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Columbus, Ohio Division of Fire Support Services 61. This unit serves as a forensics and crime scene unit for Columbus Fire Investigators.
American Arcade postcard. Collection: Marlene Pilaete.
American actress, singer-songwriter, and comedian Hattie McDaniel (1893-1952) won the Oscar for Best Supporting Actress for her role as "Mammy” in Gone with the Wind (1939). She was the first African American to win an Oscar. She appeared in over 300 films, although she received screen credits for only 83. Encountering racism and racial segregation throughout her career, McDaniel was unable to attend the premiere of Gone with the Wind in Atlanta because it was held at a whites-only theatre. When she died in 1952, her final wish - to be buried in Hollywood Cemetery - was denied because the graveyard was restricted to whites only.
Hattie McDaniel was born in Denver in 1893 to formerly-enslaved parents in Wichita, Kansas. She was the youngest of 13 children. Her mother, Susan Holbert, was a singer of gospel music, and her father, Henry McDaniel, fought in the Civil War with the 122nd United States Colored Troops. In 1900, the family moved to Colorado, living first in Fort Collins and then in Denver, where Hattie attended Denver East High School and in 1908 entered a contest sponsored by the Women’s Christian Temperance Union, reciting 'Convict Joe'. McDaniel was a songwriter as well as a performer. She honed her songwriting skills while working with her brother Otis McDaniel's carnival company, a minstrel show. McDaniel and her sister Etta Goff launched an all-female minstrel show in 1914 called the McDaniel Sisters Company. After the death of her brother Otis in 1916, the troupe began to lose money, and Hattie did not get her next big break until 1920. From 1920 to 1925, she appeared with Professor George Morrison's Melody Hounds, a black touring ensemble. In the mid-1920s, she embarked on a radio career, singing with the Melody Hounds on station KOA in Denver. From 1926 to 1929, she recorded many of her songs for Okeh Records and Paramount Records in Chicago. After the stock market crashed in 1929, McDaniel could only find work as a washroom attendant at Sam Pick's Club Madrid near Milwaukee. Despite the owner's reluctance to let her perform, she was eventually allowed to take the stage and soon became a regular performer.
In 1931, Hattie McDaniel moved to Los Angeles to join her brother Sam, and sisters Etta and Orlena. When she could not get film work, she took jobs as a maid or cook. Sam was working on a KNX radio program, 'The Optimistic Do-Nut Hour', and was able to get his sister a spot. She performed on radio as "Hi-Hat Hattie", a bossy maid who often "forgets her place". Her show became popular, but her salary was so low that she had to keep working as a maid. She made her first film appearance in The Golden West (1932), in which she played a maid. Her second appearance came in the highly successful Mae West film I'm No Angel (Wesley Ruggles, 1933), in which she played one of the black maids with whom West camped it up backstage. She received several other uncredited film roles in the early 1930s, often singing in choruses. In 1934, McDaniel joined the Screen Actors Guild. She began to attract attention and landed larger film roles, which began to win her screen credits. Fox put her under contract to appear in The Little Colonel (David Butler, 1935), with Shirley Temple, Bill "Bojangles" Robinson and Lionel Barrymore. Judge Priest (John Ford, 1934), starring Will Rogers, was the first film in which she played a major role. She had a leading part in the film and demonstrated her singing talent, including a duet with Rogers. McDaniel and Rogers became friends during filming. In 1935, McDaniel had prominent roles, as a slovenly maid in Alice Adams (George Stevens, 1935); a comic part as Jean Harlow's maid and traveling companion in China Seas (Tay Garnett, 1935), McDaniels's first film with Clark Gable; and as the maid Isabella in Murder by Television (Clifford Sanforth, 1935), with Béla Lugosi. She appeared in the romantic comedy Vivacious Lady (George Stevens, 1938), starring James Stewart and Ginger Rogers. McDaniel had a featured role as Queenie in the musical Show Boat (James Whale, 1936), starring Allan Jones and Irene Dunne, in which she sang a verse of 'Can't Help Lovin' Dat Man' with Dunne, Helen Morgan, Paul Robeson, and a black chorus. She and Robeson sang 'I Still Suits Me', written for the film by Kern and Hammerstein. After Show Boat, she had major roles in the romantic comedy Saratoga (Jack Conway, 1937), starring Jean Harlow and Clark Gable; The Shopworn Angel (H. C. Potter, 1938), with Margaret Sullavan; and the screwball comedy-mystery film The Mad Miss Manton (Leigh Jason, 1938), starring Barbara Stanwyck and Henry Fonda. She had a minor role in the Carole Lombard–Frederic March film Nothing Sacred (William A. Wellman, 1937), in which she played the wife of a shoeshine man (Troy Brown) masquerading as a sultan. She was criticized by members of the black community for the roles she accepted and for pursuing roles aggressively rather than rocking the Hollywood boat. For example, in The Little Colonel (David Butler, 1935), she played one of the black servants longing to return to the Old South, but her portrayal of Malena in Alice Adams angered white Southern audiences because she stole several scenes from the film's white star, Katharine Hepburn. McDaniel ultimately became best known for playing a sassy, opinionated maid.
The competition to win the part of Mammy in Gone with the Wind (Victor Fleming, 1939) was almost as fierce as that for Scarlett O'Hara. First Lady Eleanor Roosevelt wrote to film producer David O. Selznick to ask that her own maid, Elizabeth McDuffie, be given the part. McDaniel did not think she would be chosen because she had earned her reputation as a comic actress. One source claimed that Clark Gable recommended that the role be given to McDaniel; in any case, she went to her audition dressed in an authentic maid's uniform and won the part. Upon hearing of the planned film adaptation, the National Association for the Advancement of Colored People (NAACP) fought hard to require the film's producer and director to delete racial epithets from the movie (in particular the offensive slur "nigger") and to alter scenes that might be incendiary and that, in their view, were historically inaccurate. Of particular concern was a scene from the novel in which black men attack Scarlett O'Hara, after which the Ku Klux Klan, with its long history of provoking terror on black communities, is presented as a savior. Throughout the South, black men were being lynched based upon false allegations they had harmed white women. That attack scene was altered, and some offensive language was modified, but another epithet, "darkie", remained in the film, and the film's message with respect to slavery remained essentially the same. Consistent with the book, the film's screenplay also referred to poor whites as "white trash", and it ascribed these words equally to characters black and white. Loew's Grand Theater on Peachtree Street in Atlanta, Georgia was selected by the studio as the site for the 15 December 1939 premiere of Gone with the Wind. Studio head David O. Selznick asked that McDaniel be permitted to attend, but MGM advised him not to, because of Georgia's segregation laws. Clark Gable threatened to boycott the Atlanta premiere unless McDaniel was allowed to attend, but McDaniel convinced him to attend anyway. While Jim Crow laws kept McDaniel from the Atlanta premiere, she did attend the film's Hollywood debut on 28 December 1939. Upon Selznick's insistence, her picture was also featured prominently in the program. For her performance as the house slave who repeatedly scolds her owner's daughter, Scarlett O'Hara (Vivien Leigh), and scoffs at Rhett Butler (Clark Gable), McDaniel won the 1939 Academy Award for Best Supporting Actress, the first black actor to have been nominated and win an Oscar. Gone with the Wind won eight Academy Awards.
