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(Redirected from Hong kong)
Hong Kong, officially the Hong Kong Special Administrative Region of the People's Republic of China, is an autonomous territory south to Mainland China and east to Macao in East Asia. With around 7.2 million Hong Kongers of various nationalities[note 2] in a territory of 1,104 km2, Hong Kong is the world's fourth most densely populated country or territory.
Hong Kong used to be a British colony with the perpetual cession of Hong Kong Island from the Qing Empire after the First Opium War (1839–42). The colony expanded to the Kowloon Peninsula in 1860 and acquired a 99-year lease of the New Territories from 1898. Hong Kong was later occupied by Japan during the Second World War until British control resumed in 1945. The Sino-British Joint Declaration signed between the United Kingdom and China in 1984 paved way for the transfer of sovereignty of Hong Kong in 1997, when it became a special administrative region (SAR) of the People's Republic of China with a high degree of autonomy.[15]
Under the principle of "one country, two systems",[16][17] Hong Kong maintains a separate political and economic system from China. Except in military defence and foreign affairs, Hong Kong maintains its independent executive, legislative and judiciary powers.[18] In addition, Hong Kong develops relations directly with foreign states and international organisations in a broad range of "appropriate fields".[19] Hong Kong involves in international organizations, such as the WTO[20] and the APEC [21], actively and independently.
Hong Kong is one of the world's most significant financial centres, with the highest Financial Development Index score and consistently ranks as the world's most competitive and freest economic entity.[22][23] As the world's 8th largest trading entity,[24] its legal tender, the Hong Kong dollar, is the world's 13th most traded currency.[25] As the world's most visited city,[26][27] Hong Kong's tertiary sector dominated economy is characterised by competitive simple taxation and supported by its independent judiciary system.[28] Even with one of the highest per capita incomes in the world, it suffers from severe income inequality.[29]
Nicknamed "Pearl of the Orient", Hong Kong is renowned for its deep natural harbour, which boasts the world's fifth busiest port with ready access by cargo ships, and its impressive skyline, with the most skyscrapers in the world.[30][31] It has a very high Human Development Index ranking and the world's longest life expectancy.[32][33] Over 90% of the population makes use of well-developed public transportation.[34][35] Seasonal air pollution with origins from neighbouring industrial areas of Mainland China, which adopts loose emissions standards, has resulted in a high level of atmospheric particulates in winter.[36][37][38]
Contents
1 Etymology
2 History
2.1 Prehistory
2.2 Imperial China
2.3 British Crown Colony: 1842–1941
2.4 Japanese occupation: 1941–45
2.5 Resumption of British rule and industrialisation: 1945–97
2.6 Handover and Special Administrative Region status
3 Governance
3.1 Structure of government
3.2 Electoral and political reforms
3.3 Legal system and judiciary
3.4 Foreign relations
3.5 Human rights
3.6 Regions and districts
3.7 Military
4 Geography and climate
5 Economy
5.1 Financial centre
5.2 International trading
5.3 Tourism and expatriation
5.4 Policy
5.5 Infrastructure
6 Demographics
6.1 Languages
6.2 Religion
6.3 Personal income
6.4 Education
6.5 Health
7 Culture
7.1 Sports
7.2 Architecture
7.3 Cityscape
7.4 Symbols
8 See also
9 Notes
10 References
10.1 Citations
10.2 Sources
11 Further reading
12 External links
Etymology
Hong Kong was officially recorded in the 1842 Treaty of Nanking to encompass the entirety of the island.[39]
The source of the romanised name "Hong Kong" is not known, but it is generally believed to be an early imprecise phonetic rendering of the pronunciation in spoken Cantonese 香港 (Cantonese Yale: Hēung Góng), which means "Fragrant Harbour" or "Incense Harbour".[13][14][40] Before 1842, the name referred to a small inlet—now Aberdeen Harbour (Chinese: 香港仔; Cantonese Yale: Hēunggóng jái), literally means "Little Hong Kong"—between Aberdeen Island and the southern coast of Hong Kong Island. Aberdeen was an initial point of contact between British sailors and local fishermen.[41]
Another theory is that the name would have been taken from Hong Kong's early inhabitants, the Tankas (水上人); it is equally probable that romanisation was done with a faithful execution of their speeches, i.e. hōng, not hēung in Cantonese.[42] Detailed and accurate romanisation systems for Cantonese were available and in use at the time.[43]
Fragrance may refer to the sweet taste of the harbour's fresh water estuarine influx of the Pearl River or to the incense from factories lining the coast of northern Kowloon. The incense was stored near Aberdeen Harbour for export before Hong Kong developed Victoria Harbour.[40]
The name had often been written as the single word Hongkong until the government adopted the current form in 1926.[44] Nevertheless, a number of century-old institutions still retain the single-word form, such as the Hongkong Post, Hongkong Electric and the Hongkong and Shanghai Banking Corporation.
As of 1997, its official name is the "Hong Kong Special Administrative Region of the People's Republic of China". This is the official title as mentioned in the Hong Kong Basic Law and the Hong Kong Government's website;[45] however, "Hong Kong Special Administrative Region" and "Hong Kong" are widely accepted.
Hong Kong has carried many nicknames. The most famous among those is the "Pearl of the Orient", which reflected the impressive nightscape of the city's light decorations on the skyscrapers along both sides of the Victoria Harbour. The territory is also known as "Asia's World City".
