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And now for some shots with the 50mm, of the details and fittings of the church. More to follow.
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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Edmund Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.
Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.
As a child he was taken each Sunday by his mother to the services of the fashionable Scottish presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind.
Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.
In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Burton, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.
Following his second marriage in 1833, Pugin moved to Salisbury with his wife,[13] and in 1835 bought half an acre of land, at Alderbury, about a mile-and-a-half outside the town, On this he built a medieval-inspired house for his family, called "St Marie's Grange".[14] Charles Locke Eastlake said of it "he had not yet learned the art of combining a picturesque exterior with the ordinary comforts of an English home".
In 1834, Pugin became a Roman Catholic convert,[16] and was received into the faith in the following year.[17] His conversion resulted in the loss of some commissions,[citation needed] but also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport,
n 1836, Pugin published Contrasts, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".[19] Each plate in the book selected a type of urban building and contrasted the 1830 example with its 15th-century equivalent. In one example, Pugin contrasted a medieval monastic foundation, where monks fed and clothed the needy, grew food in the gardens – and gave the dead a decent burial – with "a panopticon workhouse where the poor were beaten, half starved and sent off after death for dissection. Each structure was the built expression of a particular view of humanity: Christianity versus Utilitarianism."[19] Pugin's biographer, Rosemary Hill, wrote: "The drawings were all calculatedly unfair. King's College London was shown from an unflatteringly skewed angle, while Christ Church, Oxford, was edited to avoid showing its famous Tom Tower because that was by Christopher Wren and so not medieval. But the cumulative rhetorical force was tremendous."
In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had himself had designed.
Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.
Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima, neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.
Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.
In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26]
On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.
In 1844, having won the architectural competition to design the new Palace of Westminster, Sir Charles Barry, asked Pugin to supply detailed designs for the interior of the new building, including stained glass, metalwork, wood carving, upholstery, furniture and a royal throne. Pugin's biographer, Rosemary Hill, shows that Barry designed the Palace as a whole, and only he could coordinate such a large project and deal with its difficult paymasters, but he relied entirely on Pugin for its Gothic interiors, wallpapers and furnishings.[28]
At the end of Pugin's life, in February 1852, Barry visited him in Ramsgate and Pugin supplied a detailed design for the iconic Palace clock tower, officially dubbed the Elizabeth Tower, but more popularly known as Big Ben. The design is very close to earlier designs by Pugin, including an unbuilt scheme for Scarisbrick Hall, Lancashire. The tower was Pugin's last design before descending into madness. In her biography, Hill quotes Pugin as writing of what is probably his best known building: "I never worked so hard in my life [as] for Mr Barry for tomorrow I render all the designs for finishing his bell tower & it is beautiful & I am the whole machinery of the clock."[29] Hill writes that Barry omitted to give any credit to Pugin for his huge contribution to the design of the new Houses of Parliament.[30] In 1867, after the deaths of both Pugin and Barry, Pugin's son Edward published a pamphlet, Who Was the Art Architect of the Houses of Parliament, a statement of facts, in which he asserted that his father was the "true" architect of the building, and not Barry.
U.S. Secretary of State John Kerry listens to opening statements on July 29, 2015, before he joined U.S. Defense Secretary Ash Carter, Joint Chiefs of Staff Chairman Martin Dempsey, U.S. Treasury Secretary Jack Lew, and U.S. Energy Secretary Dr. Ernest Moniz in testifying about the Iranian nuclear deal before the Senate Armed Services Committee in Washington, D.C. [State Department photo/ Public Domain]
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The P-51H (NA-126) was the final production Mustang, embodying the experience gained in the development of the lightweight XP-51F and XP-51G aircraft. This aircraft, brought the development of the Mustang to a peak as one of the fastest production piston-engine fighters to see service in WWII.
In July of 1943, U.S. Army approved a contract with North American Aviation to design and build a lightweight P-51. Designated NA-105, 5 aircraft were to be built and tested. Edgar Schmued, chief of design at NAA, began this design early in 1943. He, in February of 1943, left the U.S. on a two-month trip to England. He was to visit the Supermarine factory and the Rolls Royce factory to work on his lightweight project.
Rolls Royce had designed a new version of the Merlin, the RM.14.SM, which was proposed to increase the manifold pressure to 120 (from 67 max) and thus improve military emergency horsepower to 2,200. Schmued was very eager to use this powerplant, since the new Merlin was not heavier than the earlier models. In order to exploit the new engine to the maximum, he visited the engineers at Rolls Royce in Great Britain. However, British fighters were by tendency lighter than their U.S. counterparts and Schmued also asked for detailed weight statements from Supermarine concerning the Spitfire. Supermarine did not have such data, so they started weighing all the parts they could get a hold of and made a report. It revealed that the British had design standards that were not as strict in some areas as the U.S, and American landing gear, angle of attack and side engine design loads were by tendency higher. When Schmued returned, he began a new design of the P-51 Mustang that used British design loads, shaving off weight on any part that could yield. The result was an empty weight reduction by 600 pounds, what would directly translate into more performance.
This design effort led to a number of lightweight Mustang prototypes, designated XP-51F, XP-51G and XP-51J. After their testing, the production version, NA-126 a.k.a. P-51H, was closest to the XP-51F. The project began in April 1944 and an initial contract for 1,000 P-51Hs was approved on June 30, 1944, which was soon expanded.
The P-51H used the V-1650-9 engine, a modified version of the new Merlin RM.14.SM that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW) and a continuous output of up to 1,490 hp (1.070 kW).
Even though the P-51H looked superficially like a slightly modified P-51D, it was effectively a completely new design. External differences to the P-51D included lengthening and deepening the fuselage and increasing the height of the tailfin, which reduced, together with a lower fuel load in the fuselage tank, the tendency to yaw. The landing gear was simplified and lightened. The canopy resembled the P-51D bubble top style, over a raised pilot's position. The armament was retained but service access to the guns and ammunition was improved, including the introduction of ammunition cassettes that made reloading easier and quicker. With the new airframe several hundred pounds lighter, extra power, and a more streamlined radiator, the P-51H was faster than the P-51D, able to reach 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m), making it one of the fastest piston engine aircraft in WWII.
The high-performance P-51H was designed to complement the P-47N as the primary aircraft for the invasion of Japan, with 2,000 ordered to be manufactured at NAA’s Inglewood plant. Variants of the P-51H with different versions of the Merlin engine were produced in limited numbers, too, in order to ramp up production and deliveries to frontline units. These included the P-51L, which was similar to the P-51H but utilized the V-1650-11 engine with a modified fuel system, rated at maximum 2,270 hp (1,690 kW), and the P-51M, or NA-124. The P-51M, of which a total of 1629 was ordered, was built in Dallas and utilized the V-1650-9A engine. This variant was optimized for operations at low and medium altitude and lacked water injection, producing less maximum power at height. However, it featured attachment points for up to ten unguided HVAR missiles under the outer wings as well as improved armor protection for the pilot against low-caliber weapons esp. from ground troops, which ate up some of the light structure’s weight benefit.
Most P-51H and L were issued to USAF units, while the P-51M and some Hs were delivered to allied forces in the Pacific TO, namely Australia and New Zealand. Only a few aircraft arrived in time to become operational until the end of hostilities, and even less became actually involved in military actions during the final weeks of fighting in the Pacific.
The RAAF received only a handful P-51Hs, since Commonwealth Aircraft Corporation (CAC) had recently started license production of the P-51D (as CA-18) and the RAAF rather focused on this type. However, there were plans in early 1945 to build the P-51H locally as the CA-21, too, but this never came to fruition.
New Zealand ordered a total of 370 P-51 Mustangs of different variants to supplement its Vought F4U Corsairs in the PTO, which were primarily used as fighter-bombers. Scheduled deliveries were for an initial batch of 30 P-51Ds, followed by 137 more P-51Ds and 203 P-51Ms. The first RNZAF P-51Ms arrived in April 1945 and were allocated to 3 Squadron as well as to the Flight Leaders School in Ardmore (near Auckland in Northern New Zealand) for conversion training. The machines arrived as knocked-down kits via ship in natural metal finish, but the operational machines were, despite undisputed Allied air superiority, immediately camouflaged in field workshops to protect the airframes from the harsh and salty environment, esp. on the New Guinean islands. The RNZAF Mustangs also received quick identification markings in the form of white tail surfaces and white bands on the wings and in front of and behind the cockpit, in order to avoid any confusion with the Japanese Ki-61 “Hien” (Tony) and Ki-84 (Frank) fighters which had a similar silhouette and frequently operated in a natural metal finish.
During the final weeks of the conflict, the RNZAF only scored three air victories: two Japanese reconnaissance flying boats were downed and a single Ki-84 fighter was shot down in a dogfight over Bougainville. Most combat situations of 3 Squadron were either fighter escorts for F4U fighter bombers or close air support and attacks against Japanese strongholds or supply ships.
After the war, many USAF P-51Hs were immediately retired or handed over to reserve units. The surviving P-51Js were, due to their smaller production numbers, were mostly donated to foreign air forces in the course of the Fifties, in order to standardize the US stock. Despite its good performance, the P-51H/J/M did not take part in the Korean War. Instead, the (by the time re-designated) F-51D was selected, as it was available in much greater numbers and had a better spares supply situation. It was considered as a proven commodity and perceived to be stouter against ground fire – a misconception, because the vulnerable ventral liquid cooling system caused heavy losses from ground fire. The alternative P-47 would have been a more effective choice. The last American F-51H Mustangs were retired from ANG units in 1957, but some of its kin in foreign service soldiered on deep into the Sixties. The F-51D even lasted into the Eigthies in military service!
After the end of hostilities in the PTO, the RNZAF’s forty-two operational P-51Ms met different fates: The twenty-six survivors, which had reached frontline service in New Guinea, were directly scrapped on site, because their transfer back to New Zealand was not considered worthwhile. Those used for training in New Zealand were stored, together with the delivered P-51Ds, or, together with yet unbuilt kits, sent back to the United States.
In 1951, when New Zealand’s Territorial Air Force (TAF) was established, only the stored P-51D Mustangs were revived and entered service in the newly established 1 (Auckland), 2 (Wellington), 3 (Canterbury), and 4 (Otago) squadrons. Due to the small number, lack of spares and communality with the P-51D, the remaining mothballed RNZAF F-51Ms were eventually scrapped, too.