Hattie McDaniel once again played a domestic in In This Our Life (John Huston, 1942), starring Bette Davis, but one who confronts racial issues when her son, a law student, is wrongly accused of manslaughter. McDaniel was also in Thank Your Lucky Stars (David Butler, 1943), with Humphrey Bogart and Bette Davis. McDaniel continued to play maids during the war years in The Male Animal (Elliott Nugent, 1942) and Since You Went Away (John Cromwell, 1944), but her feistiness was toned down to reflect the era's somber news. She also played the maid in the live-action/animated drama Song of the South (Harve Foster, Wilfred Jackson, 1946) for Disney. She made her last film appearances in the coming-of-age film Mickey (Ralph Murphy, 1948) and the domestic comedy Family Honeymoon (Claude Binyon, 1949), where that same year, she appeared on the live CBS television program The Ed Wynn Show. She remained active on radio and television in her final years, becoming the first black actor to star in her own radio show with the comedy series 'Beulah'. She also starred in the television version of the show, replacing Ethel Waters after the first season. Waters had apparently expressed concerns over stereotypes in the role. Beulah was a hit, however, and earned McDaniel $2,000 per week; however, the show was controversial. In 1951, the United States Army ceased broadcasting Beulah in Asia because troops complained that the show perpetuated negative stereotypes of black men as shiftless and lazy and interfered with the ability of black troops to perform their mission. After filming a handful of episodes, however, McDaniel learned she had breast cancer. By the spring of 1952, she was too ill to work and was replaced by Louise Beavers.
Hattie MacDaniel did not join the Negro Actors Guild of America until 1947, late in her career. McDaniel married Howard Hickman in 1911, in Denver, Colorado. He died in 1915. Her second husband, George Langford, died of a gunshot wound in 1925, soon after she married him and while her career was on the rise. In 1941, she married James Lloyd Crawford, a real estate salesman, and in 1945 she was pregnant. McDaniel began buying baby clothes and set up a nursery in her house. Her plans were shattered when she suffered a false pregnancy and fell into a depression. She never had any children. She divorced Crawford in 1945, after four and a half years of marriage. She married Larry Williams, an interior decorator, in 1949, but divorced him in 1950 after testifying that their five months together had been marred by "arguing and fussing." In 1952, McDaniel died of breast cancer at age 59 in the hospital on the grounds of the Motion Picture House in Woodland Hills, California. She was survived by her brother Sam McDaniel. In her will, McDaniel wrote that she wished to be buried in the Hollywood Cemetery, the resting place of film stars such as Douglas Fairbanks and Rudolph Valentino. Its owner, Jules Roth, refused to allow her to be buried there because the cemetery practiced racial segregation. Her second choice was Rosedale Cemetery (now Angelus-Rosedale Cemetery), where she lies today. McDaniel has two stars on the Hollywood Walk of Fame in Hollywood: one at 6933 Hollywood Boulevard for her contributions to radio and one at 1719 Vine Street for motion pictures. In 1975, she was inducted posthumously into the Black Filmmakers Hall of Fame. In 2002, McDaniel's legacy was celebrated in Beyond Tara, The Extraordinary Life of Hattie McDaniel (Madison D. Lacy, 2001), hosted by Whoopi Goldberg. This one-hour special depicted McDaniel's struggles and triumphs in the presence of rampant racism and brutal adversity. The film won the 2001–2002 Daytime Emmy Award.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
It is funny how we forget things we have done.
Below, I state that this was my first visit to the cathedral as a churchcrawler.
When I began to post shots, I looked for the album to put the shots in, only to find there wasn't one.
A search of my photostream showed two visits to the cathedral, complete with interior shots from 2013 and the previous years.
I had no memories of these visits.
What else have I forgotten?
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Norwich is a fine city. Or so the signs say on every road into it. But, and there can be no denying it, it is a jewel in the Norfolk countryside.
For me it is “just” Norwich Where used to go for our important shopping, for football and later for concerts. We, and I, would take for granted its cobbled streets, Norman cathedral and medieval churches by the dozen. Also it’s a pub for every day, the ramshackle market, and the Norman castle keep looking down on the city sprawled around.
Just Norwich.
Later, it also became where I bought new records from Backs in Swan Lane, and searched for punk classics in the Record and Tape Exchange.
Norwich is lucky that the industrial revolution passed by the city leaving few changes, the character and history intact. World War II did damage, some churches were abandoned, some rebuilt, but many survived.
And Norwich is a friendly city. It sees warm and colourful, and on a hot summer’s day when the locals were in shorts and t-shirts, much white flesh was on display. I also take the football club for granted. I have supported it from nearly 49 years, and being away from the city means I get my news and views largely second hand, but I also forget how central the club is to the people.
Sadly, Norwich isn't really on the way to anywhere, well except Great Yarmouth and Cromer, so people don't come here by accident. So it remains something of a secret to most but locals.
Other cities would have children dressed in any one of a dozen Premier League club’s replica shirts. In Norwich yellow and green was the dominant colour, even after a chastening season that saw us finish rock bottom of the league. The local sports “superstore” has a Norwich Fan’s fanzone, and a third of the window is given to the home city club.
I knew the city like the back of my hand, so knew the route I wanted to take to provide me with views that would refresh those in my mind. I didn’t dally, pressed on to my two targets, the Anglican Cathedral and St Peter Mancroft.
This wasn’t the original plan; that was to meet two friends I used to go to the football with, Ian and Ali, but they both caught a bug in Manchester watching the women’s Euros, so couldn’t meet with me. But I had an alternative plan, maybe with a pub stop or two.
The trip happened as I got a mail offering a tempting 20% off the trip that had been selling poorly, I checked with Ian and Alison, they said they were free, but had yet to fall ill. So seats were booked, as Jools liked the sound of an afternoon in Norwich and meeting my friends.
Up at quarter to five so we could catch the first High Speed service out of Dover, so to be in London in time to catch the railtour to Norwich.
Sun had yet to light up Dover Priory when we arrived, but a few people milling around, including two still at the end of their night out.
Folkestone was light by the warm light of the rising sun, and well worth a shot as we passed over Foord Viaduct.
Later, I was hoping the calm morning meant the Medway would be a mirror, but a breeze disturbed the surface ruining the reflections I had hoped for.
Finally, emerging into Essex, the line climbs as the go over the Dartford Crossing, just enough time to grab a shot.
It was already hot in London, so we stayed in the shade of the undercroft at St Pancras, had a coffee and a pasty from Greggs before walking over to Kings Cross to see if our tour was already at the buffers.
We walked across the road to King's Cross, and find the station packed with milling passengers, all eyes trained on the departure boards waiting for platform confirmations.
Ours was due to be platform 3, and the rake of carriages was indeed there, top and tailed by class 66 freight locomotives.
We get on the train and find we had been allocated a pair of seats nearest the vestibule. This meant that they were a few inches less wide than others, meaning Jools and I were jammed in.
Almost straight away, Jools's back and Achilles began to ache, and the thought of four hours of this in the morning and another four in the evening was too much, and so she decided to get off at the first stop at Potters Bar.
In the end, a wise choice I think.
The guy in the seat opposite to us talked the whole journey. I mean filling any silence with anything: how much he paid for the components of his lunch, his cameras and then his job. In great detail. He also collected train numbers. I didn't know that was really a thin in the days of EMUs, but I helped out from time to time telling him units he had missed.
We had a twenty minute break at Peterborough because of pathing issues, so we all got out to stretch our legs and do some extra trainspotting.
An Azuma left from the next platform, and another came in on the fast line. I snapped them both.
From Peterborough, the train reversed, and after the 20 minute wait, we went out of the station southwards, taking the line towards Ely.
Now that we had done our last stop, the train could open up and we cruised across the Fens at 70mph, the flat landscape botted with wind turbines and church towers slipped by.
Instead of going into Ely station, we took the rarely used (for passenger trains) freight avoiding line, now a single track. Emerging crossing the main line, taking the line eastwards towards Thetford.
Again, the regulator was opened, and we rattled along. Even so, the journey was entering its fourth hour, and with my travelling colleague and without Jools, time was dragging.
We were now back in Norfolk, passing the STANTA training area, all warning signs on the fences telling the trainee soldiers that that was where the area ended. I saw no soldiers or tanks. My only thought was of the rare flowers that would be growing there, unseen.
And so for the final run into Norwich, familiar countryside now.