History
Main articles: History of Hong Kong and History of China
Prehistory
Main article: Prehistoric Hong Kong
Archaeological studies support human presence in the Chek Lap Kok area (now Hong Kong International Airport) from 35,000 to 39,000 years ago and on Sai Kung Peninsula from 6,000 years ago.[46][47][48]
Wong Tei Tung and Three Fathoms Cove are the earliest sites of human habitation in Hong Kong during the Paleolithic Period. It is believed that the Three Fathom Cove was a river-valley settlement and Wong Tei Tung was a lithic manufacturing site. Excavated Neolithic artefacts suggested cultural differences from the Longshan culture of northern China and settlement by the Che people, prior to the migration of the Baiyue to Hong Kong.[49][50] Eight petroglyphs, which dated to the Shang Dynasty (c. 1600 BC – 1066 BC) in China, were discovered on the surrounding islands.[51]
Imperial China
Main article: History of Hong Kong under Imperial China
In 214 BC, Qin Shi Huang, the first emperor of a centralised China, conquered the Baiyue tribes in Jiaozhi (modern-day Liangguang region and Vietnam) and incorporated the area of Hong Kong into his imperial China for the first time. Hong Kong proper was assigned to the Nanhai commandery (modern-day Nanhai District), near the commandery's capital city Panyu.[52][53][54]
After a brief period of centralisation and collapse of the Qin dynasty, the area of Hong Kong was consolidated under the Kingdom of Nanyue, founded by general Zhao Tuo in 204 BC.[55] When Nanyue lost the Han-Nanyue War in 111 BC, Hong Kong came under the Jiaozhi commandery of the Han dynasty. Archaeological evidence indicates an increase of population and flourish of salt production. The Lei Cheng Uk Han Tomb on the Kowloon Peninsula is believed to have been built as a burial site during the Han dynasty.[56]
From the Han dynasty to the early Tang dynasty, Hong Kong was a part of Bao'an County. In the Tang dynasty, modern-day Guangzhou (Canton) flourished as an international trading centre. In 736, the Emperor Xuanzong of Tang established a military stronghold in Tuen Mun to strengthen defence of the coastal area.[57] The nearby Lantau Island was a salt production centre and salt smuggler riots occasionally broke out against the government. In c. 1075, The first village school, Li Ying College, was established around 1075 AD in modern-day New Territories by the Northern Song dynasty.[58] During their war against the Mongols, the imperial court of Southern Song was briefly stationed at modern-day Kowloon City (the Sung Wong Toi site) before their ultimate defeat by the Mongols at the Battle of Yamen in 1279.[59] The Mongols then established their dynastic court and governed Hong Kong for 97 years.
From the mid-Tang dynasty to the early Ming dynasty (1368–1644), Hong Kong was a part of Dongguan County. During the Ming dynasty, the area was transferred to Xin'an County. The indigenous inhabitants at that time consisted of several ethnicities such as Punti, Hakka, Tanka and Hoklo.
European discovery
The earliest European visitor on record was Jorge Álvares, a Portuguese explorer, who arrived in 1513.[60][61] Having established a trading post in a site they called "Tamão" in Hong Kong waters, Portuguese merchants commenced with regular trading in southern China. Subsequent military clashes between China and Portugal, however, led to the expulsion of all Portuguese merchants from southern China.
Since the 14th century, the Ming court had enforced the maritime prohibition laws that strictly forbade all private maritime activities in order to prevent contact with foreigners by sea.[62] When the Manchu Qing dynasty took over China, Hong Kong was directly affected by the Great Clearance decree of the Kangxi Emperor, who ordered the evacuation of coastal areas of Guangdong from 1661 to 1669. Over 16,000 inhabitants of Xin'an County including those in Hong Kong were forced to migrate inland; only 1,648 of those who had evacuated subsequently returned.[63][64]
British Crown Colony: 1842–1941
A painter at work. John Thomson. Hong Kong, 1871. The Wellcome Collection, London
Main articles: British Hong Kong and History of Hong Kong (1800s–1930s)
In 1839, threats by the imperial court of Qing to sanction opium imports caused diplomatic friction with the British Empire. Tensions escalated into the First Opium War. The Qing admitted defeat when British forces captured Hong Kong Island on 20 January 1841. The island was initially ceded under the Convention of Chuenpi as part of a ceasefire agreement between Captain Charles Elliot and Governor Qishan. A dispute between high-ranking officials of both countries, however, led to the failure of the treaty's ratification. On 29 August 1842, Hong Kong Island was formally ceded in perpetuity to the United Kingdom of Great Britain and Ireland under the Treaty of Nanking.[65] The British officially established a Crown colony and founded the City of Victoria in the following year.[66]
The population of Hong Kong Island was 7,450 when the Union Flag raised over Possession Point on 26 January 1841. It mostly consisted of Tanka fishermen and Hakka charcoal burners, whose settlements scattered along several coastal hamlets. In the 1850s, a large number of Chinese immigrants crossed the then-free border to escape from the Taiping Rebellion. Other natural disasters, such as flooding, typhoons and famine in mainland China would play a role in establishing Hong Kong as a place for safe shelter.[67][68]
Further conflicts over the opium trade between Britain and Qing quickly escalated into the Second Opium War. Following the Anglo-French victory, the Crown Colony was expanded to include Kowloon Peninsula (south of Boundary Street) and Stonecutter's Island, both of which were ceded to the British in perpetuity under the Convention of Beijing in 1860.
In 1898, Britain obtained a 99-year lease from Qing under the Convention for the Extension of Hong Kong Territory, in which Hong Kong obtained a 99-year lease of Lantau Island, the area north of Boundary Street in Kowloon up to Shenzhen River and over 200 other outlying islands.[69][70][71]
Hong Kong soon became a major entrepôt thanks to its free port status, attracting new immigrants to settle from both China and Europe. The society, however, remained racially segregated and polarised under early British colonial policies. Despite the rise of a British-educated Chinese upper-class by the late-19th century, race laws such as the Peak Reservation Ordinance prevented ethnic Chinese in Hong Kong from acquiring houses in reserved areas such as Victoria Peak. At this time, the majority of the Chinese population in Hong Kong had no political representation in the British colonial government. The British governors did rely, however, on a small number of Chinese elites, including Sir Kai Ho and Robert Hotung, who served as ambassadors and mediators between the government and local population.
File:1937 Hong Kong VP8.webmPlay media
Hong Kong filmed in 1937
In 1904, the United Kingdom established the world's first border and immigration control; all residents of Hong Kong were given citizenship as Citizens of United Kingdom and Colonies (CUKC).
Hong Kong continued to experience modest growth during the first half of the 20th century. The University of Hong Kong was established in 1911 as the territory's first higher education institute. While there had been an exodus of 60,000 residents for fear of a German attack on the British colony during the First World War, Hong Kong remained unscathed. Its population increased from 530,000 in 1916 to 725,000 in 1925 and reached 1.6 million by 1941.[72]
In 1925, Cecil Clementi became the 17th Governor of Hong Kong. Fluent in Cantonese and without a need for translator, Clementi introduced the first ethnic Chinese, Shouson Chow, into the Executive Council as an unofficial member. Under Clementi's tenure, Kai Tak Airport entered operation as RAF Kai Tak and several aviation clubs. In 1937, the Second Sino-Japanese War broke out when the Japanese Empire expanded its territories from northeastern China into the mainland proper. To safeguard Hong Kong as a freeport, Governor Geoffry Northcote declared the Crown Colony as a neutral zone.
