arboretum and transform the future corridor from Montlake to I-5 into a city parkway with landscaped lids and medians.
Project Benefits
The new SR 520 corridor through Seattle will:
Provide transit connections and priority.
Create a pedestrian-friendly urban interchange at Montlake Boulevard.
Restore park area and connections next to the Washington Park Arboretum.
Reduce noise levels from the Portage Bay Bridge.
Be ready for light rail if the region chooses to fund it in the future.
What is the project timeline?
Spring 2011: Publish final environmental impact statement
Mid-2011: Select contractor team for new SR 520 floating bridge
2012: Begin construction of floating bridge
2014: Open new floating bridge to drivers
The schedule for constructing the segments of the corridor west of Lake Washington is pending additional funding.
Financial Information
We are moving forward with construction on a new SR 520 floating bridge, which is fully funded by a variety of state and federal sources, including SR 520 tolling that is set to begin in spring 2011.
We are continuining to work with the Legislature to fund the elements of the project from I-5 to the floating bridge.
Visit the SR 520 Costs, Funding and Tolling page for additional information.
How can I get more information?
Contact:
E-mail: SR520bridge@wsdot.wa.gov
Phone: 206-770-3500
Infoline: 1-888-520-NEWS (6397)
Mail: I-5 to Medina: Bridge Replacement and HOV Project
SR 520 Bridge Replacement and HOV Program
600 Stewart Street, Suite 520
Seattle, WA 98101
Mehandi is a celebrated tradition in Chennai. Ladies decorate their hands and legs with beautiful designs using Henna in Marriages, Festivals and some auspicious occasions. Currently, Henna Tattooing is fast becoming a style statement across the world making it big for the experts. Professional Henna Designs are intricate, charming and creative.
Yaksheetasri Mehndi Arts offers professional mehandi design services for all occasions in Chennai and all over Tamil Nadu. Our mehndi artists are professionals who are trained and offer a huge variety of designs such as bridal mehandi,wedding mehndi, arabic mehndi designs, Chennai mehandi designs, art mehndi, foot mehndi, hand mehandi, leg mehendi designs etc. We serve our customers at their location as well as customers are welcome to our place to get the designs done. We use natural mehndi paste and we prepare this by ourselves.
We at Yaksheetasri Mehndi Arts are dedicated service providers in the field of mehndi designing in Chennai. If your search is for innovative designs from a team of friendly people, you can contact us any time to our Yaksheetasri Mehndi Arts.
We are available for all sorts of functions including mehndi parties, corporate events, appointment holdings with local businesses, engagements, baby showers, weddings, bachelorette parties, graduations, Diwali, Eid, Karwa chouth, group functions, girl's night, get together, birthday parties etc. If you come up with it, We can do it. We provide service in Chennai on request.
Our boutique in city is also open for personal appointments. Travel fees may apply. Bridal mehndi includes an initial bridal consultation at my boutique where in you can view designs, or design your own. You may bring your own design books as well. A popular choice is to include designs found in the bridal gown into the henna. You will also receive a sample henna design on your palm and top of hand.
We have a collection of around 10000 designs where you can choose from for that special occasion. You can view some sample design on my blog as well.
Bridal Mehandi
Indian subcontinents weddings are highly influenced by Bridal Mehndi design traditions and various forms of cultures also show history of henna being a part of decorations during marriages. In Indian weddings Bride follows many customs and traditions as a part of her decorative collections and palms, elbows, feet and calves are decorated with the masterpiece of Mehndi designs.
Henna designs are the natural form of designs that lasts temporarily for few days and are used effectively to make designs on the hands and feet of to-be-married girl. While the color allotted by these designs may vary according to the usage and light or dark shades can be achieved, there has been a good deal of demand for professional designers who can provide their valuable art work to give an authentic as well as majestic output.
Rajasthani Mehandi
Rajasthan state of India has acclaimed praise from all around the world for its cultural heritage in the field of arts. Ranging from a beautiful artwork on pots to clothes, Rajasthani designs are considered to be ranked among the top when it comes to the expose of ancient artwork accompanied with new age fashion. Rajasthani Mehndi has a good deal of demand in the market of henna designs and has become part of occasions such as weddings, birthday parties, baby shower etc.
While a good Mehndi design reflects fashion and decorations, few mass of people also consider it as a symbol of auspiciousness and divine. Rajasthani Mehndi design has a good blend of curved figures and carefully crafted accurate handwork to match your desires and occasions. The traditional way of using henna leaves for making design cones and applying them with different shades of color is a hot trend or fashion fiesta at present.
Indian Paksithani Mehandi
Mehndi or henna has been a popular form of skin decoration in Indian subcontinent countries like India, Pakistan and Bangladesh. Although it is a very old practice in these countries, since 1990s it has also become popular in many western countries being counterpart of tattoos.
Mehndi is applied on some special occasions like Diwali, Teej, Eid, weddings, birthday parties and many other auspicious festivals. Mehndi design is applied on hands or feet of a woman and it is common that to apply henna on palms where due to presence of high levels of keratin the color appears in its dark form. Fresh henna leaves are grinded and oil is added to make cones which are used professionally for applying Mehndi designs. The origin of Mehndi as a part of celebration has been found to be of ancient Indian origin and beautiful patterns are still applied to brides at the time of wedding ceremonies. Although Mehndi design still refers to the common term of applying henna on the body parts, there exists various forms and types of designs that can be further categorized based on the features and their origins. The popular designs at present are found in the form of Rajasthani, Arabic, Pakistani, and Minakari etc.
Arabic Mehandi
The word Arabic itself describe us that this art belongs to the land of "Arab." As we know the Arab's are very artistic with their culture and tradition, the same thing we could see in their art of mehndi designs.
Arabic mehndi designs are very beautiful and complete the most part of the hands and legs. In this style we can use different styles of mehndi like Black mehndi is used as outline, fillings with the normal henna mehndi. We can also include sparkles as a final coating to make the henna design more attractive.
Brides – in India, Pakistan and even in Africa – love Arabic mehndi designs and love getting the design done for their weddings. The Arab culture, especially when it comes to brides is quite popular across Asia and women in India are adopting more of Arabic mehndi designs than of Indian mehndi designs. The design usually does not cover the entire hand and leaves a lot of gaps b/w it.
That's what makes Arabic mehndi designs stand out and appealing to Indian women. Be it for marriage or a festival or any special event, Arabic designs are among top 3 mehndi patterns in the country. To get inspiration on it, you can check out the below gallery.
Gilding Glitter Mehandi
Gilding, Glitter and Gem work is a recent popular innovation in Indian bridal technique, adding dazzle and glamor to henna. These techniques are spectacular, yet easy to master. In India, these adornments are often called Zardosi because they emulate the fabulous gold embroidered, bejeweled bridal sari fabrics. As upper class Indian wedding celebrations expand to a week or more, the modern bride may wish to have her adornment match two dozen saris or more, with an artist re-applying dazzle twice a day. These transitory techniques can be used on their own, at the time of henna paste application, or to ornament the henna stain. They are designed to be "of the moment", to please the camera's eye, and delight the wedding guests.
If you're working a festival, and you're competing with other henna artists, gilding gems, and glitter will make your henna stand out from the competition! There will always be potential clients who would like to be adorned, but who don't want a lingering stain. Offer them these techniques! There are always little children who want adornment, but whom you should NOT henna for health reasons.