Under the southern bypass and the main line from London, slowing down where the two lines merged at Trowse before crossing the River Wensum, before the final bend into Norwich Thorpe.
At last I could get off the train and stretch my legs.
Many others were also getting off to board coaches to take them to Wroxham for a cruise on the Broads, or a ride on the Bure Valley Railway, while the rest would head to Yarmouth for four hours at the seaside.
I got off the train and walked through the station, out into the forecourt and over the main road, so I could walk down Riverside Road to the Bishop’s Bridge, then from there into the Cathedral Close.
The hustle and bustle of the station and roadworks were soon left behind, as the only noise was from a family messing about in a rowing boat in front of Pulls Ferry and a swan chasing an Egyptian Goose, so the occasional splash of water.
I reached the bridge and passed by the first pub, with already many folks sitting out in the beer garden, sipping wines and/or summer beers. I was already hot and would loved to have joined them, but I was on a mission.
In the meantime, Jools had texted me and said if I fancied getting a regular service back home, then I should. And a seed grew in my brain. Because, on the way back, departing at just gone five, the tour had to have a 50 minute layover in a goods siding at Peterborough, and would not get back to Kings Cross until half nine, and then I had to get back to Dover.
I could go to the cathedral the church, walk back to the station. Or get a taxi, and get a train back to London at four and still be home by eight.
Yes.
I walked past the Great Hospital, then into the Close via the swing gate, round to the entrance where there was no charge for entry and now no charge for photography. But I would make a donation, I said. And I did, a tenner.
I have been to the cathedral a few times, but not as a churchcrawler. So, I made my way round, taking shots, drinking in the details. But the walk up had got me hot and bothered, I always run with a hot engine, but in summer it can be pretty damp. I struggled to keep my glasses on my nose, and as I went round I knew I was in no mood to go round again with the wide angle, that could wait for another visit.
The church is pretty much as built by the Normans, roof excepted which has been replaced at least twice, but is poetry in stone. And for a cathedral, not many people around also enjoying the building and its history.
At one, bells chimed, and I think The Lord’s Prayer was read out, we were asked to be quiet. I always am when snapping.
In half an hour I was done, so walked out through the west door, through the gate and into Tombland. I was heading for the Market and St Peter which site on the opposite side to the Guildhall.
I powered on, ignoring how warm I felt, in fact not that warm at all. The heat and sweats would come when I stopped, I found out.
I walk up the side of the market and into the church, and into the middle of an organ recital.
Should I turn round and do something else, or should I stop and listen. I stopped and listened.
Everyone should hear an organ recital in a large church. There is nothing quite like it. The organ can make the most beautiful sounds, but at the same time, the bass pipes making noises so deep you can only feel it in your bones.
Tony Pinel knew his way round the organ, and via a video link we could see his hands and feet making the noises we could hear. It was wonderful, but quite how someone can play one tune with their feet and another with their hands, and pulling and pushing knobs and stoppers, is beyond me. But glad some people can.
It finished at quarter to two, and I photograph the font canopy and the 15th century glass in the south chapel. Font canopies are rare, there is only four in England, and one of the others is in Trunch 20 miles to the north. Much is a restoration, but it is an impressive sight when paired with the seven-sacrament font under it.
The glass is no-less spectacular, panels three feet by two, five wide and stretching to the vaulted roof. I can’t photograph them all, but I do over 50%.
I go to the market for a lunch of chips, for old times sake. I mean that was the treat whenever we went either to Norwich or Yarmouth; chips on the market. I was told they no longer did battered sausage, so had an un-battered one, and a can of pop. I stood and ate in the alleyway between stalls, people passing by and people buying chips and mushy peas of their own.
Once done, I had thought of getting a taxi back to the station, but the rank that has always been rammed with black cabs was empty, and two couples were shouting at each other as to who should have the one that was there. So I walked to the station, across Gentleman’s Walk, along to Back of the Inns, then up London Street to the top of Prince of Wales Road and then an easy time to the station across the bridge.
I got my ticket and saw a train to Liverpool Street was due to depart at 14:32. In three minutes.
I went through the barrier and got on the train, it was almost empty in the new, swish electric inter-city unit. I was sweating buckets, and needed a drink, but there appeared to be no buffet, instead just electric efficiency and silence as the train slid out of the station and went round past the football ground to the river, then taking the main line south.
In front of me, two oriental ladies talked for the whole journey. I listened to them, no idea what they talked about to fill 105 minutes.
I thought it would be nearly five when the train got in, but helped by only stopping at Diss, Ipswich, Manningtree and Colchester we got in, on time, at quarter past four.
I walked to the main concourse and down into the Circle Line platforms, getting a train in a couple of minutes the four stops to St Pancras. I knew there was a train soon leaving, and after checking the board and my watch I saw I had five minutes to get along the length of the station and up to the Southeastern platforms.
I tried. I did, but I reached the steps up to the platforms and I saw I had 45 seconds, no time to go up as they would have locked the doors. So, instead I went to the nearby pub and had a large, ice-cold bottle of Weiss beer.
That was better.
I was all hot and bothered again, but would have an hour to cool down, and the beer helped.
At ten past five, I went up and found the Dover train already in, I went through the barriers and took a seat in a carriage I thought would stop near the exit at Dover Priory. I called Jools to let her know I would be back at quarter to seven, and she confirmed she would pick me up.
She was there, people got off all out on a night on the town, dressed in shiny random pieces of fabric covering boobs and bottoms. I was young once, I thought.
Jools was there, she started the car and drove us home via Jubilee Way. Across the Channel France was a clear as anything, and four ferries were plying between the two shores. Take us home.
Once home, Jools had prepared Caprese. I sliced some bread and poured wine. On the wireless, Craig spun funk and soul. We ate.
Tired.
It was going to be a hot night, but I was tired enough to sleep through it. Or so I thought.
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Norwich has everything. Thus, the normally dry and undemonstrative Nikolaus Pevsner began his survey of the capital of Norfolk in his 1962 volume Buildings of England: Norwich and north-east Norfolk. And there is no doubt that this is one of the best cities of its size in northern Europe. Living in Ipswich as I do, I hear plenty of grumbles about Norwich; but really, although the two places have roughly the same population, Ipswich cannot even begin to compare with regard to its townscape. The only features which the capital of Suffolk can claim to hold above its beautiful northern neighbour are a large central park (Norwich's Chapelfield gardens is not a patch on Ipswich's Christchurch Park) and a large body of water in the heart of the town, perhaps Ipswich's most endearing feature and greatest saving grace.
But Norwich has everything else - to continue Pevsner's eulogy, a cathedral, a castle on a mound right in the middle, walls and towers, a medieval centre with winding streets and alleys, thirty-five medieval parish churches and a river with steamships. It even has hills...
I think it would be possible to visit Norwich and not even know this cathedral was there. The centre of the city is dominated by the castle, and the most familiar feature to visitors is the great market square widened by the clearances of the 1930s, and the fine City Hall built at that time which towers above it. In comparison, Norwich Cathedral sits down in a dip beside the river, walled in by its close, and is visible best from outside the city walls, especially from the east on the riverside, and to the north from Mousehold Heath. If you arrive by road from the south or west, you may not even catch a glimpse of it. The great spire is hidden by those winding streets and alleys, and many of the city's churches are more visible, especially St Giles, St Peter Mancroft in the Market Place, and the vast Catholic Cathedral of St John the Baptist, on Grapes Hill. It is said that the nave floor of St John the Baptist is at the same height above sea level as the top of the crossing of the Anglican cathedral.
With the possible exception of Lincoln Cathedral, I think that Norwich Cathedral is my favourite cathedral in all England. Call this East of England chauvinism if you like, But Norwich Cathedral has everything you could possible want from a great medieval building. But there is more to it than that. It is also one of the most welcoming cathedrals in England. There is no charge for admission, and they positively encourage you to wander around through the daily business of the cathedral, in the continental manner. No boards saying Silence Please - Service in Progress here. Because of this, the Cathedral becomes an act of witness in itself, and you step into what feels like it probably really is the house of God on Earth. They even used to say the Lord's Prayer over the PA system once an hour, and invite you to stop and join in - I wish they'd go back to doing that. The three pounds you pay for a photography permit must be one of the bargains of the century so far.