Japanese occupation: 1941–45
Main article: Japanese occupation of Hong Kong
The Cenotaph in Hong Kong commemorates those who died in service in the First World War and the Second World War.[73]
As part of its military campaign in Southeast Asia during Second World War, the Japanese army moved south from Guangzhou of mainland China and attacked Hong Kong in on 8 December 1941.[74] Crossing the border at Shenzhen River on 8 December, the Battle of Hong Kong lasted for 18 days when British and Canadian forces held onto Hong Kong Island. Unable to defend against intensifying Japanese air and land bombardments, they eventually surrendered control of Hong Kong on 25 December 1941. The Governor of Hong Kong was captured and taken as a prisoner of war. This day is regarded by the locals as "Black Christmas".[75]
During the Japanese occupation of Hong Kong, the Japanese army committed atrocities against civilians and POWs, such as the St. Stephen's College massacre. Local residents also suffered widespread food shortages, limited rationing and hyper-inflation arising from the forced exchange of currency from Hong Kong dollars to Japanese military banknotes. The initial ratio of 2:1 was gradually devalued to 4:1 and ownership of Hong Kong dollars was declared illegal and punishable by harsh torture. Due to starvation and forced deportation for slave labour to mainland China, the population of Hong Kong had dwindled from 1.6 million in 1941 to 600,000 in 1945, when the United Kingdom resumed control of the colony on 2 September 1945.[76]
Resumption of British rule and industrialisation: 1945–97
Main articles: British Hong Kong, 1950s in Hong Kong, 1960s in Hong Kong, 1970s in Hong Kong, 1980s in Hong Kong, and 1990s in Hong Kong
Flag of British Hong Kong from 1959 to 1997
Hong Kong's population recovered quickly after the war, as a wave of skilled migrants from the Republic of China moved in to seek refuge from the Chinese Civil War. When the Communist Party eventually took full control of mainland China in 1949, even more skilled migrants fled across the open border for fear of persecution.[69] Many newcomers, especially those who had been based in the major port cities of Shanghai and Guangzhou, established corporations and small- to medium-sized businesses and shifted their base operations to British Hong Kong.[69] The establishment of a socialist state in China (People's Republic of China) on 1 October 1949 caused the British colonial government to reconsider Hong Kong's open border to mainland China. In 1951, a boundary zone was demarked as a buffer zone against potential military attacks from communist China. Border posts along the north of Hong Kong began operation in 1953 to regulate the movement of people and goods into and out of the territory.
Stamp with portrait of Queen Elizabeth II, 1953
In the 1950s, Hong Kong became the first of the Four Asian Tiger economies under rapid industrialisation driven by textile exports, manufacturing industries and re-exports of goods to China. As the population grew, with labour costs remaining low, living standards began to rise steadily.[77] The construction of the Shek Kip Mei Estate in 1953 marked the beginning of the public housing estate programme to provide shelter for the less privileged and to cope with the influx of immigrants.
Under Sir Murray MacLehose, 25th Governor of Hong Kong (1971–82), a series of reforms improved the public services, environment, housing, welfare, education and infrastructure of Hong Kong. MacLehose was British Hong Kong's longest-serving governor and, by the end of his tenure, had become one of the most popular and well-known figures in the Crown Colony. MacLehose laid the foundation for Hong Kong to establish itself as a key global city in the 1980s and early 1990s.
A sky view of Hong Kong Island
An aerial view of the northern shore of Hong Kong Island in 1986
To resolve traffic congestion and to provide a more reliable means of crossing the Victoria Harbour, a rapid transit railway system (metro), the MTR, was planned from the 1970s onwards. The Island Line (Hong Kong Island), Kwun Tong Line (Kowloon Peninsula and East Kowloon) and Tsuen Wan Line (Kowloon and urban New Territories) opened in the early 1980s.[78]
In 1983, the Hong Kong dollar left its 16:1 peg with the Pound sterling and switched to the current US-HK Dollar peg. Hong Kong's competitiveness in manufacturing gradually declined due to rising labour and property costs, as well as new development in southern China under the Open Door Policy introduced in 1978 which opened up China to foreign business. Nevertheless, towards the early 1990s, Hong Kong had established itself as a global financial centre along with London and New York City, a regional hub for logistics and freight, one of the fastest-growing economies in Asia and the world's exemplar of Laissez-faire market policy.[79]
The Hong Kong question
In 1971, the Republic of China (Taiwan)'s permanent seat on the United Nations was transferred to the People's Republic of China (PRC), Hong Kong's status as a recognised colony became terminated in 1972 under the request of PRC. Facing the uncertain future of Hong Kong and expiry of land lease of New Territories beyond 1997, Governor MacLehose raised the question in the late 1970s.
The British Nationality Act 1981 reclassified Hong Kong into a British Dependent Territory amid the reorganisation of global territories of the British Empire. All residents of Hong Kong became British Dependent Territory Citizens (BDTC). Diplomatic negotiations began with China and eventually concluded with the 1984 Sino-British Joint Declaration. Both countries agreed to transfer Hong Kong's sovereignty to China on 1 July 1997, when Hong Kong would remain autonomous as a special administrative region and be able to retain its free-market economy, British common law through the Hong Kong Basic Law, independent representation in international organisations (e.g. WTO and WHO), treaty arrangements and policy-making except foreign diplomacy and military defence.
It stipulated that Hong Kong would retain its laws and be guaranteed a high degree of autonomy for at least 50 years after the transfer. The Hong Kong Basic Law, based on English law, would serve as the constitutional document after the transfer. It was ratified in 1990.[69] The expiry of the 1898 lease on the New Territories in 1997 created problems for business contracts, property leases and confidence among foreign investors.
Handover and Special Administrative Region status
Main articles: Transfer of sovereignty over Hong Kong and 2000s in Hong Kong
Transfer of sovereignty
Golden Bauhinia Square
On 1 July 1997, the transfer of sovereignty over Hong Kong from the United Kingdom to the People's Republic of China took place, officially marking the end of Hong Kong's 156 years under British colonial governance. As the largest remaining colony of the United Kingdom, the loss of Hong Kong effectively represented the end of the British Empire. This transfer of sovereignty made Hong Kong the first special administrative region of China. Tung Chee-Hwa, a pro-Beijing business tycoon, was elected Hong Kong's first Chief Executive by a selected electorate of 800 in a televised programme.