General characteristics:
Crew: 1
Length: 33’ 4” (10.173 m)
Wingspan: 37‘ (11.28 m)
Height: 13‘ 8” (4.17 m) with tail wheel on ground, vertical propeller blade
Wing area: 235 sq ft (21.83 m²)
Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100
Empty weight: 7.180 lb (3,260 kg)
Gross weight: 9,650 lb (4,381 kg)
Max takeoff weight: 11,800 lb (5,357 kg)
Fuel capacity: 255 US gal (212 imp gal; 964 l)
Aspect ratio: 5.83
Powerplant:
1× Packard (Rolls Royce) V-1650-9A Merlin 12-cylinder liquid cooled engine, delivering 1,380 hp
(1,030 kW) at sea level, driving a 4-blade constant-speed Aeroproducts 11' 1" Unimatic propeller
Performance:
Maximum speed: 465 mph (750 km/h; 407 kn) at 18,000 ft (5,500 m)
Cruise speed: 362 mph (583 km/h, 315 kn)
Stall speed: 100 mph (160 km/h, 87 kn)
Range: 855 mi (1,375 km, 747 nm) with internal fuel
1,200 mi (1,930 km, 1,050 nmi) with external tanks
Service ceiling: 30,100 ft (9,200 m)
Rate of climb: 3,200 ft/min (16.3 m/s) at sea level
Wing loading: 30.5 lb/sq ft (149 kg/m²)
Power/mass: 0.19 hp/lb (315 W/kg)
Lift-to-drag ratio: 14.6
Recommended Mach limit 0.8
Armament:
6× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with a total of 1,880 rounds
2× underwing hardpoints for drop tanks or bombs of 500 pounds (227 kg) caliber each,
or 6 or 10 5” (127 mm) T64 HVAR rockets
The kit and its assembly:
A relatively simple project, a whiffy color variant based on RS Model’s 1:72 P-51H kit – which I quickly turned into a P-51M, which was planned as mentioned in the background, but never produced in real life.
The model was strictly built OOB, and while this short-run kit goes together quite well, I encountered some problems along the way:
- There are massive and long ejector pin markers, sometimes in very confined locations like the radiator intake. Without a mini drill, getting rid of them is very difficult
- Somehow the instructions for the cockpit are not correct; I put the parts into place as indicated, and the pilot’s seat ended up way too far forward in the fuselage
- The canopy, while clear, is pretty thick and just a single piece, so that you have to cut the windscreen off by yourself if you want to show the otherwise very nice cockpit.
- The separated windscreen section itself includes a piece of the cowling in front of the window panes, which makes its integration into the fuselage a tricky affair. However, this IMHO not-so-perfect construction became a minor blessing because the separated windscreen turned out to be a little too narrow for the fuselage – it had to be glued forcibly to the fuselage (read: with superglue), and the section in front of the window panes offered enough hidden area to safely apply the glue on the clear piece.
- While there are some resin parts included like weighted wheels, it is beyond me why tiny bits like the underwing pitot or most delicate landing gear parts have been executed in resin, as flat parts of a resin block that makes it IMHO impossible to cut them out from.
- The tail wheel is a messy three-piece construction of resin and IP parts, with a flimsy strut that’s prone to break already upon cutting the part from the IP sprue. Furthermore, there’s no proper location inside of the fuselage to mount it. Guess and glue!
- The fit of the stabilizers is doubtful; it’s probably best to get rid of their locator pins and glue them directly onto the fuselage
- The propeller consists of a centerpiece with the blades, which is enclosed by two spinner halves (front and back). This results in a visible seam between them that is not easy to fill/PSR away
On the positive side I must say that the engraved surface details, the cockpit interior and the landing gear are very nice, and there is even the complete interior of the radiator and its tunnel included. PSR requirements are also few, even though you won’t get along well without cosmetic bodywork.
The only personal modification is a styrene tube inside of the nose for the propeller, which was mounted onto a metal axis for free rotation; OOB, the propeller is not moveable at all and is to be glued directly to the fuselage.
While the kit comes with optional ordnance (six HVARs or a pair of 500 lb bombs, both in resin), I just used the bomb pylons and left them empty, for a clean look.
Painting and markings:
Even though the model was a quick build, finding a suitable color concept took a while; I had a whiffy P-51H on my agenda for a long time (since the RS Models kit came out), and my initial plan was to create an Australian aircraft. This gradually changed to an RNZAF aircraft during the last weeks of WWII in the PTO, and evolved from an NMF finish (initial and IMHO most logical idea) through am Aussie-esque green/brown camouflage to a scheme I found for a P-40: a trainer that was based in New Zealand and (re)painted in domestic colors, namely in Foliage Green, Blue Sea Grey and Sky. This might sound like a standard RAF aircraft, but in the end the colors and markings make this Mustang look pretty exotic, just as the P-51H looks like a Mustang that is “not quite right”.
The Foliage Green is Humbrol 195 (Dark Green Satin, actually RAL 6020 Chrome Oxide Green), which offers IMHO a good compromise between the tone’s rather bluish hue and yellow shades – I find it to be a better match than the frequently recommended FS 34092, because RAL 6020 is darker. The RNZAF “Blue Sea Grey”, also known as “Pacific Blue” or “Ocean Blue”, is a more obscure tone, which apparently differed a lot from batch to batch and weathered dramatically from a bluish tone (close to FS 35109 when fresh) to a medium grey. I settled for Humbrol 144 (FS 35164; USN Intermediate Blue), which is rumored to come close to the color in worn state.
The undersides were painted with Humbrol 23 (RAF Duck Egg Blue), which I found to be a suitable alternative to the more greenish RAF Sky, even though it’s a pretty light interpretation.
Tail and spinner were painted white, actually a mix of Humbrol 22 (Gloss White) and 196 (Light Grey, RAL 7035) so that there would be some contrast room left for post-shading with pure white.
The interior of cockpit and landing gear wells was painted with zinc chromate primer yellow (Humbrol 81), while the landing gear struts became Humbrol 56 (Aluminum Dope). The radiator ducts received an interior in aluminum (Revell 99).
In order to simulate wear and tear as well as the makeshift character of the camouflage I painted the wings’ leading edges and some other neuralgic areas in aluminum (Revell 99, too) first, before the basic camouflage tones were added in a somewhat uneven fashion, with the metallized areas showing through.
Once dry, the model received an overall washing with thinned black ink and a through dry-brushing treatment with lighter shades of the basic tones (including Humbrol 30, 122 and 145) for post-panel-shading and weathering, esp. on the upper surfaces.
The decals are a mix from a Rising Decals sheet for various RNZAF aircraft (which turned out to be nicely printed, but rather thin so that they lacked opacity and rigidity), and for the tactical markings I stuck to the RNZAF practice of applying just a simple number or letter code to frontline aircraft instead of full RAF-style letter codes. The latter were used only on aircraft based on home soil, since the RNZAF’s frontline units had a different organization with an aircraft pool allocated to the squadrons. Through maintenance these circulated and were AFAIK not rigidly attached to specific units, hence there was no typical two-letter squadron code applied to them, just single ID letters or numbers, and these were typically painted on the aircraft nose and/or the fin, not on the fuselage next to the roundel. The nose art under the cockpit is a mix of markings from P-40s and F4Us.
The white ID bands on fuselage and wings are simple white decal strips from TL-Modellbau. While this, together with the all-white tail, might be overdone and outdated towards mid-1945, I gave the Kiwi-Mustang some extra markings for a more exciting look – and the aircraft’s profile actually reminds a lot of the Ki-61, so that they definitely make sense.
Towards the finish line, some additional dry-brushing with grey and silver was done, soot stains were added with graphite to the exhaust areas and the machine gun ports, and the model was finally sealed with matt acrylic varnish.
After the recent, massive YA-14 kitbashing project, this Mustang was – despite some challenges of the RS Models kit itself – a simple and quick “relief” project, realized in just a couple of days. Despite being built OOB, the result looks quite exotic, both through the paint scheme with RNZAF colors, but also through the unusual roundels and the striking ID markings (for a Mustang). I was skeptical at first, but the aircraft looks good and the camouflage in RNZAF colors even proved to be effective when set into the right landscape context (beauty pics).
File name: 08_02_003755
Box label: Events: Fires & disasters
Title: Cocoanut Grove fire, Boston, Nov. 28, 1942
Alternative title:
Creator/Contributor:
Date issued:
Date created: 1942-11-28 (approximate)
Physical description: 1 photographic print : gelatin silver ; 8 x 10 in.
Genre: Gelatin silver prints; Portrait photographs
Subjects: Cocoanut Grove (Boston, Mass.); Fires; Nightclubs; Dead persons
Notes: Title and date from item, from additional material accompanying item, or from information provided by the Boston Public Library.; Number on item: 37
Provenance:
Statement of responsibility:
Location: Boston Public Library, Print Department
Rights: Rights status not evaluated.
Dozens of Greater Manchester’s faith and community leaders stood together against hatred as they signed a new statement pledging their commitment to encouraging strong, diverse communities.
Leaders, including GMP Chief Constable Ian Hopkins, Councillor Carl Austin-Behan, Lord Mayor of Manchester, Rt Revd David Walker, Bishop of Manchester, Mrs Sharon Bannister, President, Jewish Representative Council of Greater Manchester and Region, Mr Qadir Chohan, Chair, Manchester Council of Mosques and many others came together at Manchester Cathedral to sign the statement, created as a result of a rise in hate crimes following the EU referendum result.
Greater Manchester saw a 23 per cent increase in hate crime in the week after the country chose to leave the European Union at the end of June.
Chief Constable Ian Hopkins said: “I believe in a democratic society people should be safe, both from physical harm, but also from hatred. Sadly we are seeing a significant number of people across Greater Manchester being subjected to hate incidents and hate crimes. This is totally unacceptable. Today is an important step in uniting our communities and am pleased to see so many other influential people standing with us to end hate crime and discrimination.
“This statement very clearly reinforces our commitment to encouraging inclusive communities, whilst recognising the difference people bring to Greater Manchester that help make it such a wonderful place. It is also, however, a very strong message to those who go against this – there is absolutely no place for hatred or discrimination in Greater Manchester. We will do all we can to take action against anyone who commits hate crimes.”
Faith Leaders’ Secretary, Canon Steve Williams, said: “The speed with which Faith Leaders acted shows how serious we consider the situation to be. But it also shows that people in our communities want to make a positive difference – to support people who’ve suffered in this way, and to promote good-news stories of acts of kindness and inclusion that build bridges, not barriers.”
The statement is part of GMP’s We Stand Together’ campaign which encourages people to come together as one and celebrate their differences in order to build safer and stronger communities.