Norwich Cathedral is unusual, in that this is the original building. It has been augmented over the centuries of course, but this is still essentially the very first cathedral on this site. This is because the see was only moved to Norwich after the Norman invasion. The Normans saw the wisdom of drawing together ecclesiastical and civil power, and one way in which this might be achieved was by siting the cathedrals in the hearts of important towns. At the time of the conquest, Bishop Herfast had his seat at Thetford, and it was decided to move the see to Bury St Edmunds in Suffolk. It had moved several times during the previous four centuries, from Walton in Suffolk to North Elmham in Norfolk before Thetford, where the first proper but simple stone building had been raised. But as well as an eye for efficient administration, the Normans brought the idea that Cathedrals should be glorified; already, vast edifices were being raised in Durham, London and Ely. and Bury St Edmunds, with its famous Abbey, was the obvious place for the Diocese of East Anglia to sit.
However, such a move would have removed the Abbey's independent direct line with Rome, and placed it under the jurisdiction of the Province of Canterbury. The Abbey community was determined that this would not happen, and Abbot Baldwin sent representations to the Pope that ensured the survival of St Edmundsbury Abbey's independence. Bishop Herfast would not be allowed to glorify his position in East Anglia in the way his colleagues were doing elsewhere. But his successor, Herbert de Losinga, was more determined - and, perhaps, steeled by his conscience. A Norman, he had bought the Bishopric from the King in 1091, an act of simony that required penance. Building a great cathedral could be seen as that act of penance. But where? Bury was a lost cause; instead, he chose to move the see to a thriving market town in the north-east of his Diocese; a smaller, more remote place than Bury, to be sure, but proximity to the Abbey of St Edmund was perhaps not such a good thing anyway. It tended to cast a rather heavy shadow. And so it was that the great medieval cathedral of the East Anglian bishops came to be built, instead, at Norwich.
Work began in 1094, and seems to have been complete by 1145. It is one of the great Romanesque buildings of northern Europe, its special character a result of responses to fires and collapses over the course of the next few centuries. At the Reformation in the sixteenth century, it became a protestant cathedral of the new Church of England, losing its role as a setting for ancient sacraments and devotions, but being maintained as the administrative seat of a Diocese which covered all of Norfolk and Suffolk, and the ceremonial church of its great city. In the 19th Century, the western part of the Norwich Diocese was transferred into that of Ely, and at the start of the 20th Century the southern parishes became part of the new Diocese of St Edmundsbury and Ipswich. Today, the Diocese of Norwich consists of north, south and east Norfolk, and the north-eastern tip of Suffolk.
The absence of this great church from the Norfolk Churches site has long been the elephant in the room, so to speak. And having it here at last is, I feel, a mark of how things have changed. When I first started the Norfolk and Suffolk sites back in 1999, I did not have a decent camera, and the earliest entries did not have any photographs at all. How the wheel has turned. Now, the photographs have become the sites, and with no apologies I don't intend to make this a wordy entry.
The perfection of Norwich is of distant views, the cloisters, and the interior. The exterior is hemmed in, and the most familiar part of the building, the west front, is a poor thing, the victim of barbarous restorations in the 18th and 19th centuries. It is almost a surprise to step through its mundanity into the soaring glory of the nave. Above, the famous vaulting is home to one of the largest collections of medieval bosses in the world. There are more in the beautiful cloisters.
The view to the east is of the great organ, looking very 17th Century but actually the work of Stephen Dykes Bower in the 1950s. Beyond is the intimacy of the quire and ambulatory with its radial chapels, the best of which is St Luke's chapel, containing the Despenser retable. Bishop Despenser is one of history's villains, putting down the Peasants Revolt in East Anglia with some enthusiasm. It is likely that this retable was made for the cathedral's high altar, possibly even to give thanks for the end of the Revolt. It was discovered upside down in use as a table in the 1840s. This chapel is, unusually, also a parish church; the parish of St Mary in the Marsh, the church of which was demolished at the Reformation, moved into the cathedral. They brought their seven sacrament font with them, and here it remains.
In the ambulatory there are many traces of medieval paint, almost certainly from the original building of the Cathedral. Two curiosities: at the back of the apse is the original Bishop's chair, and rising across the north side of the ambulatory like a bridge is a relic screen.
There is a good range of glass dating from the 14th to the 21st centuries. Highlights include the medieval panels in the north side of the ambulatory, Edward Burne-Jones's bold figures in the north transept, Moira Forsyth's spectacular Benedictine window of 1964 in a south chapel, and the millennium glass high in the north transept, which I think will in time become one of the defining features of the Cathedral. The figure of the Blessed Virgin with the Christ Child seated on her lap is the work of Norfolk-based artist John Hayward, who died recently, but the glass above is Hayward's reworking of Keith New's 1960s glass for St Stephen Walbrook in London, removed from there in the 1980s, and now reset here. Towards the west end of the nave are two sets of Stuart royal arms in glass, a rare survival.
I grew up in a city some sixty miles away from Norwich, but I didn't come here until I was in my mid-teens. I remember wandering around this building and being blown away by it, and I still get that feeling today. There is always something new to find here. My favourite time here is first thing in the morning on a winter Saturday. Often, I can be the only visitor, which only increases the awe. Another time I like to be here in winter is on a Saturday afternoon for choral evensong. Perhaps best of all, though, is to wander and wonder in the cloisters on a bright sunny day, gazing at fabulous bosses almost within arm's reach.
Several English cathedrals have good closes, but Norwich's is the only one in a major city, I think. It creates the sense of an ecclesiastical village at the heart of the city; and then, beyond, the lanes and alleys spread out, still hanging on despite German bombing and asinine redevelopment. And now I think perhaps it is part of the beauty of this building that it is tucked away by the river, a place to seek out and explore. Norwich has everything, says Pevsner. But really, I think this is the very best thing of all.
www.norfolkchurches.co.uk/norwichcathedral/norwichcathedr...
The guy was getting a tattoo on the left ribside (which must be a hell of pain). His girlfriend was sitting next to him during the whole procedure of a couple of hours.
I noticed that my glasses are always fogging up when I wear a mask so I got some support frames and will wear them under my mask. I tried it and it works, Yay!!!
The Film Index, July 23, 1910:
“Charles L. Marshall, Proprietor. Admission 5 and 10 cents. One of the most attractive picture theatres in Missouri. Service support by the Yale Film Exchange.”
Elsa has been deboxed. She is standing, supported by a Kaiser doll stand (not included). Photographed in a light box.
I just got the much anticipated Elsa and Anna Ice Skating Set from my local Disney Store. They just got them in this morning, and had a good supply of them - the manager said at least 20. So I got two of the best looking ones in their stock. As usual with dolls, the greatest variation is in their hairdos. Their poses also differed significantly. They are so cute holding hands, and actually appearing to be skating. Their skates are very detailed, and look beautiful. Elsa is basically the same as the Classic Elsa doll, except for her skates. However, Anna is now without her white streak in her right side, and she has the outfit that she wears in the ice skating scene near the end of the movie.
The set is not yet available online in the US Disney Store website, but has been appearing in more and more stores for about a week. It was first released in the UK on September 28. It is $34.95, the same price as the previous Frozen doll set with Classic Elsa and Anna dolls. It is $1.05 more than the price of two Classic dolls. This time it is more of a justified price increase, as Anna is in a brand new outfit, and they are wearing awesome ice skates. Hopefully we will see a Classic Elsa doll wearing ice shoes that are not skates, instead of plain blue flats.