Structure of government
Hong Kong's current structure of governance inherits from the British model of colonial administration set up in the 1850s. The 1984 Sino-British Joint Declaration states that "Hong Kong should enjoy a high degree of autonomy in all areas except defence and foreign affairs" with reference to the underlying principle of one country, two systems.[note 3] This Declaration stipulates that Hong Kong maintains her capitalist economic system and guarantees the rights and freedoms of her people for at least 50 years after the 1997 handover. [note 4] Such guarantees are enshrined in the Hong Kong's Basic Law, the territory's constitutional document, which outlines the system of governance after 1997, albeit subject to interpretation by China's Standing Committee of the National People's Congress (NPCSC).[95][96]
Hong Kong's most senior leader, Chief Executive, is elected by a committee of 1,200 selected members (600 in 1997) and nominally appointed by the Government of China. The primary pillars of government are the Executive Council, Legislative Council, civil service and Judiciary.
Policy-making is initially discussed in the Executive Council, presided by the Chief Executive of Hong Kong, before passing to the Legislative Council for bill adoption. The Executive Council consists of 30 official/unofficial members appointed by the Chief Executive and one member among them acts as the convenor.[97][98]
The Legislative Council, set up in 1843, debates policies and motions before voting to adopt or rejecting bills. It has 70 members (originally 60) and 40 (originally 30) among them are directly elected by universal suffrage; the other 30 members are "functional constituencies" (indirectly) elected by a smaller electorate of corporate bodies or representatives of stipulated economic sectors as defined by the government. The Legislative Council is chaired by a president who acts as the speaker.[99][100]
In 1997, seating of the Legislative Council (also public services and election franchises) of Hong Kong modelled on the British system: Urban Council (Hong Kong and Kowloon) and District Council (New Territories and Outlying Islands). In 1999, this system has been reformed into 18 directly elected District Offices across 5 Legislative Council constituencies: Hong Kong Island (East/West), Kowloon and New Territories (East/West); the remaining outlying islands are divided across the aforementioned regions.
Hong Kong's Civil Service, created by the British colonial government, is a politically neutral body that implements government policies and provides public services. Senior civil servants are appointed based on meritocracy. The territory's police, firefighting and customs forces, as well as clerical officers across various government departments, make up the civil service.[101][102]
youtu.be/6M-MtZkZOzw?t=2s Full Feature
Starring Marshall Thompson, Kynaston Reeves, Michael Balfour, Kim Parker, Stanley Maxted, Gil Winfield, Shane Cordell, Terry Kilburn, James Dyrenforth, Peter Madden, Meadows White, and Lala Lloyd. Directed by Arthur Crabtree.
In December 1958 Eros Films, Ltd. had another British B sci-fi movie touring American. Fiend Without A Face (FwoF) ran as the B feature to "Haunted Strangler." Both were British productions being marketed in America by MGM. This is another example of the blurry line between sci-fi and horror. FwoF itself exists in that blurry zone. Mysterious, invisible "mental vampires" killing their victims takes up the bulk of the film. The final showdown with the creatures is classic monster movie. Yet, the tie-in to the customary misguided scientist and atomic energy keep FwoF in the sci-fi orbit.
Synopsis
A Canadian farmer is killed just outside of an American Air Force base in remote Canada. The villagers were already up in arms over the mere presence of the base (jets frightened their cows) so are convinced there is a mad GI on the loose. Major Jeff Cummings befriends the slain farmer's sister, Barbara. The base tests their super radar system again, but like before, it falters just as it seems to be succeeding. Something is draining off the atomic energy. More murders stir up the towns folk to revolt. Jeff is certain that a reclusive genius, Professor Walgate, is the key. Yet more murders occur, each preceded by a rhythmic thumping and squishing sound. Eventually, Walgate confesses that he was working on Thought Materialization -- telekinesis. He needed more power, so fabricated an energy hijacking device to siphon off the air base's transmitted power. (that's why the tests always failed) The extra power worked, but created separate beings rather than intensifying Walgate's own thoughts. The invisible beings escaped his lab and began to 'feed' on townsfolk by sucking out their brains. They need the reactor's power to exist. Jeff rushes to blow up the control room. The reactor is going into overload, so the beings become visible. Dozens of the brain and spinal cord things surround the house. They break in, kill a few people, but can also be killed. Many are. Just as one of the beings has got Barbara, the reactor is shut down. It falls limp. The brain things dissolve into foam. Jeff kisses Barbara. The End.
The monster murder mystery element is fairly well played so it keeps interest up. Once visible, the brain-things have some interest too. As a monster movie, it has some merit. Killer brain-creatures are quirky enough to stay interesting.
The Cold War provides a backdrop, but isn't the focus. The Air Force base's mission is early radar detection of Soviet aircraft coming over the pole. One could see the brain-things as manifestations of deadly atomic energy. (the invisible killer)They seem to fit better the usual science-gone-wrong theme.
Dr. Walgate fills the archetypal role of the naive scientist. He meant well with all his research and work. But, like many naive scientists who had gone before him, his assumptions prove wrong. His work gets away from him and becomes a force of destruction, not one of good for mankind. It has been fairly customary for the naive scientist to die at the hands (or whatever) of his creation. Walgate makes the noble sacrifice at the end, letting the creatures attack him while Jeff gets away.
The brain-creatures are akin to the "Id Monster" in Forbidden Planet. Man's most basic thoughts, if given independence, prove primal and ruthless. As a nuclear cautionary tale, the brain-creatures, man's primal thoughts, prove deadly if given atomic power. The stop-motion animation of the brain-creatures is not too bad. It's not Harryhausen, but it works.
We're told that the brain-creatures suck out the brains and spinal cord of their human victims. So, it interesting that the brain-creatures are depicted as brain shaped. They have a segmented spinal column which they use inch-worm-style for locomotion. They ARE what they eat.
The brain-creatures break the atomic reactor's control rods so people can't shut it down (the creatures need the radiation to exist). It is curious that screenwriters solve the problem with good old dynamite. Jeff blows up the control room to shut down the reactor. ?? The reactor core was already out of control. Why would less control help?
Bottom line? Most of FwoF is a fair horror flick with "mental vampires" and agonizing victims. Things get more interesting when the brain-creatures surround the house. Sure, the movie has its flaws, but is an entertaining 50s sci-fi. 4
Mona Lisa Chinda, Yemi Blaq, Oge Okoye
For more in detailed reviews check out Nollywood Forever Blog
Nonsense movie. Couple not allowed to marry as parents are against it. She ends up pregnant and alone not knowing what to do when she meets a doctor Mona Lisa who offers her a way out.