It was signed at an event hosted by the Diocese of Manchester on Tuesday, 12 July, which saw speeches from Chief Constable Ian Hopkins, the Dean, Bishop David Walker, The Lord Mayor and the Police and Crime Commissioner.
Anyone who experiences hate crime is encouraged to report it by calling the police on 101, Crimestoppers anonymously on 0800 555 111 or using the True Vision website (www.report-it.org.uk).
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
Buy from:
www.1928.com/pages-productinfo/category-22_31_538/product...
Mercedes-Benz.
Once the clear producer of the finest automobiles, advertised under the marketing banner: 'The Best or Nothing' - a statement by one of the company's founders at the beginning of the firm's long history.
One of the core products of the Mercedes-Benz family is the mid-size 'family' car. Introduced post WWII with a unique series, chassis and body with the 1968 W114, and followed by the W123 of 1976, and W124 of 1985. In 1995 Mercedes-Benz released it's latest midsize model, the W210. In size and series it followed closely to the just supersedes W124 Series. Inline 4 cylinder petrol and diesel engines, inline 5-cylinder diesel engines, inline 6-cylinder petrol and diesel engines, and with an eye on both performance, and the US market, V8 petrol engines.
Whereas the W124 series V8 engined models were built in low volumes, many under the AMG performance sub-brand banner, the W210 series had been designed to accommodate V8s from the outset on the standard assembly lines. There were still specific AMG model, bearing higher-output V8s and 'enhanced' bodywork.
A major change occurred in 1997, with a switch from inline 6-cylinder engines to V6 engines for the first time. The new V6 units were of similar capacity to the engines they directly replaces (2.8 and 3.2 litres), but produced slightly higher maximum power figures and equal torque. A new introduction was the V6 of 2.4 litre capacity replacing the previous 4-cylinder inline engine of 2.3 litres capacity, a model of which had been fitted with a supercharger (kompressor). Another key change to the new V6 engines, which was reflected in new V8 engines introduced with a one year delay, was the cylinder head arrangement, now featuring 3 valves per cylinder instead of four.
The new bodies were of very similar dimensions to the earlier W124, with minor increases in length and width. Notably, the Coupe and Cabriolet bodystyles present in the W124 Series were now transferred to the smaller C-Class Platform under program code C208, though they were similar in size to the outgoing (shorter W124 wheelbase) models. The C208 Coupe and Cabriolet models featured many of the powertrain specifications introduced in the W210 Sedan and Estate models.
Unfortunately, one of the remaining core perceptions of the W210 E-Class Mid-size Mercedes-Benz, is that is represents the results in a change of philosophy of the great historic company, a shift from being 'Engineered like no other car', to 'Engineered for cost' with an accompanied reduction in engineering integrity and material quality. There are many documented quality failures, from paint, trim, electrical and mechanical failures. These failures were also seen first in the release of the W202 compact Mercedes-Benz, replacing the 190E-range in 1993, and the W220 Mercedes-Benz S-Class of 1998. Both these models, along with the W210 midrange, were to receive upgrades to address the early identified quality issues, though they never reached the standard achieved by their immediate predecessors, and contributed to the tarnishing of the once-revered 3-pointed star.
The replacement models, respectively the W203 C-Class, W211 E-Class and W221 S-Class all took actions during their development phases to reattain the hallowed quality mantle.
The purpose though, for this Lego miniland-scale Mercedes-Benz W210 E430 T estate car, is LUGNuts 70th Build Challenge - 'Redo and Redemption' - whereby the builder recreates a Lego model from their earlier building career, and redeems it to something worthy of their current skill level. In this case a blue E-Class Estate, which was modelled long ago, in 1995 or so, prior to the introduction of the internet, curvy parts, peer review and digital cameras.
www.brickshelf.com/cgi-bin/gallery.cgi?i=3379261
This revised model incorporates opening four passenger doors, opening tailgate, opening bonnet (hood), lego technic piston Vee-engine, independent front and rear suspension, and rear-wheel drive. Some updated parts and styling round out the changes, and hopefully redeem this model to modern-day lego911 standards
01/2017, graphite pencil, 21 x 29,7
This piece was made out of sheer emotion. There was no thinking process, it was made on the spot.
Written statement
In the middle of the night, I often get up to set down on paper an idea, a concept, a piece of art, and realize that what is on the sheet of paper looks nothing like the picture in my mind. My desire to make progress on a technical level pushed me to read books on human anatomy like the Grand Atlas du Corps Humain and sparked my interest for the art of my ancestors in North Africa. I had great difficulty making real my ideas, and dismantling them to the rhythm of pencil strokes. The obsolescence of the aesthetic faced with the experience of a piece of art is, I believe at the heart of contemporary art. For example, Fernando Botero copied Da Vinci’s Mona Lisa and made it the antithesis of the original by making her look like all that society rejects. In my most recent work, I found inspiration in a bronze sculpture made by Antoine Bofill. It represented a woman lying on a what appeared to be a soft surface. I wanted my piece to literally embody women’s position in our society, and how that position was also changing. While painting, I found myself following Maurice Denis’s footsteps by transferring lines into movement. Having grown up looking at Manet and Gauguin, their use of soft yet eye catching colors and experimental state of mind has influenced my work and my way of thinking. Each time I finish a piece, I feel like I know myself a little better, and that is what drives me to create.
This course includes three things I love doing: writing, making art and thinking. I find that the University of Brighton complements my values of hard work, constant challenging of oneself and encouragement. I feel like this school will have a positive impact on me and will open several doors in the future. I believe that achieving a degree in this course would prepare me for my future plans and aspirations.
Title: D-Day Statement to Soldiers, Sailors, and Airmen of the Allied Expeditionary Force, 06/1944
Creator(s): Eisenhower, Dwight D. (Dwight David), 1890-1969
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=186473
D-day statement to soldiers, sailor, and airmen of the Allied Expeditionary Force, 6/44, Collection DDE-EPRE: Eisenhower, Dwight D: Papers, Pre-Presidential, 1916-1952; Dwight D. Eisenhower Library; National Archives and Records Administration.
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
About the Book
Dejan Stojanović, Sunce sebe gleda, Književna reč, Beograd, 1999
By statement: Dejan Stojanović.
Series: Biblioteka Pismo
Source records: Library MARC record
Library MARC record
Language: Serbian
Dimensions: 21 cm.
Pagination: 157 p. ;
LCCN: 00279202
LC: PG1419.29.T587 S86 1999
Subject: Poetry
THE SUN WATCHES ITSELF
The second collection of Dejan Stojanovic's verse, "The Sun is Watching Itself," is covered by a metaphysical and philosophical veil. Eleven segments are connected by these two abstract approaches and by such key images as a circle, suggesting infinity, and silence, reflecting space and eternity. The circle serves as a powerful symbol and a device of the perpetual in this poetry: "the end without endlessness is only a new beginning," claims the poet. Thus, one of the poems bears the title "God and Circle," symbolizing the perennial search for an exit and the eventual finding of one, which only leads into another circle and to continuous evolution. This prompts Stojanovic to pose the question "Is God himself a Circle?"--implying that God is endless and ever present.
Although concise, the poems convey in a powerful and specific manner messages from the triad circle-God-eternity, connected by man's destiny and the poet's concept of human life and origins, and of the universe itself. In other words, microcosmic observations lead to macrocosmic revelations and didactic conclusions. The poems seem to teach us what is obvious in the context of common sense, often surprisingly remote to the modern man.
In terms of style and format, the author has a coextensional approach; he uses relatively simple expressions and words in an interplay of brilliant meanings that bring about highly complex but easily readable structures. If elegance is represented by simplicity, then these are some of the most elegant verses imaginable; unadorned verses that are a source of beauty and wisdom.
Stojanovic's perceptions of light and darkness, of fantasy and reality, of truth and falsehood present us with a circular format of infinity and resurrection.
The format has its logical beginning and end. "The Sun is Watching Itself" begins with poems dedicated to God and the universe, then descends from the metaphysical to the philosophical, focusing on more ordinary such us the symbolic meaning of a stone, a game, a place, silence, hopelessness, and the question "Is it possible to write a poem?" Stojanovic's collection might well serve as an affirmative answer to this question. The poet has taken us on a long journey from God and universe to our everyday world. We all seem to be a part of a circle, says the author, searching for the eternal in the universe, only to realize the finality of life on earth. The poet's message is doubly effective for its extraordinary, soul-searching content and its reflective, powerful language.
-Branko Mikasinovich, Washington, D.C.
WLT World Literature Today, A Literary Quarterly of the University of Oklahoma, Norman, Oklahoma
Volume 74, Number 2, Page 442, Spring 2000
SOLARNI KRUG ISTINE
Već sa prvom zbirkom ("Krugovanje") Dejan Stojanović je kvalitativno značajno postulirao svoj poetički credo i simbolički kompleks tako da uz pomoć njega može uspešno da se prati obimno koncipirana celina, kontinuitet i preokupacije, drama pesničkog stvaranja u borbi za istinu i traženje smisaonosti kroz kreaciju u zbirci "Sunce sebe gleda." Kroz poetičku prizmu narečenih zbirki jasno se sagledava i poetsko "vjeruju" Dejana Stojanovića koje bi bilo najbliže Nastasijevićevoj misli da bi trebalo prožeti se poezijom, a ne samo dodirnuti je. Pesnik sa prvom zbirkom prihvata izazov, koji još bolje značenjski produbljuje u drugoj; odricanje od moderne koja je sama sebi svrha, opredeljujući se da pesničkim simbolima iskaže univerzalnu dramatičnost.
Pesnik, i kada je osećanje slobode u njemu jedna od osnovnih dominanti osećanja sveta, ne može se oteti utisku da je još samo jedna karika u lancu potvrđivanja i nastavljanja volje onih spodoba koje iz dubina nebića izlaze na svetlo dana, zauzimajući sebi svojstvena i primerena mesta u hipokriziji, oportunizmu i egocentričnom konformizmu naših dana. Otuda je u poeziji Dejana Stojanovića put ka suštini i istini poetički i smisleno lociran "s druge strane vida" ("Krugovanje") dok se formalno poigravanje smislom reči—koje na planu metafizičkog usložnjavanja povlači razgranato poigravanje značenjem—prepliće sa nepomućenom verom u pročišćujuću ulogu reči. Profetska uloga poezije u prizivanju i ovekovečavanju kataklizme totalitarnog sveta daruje ontološki pečat postojanja svemu; u rekombinacijama i specifičnim međuodnosima i višnjoj harmoniji između stvari iz fundusa očiglednosti. Osluškivanje pulsacija bića izjednačeno je sa osluškivanjem večnosti koja vaskrsava u poetskoj matrici saznanja o nepreglednosti i, u isto vreme, uniženosti bića u odnosu na apsolut, ciji je pečat jasno utisnut u svakodnevnu pojavnost. Samim tim kategorije vanljudskog počivaju u metaforama i slikama sveta koji se atomizira u supstancijalni praelement smisla; u prapočelo, odakle se ponovo vaspostavlja pod blagotvornim utiskom i oblikom pesme.