I will show the set boxed, during deboxing, and fully deboxed. Below is the official product information of the set from the UK Disney Store site, since it is not yet available from the US website.
Frozen Anna And Elsa Ice Skating Doll Set
UK Disney Store
Released in stores September 28, 2014
Released online September 29, 2014
Currently SOLD OUT
£25.00
Item No. 411040546432P
The magical Frozen scene of Anna and Elsa skating together can be recreated every playtime with our wonderful dolls! The two Princesses wear unique glittering outfits and skate-style shoes.
Magic in the details...
• Set of two character dolls
• Anna and Elsa from Frozen
• Poseable arms, legs and head
• Realistic hair
• Anna wears satin skirt with pattern detail, glitter bodice and satin blouse
• Elsa wears satin gown with glitter snowflake pattern overlay and mesh sleeves
• Both wear ice skate style shoes
• Please note: Skate shoes are not functional
• Dolls measure H29cm approx
• Suitable for 3 years +
• Warning: not suitable for under 36 months due to small parts
• Created for Disney Store
PLEASE VISIT & SUPPORT:
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RECOMMENDED: UCS Tutorial on use of Bush's "BUNKER BUSTERS" in Iran
...
"Ladies and gentlemen, when I first went to the Middle East -- on holiday from Belfast, of all places -- 1972, I went to Egypt, and anxious to try and pick up a few first words of Arabic, I had the misfortune of purchasing a very old book produced by the British army in Egypt in the 19th century. I still recall the three principal clauses which you were advised to learn if you were an Englishman: "We shall board the steamship, for there is talk of war," "Help," and "Where is the British embassy?" And I can tell you, I never believed I would actually watch people say these things, as I had to in Lebanon this last summer. There were all the refugees, all the foreigners, boarding the steamships because there was a real war, all wanting help and all demanding to know the way to their national embassies. “So it has come to this,” I thought to myself.
You know, in the last 30 years that I have been in the Middle East, there has been one -- no, two major changes. The first is that Muslims are no longer afraid. When I first went to Lebanon, if the Israelis crossed the border, for example, many, many, many Palestinians who were in the south would be rushing to Beirut. People would flee the south, run away. Whether it was the siege of Beirut in 1982 or not, I don’t know. But now, they do not run away. Muslims do not run away when they’re attacked, when they’re under air attack.
One of the most extraordinary events was the siege of ’82, when over and over again leaflets would fall from the sky. “If you value your loved ones, run away and take them with you.” An attempt to depopulate West Beirut. And I always remember my landlord -- I live on the seafront -- I met him at front door one day, and he was holding a little net full of fish. He had been fishing on the sea. He said, “We don't have to do as we’re told and leave our homes. We can live, you see, Mr. Robert. We can stay here.”
The other big change that has happened in the past 30 years is that when I first went to the Middle East, all the forces which were in conflict with the West were nationalist or socialist or pro-Soviet. Today, without exception, in Afghanistan, in Gaza, in the West Bank, in Iraq, in South Lebanon, all the forces which are in conflict with the West or with Israel are Islamist. That is a change that I don’t think we westerners really understand.
Do we in fact really understand the extent of injustice in the Middle East? When I finished writing my new book, I realized how amazed I was that after the past 90 years of injustice, betrayal, slaughter, terror, torture, secret policemen and dictators, how restrained Muslims had been, I realized, towards the West, because I don't think we Westerners care about Muslims. I don’t think we care about Muslim Arabs. You only have to look at the reporting of Iraq. Every time an American or British soldier is killed, we know his name, his age, whether he was married, the names of his children. But 500,000-600,000 Iraqis, how many of their names have found their way onto our television programs, our radio shows, our newspapers? They are just numbers, and we don't even know the statistic.
Do you remember the time when George Bush was pushed and pushed: what were the figures of the Iraqi dead? At that stage, it was less, and he said, “Oh, 30,000. More or less.” Can you imagine if he had been asked how many Americans had died, and he said "3,000, more or less"? Those words, “more or less,” somehow said it all.
I said earlier on today -- and I’m going to give you the example this time -- that actually, I don't think the Iraq report is going to have any effect, but I think what is meant to have an effect in the United States is the gradual drip-drip idea that the Iraqis are unworthy of us Westerners. This is why and this is how we’re going to get out.
Let me give you an example of what I mean. Here is Ralph Peters, former American Army officer, writing in USA Today. I’m not advising you to read USA Today, but I sometimes get trapped into airplanes for hours and hours and hours coming to talk to people like you. So, here is Ralph Peters writing -- remember this is quoting a mainstream newspaper. He was originally for the invasion. Obviously he needs a get-out clause now. "Our extensive investment in Iraqi law enforcement only produced death squads. Government ministers loot the country to strengthen their own factions. In reality, only a military coup could hold this artificial country together." You see? We’re already planning.
I remember back even in 2003, Daniel Pipes had a long article in which he said that what Iraq needed -- and please do not laugh at this -- what Iraq needed was a democratically minded strongman. Think about that for a moment.
But let me carry on with Ralph Peters. “For all our errors, we did give the Iraqis a unique chance to build a rule-of-law democracy. They preferred to indulge in old hatreds, confessional violence, ethnic bigotry and a culture of corruption.” You see what we’re doing. We’re denigrating and bestializing the people we came allegedly to save. It's their tragedy, not ours, he writes. Iraq -- listen to this, “Iraq was the Arab world’s last chance to board the train to modernity, to give the region a future, not just a bitter past. But now, the violence staining Baghdad’s streets with gore isn’t only a symptom of the Iraqi government’s incompetence,” he says. “It is symbolic of the comprehensive inability of the Arab world to progress in any sphere of organized human endeavor.” Yes, that's what I thought when I read it. No letters to the editor about this. “If they continue to revel” -- revel, get that word -- “to revel in fratricidal slaughter, we must leave.” You see, the ground is being prepared.
Take David Brooks, now, this is the New York Times. This is really mainstream. He’s been reading some history books, remembering how the British occupation of Iraq came to grief in 1920. Pity he didn’t read the history books before he supported the invasion of Iraq. But anyway, he’s getting ’round to reading history now. “Today,” he says, “Iraq is in much worse shape than when the British were there. The most perceptive reports,” he says, “talk not of a civil war, but of complete social disintegration.” We’re already rubbing Iraq like this and turning it to dust, so there’s nothing left to leave. “This latest descent,” he says, “was initiated by American blunders but is exacerbated by” -- wait for it -- “the same old Iraqi demons: greed, bloodlust and a mind-boggling unwillingness to compromise for the common good, even in the face of self-immolation.” This is similar to the Thomas Friedman line of the child-sacrificing Palestinians. “Iraq,” says Brooks, “is teetering on the edge of futility.” What does that mean? “It will be time to effectively end Iraq. It will be time soon,” he says, “to radically diffuse authority down to the only communities that are viable in Iraq: the clan, the tribe or sect.”
This, ladies and gentlemen, is the way in which we are being prepared for what is to happen. This is the grit, which will be laid on the desert floor to help our tanks move. Don't say there were never predictions about the future in the Middle East.
So, but don't say there were no predictions of the future in the Middle East. The record of that 1920 insurgency against the British occupation is a fingerprint-perfect copy of the insurgency against the Americans and the British today. But on the other hand, don't say that no one warned many, many years before here now, before even the Second World War, of what was to happen in Palestine.