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Would like to know what the medals are for . Any infor on this appreciated.
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Soviet-Russian postcard. Lyudmila Gurchenko and Yuriy Nikulin in the Russian WWII drama Dvadtsat' dney bez voyny/ Twenty Days Without War (Aleksej German, 1977). Postcard issued in 1982.
Lyudmila Markovna Gurchenko (born Gurchenkov) (Russian: Людмила Марковна Гурченко, informal – Lucia, 12 November 1935 – 30 March 2011), was a popular Soviet and Russian actress, singer and entertainer. A celebrity after her film debut Carnival Night, she next her downfall because of bad reputation, but after years of modest roles she had her comeback with Siberiade and Station for Two. She became People's Artist of the USSR in 1983, thanks to the succes of films like these.
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According to Daniel, author of the website, Historic Buildings of Connecticut, this house was built for Julius Deming who was a wealthy merchant and is one of Connecticut's finest examples of the Federal style.
For more information on this house, please visit the link below
historicbuildingsct.com/?p=680
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Ha ha in the past I had this home titled, My Summer Home. It was actually a summer home to the daughter of Julius Deming. What a life!!
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From the Connecticut Guide (1935)
"On the east side of North St. (in Litchfield CT) opposite the Tallmadge house, is the *Julis Deming House (6) known as The Lindens, from the trees planted by his daughter Lucretia in 1838. It is the most pretentious house in Litchfield. In the pediment with its Palladian window and the refinement of architectural detail, we see the genius of Wm. Spratt, whom we shall meet again in the Cowles house in Farmington and Champion house in East Haddam. Deming secured his services through Zenas Cowles, who was a business acquaintance and in turn recommended Spratt to his father-in-law, Col. Henry Champion. (The south pediment and the east end are later additions.) The house, completed in 1793, took two years to build. The tremendous stones in the foundation were gotten out by professional stone-splitters; one of them is 22 by 2 feet, and 14 inches thick. Shingles for the roof were hauled by oxen from Pittsfield, Mass. The owner brought fireplace marbles, glass, etc. from England in his own vessels. Julius Deming was born in North Lyme in 1755, and, after service in the Revolution, moved to Litchfield in 1781, where he became its leading merchant. He owned ships trading with England and the West Indies. New Haven was used as a port, and strings of freight wagons, loaded with molasses and other goods, were a familiar sight on the inland road. With Col. Tallmadge and Oliver Wolcott, Jr., Deming organized the Litchfield China Trading Co. One of their ships, the "Trident." made voyages to China for 14 years. Deming and Tallmadge had branch stores in the neighboring towns."
www.skyweb.net/~channy/CTGuideLitch.html
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The neighborhood of this home has a rich and fabulous history. Within walking distance from this home is: The first law school in the U.S., The Tapping Reeve House and Law school, The famous Miss Pierce School (for Young Ladies), the birthplace home of the American novelist, Harriet Beecher Stowe to name but a few of the historical treasures of this area.
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I had a dream – last night – I saw your face – all dark and golden – elusive, fleeting – reminiscent of an imperishable longing – enclosed in my speechlessness.
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Behold me, in my chiffon, gauze, and tinsel,
Flitting out of the shadow into the spotlight,
And into the shadow again, without a whisper! –
Firefly's my name, I am evanescent.
Firefly's your name. You are evanescent.
But I follow you as remorselessly as darkness,
And shut you in and enclose you, at last, and always,
Till you are lost, – as a voice is lost in silence.
Till I am lost, as a voice is lost in silence...
Are you the one who would close so cool about me?
My fire sheds into and through you and beyond you:
How can your fingers hold me? I am elusive.
How can my fingers hold you? You are elusive?
Yes, you are flame, but I surround and love you,
Always extend beyond you, cool, eternal,
To take you into my heart's great void of silence.
You shut me into your heart's great void of silence. . .
O sweet and soothing end for a life of whirling!
Now I am still, whose life was mazed with motion.
Now I sink into you, for love of sleep.
~ Conrad Aiken ~
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City of London Bus Route #205 Bishopsgate St Botolph-without-Bishopsgate Church. 2019 White Ford Transit Custom 340 Trend Auto Diesel 1995 cc Police Van LJ19EGX
Poland after tragic death of its President Lech Kaczynski, who died in a plane crash in Smolensk, Russia, on 10th April 2010.
© Mieszko Stanislawski / Babel Images
Feeling so empty without you beside me
What could have happened for you to just leave me
I don’t know if I can make it, I’m sorry
I’m trying hard to move on, on my own
...Can’t believe you’ve gone away
I can’t make it one more day all by myself
What am I suppose to do
I can’t get over you
This pain is break~ ing me down...
...All I want, all I need is you here...
~~~~~~~~~~~~~~~~
già à,
anh thấy anh ướt nhẹp chưa
sao còn ham hố ==
em biết là anh thật vọng
미안해 :(
em cũng thật vọng khi mới bước vào
thật ra là rất shock
cảm ơn anh vì đã cố gắng cười và hát bằng trái tim mình
thật sự cảm ơn anh
cố giữ gìn sức khỏe nhé anh già
sắp bận rộn promo vol.5 rồi đấy
hẹn 1 lần nữa gặp lại
1 ngày k xa nào đó :)
이특 오빠,
파이팅!!!!!
사랑해!!!!