Poniranje u nemušte i tajinske zone bica, osetljivost i pažljivost u građenju lirskog subjekta, imaginativni spojevi prepuni duhovne osetljivosti, od velike većine pesama zbirke "Sunce sebe gleda" stvaraju univerzalne simbole poetski rafinovane imaginacije, fantazijskih obasjanja i pazljivo odabranih folklornih rudimenata pamćenja izniklih iz našeg tla. Jezički senzibil uvodi nova značenja u poznate relacije; svetlo i tama—oportuna simbolika sna, pretvaraju se u okolnosti stvaranja, tišina prerasta u dinamično stanje unutrašnje molitve, a istina, kroz potrage za njenim ontološkim parametrima—preispitivanjem nutrine, postaje samosvojno stanje izopštenih i jurodivih umova. Upravo takvo posedovanje istine, kao unutrašnjeg osećanja i kao istupa iz sebe, u poetskom ludensu Dejana Stojanovića povlači irinijske i sarkastične linije pevanja; asketskog izrugivanja svetu materije, hipokrizije i prosečnosti, suprotstavljanja istine jedinke (bića) "istini" mase (kolektivnog zla utemeljenog u ne-bicu). Pozicija čoveka samca jeste pozicija pesnika u odnosu na, do obezličenja multiplikovan, organon vaskolikog sveta.
Stišani tonovi gradacije simbola, stvaranje specifične hijerarhije, traženje sebe u drugima i drugih u sebi, elementarizuju u ovoj zbirci jedinstvo kruga kao alegorični pečat apsoluta i istraživanja beskonačnosti i konačnosti zemaljskih dana. Između reči i glasova, katalizatora duhovnog i uzvišenog, apsoluta i smisla postojanja, sugestivno i simbolički redukovanih stihova, do širokog narativnog zamaha, utkana je čitava ova zbirka. Ova poezija je sva u jeziku i sva od jezika. Put Nojeve barke jezika jeste njeno apsolutno znanje kojim plovi kroz žamor i bure nerazumevanja, neshvatanja i reči iz kojih je iscureo smisao kao pesak iz klepsidre sveta čije dane prepune iskušenja intenzivno proživljavamo.
-Petar V. Arbutina, 1999.
PESNIK PRED OTVORENIM VRATIMA
Dejan Stojanović, u poslednje dve godine načinio je pravi podvig: objavio je šest knjiga. Osim jedne, sve knjige pesama.
Stojanović je pesnik koji traga za savršenim pesničkim oblikom jer istovremeno traga i za apsolutnim smislom čovekovog postojanja.
"Krugovanje" (1993) je naznačilo Stojanovićev pesnički put, a nove knjige—"Sunce sebe gleda", "Znak i njegova deca", "Tvoritelj", Oblik, uz treće, dopunjeno izdanje "Krugovanja", zaokruzile su njegovo dosadašnje pesničko delo. U "Razgovorima," Dejan Stojanović je sabrao intervjue koje je početkom devedesetih godina vodio sa veoma istaknutim srpskim i stranim stvaraocima, u Beogradu, Parizu i Čikagu, a objavljivao ih je tih godina (1990-1992) u magazinu "Pogledi". Nije mala stvar naći se oči u oči sa piscima kakvi su Alek Vukadinović, Momo Kapor, Nikola Milosević, Žak Klod Vilar, Sol Belou, Stiv Tešić, Branko Mikašinović, Čarls Simić i Nadja Tesić, ili sa slikarima Petrom Omčikusom, Ljubom Popovićem, Milošem Šobajićem, Savom Rakočevićem. Umeti sa njima razgovarati na visokom, dakle njihovom nivou, postavljati im odgovarajuća, za svakog od njih dobro promišljena i pronađena pitanja, koja otključavaju brave i njihovih dela i njihovih ličnosti, to je posao koji zahteva veliko i veoma rznovrsno znanje. Nije, onda, čudo što je za ovu knjigu Dejan Stojanović dobio nagradu Matice iseljenika i Udruženja književnika Srbije za intelektualni angažman.
Knjiga pesama "Krugovanje" bila je objavljena prvi put 1993. godine, a zatim je doživela još dva izdanja, 1998 i 2000. Pesnika iz Čikaga srpska javnost je doskora poznavala samo po toj knjizi. Poznavala i cenila, što se može zaključiti iz sažete ocene Aleka Vukadinovića: "Specifičan, iznenađujuće originalan, izvan tokova kolektivno negovanih senzibiliteta i pomodnih trendova. "
I poznati američki pesnik, Čarls Simić, ima laskavo misljenje o prvoj Stojanovićevoj knjizi.: "'Krugovanje' je knjiga u kojoj sam u potpunosti uživao. Obilje lepih kratkih pesničkih formi." Ne iznenađuje ovakva Simićeva ocena, jer on kao stvaralac i prevodilac Nastasijevića i Pope zna šta je lepota kratke pesničke forme. Zato je i važno to priznanje kada ono baš od njega dolazi, a pogotovo što se odnosi na nešto sto je bitna karakteristika Stojanovića kao pesnika: za njega su reči sakralni znaci, pa se on prema njima i odnosi sa krajnjim poštovanjem, odgovornošću, uzdržanošću, koja je na samoj granici straha:
Kada bismo utvrdili
Koliko je važno da se nešto kaže
Mozda nijednu reč ne bismo napisali
("Isto")
Ali strah ne sputava pesnika. Razmišljajuci o svojoj poetici , Stojanović se prisetio majstora nad majstorima, Betovena:
"Samo praznina kad gleda / Uvek isto vidi". Praznina može da vidi samo prazninu. A čovek kada gleda vidi čoveka—mada ni njega nije lako videti, pogotovo sagledati. Pesnik, međutim, gleda kroz čoveka i vidi ono što vide pravi stvaraoci, umetnici i duhovnici—tajnu. Stojanović je, pored ostalih, napisao i dve lepe pesme o tajni. Prva "Tajna" kao da je od ovoga, čovekovog i prirodnog sveta:
Bogata i daleka
Ti nemo čekas
Gde se kriješ
Daj znak
Primi u goste
Morem opasana
Nehajna—sebi dovoljna
Nećeš da otvoriš vrata
A druga tajna, u pesmi "Tajna i istina", kao da je ona koja je u vezi, pored drugih, sa jednom, najvišom istinom, istinom nad istinama, u vezi sa samim izvorom života i postojanja, sa istinom Tvoritelja:
Ima mnogo tajni
Nemoj ih sve rešavati
Ima mnogo istina
Samo ka jednoj teži
Sve istine iz jedne dolaze
U pesmi "Blago izvora", iz tog istog ciklusa "Betoven i smrt", u knjizi "Sunce sebe gleda", Stojanović se ponovo vraća sličnoj slici početka svih početaka, ishodištu svih ishodišta, izvoru svih izvora:
Ne propusti da vidiš
Kako se cveće Suncu
Galeb vodi raduje
Primi ih u sebe
Gledaj kroz mrak
Sanjaj kroz svetlost
Ka jezgru
Iz kog si na put krenuo
Pored apsolutnih, svemirskih "vrata", Stojanović ne zaboravlja ni čovekova vrata, na kojima se, ranije ili kasnije, ugleda smrt. I ta se pesma, "Betoven i smrt" odlično uklapa u ovaj ciklus u kojem se ukrštaju simboli izlazaka i ulazaka:
Smrt je na vratima
Kaže Betoven
Da li da mu verujemo
Možda se i nije šalio
Možda je stvarno video smrt
Oči im se srele
Njemu nije imao ko da kaže
Da zaključa vrata
I da mu je rekao, Betoven ih ne bi zaključao. Nije ih zaključao ni Stojanović. Srećom po sebe i poeziju koju piše drži ih i on širom otvorena.
Sreću mu se oči sa smrću, ali i sa svetlošću.
-Aleksandar Petrov
Amerikanski Srbobran, Književni dodatak, decembar 2000.
Table of contents:
NEBOKRET
Prva Tišina, 7
Vrh i dno, 8
Omeđen beskrajem, 9
Vetrenjača, 10
Sveti plam, 11
Tačka, 12
Vasiona, 13
Cvet svemira, 14
Jesi li ili nisi 15
BOG I KRUG
Dan svemira, 19
Nebo i krug, 20
Istina kruga, 21
Bog i krug, 22
NEBOHOD
Kiša apsoluta, 25
Oblak I, 26
Oblak II, 27
Svetlost i mrak, 28
Obmana, 29
Mladi starac, 30
Večnost i trajanje, 31
Večnost i večnost, 32
Nula, 33
Brzina, 34
Beskraj i kraj, 35
MESTO ZABORAVLJENO
Ognjište, 39
Bajka i kraj, 40
Paradoks, 41
Božji šegrt, 42
Varka, 43
Čvsrta zemlja, 44
Bog je zauzet, 45
Zvezda u travi, 46
Slovo njegovo, 47
Mesto zaboravljeno, 48
Vatra, 49
Povratak, 50
KAMEN I REČ
Gde prestaje pesma, 53
Reč, 54
Prva reč, 55
Kaman i reč, 56
Slaganje reči, 57
Skrivene reči, 58
Reči nekazane, 59
Priče, 60
Hipnoza reči, 61
Nekoliko reči, 62
Ista priča, 63
Misao II, 64
Laž, 65
Istina i laž, 66
Sokrat, 67
Umor, 68
Nova reč, 69
ŠTA POSLE
Nemost, 73
Ili, 74
Pitomi zvuk, 75
Tamo i ovde I, 76
Ništa, 77
Svetiljka, 78
Ovako i onako, 79
Šta posle, 80
Vitez, 81
Vitezovi, 82
IGRE
Ne, 85
Rat, 86
Stvari, 87
Prevara, 88
Cirkus, 89
Visočanstvo, 90
Patuljak, 92
Virus duše, 93
Vrednost i promašaj, 94
Produži dan, 95
Igra I, 96
Igra II, 97
Igra III, 98
Razmišljanje naljućenog, 100
MOŽE LI SE NAPISATI PESMA
Da li postoji Bog, 103
Uvreda I, 104
Božji sin, 105
Hrist, 106
Glava, 107
Život, 108
Blesak tišine, 109
Dobrotvori, 110
Može li se napisati pesma, 111
Predah, 112
BEZIZLAZ
Oduzetost, 115
Nasamo sa sobom, 116
Ako, 117
Tamo i ovde II, 118
Apsurd, 119
Uvreda II, 120
Podvala, 121
Misao o nama, 122
Pitanje suncu, 123
Seansa, 124
Stara klupa, 125
Vrt , 126
ZVUK TIŠINE
Šapni mi svoju tajnu, 129
Mera borbe, 130
Jednostavnost, 131
Empatija, 132
Put, 133
Pakao i raj, 134
Miris polja, 135
Lek, 136
Zrak, 137
Dan, 138
BETOVEN I SMRT
Izlaz, 141
Tajna, 142
Tajna i istina, 143
Blago izvora, 144
Možda, 145
Betoven i smrt, 146
Isto, 147
EPILOG
Pakao, 151
DODATAK
Solarni krug istine, Petar V. Arbutina, 155
Beleška o piscu, 158
By statement: Dejan Stojanović.