I’m going to read you a very brief paragraph by Winston Churchill, not about the Battle of Britain. It is Churchill prophesying the future from 1937, eleven years before the Nakba. This is Winston Churchill writing in a totally forgotten essay. He reflected upon the future and wrote of the impossibility of a partitioned Palestine. And he talked of how, I quote -- this is Winston Churchill in 1937 -- “The wealthy, crowded, progressive Jewish state” -- see, it doesn’t exist yet, but he’s already getting it right -- “lies in the plains and on the sea coast of Palestine. Around it, in the hills and the uplands, stretching far and wide into the illimitable deserts, the warlike Arabs of Syria of Transjordania, of Arabia, backed by the armed forces of Iraq, offer the ceaseless menace of war. To maintain itself,” -- 1937, remember, -- “To maintain itself, the Jewish state will have to be armed to the teeth and must bring in every able-bodied man to strengthen its army. But how long will this process be allowed to continue by the great Arab populations in Iraq and Palestine? Can it be expected that the Arabs would stand by impassively and watch the building up, with Jewish world capital and resources, of a Jewish army, equipped with the most deadly weapons of war until it was strong enough not to be afraid of them? And if ever the Jewish army reached that point, who can be sure,” Churchill asked, “that, cramped within their narrow limits, they would not plunge out into the new undeveloped lands that lay around them?”
“Ouch,” I said when I read that. 1937."
--Robert Fisk, the veteran mid-east reporter for The Independent, addressing the sixth annual convention of the Muslim Public Affairs Council in Long Beach, California, December 20, 2006
The de Havilland DH.98 Mosquito was a British multi-role combat aircraft with a two-man crew that served during and after the Second World War. It was one of few operational front-line aircraft of the era constructed almost entirely of wood and was nicknamed "The Wooden Wonder". The Mosquito was also known affectionately as the "Mossie" to its crews. Originally conceived as an unarmed fast bomber, the Mosquito was adapted to roles including low to medium-altitude daytime tactical bomber, high-altitude night bomber, pathfinder, day or night fighter, fighter-bomber, intruder, maritime strike aircraft, and fast photo-reconnaissance aircraft. It was also used by the British Overseas Airways Corporation (BOAC) as a fast transport to carry small high-value cargoes to, and from, neutral countries, through enemy-controlled airspace.
When the Mosquito began production in 1941, it was one of the fastest operational aircraft in the world. Entering widespread service in 1942, the Mosquito was a high-speed, high-altitude photo-reconnaissance aircraft, continuing in this role throughout the war. From mid-1942 to mid-1943 Mosquito bombers flew high-speed, medium or low-altitude missions against factories, railways and other pinpoint targets in Germany and German-occupied Europe. From late 1943, Mosquito bombers were formed into the Light Night Strike Force and used as pathfinders for RAF Bomber Command's heavy-bomber raids. They were also used as "nuisance" bombers, often dropping Blockbuster bombs - 4,000 lb (1,812 kg) "cookies" - in high-altitude, high-speed raids that German night fighters were almost powerless to intercept.
As a night fighter, from mid-1942, the Mosquito intercepted Luftwaffe raids on the United Kingdom, notably defeating Operation Steinbock in 1944. Starting in July 1942, Mosquito night-fighter units raided Luftwaffe airfields. As part of 100 Group, it was a night fighter and intruder supporting RAF Bomber Command's heavy bombers and reduced bomber losses during 1944 and 1945. As a fighter-bomber in the Second Tactical Air Force, the Mosquito took part in "special raids", such as the attack on Amiens Prison in early 1944, and in precision attacks against Gestapo or German intelligence and security forces. Second Tactical Air Force Mosquitos supported the British Army during the 1944 Normandy Campaign. From 1943 Mosquitos with RAF Coastal Command strike squadrons attacked Kriegsmarine U-boats (particularly in the 1943 Bay of Biscay, where significant numbers were sunk or damaged) and intercepting transport ship concentrations.
The Mosquito flew with the Royal Air Force (RAF) and other air forces in the European theatre, and the Mediterranean and Italian theatres. The Mosquito was also used by the RAF in the South East Asian theatre, and by the Royal Australian Air Force (RAAF) based in the Halmaheras and Borneo during the Pacific War.
By the early-mid-1930s, de Havilland had a reputation for innovative high-speed aircraft with the DH.88 Comet racer. The later DH.91 Albatross airliner pioneered the composite wood construction that the Mosquito used. The 22-passenger Albatross could cruise at 210 miles per hour (340 km/h) at 11,000 feet (3,400 m), better than the 100 miles per hour (160 km/h) Handley Page H.P.42 and other biplanes it was replacing. The wooden monocoque construction not only saved weight and compensated for the low power of the de Havilland Gipsy Twelve engines used by this aircraft, but simplified production and reduced construction time.
Air Ministry bomber requirements and concepts:
On 8 September 1936, the British Air Ministry issued Specification P.13/36 which called for a twin-engined medium bomber capable of carrying a bomb load of 3,000 pounds (1,400 kg) for 3,000 miles (4,800 km) with a maximum speed of 275 miles per hour (443 km/h) at 15,000 feet (4,600 m); a maximum bomb load of 8,000 pounds (3,600 kg) which could be carried over shorter ranges was also specified. Aviation firms entered heavy designs with new high-powered engines and multiple defensive turrets, leading to the production of the Avro Manchester and Handley Page Halifax.
In May 1937, as a comparison to P.13/36, George Volkert, the chief designer of Handley Page, put forward the concept of a fast unarmed bomber. In 20 pages, Volkert planned an aerodynamically clean medium bomber to carry 3,000 pounds (1,400 kg) of bombs at a cruising speed of 300 miles per hour (480 km/h). There was support in the RAF and Air Ministry; Captain R N Liptrot, Research Director Aircraft 3 (RDA3), appraised Volkert's design, calculating that its top speed would exceed the new Supermarine Spitfire. There were, however, counter-arguments that, although such a design had merit, it would not necessarily be faster than enemy fighters for long. The ministry was also considering using non-strategic materials for aircraft production, which, in 1938, had led to specification B.9/38 and the Armstrong Whitworth Albemarle medium bomber, largely constructed from spruce and plywood attached to a steel-tube frame. The idea of a small, fast bomber gained support at a much earlier stage than sometimes acknowledged though it was unlikely that the Air Ministry envisaged it not using light alloy components.
Project Mosquito:
Once design of the DH.98 had started, de Havilland built mock-ups, the most detailed at Salisbury Hall, in the hangar where E0234 was being built. Initially, this was designed with the crew enclosed in the fuselage behind a transparent nose (similar to the Bristol Blenheim or Heinkel He 111H), but this was quickly altered to a more solid nose with a more conventional canopy.
The construction of the prototype began in March 1940, but work was cancelled again after the Battle of Dunkirk, when Lord Beaverbrook, as Minister of Aircraft Production, decided there was no production capacity for aircraft like the DH.98, which was not expected to be in service until early 1941. Although Lord Beaverbrook told Air Vice-Marshal Freeman that work on the project had better stop, he did not issue a specific instruction, and Freeman ignored the request. In June 1940, however, Lord Beaverbrook and the Air Staff ordered that production was to focus on five existing types, namely the Supermarine Spitfire, Hawker Hurricane, Vickers Wellington, Armstrong-Whitworth Whitley and the Bristol Blenheim. Work on the DH.98 prototype stopped, and it seemed that the project would be shut down when the design team were denied the materials with which to build their prototype.
The Mosquito was only reinstated as a priority in July 1940, after de Havilland's General Manager L.C.L Murray, promised Lord Beaverbrook 50 Mosquitoes by December 1941, and this, only after Beaverbrook was satisfied that Mosquito production would not hinder de Havilland's primary work of producing Tiger Moth and Oxford trainers and repairing Hurricanes as well as the licence manufacture of Merlin engines. In promising Beaverbrook 50 Mosquitoes by the end of 1941, de Havilland was taking a gamble, because it was unlikely that 50 Mosquitos could be built in such a limited time; as it transpired only 20 Mosquitos were built in 1941, but the other 30 were delivered by mid-March 1942.
During the Battle of Britain, nearly a third of de Havilland's factory time was lost because the workers took cover in the factory's bomb shelters. Nevertheless, work on the prototype went quickly, such that E0234 was rolled out on 19 November 1940.