~~~~~~~~~~~
cái lyric là It's Over Now của Brian :))
bỏ bớt mấy câu, thấy ý nghĩa khác hẳn =))
ôi ss3, BEST NIGHT EVER!!!!!!!!
cầm cái máy chụp đến nỗi k nghĩ là mình còn có thể cầm dc =))
tay nó run run, bh 2 tay rụng lun =))
bằng chứng cho sự hiện diện của ngày đó
yên tâm nói đó k phải là mơ
chẹp, up hình trễ qá :))
ai có FB mà chưa add tớ thì add đi, tớ có up mấy hình tớ chụp dc ở ss3 đấy
Annie Elf nhá :">
chụp dc qả banh sung ném
dc kyu nhìn thẳng vô ống kính, cười
"dc" chul nhìn vs gương mặt hầm hầm vì mình lỡ cười nhếc mép :">
dc teuk chú ý chút đỉnh =))
won cũng có nhìn thoáng qa =))
dong nữa =))
huyk ít qa ST1 qá :((
hae nữa :((
wook cũng có qa qăng qăng =))
ôi các anh già
yêu qá =))
sáng cn, nhờ 1 "người bạn tốt"
đi taxi chung vs 1 bạn nữa mà og taxi nhìn cứ như là 2 đứa vội đi tiễn bạn dzai :">
cũng đúng mà =))
mà nhờ "người bạn tốt" mà tới đó nhìn trong vô vọng......
chỉ còn nghe dc tiếng nói China Airline to Taipei is now boarding......
hơi bị thất vọng vụ khán giả.....
anw, truyện qa rồi, lòng vẫn lâng lâng :))
sẽ cố gắng đi ss4 Sing or Bankok :">
cái này lâu lắm rồi...h mới coi dc bản rõ :))
- super junior show - cooking + siwon's diary
www.youtube.com/watch?v=jC8F-kzu79U&feature=mfu_in_or...
슈퍼주니오 짱!!!
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the teleidoscope 2012 theme #3 - movie star
1 - the concept
movie star - a star who plays leading roles in the cinema
I figured the best way to show i was the star was showing the movie poster. And since i'm coming up with the movie why not surround myself with some of my favorites :-D
2- the poster
i started with the idea to go for a Drew Struzan look, since i got back to drawing regularly but i soon figured out that: a) it would take me lot's of time to get the look right b)my painting would be slow and messy. So move on to the next best thing: a photomontage and inspired by Tim Bradstreet's work , i took the composition directly from one of his Hellblazer comic covers. I decided to pay him tribute and his gritty style, fitting of the tone of the movie :-)
3- the movie
named "the hanged man" as in the tarot card. in the Tarot deck symbolism "the hanged man" is not a victim - he has gone to his fate happily and smiles out at us. He is serene and content - it is his tormentors who will ultimately suffer. And that's the concept of the movie; it's a revenge story, the bloody kind that Tarantino's good at. Lots of guns, martial arts and public space destruction.
Story by Helder Silva - Screenplay and dialogues by Quentin Tarantino - Music by Hans Zimmer and Trent Reznor (yeah i know tarantino likes to choose his oldies but this would work) - Action Choreography by Jackie Chan Stunt Team - Produced by Helder Silva - Directed by Quentin Tarantino
and i would love this in the soundtrack: nine inch nails - gave up
This image is protected by copyright, no use of this image shall be granted without the written permission from Yaman Ibrahim.
Amur tiger
No part of this picture may be reproduced or transmitted in any form or by any means (on websites, blogs) without prior permission. Use without permission is illegal
Inside looking out now, back down the gently curving track from the east portal of Tytherington tunnel.
youtu.be/6M-MtZkZOzw?t=2s Full Feature
Starring Marshall Thompson, Kynaston Reeves, Michael Balfour, Kim Parker, Stanley Maxted, Gil Winfield, Shane Cordell, Terry Kilburn, James Dyrenforth, Peter Madden, Meadows White, and Lala Lloyd. Directed by Arthur Crabtree.
In December 1958 Eros Films, Ltd. had another British B sci-fi movie touring American. Fiend Without A Face (FwoF) ran as the B feature to "Haunted Strangler." Both were British productions being marketed in America by MGM. This is another example of the blurry line between sci-fi and horror. FwoF itself exists in that blurry zone. Mysterious, invisible "mental vampires" killing their victims takes up the bulk of the film. The final showdown with the creatures is classic monster movie. Yet, the tie-in to the customary misguided scientist and atomic energy keep FwoF in the sci-fi orbit.
Synopsis
A Canadian farmer is killed just outside of an American Air Force base in remote Canada. The villagers were already up in arms over the mere presence of the base (jets frightened their cows) so are convinced there is a mad GI on the loose. Major Jeff Cummings befriends the slain farmer's sister, Barbara. The base tests their super radar system again, but like before, it falters just as it seems to be succeeding. Something is draining off the atomic energy. More murders stir up the towns folk to revolt. Jeff is certain that a reclusive genius, Professor Walgate, is the key. Yet more murders occur, each preceded by a rhythmic thumping and squishing sound. Eventually, Walgate confesses that he was working on Thought Materialization -- telekinesis. He needed more power, so fabricated an energy hijacking device to siphon off the air base's transmitted power. (that's why the tests always failed) The extra power worked, but created separate beings rather than intensifying Walgate's own thoughts. The invisible beings escaped his lab and began to 'feed' on townsfolk by sucking out their brains. They need the reactor's power to exist. Jeff rushes to blow up the control room. The reactor is going into overload, so the beings become visible. Dozens of the brain and spinal cord things surround the house. They break in, kill a few people, but can also be killed. Many are. Just as one of the beings has got Barbara, the reactor is shut down. It falls limp. The brain things dissolve into foam. Jeff kisses Barbara. The End.
The monster murder mystery element is fairly well played so it keeps interest up. Once visible, the brain-things have some interest too. As a monster movie, it has some merit. Killer brain-creatures are quirky enough to stay interesting.
The Cold War provides a backdrop, but isn't the focus. The Air Force base's mission is early radar detection of Soviet aircraft coming over the pole. One could see the brain-things as manifestations of deadly atomic energy. (the invisible killer)They seem to fit better the usual science-gone-wrong theme.
Dr. Walgate fills the archetypal role of the naive scientist. He meant well with all his research and work. But, like many naive scientists who had gone before him, his assumptions prove wrong. His work gets away from him and becomes a force of destruction, not one of good for mankind. It has been fairly customary for the naive scientist to die at the hands (or whatever) of his creation. Walgate makes the noble sacrifice at the end, letting the creatures attack him while Jeff gets away.
The brain-creatures are akin to the "Id Monster" in Forbidden Planet. Man's most basic thoughts, if given independence, prove primal and ruthless. As a nuclear cautionary tale, the brain-creatures, man's primal thoughts, prove deadly if given atomic power. The stop-motion animation of the brain-creatures is not too bad. It's not Harryhausen, but it works.
We're told that the brain-creatures suck out the brains and spinal cord of their human victims. So, it interesting that the brain-creatures are depicted as brain shaped. They have a segmented spinal column which they use inch-worm-style for locomotion. They ARE what they eat.