Series: Biblioteka Pismo
Source records: Library MARC record
Library MARC record
Language: Serbian
Dimensions: 21 cm.
Pagination: 157 p. ;
LCCN: 00279202
LC: PG1419.29.T587 S86 1999
Subject: Poetry
27-XII-2021 Lunes
______
Bueno a lo tonto
pero hoy voy a ir
para empezar a
tomar metadona
y así al menos
quitar - me
el mono malo
y dar el 1er paso
y así empezar
a moverme para
salir de esto.
Cuando acabe el
dolor voy a estar
en otras
condiciones
seguro, voy a
estar bien sin
consumir.
seguro.
voy a hacerlo
voy x ello
(Documento real, reflexión anónima encontrada en el suelo escrita en una etiqueta por alguien)
An unidentified Klan speaker from New York takes the stage at a Ku Klux Klan rally in Rising Sun, Md. November 6, 1965.
The rally drew over 3,000 people of all ages to the field owned by George B. Boyle about a mile and a half outside of town where tribute was paid to two fallen Klan members—Dan Burros and Matt Murphy.
The rally also brought a few pickets and hecklers that were run off by Klan security before the rally began. A prayer vigil was held at two nearby churches decrying the Klan’s hate..
Burros was a New York Klan leader who took his own life after the New York Times published an exposure of Klan activities in the state that revealed Burros was Jewish. Murphy was an Alabama Klan attorney who died in an automobile accident.
Klan and other ultra-right groups largely hailed Burros as a hero. A statement by the National Renaissance party said in part:
“The late Daniel Burros is a martyr of the radical right! A true son of the white race, this lad descended from the blue-eyed, blond-haired stock that made the White Man supreme on the face of the early. Daniel Burros, racially, was not of mongrel half-Mongolian Khazar stock, but pure White Russian.
Robert Shelton, Imperial Wizard of the United Klans of America, issued a statement charging that Burros’ death was the result of “irresponsible snooping and prying of a sensation-seeking reporte4r.”
Shelton continued, “…it is regrettable that a brilliant young man—Dan Burros—whose love for his country and principles established and proclaimed by the Founding Fathers transcended all else…has been hounded into taking his own life.”
An account of the rally by Mae Rankin that resonates today appeared in the Afro American newspaper:
“I am really not the adventurous type, but I have a certain amount of intellectual curiosity about people and what makes them tick.
“This curiosity gave me the courage to ‘step where angels fear to tread’ and visit a certain peaceful cow pasture in Rising Sun, Md., on the evening of Nov. 6.
"Rising Sun is a small town, not far from the Pennsylvania line. On the streets pleasant people greet one another in a cordial manner as they shop in the few, scattered stores.
"When we stopped at the gasoline station to check the exact location of our ultimate destination, the attendant gave us directions in a friendly way.
"The sky was overcast that night. It was chilly. There was an unknown something that made me feel tight and cold. It was fear, real fear.
"I shivered in spite of the friendly faces and jokes from the platform. This was a large crowd, almost two thousand people, listening receptively to the speakers.
"As I looked around and observed the crowd—teenagers, young parents with small children, middle-aged men and women—I found it difficult to believe that this was a Klan rally.
"But there it was, right in front of me—the large cross with the petroleum soaked canvass wound around it. And there they were—the Klansmen and Klanswomen in their unmistakable robes, which they wore with pride.
"They mixed with the crowd, distributing their official publication, The Fiery Cross.’ Published by the United Klans of America, Tuscaloosa, Ala.
"The speakers, visiting Klan leaders from nearby states, were presented on a wooden platform, decorated with two black wreaths.
"Underneath one was the name, Dan Burros, and under the other, Matt Murphy.
"The flags were also conspicuous—American and Confederate.
"Ralph E. Pryor Jr., Grand Dragon of the Delaware Klan; Roy Frankhowser, Pennsylvania Grand Dragon, and Frank Rotella, King Kleagle of the New Jersey Klan, were the principal speakers.
"Vernon Naimaster of Essex, acting Grand Dragon of Maryland, said, “I’m the bus driver they were talking about.” He was referring to news releases which had stated that he was an employee of the Baltimore Transit Company.
"Naimaster did not wear the Klan garb, but he was dressed in his Sunday best and seemed proud to be on this platform.
"Pryor presented the various speakers. He is a former policeman, in his thirties, who said that he had worked with the Vice Squad in Wilmington.
"He spoke with an air of authority when he quoted the alleged ‘startling statistics—regarding the number of white women raped by colored men there. There was no question in his mind as to how this critical situation should be handled.
“’The only answer is to organize a strong Klan,’ he thundered.
“’That’s right, that’s right,’ the crowd echoed.
"The visiting Klan leaders were unanimous in their hatred of President Johnson. They were furious because they were being ‘unjustly’ investigated by Washington.
"Said one speaker angrily, ‘See this ring on my finger?’ He held up his hand dramatically and paused…
“’In Washington they want to know who gave it to me. Well I won’t tell them, It’s none of their business. I’ll tell you. It was my mother,’ he screamed. The audience was silently sympathetic.
"I looked at the audience. Teenagers were everywhere; groups of young men with hard, tight faces. Yes this was definitely their cup of tea. Hate, hate. You get points for that.
"One speaker suggested that the only way to solve the ‘N__ah problem,’ was to send all the ‘N__ahs’ back to Africa…in a leaky boat.
"According to another authoritative Klansman, all Jews were Communists.
"Arthur Spingarn, former head of the NAACP, was feeding money from the Jews to the colored people in order to weaken America from within so that the ‘commies’ could take over. Marvin Rich of CORE, was also mentioned in this context.
"The Klan leader from New York had a very special and confidential message for the audience. He had worked for the Welfare Department during the day, but the Klan had his unquestioned loyalty at night. He had been dismissed from his job, he said, and was suing for his loss of income.
"He sounded most convincing when he told the audience about the colored people who would drive up to the Welfare Department in their Cadillac to collect their welfare checks.
"There was only one difference of opinion. One speaker stated that Daniel Burros, the New York Klansman who shot himself, was framed! Another leader stated that ‘Dan Burros was not a Jew. But for some unknown reason his parents were married in a synagogue.
“’He [Burros] wanted to protect the Klan, so he shot himself, twice. That took courage. He was a white martyr, for the white race.’
"At this point, the audience was reminded that part of the rally was to be a memorial to the Klan members who had died this year.
“’’Get away from the cross, we don’t want anyone to get burned.’ ‘Now, if it was a N____, that would be alright someone shouted.”
“’Amen, amen,’ echoed the audience.
"By now all eyes were focused on the giant cross.
"To most Christians this is a symbol of the brotherhood of man; to this audience it was a symbol of hatred and terror.
"I shuddered, sick inside. The sky was still overcast. Now came the slow, dull sound of taps. I could barely see the long-barreled rifle which startled me as it was fired upward into the darkness.
"Suddenly, the cross was in flames….
"The men who applauded, Amen, Amen, looked lie men you would meet in Anytown, USA. They wore casual flannel shirts, work pants, some wore work caps.
"The women mostly working men’s wives, were dressed informally. They all listened intently. They applauded loud and long when ‘white womanhood’ and the ‘purity of our white race’ was reaffirmed from the platform.
"The speakers were almost religious in their intensity. As they repeated one after the other that race-mixing was evil; this was mongrelization of the pure American race; that the Klan had the only answer—there echoed again loud and fervent, ‘Amen, Amen.’”
For another personal experience, one confronting the Klan, see washingtonareaspark.com/2013/01/02/standing-against-the-m...
For more information and related images, see flic.kr/s/aHsjDhRPzT
The photographer is unknown. The image is an Associated Press photograph housed in the D.C. Library Washington Star Collection.
Artist Statement
The list of the worldly issues minor and major that impact personal experiences seems to be endless. Some of those issues may be: human overconsumption, intrusive surveillance, racial and other forms of inequality and discrimination, deforestation, air and water pollution, religious control, etc. In our contemporary society we are all potentially impacted by these negative forces since the time we start developing in our mother’s wombs. Humanity, right now, has all the necessities and commodities to provide every person on this planet with a comfortable place to sleep, healthy food to eat, clean water to drink, fresh clothes to wear, and a proper healthcare. But yet the said destructive forces are too overpowering, so the future seems doomed.
For this photographic project making “the personal is political,” I approached different people and asked how they wanted our world to change and to write out this desire with black marker on a white board. In an attempt to allow the people photographed to freely and fearlessly express their truest thoughts about any issues that bother them, I asked them to wear a Guy Fawkes mask to conceal their identities. I chose specifically to use this mask because of its long history, the meaning and the symbolism it carries, and the emotions and thoughts it invokes in most people who are familiar with the mask.
Guy Fawkes was a revolutionary who did not like the status quo, and wanted to overthrow corrupt government and make the world a better place. Hollywood greatly popularized his image via the movie “V For Vendetta,” so to this day he is remembered by many people around the globe as the one who opposed the ruling system. The mask symbolizes protest against tyranny, totalitarianism, any kind of oppression, and any other type of mistreatment and misconduct towards other fellow human beings. It symbolizes a great desire for a better and happier life for all people. It reminds us that we all are creators of our own destiny, builders of our own fate. Except the limitations you place ourselves into by our your own beliefs there are no limitations to what people can do.