In the aftermath of the Battle of Britain, the original order was changed to 20 bomber variants and 30 fighters. It was still uncertain whether the fighter version should have dual or single controls, or should carry a turret, so three prototypes were eventually built: W4052, W4053 and W4073. The latter, both turret armed, were later disarmed, to become the prototypes for the T.III trainer. This caused some delays as half-built wing components had to be strengthened for the expected higher combat load requirements. The nose sections also had to be altered, omitting the clear perspex bomb-aimer's position, to solid noses designed to house four .303 machine guns and their ammunition.
Overview:
The Mosquito was a fast, twin-engined aircraft with shoulder-mounted wings. The most-produced variant, designated the FB Mk VI (Fighter-bomber Mark 6), was powered by two Merlin Mk 23 or Mk 25 engines driving three-bladed de Havilland hydromatic propellers. The typical fixed armament for an FB Mk VI was four Browning .303 machine guns and four 20 mm Hispano cannon while the offensive load consisted of up to 2,000 pounds (910 kg) of bombs, or eight RP-3 unguided rockets.
Construction:
The oval-section fuselage was a frameless monocoque shell built in two halves being formed to shape by band clamps over a mahogany or concrete mould, each holding one half of the fuselage, split vertically. The shell halves were made of sheets of Ecuadorean balsawood sandwiched between sheets of Canadian birch, but in areas needing extra strength— such as along cut-outs— stronger woods replaced the balsa filler; the overall thickness of the birch and balsa sandwich skin was only 7⁄16 inch (11 mm). This sandwich skin was so stiff that no internal reinforcement was necessary from the wing's rear spar to the tail bearing bulkhead. The join was along the vertical centre line. This split construction greatly aided the assembly of the internal equipment as it allowed the technicians easy access to the fuselage interior. While the glue in the plywood skin dried, carpenters cut a sawtooth joint into the edges of the fuselage shells, while other workers installed the controls and cabling on the inside wall. When the glue completely dried, the two halves were glued and screwed together. The fuselage was strengthened internally by seven bulkheads made up of two plywood skins parted by spruce blocks, which formed the basis on each half for the outer shell. Each bulkhead was a repeat of the spruce design for the fuselage halves; a balsa sheet sandwich between two plywood sheets/skins. Bulkhead number seven carried the fittings and loads for the tailplane and rudder, The type of glue originally used was Casein, which was later replaced by "Aerolite", a synthetic urea-formaldehyde, which was more durable. Many other types of screws and flanges (made of various woods) also held the structure together.
The fuselage construction joints were made from balsa wood and plywood strips with the spruce multi-ply being connected by a balsa V joint, along with the interior frame. The spruce would be reinforced by plywood strips at the point where the two halves joined to form the V-joint. Located on top of the joint the plywood formed the outer skin. During the joining of the two halves ("boxing up"), two laminated wooden clamps would be used in the after portion of the fuselage to act as support. A covering of doped Madapolam (a fine plain woven cotton) fabric was stretched tightly over the shell and a coat of silver dope was applied, after which the exterior camouflage was applied. The fuselage had a large ventral section cut-out, which was braced during construction, to allow it to be lowered onto the wing centre-section. Once the wing was secured the lower panels were replaced, and the bomb bay or armament doors fitted.
The all-wood wing was built as a one-piece structure and was not divided into separate construction sections. It was made up of two main spars, spruce and plywood compression ribs, stringers, and a plywood covering. The outer plywood skin was covered and doped like the fuselage. The wing was installed into the roots by means of four large attachment points. The engine radiators were fitted in the inner wing, just outboard of the fuselage on either side. These gave less drag. The radiators themselves were split into three sections: an oil cooler section outboard, the middle section forming the coolant radiator and the inboard section serving the cabin heater. The wing contained metal framed and skinned ailerons, but the flaps were made of wood and were hydraulically controlled. The nacelles were mostly wood, although, for strength, the engine mounts were all metal as were the undercarriage parts. Engine mounts of welded steel tube were added, along with simple landing gear oleos filled with rubber blocks. Wood was used to carry only in-plane loads, with metal fittings used for all triaxially loaded components such as landing gear, engine mounts, control surface mounting brackets, and the wing-to-fuselage junction. The outer leading wing edge had to be brought 22 inches (56 cm) further forward to accommodate this design. The main tail unit was all wood built. The control surfaces, the rudder and elevator, were aluminium framed and fabric covered. The total weight of metal castings and forgings used in the aircraft was only 280 lb (130 kg).
In November 1944, several crashes occurred in the Far East. At first, it was thought these were as a result of wing structure failures. The casein glue, it was said, cracked when exposed to extreme heat and/or monsoon conditions. This caused the upper surfaces to "lift" from the main spar. An investigating team led by Major Hereward de Havilland travelled to India and produced a report in early December 1944 stating that "the accidents were not caused by the deterioration of the glue but by shrinkage of the airframe during the wet monsoon season". However a later inquiry by Cabot & Myers definitely attributed the accidents to faulty manufacture and this was confirmed by a further investigation team by the Ministry of Aircraft Production at Defford which found faults in six different Marks of Mosquito (all built at de Havilland's Hatfield and Leavesden plants) which showed similar defects, and none of the aircraft had been exposed to monsoon conditions or termite attack; thus it was concluded that there were construction defects found at the two plants. It was found that the "Standard of glueing...left much to be desired”. Records at the time showed that accidents caused by "loss of control" were three times more frequent on Mosquitoes than on any other type of aircraft. The Air Ministry forestalled any loss of confidence in the Mosquito by holding to Major de Havilland's initial investigation in India that the accidents were caused "largely by climate" To solve the problem, a sheet of plywood was set along the span of the wing to seal the entire length of the skin joint along the main spar.
Information regarding the de Havilland DH98 Mosquito has been taken from excerpts contained on Wikipedia
Aston Martin Ulster Roadster (1936)
In 1927 Aston Martin was taken over by race driver A. C. Bertelli. He designed a 1.5-litre, SOHC engine which would eventually power the LeMans-racing Ulster. Thoughout the years the engine was devloped to include dry sump lubrication.
The Aston Martin Ulster stands as one of the most respected pre-war racecars. It was largely based on the Mark II which came before it.
The Ulster had a breif two year race program. During this time they dominated the British Tourist Trophy at Goodwood. In 1934, Ulsters took first, second and third place. The best LeMans result was achieved in 1935. Chassis LM20 raced to third overall which put it first in the 1101 to 1500cc class.
After the race efforts, Aston Martin readied a production version of the LeMans cars. Twenty-One of these cars were built of which all are accounted for today.
Aston Martin Ulster information used from:
www.supercars.net/cars/2084.html
In the 1980's a small number (7) replicas of the Aston Martin Ulster Roadster were manufactured as a kit car:
Fergus Mosquito (Aston Martin Ulster replica)
Kop Hill Climb - 25th September 2011
Fergus Mosquito - an Aston Martin Ulster replica.
Only seven were made in Kingsbridge, Devon, in the 1980s, using donor Morris Marina B-series engines and other parts.
UIJ233 is the best of the 7 replicas.
These two models, the de Havilland DH98 Mosquito aircraft and the Aston Martin Ulster Roadster of 1936 have been created in Lego miniland scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts" - featuring automotive vehicles named after, inspired by or related to aircraft.
This poor snail was trying to slide on the top of a tiny bit of branch, but with its weight, the branch kept on turning so the snail kept ending up sideways! it eventually moved onto less trickery supports!
You guys are the best, and we appreciate your support! Since launching BrickArsenal, we have
> More new customers
> Tons of email subscribers - I'm having to upgrade the list right now!
> Great response to the new free shipping and discount offers!
> AND thank you for Dan - we've had to hire another BrickArms person due to the overwhelming support from this community!
You guys rock!
Support drone
Download from: www.repubrick.com/index.php?option=com_virtuemart&vie...
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Mural by Danielle Pontarelli aka @daniellepont seen at Grand and Aberdeen in the West Town area of Chicago, Illinois.