The brain-creatures break the atomic reactor's control rods so people can't shut it down (the creatures need the radiation to exist). It is curious that screenwriters solve the problem with good old dynamite. Jeff blows up the control room to shut down the reactor. ?? The reactor core was already out of control. Why would less control help?
Bottom line? Most of FwoF is a fair horror flick with "mental vampires" and agonizing victims. Things get more interesting when the brain-creatures surround the house. Sure, the movie has its flaws, but is an entertaining 50s sci-fi. 4
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
*************************************************************************************************************
Link to the Cincinnati Zoo's Website..............
Snow Leopard
The snow leopard (Panthera uncia or Uncia uncia), sometimes known as "ounce," is a moderately large cat native to the mountain ranges of Central Asia. The classification of this species has been subject to change and its exact taxonomic position will not be resolved until further studies are conducted.
It cannot roar, despite possessing an incomplete ossification of the hyoid bone. The presence of this ossification was previously thought to be essential for allowing the big cats to roar. However, new studies show that the ability to roar is due to other morphological features, especially of the larynx, which are absent in the snow leopard.
Description
Snow leopards are smaller than the other big cats but like them, exhibit a range of sizes, generally weighing between 27 and 54 kg (60–120 lb). Body length ranges from 74–130 cm (29–51 in) with a tail of nearly the same length.
Snow leopards have long thick fur, the base colour of which varies from smoky grey to yellowish tan, with whitish underparts. They have dark grey to black open rosettes on their body with small spots of the same colour on their heads and larger spots on their legs and tail.
Snow leopards show several adaptations for living in a cold mountainous environment. Their bodies are stocky, their fur is thick, and their ears are small and rounded, all of which help to minimise heat-loss. Their feet are wide, which distributes their weight better for walking on snow, and they have fur on their undersides to increase their traction on steep and unstable surfaces, as well as to assist with minimising heat-loss. Snow leopards' tails are long and flexible which help them to maintain their balance. The tails are also especially thickly covered with fur which, apart from minimising heat-loss, allows them to be used like a blanket to protect their faces when asleep.
Taxonomy
In the past, many taxonomists included the snow leopard in the genus Panthera, with several of the other largest felids, but later it was placed in its own genus, Uncia. It was thought to be not closely related to the leopard (Panthera pardus). However, a recent molecular study places the species firmly within the genus Panthera, its closest relative being the tiger (Panthera tigris), although its exact position remains unclear.
A few subspecies have been proposed for animals living in different geographical regions and these are listed under synonyms in the taxobox at right. With the possible exception of P. u. baikalensis-romanii which requires further evaluation, these subspecies were generally not considered valid.[7] However, the Handbook of the Mammals of the World recognizes two subspecies: P. u. uncia, from central Asia northwestwards to Mongolia and Rusia; and P. u. uncioides in western China and the Himalayas.
Distribution
The snow leopard's range in central and south Asia is rugged mountainous regions of approximately 1,230,000 square kilometers, which extends through 12 countries: Afghanistan, Bhutan, China, India, Kazakhstan, the Kyrgyz Republic, Mongolia, Nepal, Pakistan, Russia, Tajikistan, and Uzbekistan.
The geographic distribution from the Hindukush in eastern Afghanistan and the Syr Darya through the mountains of Pamir Mountains, Tian Shan, Karakorum, Kashmir, Kunlun, and the Himalaya to southern Siberia, where the range covers the Russian Altai mountains, Sajan, Tannu-Ola mountains and the mountains to the west of Lake Baikal. In Mongolia it is found in the Mongolian and Gobi Altai and the Khangai Mountains. In Tibet it is found up to the Altyn-Tagh in the North.
Ecology and Behaviour
In summer, the snow leopard usually lives above the tree line on mountainous meadows and in rocky regions at an altitude of 2,700 m (8,900 ft) to 6,000 m (20,000 ft). In winter, it comes down into the forests to an altitude of around 2,000 m (6,600 ft). It leads largely a solitary life, although mothers may rear cubs for extended periods of time in dens in the mountains.
An individual snow leopard lives within a well defined home range but does not defend its territory aggressively when encroached upon by other snow leopards. Home ranges vary greatly in size. In Nepal, where prey is abundant, a home range may be as small as 12 km2 (5 sq mi) to 39 km2 (15 sq mi) and up to 5 to 10 animals are found here per 100 km2 (39 sq mi); whereas, in habitats with sparse prey, an area of 1,000 km2 (386 sq mi) supports only 5 of these cats.
Snow leopards are crepuscular being most active at dawn and dusk.
Feeding
Snow leopards are carnivores and actively hunt their prey. However, like all cats, they are opportunistic feeders, eating whatever meat they can find including carrion and domestic livestock. They are capable of killing animals three times their size but will readily take much smaller prey such as hares and birds.
The diet of the snow leopard varies across their range and with the time of year, and is dependent on prey availability. In the Himalayas it preys mostly on bharals (Himalayan blue sheep) but in other mountain ranges such as the Karakorum, Tian Shan, and Altai, its main prey consists of Siberian ibex and argali, a type of wild sheep, although this has become rarer in some parts of the snow leopard's range. Other large animals eaten include various types of wild goats and sheep (such as markhors and urials), other goat-like ruminants such as Himalayan tahr and gorals, plus deer, boars, and langur monkeys. Smaller prey consists of marmots, woolly hares, pikas, various rodents , and birds such as the snow cock and chukar.
It is not averse to taking domestic livestock which brings it into direct conflict with humans. Herders will kill snow leopards to prevent them from taking their animals.
Snow leopards prefer to ambush prey from above and can leap as far as 14 meters (46 ft).
Breeding and life cycle
Snow leopards usually mate in late winter and have a gestation period of 90–100 days. Litter sizes vary from one to five cubs but two or three is more usual. The cubs remain with their mother until they become independent after around 18–22 months.
Snow leopards normally live for 15–18 years, but may live for up to 20 years in captivity.
Population and conservation
In 1972 the International Union for Conservation of Nature, (IUCN) placed the snow leopard on its Red List of Threatened Species as globally "Endangered"; the same threat category was applied in the assessment conducted in 2008.
There are also 600-700 snow leopards in zoos around the world
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I went to the zoo today and than after that my daughter and her hubby came over for a cookout. We probably won't be getting too many of those in after awhile as Fall seems to be in the air with cooler weather today and tomorrow. I hope to try to catch up with you all tonight. Thanks so much everyone for being such great friends. Hope you day was as pleasant as mine. Hugs!