UNESCO Tentativelist.
whc.unesco.org/en/tentativelists/5906/
Ancient City of Kaunos
Turkey
Date of Submission: 15/04/2014
Criteria: (i)(ii)(iii)(iv)
Category: Cultural
Submitted by:
Permanent Delegation of Turkey to UNESCO
State, Province or Region:
City of Mugla, Mediterranean Region
The Secretariat of the United Nations Educational Scientific and Cultural Organization (UNESCO) and the World Heritage Centre do not represent or endorse the accuracy or reliability of any advice, opinion, statement or other information or documentation provided by the States Parties to the World Heritage Convention to the Secretariat of UNESCO or to the World Heritage Centre.
The publication of any such advice, opinion, statement or other information documentation on the World Heritage Centre’s website and/or on working documents also does not imply the expression of any opinion whatsoever on the part of the Secretariat of UNESCO or of the World Heritage Centre concerning the legal status of any country, territory, city or area or of its boundaries.
Property names are listed in the language in which they have been submitted by the State Party
Description
The property within boundaries of District of Koycegiz is located in the face of Dalyan City and on the right shores of Dalyan Stream (Calbis) which connect Koycegiz Lake to Mediterranean. It was the capital of the ‘Kaunos Region’ between the Caria and Lycia until the beginning of the 4th BC.
The existence of Kaunos had known by the scholars but its location was a mystery until English archaeologist Hoskyn discovered it in 1842. Swedish archaeologist P. Roos defined the independent state boundaries of Kaunos as follows: “Starting from the Fethiye Bay at the north and Ancient City of Krya at the north of the bay; extending till Tlos at the 35 km east of Fethiye, Idyma at Gokova Bay at the west and Çamkoy located in the west of Urla which is little forward to north.” In today’s context, the coastal area starting from the south plains of Mugla and extending till the mountains between Mugla and Antalya was under the sovereignty of Kaunos. Kaunos has kept this borders until the 4th century BC but then lost its statue of sovereign state after the Persian invasion. It was one of two cities resisting against Persian invasion (other is Xanthos) such that they paid high taxes to prevailing states many times in order to keep their independency as a port city.
Kaunos was mentioned as Ksibde in Lycian scripts, while as Kbid in the scripts of other surrounding cities. Life style and language of Kaunos people share similarities with Carian people except five letters in their alphabet are not seen in latter which makes Kaunos language is unique to them. Heredot reveals in this respect that “There is Carian influence in their language or their influence in Carian language. This is an issue which I couldn’t clarify.” In fact, epigraphic materials in Carian language are found mostly in Kaunos today. Kaunosian could not be understood until very recently just because Carian language was not decoded. However, by virtue of a stela written in Greek and Carian, it has been possible to unravel Carian language and a little of Kaunosian due to Greek language had already been known.
Kaunos was an important sea port city with two ports; one is in the south at the southeast of Küçük Kale (Small Castle) and the inner port at its northwest, the present Sülüklü Göl (the Lake of the Leeches). The southern port was used from the foundation of the city till roughly the end of the Hellenistic era, after which it became inaccessible due to its drying out. The latter was used till the late days of Kaunos, but due to the silting of the delta and the ports, Kaunos had by then lost its important function as a trade port and started becoming poor. After Caria had been captured by Turkish tribes and the serious malaria epidemic of the 15th century AD, Kaunos was completely abandoned.
The city was constructed on terraces; significant religious structures like Baselius Kaunios Temple, Apollon Sanctuary and Demeter Sacred Rocks on one side and Bath, Theatre and other structures including Palaestra on a large terrace which is called Upper City on the other. The monumental terrace on which the Upper City situated connects Baliklar Mountain with the Acropolis by extending the city into Mediterranean like a tongue and naturally creating a second harbour basin in the east.
In many places in the ancient city, it has been found stone cutlery and arrowheads from Palaeolithic era. The finding and remains in Kaunos reveal the prosperity of the city as a great power of its time and that it was a sovereign state which minted on its behalf. The coins printed in this region especially in the first half of the 5th century BC are of great importance since a winged figure is displayed on the front side while pyramidal formed monoliths on the back. Besides, letters of K and B found on the coins are important due to they are the first two letters of the first name of Kaunos, Kbid.
The oldest find at the Kaunos archaeological site is the neck of a Protogeometric amphora dating back to the 9th century BC, or even earlier. A statue found at the western gate of the city walls, pieces of imported Attic ceramics and the South – Southeast oriented city walls show habitation in the 6th century BC. Although none of the architectural finds at Kaunos itself dates back to earlier than the 4th century BC, history of Kaunos is believed much earlier than that.
Because of the paleogeographic formation of Dalyan Delta and the silting of the former Bay of Dalyan (from approx. 200 BC onwards), Kaunos is now located about 8 km from the coast.
Doorstep statement by NATO Secretary General Jens Stoltenberg at the start of the extraordinary Summit of NATO Heads of State and Government
2nd Lt. Beau Benton of O’Fallon, Ill., assigned to 709th Military Police Battalion, 18th MP Brigade prepares a counseling statement during the Counseling Lane of U.S. Army Europe’s Best Junior Officer Competition at Grafenwoehr Training Area, Germany August 19, 2013. The Best Junior Officer Competition, unique to U.S. Army Europe, is a weeklong training event highlighting the best lieutenants and captains in Army units across Europe. These officers represent the best in their units and exemplify the USAREUR imperatives of teamwork, comprehensive fitness, leader development, training, discipline and standards. Competitors for the title of Best Junior Officer prove themselves in events testing physical stamina, leadership and technical knowledge. (U.S. Army photo by Sgt. Jermaine Baker)
From my nighttime expedition to the Turk St. hoard for long exposure images (for my fellow amateur photographers who like cars, I've discovered that the best images are nighttime ones with timed exposures--try it). Since my first trip here two weeks ago, I've learned that the owner is a gentleman called Nick who evidently works as a cab driver, and who owns at least 15 cars. One of these days I hope to meet him. I went out of my way to be conspicuous while shooting these, but no one came to the window.
As to what we have here, in the foreground is the beautiful 58 Buick Century, now parked on the street with its 'Deluxe Fashionaire' grill visible for all to see, and in the background, along with appropriate period architecture, a fellow 1958 GM offering: the Oldsmobile 88.
Local Accession Number: 2012.AAP.74
Title: Three gringos in Central America and Venezuela by Richard Harding Davis
Creator/Contributor: Penfield, Edward, 1866-1925 (artist)
Date issued: 1896 (inferred)
Physical description: 1 print (poster) : lithograph, color ; 45 x 30 cm.
Summary: An indigenous man sits on a rock. Another man leans over a small boat.
Genre: Book & magazine posters; Lithographs
Subjects: Indigenous peoples
Notes: Title from item.
Date note: Date from: American Posters of the Nineties.
Statement of responsibility: Edward Penfield
Collection: American Art Posters 1890-1920
Location: Boston Public Library, Print Department
Rights: No known restrictions.
214 West 42nd Street, Midtown Manhattan, New York City, New York, United States
The New Amsterdam Theater, built in 1902-03 for the theatrical producers Klaw & Erlanger, was for many years one of the most prestigious Time Square theaters and home of the famous Ziegfeld Follies. Designed by the noted theater architects, Herts & Tallant, the New Amsterdam Theater achieved distinction both for its functions and for its artistic program.
More than just a theater, the structure was planned, at the request of Klaw & Erlanger, to incorporate two performing spaces with an office tower to house their varied theatrical interests. Even more importantly, however, the New Amsterdam is a rare example of Art Nouveau architecture in New York City, and, as such, is a major artistic statement by Herts & Tallant.
Working in conjunction with sculptors, painters, and other craftsmen, they used the Art Nouveau style to carry out a dual theme—the representation of the spirit of drama and the theater and the representation of New Amsterdam in its historical sense as the city of New York. The form of the building vividly expresses the dual functions of office tower and theater, while the Art Nouveau-inspired ornamental detail expresses the spirit of drama.
The Clients
By the beginning of the 20th century, New York's theater district had moved uptown to the Time Square area, continuing a northward shift which had prevailed throughout the 19th century, and many theatrical producers commissioned new theaters to meet an expanding need. Among them were the producing partnership of Klaw & Erlanger.
Marc Klaw and Abraham L. Erlanger , both of whom had served as advance agents and managers of touring companies, joined forces in 1886 to buy the Taylor Theatrical Exchange, a New York booking agency. By 1895 the Klaw & Erlanger agency was the second largest in the nation, controlling nearly 200 theaters. In 1896 they joined with Charles Frohman, Al Hayman, Samuel F. Nixon, and J. Frederick Zimmerman to organize the Theatrical Syndicate.
The Syndicate avowed its intention of bringing about needed reforms in the booking of shows, but in the process created a monopoly with exclusive control of bookings for more than 500 theaters throughout the country.
The firm of Klaw & Erlanger was made responsible for all attractions presented in theaters controlled by the Syndicate. Beginning about 1910 the Syndicate was challenged by the growth of the organization of the Shubert brothers, and it was formally dissolved in 1916. Klaw & Erlanger retained its dominant position as a booking agency, and the partners continued their roles as managers and producers.
It was in the role of producer that Klaw & Erlanger purchased, in 1902, a parcel of property west of Seventh Avenue and extending through the block between 41st and 42nd Streets and commissioned the noted firm of theater architects, Herts & Tallant, to design a multi-use theater structure, incorporating two theaters and a ten-story office tower to house their booking and producing enterprises.
The Architects
By 1902 Henry Beaumont Herts and Hugh Tallant had begun to achieve a reputation as theater architects. Herts, the son of Henry B. Herts who had established the decorating firm of Herts Brothers, had studied at the Columbia University School of Mines, while Tallant received two degrees from Harvard College.
They became friends while students at the Ecole des Beaux-Arts in Paris and worked together on student projects. Also a talented painter, Herts exhibited at the Paris Salon of 1898.
Returning to New York, the two formed the firm of Herts & Tallant in 1900 which quickly began to achieve a reputation in theater architecture. In addition to the New Amsterdam, other theaters which the two designed were: the Lyceum , the Liberty , the Gaiety , the Folies-Bergere , the Booth , the Longacre , the Shubert , all in Times Square; and the Brooklyn Academy of Music .
In the New Amsterdam, they pioneered the use of cantilever construction to create theater balconies without supporting pillars that would obstruct the vision of those in the lower seating area. This innovation is generally credited to Herts.