Photo by James aka @urbanmuralhunter on that other photo site.
Edit by Teee.
U.S. Secretary of State John Kerry hosts the International Syria Support Group (ISSG) meeting with foreign ministers from 17 countries, including Russia, Iran, Saudi Arabia, and Turkey, as well as top envoys from the United Nations, Arab League, and European Union in New York City on December 18, 2015. [State Department photo/ Public Domain]
Switch off your lights for one hour from 8:30 PM to 9:30 PM during Earth Hour---March 28, 2009 to mark this day for our planet.
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I am with my Mum this weekend celebrating her birthday
This is my picture of a studio portrait taken in 1947 for her seventeenth birthday ! just a few years ago !!
Motorcycle Support Team Arrival of 21st POLICE UNITY TOUR nearing National Law Enforcement Officers Memorial on F at 4th Street, NW, Washington DC on Friday afternoon, 12 May 2018 by Elvert Barnes Photography
St. Charles Parish Sheriff's Office
POLICE UNITY TOUR website at policeunitytour.com/
National Law Enforcement Officers Memorial NATIONAL POLICE WEEK at www.nleomf.org/programs/policeweek/
Elvert Barnes 27th NATIONAL POLICE WEEK 2018
Your support would be greatly appreciated!
lego.cuusoo.com/ideas/view/24094
This Moc was created in academic way to show how complicated the process of desalination of sea water and how best to preserve our natural sources of freshwater.
This project does not follow strictly the original design but serves to draw attention to the care of the water.
Desalination, desalinization, or desalinisation refers to any of several processes that remove some amount of salt and other minerals from saline water. More generally, desalination may also refer to the removal of salts and minerals, as in soil desalination.
Salt water is desalinated to produce fresh water suitable for human consumption or irrigation. One potential byproduct of desalination is salt. Desalination is used on many seagoing ships and submarines. Most of the modern interest in desalination is focused on developing cost-effective ways of providing fresh water for human use. Along with recycled wastewater, this is one of the few rainfall-independent water sources.
Large-scale desalination typically uses large amounts of energy and specialized, expensive infrastructure, making it more expensive than fresh water from conventional sources, such as rivers or groundwater.
Desalination is particularly relevant to countries, such as Australia, which traditionally have relied on collecting rainfall behind dams to provide their drinking water supplies.
According to the International Desalination Association, in 2009, 14,451 desalination plants operated worldwide, producing 59.9e6 cubic metres (2.12×109 cu ft) per day, a year-on-year increase of 12.3%.[4] It was 68 million m3 in 2010, and expected to hit 120 million m3 by 2020; some 40 million m3 is planned for the Middle East. The world's largest desalination plant is the Jebel Ali Desalination Plant (Phase 2) in the United Arab Emirates.
This substantial schoolhouse and hall was built specifically for soldier settlers who trained at the Pompoota Training Farm.
On the occasion of the building’s centenary a plaque was unveiled, reading -
“This plaque was unveiled on 22nd January 2017 by The Honourable Jay Weatherill MP, Premier of South Australia.
The plaque commemorates the centenary of the Pompoota Hall, built as a school and community facility on the Pompoota Training Farm.
The hall was officially opened on 22nd January 1917, by The Honourable Crawford Vaughan, Premier and Minister of Education.
The farm was established to train returning World War 1 servicemen in agricultural pursuits so that they could take up the land through the Soldiers Settlement Scheme and support themselves and their families.”
In keeping with Mr Vaughan’s late arrival in 1917, Jay Weatherill and his party arrived late for the Centenary celebrations. On each occasion the Premiers were transported down the river and escorted to Pompoota.
FOR CHILDREN OF SOLDIERS – NEW SCHOOL AT POMPOOTA – OPENED BY THE PREMIER
The training farm for returned soldiers, started less than 12 months ago, now presents an animated appearance. Rows of wood and iron cottages, some having canvas additions, house the families of many men who have come back after taking part in the Great War to devote their energies to the arts of peace.
As a township has sprung up a school was needed, and yesterday the Premier and Minister of Education (Hon. Crawford Vaughan) opened a new building on the high land at Pompoota to serve the double purpose of schoolhouse and social hall. The Premier was received by a guard of honour composed of 25 school children in the charge of the schoolmistress (Miss Bradley). A large number of the settlers gathered to witness the ceremony. After inspecting the children the party gathered outside the porch of the hall.
The Director of Irrigation and Reclamation Works (Mr S McIntosh), after introducing the Premier, remarked that when the scheme was mooted for the training of returned soldiers at Pompoota it was realised that one of the most essential requirements would be a hall for social and educational purposes.
Altogether seven buildings had been provided for (built by contractor Mr R H Elvage), including administrative offices and officers’ residences, and the hall was pushed on with as being the most urgently needed. He asked the Premier to declare the hall and schoolroom open.
Mr Vaughan apologized for being late. He feared it was setting a bad example to be late on the first day the school was opened.
This building no doubt would be the forerunner of many schools that would be built along the majestic river, schools that would serve the needs of the children of more men who would safely return to civil life from the front. (Ref: The Advertiser, Adelaide 23-1-1917)
“Farms for Returned Soldiers-Bill before Parliament. The Government proposes to deal liberally with the men who return to Australia from active service. The Premier (Hon. Crawford Vaughan) on Friday moved the second reading of a Bill to give concessions to returned soldiers which were not given to ordinary settlers. He said the Government had already received applications from men for assistance to get on the land.
It was proposed to establish practical training camps, so that the men might gain experience, and so that it might be decided whether they were capable of going on the land. If not capable they would not be likely to secure a block of land from the board. One proposal the Government had in view was to settle men on reclaimed irrigation lands. The proposal was to establish on a swamp area like Pompoota a training camp and put the men thereon under supervision.” (The Advertiser, Adelaide 11-12-1915.)
The screen next to the stage shows the Gwynfor Coaches logo whiles they were sponsoring the gig for Ukraine which took place at Sioe Mon/Anglesey Showground, there were loads of Welsh bands playing and singing along to show their love for Ukraine! Been an excellent night so far! Was nice to catch up and caught along with my friends and also met a few people there as well who also attended at the concert. 9/04/22
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The two little dancers on stage were just about frozen, but someone in the audience knew the moves and was giving them some hints.
This is my spiffy new sports bra I'm wearing for Sunday's triathlon. I'd forgotten what real support feels like! I've pretty much decided (I think) what I'm wearing for the triathlon, but I'd be lying if I said I'm not freaking out bigtime. Anyone who's overweight understands clothes and bare skin are a vulnerable proposition. Especially when the clothes are skin tight and skimpy, like tiny bicycle shorts and thin sleeveless shirts. Worn in public.
I bought TYR tri shorts which you can swim, bike and run in. But TYR's XL must be designed for a rare breed of miniature pixie humans (perhaps triathletes), because XL feels way too snug on me. When I go back to Fitness Fanatics to pick up my race packet today, I'll ask what they think. The last thing I want to do is spend my first triathlon hoisting my pants up!
I may need to go back to REI and check out their tri shorts. That's where I bought this bra along with a matching breathable shirt I'll put on after the swim to bike and run in. I love REI. Especially the Spokane store. Everyone's really low-key and helpful and they don't look down on newbies like me.
I am officially nervous. About showing my body, what I'm wearing, will it chafe? (I do have Glide to rub everywhere to prevent chafing), the bike ride, possible flat tires (which I don't know how to change very well), the run, the early start time (check-in begins @ 5:45 a.m., race starts @ 7:45 a.m.), getting enough sleep the night before, wearing contact lenses which I hardly ever wear, functioning that early in the morning, etc. etc. etc. ETC.
On the plus side, I'm a strong swimmer, I have a good bike, lots of other women are in the same boat as me, and my boobs will be supported. As for the rest of it, I think I need to stop thinking!