The partners were also talented acousticians, and Tallant wrote extensively on the subject. Careful attention to fireproof construction and extensive stage facilities were other hallmarks of Herts & Tallant theaters. Tallant also wrote a series of articles on "The American Theater: Its Antecedents and Characteristics." As an architect Tallant was especially anxious to understand the precedents offered by Greek, Roman, and Renaissance theaters and to incorporate these precedents into the firm's designs. The firm dissolved in 1911, and each partner went on to other architectural associations.
The New Amsterdam as a Playhouse
Construction of the New Amsterdam Theater began in the summer of 1902, but political difficulties arose in 1903. The ornamental portions of the building were designed to project beyond the building line, and the Manhattan Borough President ordered work stopped.
Klaw and Erlanger asserted that the owner of the adjacent property, former Parks Commissioner Samuel McMillan, was exerting his influence because they had refused to buy McMillan's property. The partners noted that a number of new buildings, including several theaters, projected beyond the building line and that the New Amsterdam should not be discriminated against. In response to the controversy, the Board of Aldermen passed an ordinance allowing ornamental projections four feet beyond the building line. Thus the exterior of the New Amsterdam Theater was able to be completed as planned.
The New Amsterdam Theater officially opened on October 26, 1903, with a production of Shakespeare's A Midsummer Night's Dream accompanied by Mendelssohn's incidental music, additional music by Victor Herbert, and starring Nathaniel C. Goodwin as Bottom.
While home to serious drama in its early years, the New Amsterdam quickly became very highly regarded as a musical comedy house. Among early productions there were: George M. Cohan's Forty-five Minutes from Broadway with Fay Templeton and Victor Moore; Her Own Way with Maxine Elliott and Charles Cherry; Richard III and Peer Gynt, both starring Richard Mansfield; the American premiere of Franz Lehar's The Merry Widow in 1907; Sardou's The Sorceress with Mrs. Patrick Campbell; Kitty Gray with Julie Sanderson; The Pink Lady of 1911 and The Little Cafe, both starring Hazel Dawn; Margaret Schiller with Elsie Ferguson; and Irving Berlin's first musical, Watch Your Step, in 1914, starring the dance team of Vernon and Irene Castle.
In 1913 Florenz Ziegfeld , the world-famous theatrical producer, began an association with the New Amsterdam Theater which lasted until his death. Ziegfeld had entered the entertainment business in 1893 at the Chicago World's Columbian Exhibition. In 18 9 6 he introduced Anna Held to the American stage in A Parlor Match; this was quickly followed by a series of lavishly mounted musical comedies.
Their success led him to produce a 'revue' which he called The Follies of 1907. The show proved so popular that he produced a new Follies each season for over 20 years. The stage facilities of the New Amsterdam were ideal for these productions, and Ziegfeld presented the Follies there between 1913 and 1920, from 1922 to 1925, and in 1927.
Among the notable performers Ziegfeld featured in the Follies were Ann Pennington, originator of the Black Bottom dance, comediennes Fanny Brice and Ina Claire, Ed Wynn, W.C. Fields, Will Rogers, Eddie Cantor, and Marilyn Miller. Beginning in 1915 Ziegfeld used the rooftop theater of the New Amsterdam to produce his Midnight Frolic. Ziegfeld also produced ether shows at the New Amsterdam, even after he opened his Joseph Urban-designed Ziegfeld Theater in 1927 on Sixth Avenue.
Other productions added to the luster of the New Amsterdam: Sunny and Rosalie , starring Ziegfeld's discovery, Marilyn Miller; Whoopee , a Ziegfeld production starring Eddie Cantor; Trelawney of the Wells with John Drew, Pauline Lord, Helen Gahagan, Estelle Winwood, and Peggy Wood; The Bandwagon with Fred and Adele Astaire; Irving Berlin's Face the Music with Mary Boland; also in 1931, Eva Le Gallienne's Civic Repertory productions of The Cherry Orchard and Alice in Wonderland;' Jerome Kern's Roberta with Fay Templeton and Bob Hope; and George White's Scandals of 1936 with Bert Lahr, Eugene and Willie Howard, and Rudy Vallee. Othello with Walter Huston was the last legitimate theater production at the New Amsterdam.
With the onset of the Depression, many Broadway theaters fell onto hard times and were converted for use as movie houses. The New Amsterdam proved no exception. The mortgage on the property was foreclosed in 1936. The building was sold in 1937, and the new owner began showing motion pictures in the theater. Ironically the first presentation was a film version of A Midsummer Night's Dream, echoing that opening night of 1903.
The Building and its Design
The New Amsterdam had opened to widespread praise for its facilities, innovative features, and beautiful design. Stylistically the theater is a rare example of Art Nouveau architecture in the United States. Critic Theodore Waters headlined the New Amsterdam as "A Triumph for the New Art."
While the Art Nouveau style had been popularized in France and Belgium in the last years of the 19th century where Herts and Tallant surely must have discovered it firsthand, the style was little used in the United States. Most French-trained American architects preferred to use the classical forms they had learned at the Ecole des Beaux-Arts. Herts and Tallant, too, were adept at using Beaux-Arts forms, but the design for the New Amsterdam Theater offered them an unparalleled opportunity to create a total unified statement—one of the fundamental principles of Art Nouveau— expressing the excitement and artistry of the theater.
The form of the building resulted partially from the constraints of the site and partially from the requirements of Klaw & Erlanger. The major portion of the building, located on 41st Street on a site approximately 150 by 100 feet, houses the two theaters. However, Klaw & Erlanger wished to have the theater entrance on the more important 42nd Street, so they purchased a narrow piece of property 25 by 100 feet facing on 42nd Street.
This enabled the architects to create a major entrance, and to build above the entrance the tall office tower which was desired by Klaw & Erlanger to house their booking and producing activities. Because the side walls of the tower were built to the lot line they were faced with plain brick in anticipation that other towers would soon rise along side of them. To meet the dual requirements of the building—theaters and offices— the architects made extensive use of structural steel in the framing—
2000 tons. The roof theater is supported by a 70-ton girder, 90 feet in length and 14 feet high. Even though the stage doors were located on the 41st Street side, it was anticipated that the general public would not normally see that facade, so it, too, was faced with plain brick. The main focus of attention was the 42nd Street facade, and on it the architects lavished their artistic efforts.
Ten stories high and three bays wide, the facade is of gray limestone and is topped by a sloping red tile roof. Projecting from the roof is a central dormer with stylized pediment incorporating a garlanded, carved mask at the peak; this is flanked by two smaller dormers. Originally freestanding figures representing Music and Drama surmounted the center dormer.
The roof level is separated from the floors below by a projecting carved cornice with carved heads and floral ornament. An elaborate carved frieze with the date "1903" surmounts the ninth story windows which are flanked by stylized pilasters. At the seventh floor the windows, which are taller than those on the other office floors, are set off above a frieze incorporating winged heads, and the center window is flanked by stylized pilasters with floral capitals.
Arches above the windows are filled with terra-cotta panels executed by the architectural sculptors Grendellis and Ricci. The panels with their trios of cupids represent Dance, Declamation, and Song. This ornamental detail and sculpture on the upper stories is inspired by Art Nouveau principles, especially the abstraction of classical motifs and the lush and realistic depiction of floral and foliate forms. The various carved heads and figures personify aspects of the theater.
However, the architects lavished the most ornament and sculpture on the lower three floors, which encompassed the theater entrance and were visually handled as a unit. The segmental-arched entrance was flanked by rusticated piers which supported paired columns of Monreale Sicilian marble at the second floor. Bronze capitals, designed by sculptor Enid Yandell. , displayed heads representing the four ages of drama.
These columns in turn supported a massive arch encompassing the third floor windows: The arch was outlined by a modillioned cornice with a keystone displaying the escutcheon of the New Amsterdam Theater executed by Grendellis and Ricci. Resting on the cornice were a group of freestanding sculptured figures by the noted sculptor George Gray Barnard .
The central figure was a woman personifying Drama, holding a mirror in one hand and a mask in the other. The draped baldachino above her head represented the stage. Four other figures represented various aspects of drama and theater. All were linked by garlands of fruit and flowers. Although not specifically credited in any of the sources examined, Barnard probably also designed the figures at the roof level. Stylistically they appeared very similar to those which surmounted the arch. The second and third story windows were framed in bronze modelled in curvilinear flower and vine forms. This type of motif is one of the hallmarks of the Art Nouveau style.
Various changes had been made to the marquee and signs of the theater through the years, but when Anco Enterprises, Inc., acquired the New Amsterdam in 1937, the entrance was drastically altered to accommodate the theater to its new purpose of showing movies.
Virtually all sculptured detail at the first three stories was removed to be replaced by a new marquee and vertical electric sign. Both displayed the streamlined motifs associated with Art Deco architecture of the 1920s and '30s. The marquee and vertical were again modified in 1955.Fortunately the basic form of the arch encompassing the second and third story windows survives as does the intricate bronzework framing those windows.
Also in 1937 the original entrance doors were removed, and the original enclosed vestibule is now open to the sidewalk. The walls have been faced with polished marble, and an inlaid terrazzo floor with Art Deco motifs was installed. A "streamlined" box office is at one side.
Despite changes to the building through the years, significant Art Nouveau elements survive to remind us of the major artistic statement made by Herts & Tallant.
The form of the building still embodies the dual function of office tower and theater. Most importantly, the illustrious history of the New Amsterdam, which was facilitated and enhanced by its design, cannot be erased. Its survival evokes the spirit and the history of the theater.
- From the 1979 NYCLPC Landmark Designation Report
New York: After years of relentless campaigning to ensure States negotiate a strong global treaty to regulate the arms trade, civil society groups have been denied participation in key discussions. As Member States have started negotiations this week at the UN Headquarters in New York, Chair Ambassador Roberto Garcia Moritan of Argentina, announced late on Wednesday (July 14) that civil society groups would no longer be allowed to be present during crucial discussions.
Ambassador Moritan is chairing the preparatory talks that are running until next week. The decision to close the meeting came as a surprise as numerous Member States had made earlier statements on the importance of openness and transparency in the process.
“Some States want to hide behind closed doors because they don’t want people to see how much they are prepared to protect trading interests at the expense of protecting the people that bear the brunt of illicit arms deals. This is a major let down during the first week of negotiations,” said Denis Mizne, Director at Sou da Paz in Brazil.
Mizne continued: “As soon as the negotiations turned to the content of the treaty, the doors have been slammed shut. This is giving in to demands from some states that want to strip the treaty of key provisions such as those on human rights and international humanitarian law.”
Civil society has initiated this process along with key governments and has been a constant voice to ensure that key provisions on development, human rights and international humanitarian law will be part of a future deal. Civil society groups are now urging Ambassador Moritan to reconsider and let them join a more transparent process.
“This is very disappointing and worrying. Without the experience and expertise of civil society, it will make it harder to get a strong treaty that reduces suffering and saves lives. This is pandering to a small number of states that want to undermine the treaty,” said Baffour Amoa, Director at WANSA in Ghana.
Civil society has been part of previous international negotiations such as for the Convention of Rights of Persons with Disability (CRPD) and during global climate change negotiations.
“Hundreds of civil society organisations around the world have been advocating to ensure that a future arms trade treaty would be truly effective in preventing the transfer of arms that fuel conflict, human rights abuses, corruption, crime, gender-based violence, terrorism and poverty.” said Helena Koumi, Programme Officer at Swefor.
Negotiations have finally started four years after the UN General Assembly decided by an overwhelming majority to negotiate an Arms Trade Treaty. The future treaty would establish international rules and standards to better regulate the arms trade and close current loopholes. The final negotiating conference is set to take place in 2012.
For more information: Louis Belanger +1 917 224 0834 +1 917 224 0834
File name: 10_03_000970a
Binder label: Home Products
Title: Pratt's Astral Oil [front]
Created/Published: N. Y. : The Major & Knapp Lith. Co.
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; 12 x 8 cm.
Genre: Advertising cards
Subject: Children; Food; Oils & fats
Notes: Title from item. Retailer: Oliver Johnson & Co., Providence
Statement of responsibility: Chas, Pratt & Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
The aboriginal flag draped from the Victoria Bridge encouraging a No Vote in the upcoming referendum.
The Meaning of Ar-Rahman Ar-Rahim - the Most Gracious, the Most Merciful
The Meaning of Ar-Rahman Ar-Rahim - the Most Gracious, the Most Merciful
Ar-Rahman and Ar-Rahim are two names derived from Ar-Rahmah (the mercy), but Rahman has more meanings that pertain to mercy than Ar-Rahim. There is a statement by Ibn Jarir that indicates that there is a consensus on this meaning. Further, Al-Qurtubi said, "The proof that these names are derived (from Ar-Rahmah), is what At-Tirmidhi recorded - and graded Sahih from `Abdur-Rahman bin `Awf that he heard the Messenger of Allah say,
«قَالَ اللهُ تَعَالى: أَنَا الرَّحْمنُ خَلَقْتُ الرَّحِمَ وَشَقَقْتُ لَهَا اسْمًا مِنِ اسْمِي، فَمَنْ وَصَلَهَا وَصَلْتُهُ وَمَنْ قَطَعَها قَطَعْتُهُ»
(Allah the Exalted said, 'I Am Ar-Rahman. I created the Raham (womb, i.e. family relations) and derived a name for it from My Name. Hence, whoever keeps it, I will keep ties to him, and whoever severs it, I will sever ties with him.') He then said, "This is a text that indicates the derivation.'' He then said, "The Arabs denied the name Ar-Rahman, because of their ignorance about Allah and His attributes.''
Al-Qurtubi said, "It was said that both Ar-Rahman and Ar-Rahim have the same meaning, such as the words Nadman and Nadim, as Abu `Ubayd has stated. Abu `Ali Al-Farisi said, `Ar-Rahman, which is exclusively for Allah, is a name that encompasses every type of mercy that Allah has. Ar-Rahim is what effects the believers, for Allah said,
﴿وَكَانَ بِالْمُؤْمِنِينَ رَحِيماً﴾
(And He is ever Rahim (merciful) to the believers.)' (33:43) Also, Ibn `Abbas said - about Ar-Rahman and Ar-Rahim, `They are two soft names, one of them is softer than the other (meaning it carries more implications of mercy).'''
Ibn Jarir said; As-Surri bin Yahya At-Tamimi narrated to me that `Uthman bin Zufar related that Al-`Azrami said about Ar-Rahman and Ar-Rahim, "He is Ar-Rahman with all creation and Ar-Rahim with the believers.'' Hence. Allah's statements,
﴿ثُمَّ اسْتَوَى عَلَى الْعَرْشِ الرَّحْمَـنُ﴾
(Then He rose over (Istawa) the Throne (in a manner that suits His majesty), Ar-Rahman) (25:59),) and,
﴿الرَّحْمَـنُ عَلَى الْعَرْشِ اسْتَوَى ﴾
(Ar-Rahman (Allah) rose over (Istawa) the (Mighty) Throne (in a manner that suits His majesty).) (20:5)
Allah thus mentioned the Istawa - rising over the Throne - along with His Name Ar-Rahman, to indicate that His mercy encompasses all of His creation. Allah also said,
﴿وَكَانَ بِالْمُؤْمِنِينَ رَحِيماً﴾
(And He is ever Rahim (merciful) to the believers), thus encompassing the believers with His Name Ar-Rahim. They said, "This testifies to the fact that Ar-Rahman carries a broader scope of meanings pertaining to the mercy of Allah with His creation in both lives. Meanwhile, Ar-Rahim is exclusively for the believers.'' Yet, we should mention that there is a supplication that reads,
«رَحْمنَ الدُّنْيَا وَالْآخِرَةِ وَرَحِيمَهُمَا»
(The Rahman and the Rahim of this life and the Hereafter)
Allah's Name Ar-Rahman is exclusively His. For instance, Allah said,
﴿قُلِ ادْعُواْ اللَّهَ أَوِ ادْعُواْ الرَّحْمَـنَ أَيًّا مَّا تَدْعُواْ فَلَهُ الاٌّسْمَآءَ الْحُسْنَى﴾
(Say (O Muhammad ): "Invoke Allah or invoke Ar-Rahman (Allah), by whatever name you invoke Him (it is the same), for to Him belong the Best Names) (17:110),) and,
﴿وَاسْئلْ مَنْ أَرْسَلْنَا مِن قَبْلِكَ مِن رُّسُلِنَآ أَجَعَلْنَا مِن دُونِ الرَّحْمَـنِ ءَالِهَةً يُعْبَدُونَ ﴾
(And ask (O Muhammad ) those of Our Messengers whom We sent before you: "Did We ever appoint alihah (gods) to be worshipped besides Ar-Rahman (Most Gracious, Allah)'') (43:45).
Further, when Musaylimah the Liar called himself the Rahman of Yamamah, Allah made him known by the name `Liar' and exposed him. Hence, whenever Musaylimah is mentioned, he is described as `the Liar'. He became an example for lying among the residents of the cities and villages and the residents of the deserts, the bedouins.
Therefore, Allah first mentioned His Name - Allah - that is exclusively His and described this Name by Ar-Rahman, which no one else is allowed to use, just as Allah said,
﴿قُلِ ادْعُواْ اللَّهَ أَوِ ادْعُواْ الرَّحْمَـنَ أَيًّا مَّا تَدْعُواْ فَلَهُ الاٌّسْمَآءَ الْحُسْنَى﴾
(Say (O Muhammad ): "Invoke Allah or invoke Ar-Rahman (Allah), by whatever name you invoke Him (it is the same), for to Him belong the Best Names.'') (17:110)
Only Musaylimah and those who followed his misguided ways described Musaylimah by Ar-Rahman.
As for Allah's Name Ar-Rahim, Allah has described others by it. For instance, Allah said,
﴿لَقَدْ جَآءَكُمْ رَسُولٌ مِّنْ أَنفُسِكُمْ عَزِيزٌ عَلَيْهِ مَا عَنِتُّمْ حَرِيصٌ عَلَيْكُمْ بِالْمُؤْمِنِينَ رَءُوفٌ رَّحِيمٌ ﴾
(Verily, there has come unto you a Messenger (Muhammad ) from amongst yourselves (i.e. whom you know well). It grieves him that you should receive any injury or difficulty. He (Muhammad ) is anxious over you (to be rightly guided) for the believers (he is) kind (full of pity), and Rahim (merciful)) (9:128).
Allah has also described some of His creation using some of His other Names. For instance, Allah said,
﴿إِنَّا خَلَقْنَا الإِنسَـنَ مِن نُّطْفَةٍ أَمْشَاجٍ نَّبْتَلِيهِ فَجَعَلْنَـهُ سَمِيعاً بَصِيراً ﴾
(Verily, We have created man from Nutfah (drops) of mixed semen (sexual discharge of man and woman), in order to try him, so We made him hearer (Sami`) and seer (Basir) (76:2).
In conclusion, there are several of Allah's Names that are used as names for others besides Allah. Further, some of Allah's Names are exclusive for Allah alone, such as Allah, Ar-Rahman, Al-Khaliq (the Creator), Ar-Raziq (the Sustainer), and so forth.
Hence, Allah started the Tasmiyah (meaning, `In the Name of Allah, Most Gracious Most Merciful') with His Name, Allah, and described Himself as Ar-Rahman, (Most Gracious) which is softer and more general than Ar-Rahim. The most honorable Names are mentioned first, just as Allah did here.
A Hadith narrated by Umm Salamah stated that the recitation of the Messenger of Allah was slow and clear, letter by letter,
﴿بِسْمِ اللَّهِ الرَّحْمَـنِ الرَّحِيمِ - الْحَمْدُ للَّهِ رَبِّ الْعَـلَمِينَ - الرَّحْمَـنِ الرَّحِيمِ - مَـلِكِ يَوْمِ الدِّينِ ﴾
(In the Name of Allah, the Most Gracious, the Most Merciful. All the praises and thanks be to Allah, the Lord of all that exists. The Most Gracious, the Most Merciful. The Owner of the Day of Recompense) (1:1-4).
And this is how a group of scholars recite it. Others connected the recitation of the Tasmiyah to Al-Hamd.
﴿الْحَمْدُ للَّهِ رَبِّ الْعَـلَمِينَ ﴾
(2. Al-Hamd be to Allah, the Lord of all that exists.)
Chancellor of the Exchequer, George Osborne leaves HM Treasury with Chief Secretary to the Treasury, Danny Alexander on 05 December 2012.
Ahoy matey! A jolly roger pirate flag! Canon 5D Mark II Photos Tan Blond Swimsuit Bikini Model Goddess! 24-105mm F/4 USM L Lens !
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Blonde Swimsuit Bikini Model Goddess with Blue Eyes! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! Long, long legs--long as the day! A classic socal California Beach Babe!
Epic video of the epic goddess, shot as the same time as the stills as is Johnny Ranger McCoy's lone-cowboy trademark technique:
www.youtube.com/watch?v=5Y5lQiNQncA
www.youtube.com/watch?v=6OfcQ9KCy1Y
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All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)