This is the female snow leopard named Olga. Right now she is being kept in the indoor enclosure to maintain a cooler temperature for her. It won't be long before she is outdoors again enjoying the sunshine and cold temps. Its very hard to get great pictures in this indoor enclosure because of the glass and lighting.
Thanks for your visit… Any comment you make on my photographs is greatly appreciated and encouraging! But please do not use this image without permission.
We thought we knew all of the work of Marc Chagall ... The course painter but also a sculptor, ceramicist without forgetting mosaics, stained glass windows and the upholsterer . This is what we discover until January 11 at the Modern Art Museum of Troyes , a place that has already spent exposures to glass, ceramics and textile art.
Chagall is interested in Tapestry in 1962, when the Israeli government commissioned a decoration for the hall of the Knesset. The triptych of a monumental tapestry is entrusted to the renowned Gobelins . He will again appeal to the factory in 1973 for a tapestry located in the entrance of the Marc Chagall National Museum in Nice.
Meanwhile, in 1964, the artist met the supervisor Yvette Cauquil-Prince and is immediately seduced by its ability to achieve tapestries without losing the soul so special original paintings.
The exhibition represents 17 tapestries Yvette Cauquil-Prince who was inspired lithographs and paintings of Marc Chagall the exposed side to put them in parallel and compared.
These tapestries include Peace , loaned by the city of Sarrebourg Moselle, La Baie des Anges , Le Coq Rouge, Harlequin and A wife , a work by Chagall in homage to his Bella Rosenfeld wife died in 1944.
In these tapestries themes dear to Marc Chagall are all present , religion, nature, circus, musicians and animals, this lively and colorful medley that transports us like a dream and reminds this excerpt from a poem of Aragon:
" Chagall color is your people
Give games and bread
God it's nice when the shadow is red
and blue love "
Christophe Dard
to mark the 30 th anniversary of the death of Chagall, Marc Chagall National Museum invites the public to discover a wealth less known production of the artist: woven work.
After World War II, set in the south of France, Marc Chagall was introduced to other techniques as painting or engraving. The artist seeks to expand its plastic experiments: ceramics, stained glass, sculpture, mosaic and tapestry mobilize energy.
During his lifetime, Chagall and sees "fall of the loom" 20 tapestries for the decoration of public buildings or private collectors. Made from Chagall's works, these tapestries were executed in close collaboration with the weavers of the national Gobelins or with a large tapestry specialist, Yvette Cauquil-Prince.
Chagall and upholstery
The first tapestries are woven Manufacture Nationale des Gobelins in Paris between 1965 and 1968. This is a set of three monumental tapestries for the hall of the Knesset in Jerusalem. In 1970 - 1971, it is again the Manufacture des Gobelins is responsible for the execution of a tapestry for the future National Museum Marc Chagall Biblical Message in Nice.
But much of the work is performed woven from the works of Chagall led by Yvette Cauquil-Prince. Major protagonist of the revival of the tapestry in the XX th century, Yvette Cauquil-Prince (1928-2005) devoted his expertise and talent to the transcription tapestry works of the greatest artists of the time: Pablo Picasso, Max Ernst, Paul Klee ... Chagall meeting in 1964. Since then, is established a fruitful dialogue that lasts two decades and beyond, in tapestries pursued Yvette Cauquil-Prince after the death of Chagall in 1985. brilliant performer of the master's work, she excels in the return of pictorial effects by means of the tapestry. It imports into the work woven throughout the expressive richness of the painted work, etched or drawn. The first tapestries, small size, are followed by large parts, giving see the model in a new format. As prime contractor, Yvette Cauquil-Prince does not limit its intervention to the reproduction of a model or its expansion. It proposes, by changing the medium and format, another reading of the work of Marc Chagall.
First tapestry exhibition at the National Marc Chagall Museum
This is the first time the Marc Chagall National Museum celebrates this technique, represented in its collections by a single piece, created for the museum, Mediterranean landscape .
The exhibition Marc Chagall. Woven works unfolds throughout the museum. It provides exceptional confrontation 12 shimmering tapestry or more nuanced and 12 original works by Chagall, who served as models for weaving.
The achievements will be discussed with the Gobelins tapestry created for the opening of the Museum (1973) and by the test printing, retail validated by Marc Chagall tapestries for the Knesset. Other tapestries presented show vividly the talented performer Yvette Cauquil-Prince.
The exhibition also explains the part of freedom of interpretation left to the contractor. One room is dedicated to the art of tapestry where the public can find the materials needed for weaving.
Monumental transposition of colorful verve of Marc Chagall, the woven work is an extension of the painted or engraved work. It invites to think the deregulation of creation, beyond the boundaries between artistic disciplines.
Police station
Anne Dopffer, general heritage curator, director of the National Museums of XX th century in the Alpes-Maritimes
Sarah Highlighting conservative Heritage National Museum Marc Chagall
Salt...every human's need in entire life...without salt there is no food and no world...
it is available everywhere...we are seeing very beautiful advertisement about the salt product from various brands...but there is an story behind this product...
Tamil Nadu is one of the few states that produce salt in India. In Tamil Nadu, salt is produced primarily in the three districts of Nagapattinam, Tuticorin and Marakkanam in Villupuram.
This is about the Salt production at Marakkanam in Villupuram Dist.
The salt pan workers work under extremely hazardous conditions. They work with the harsh sun beating down upon them under the open sky and have employment only for about six months in a year.
Their daily wages vary between 35 rupees to 85 rupees (US$ 0.78 to 1.9). Women generally get paid lower than men. In Marakknam, most of the workers belong to the Schedule Caste communities. It is estimated that about 3000 workers exist in Marakkanam area.
While poverty, indebtedness and deprivation are common to all the salt pan workers, the women, as in many other poor communities, become greater victims of poverty. Generally, they suffer from serious gynaecological problems and. malnutrition and anaemia are also very common. They also do not have support systems to take care of their children. They hardly have access to any quality medical care. Since usually both the parents go to work in the salt pans, it is not clear as to who takes care of their children.
I have captured their activities in three seasons ie., initial ground preparation, Salt making and storing, the final one is in the rainy season where the ground is full of water... I had been there many times to see their activities and i used to talk to them about their work and life balance, to be frank I was so shocked while seeing their work on the field...it was so hot and if we continue be there for more than 15min we may feel that the water level in our body will be completely drained out. such a hot and dry day whole day and everyday...
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............
Western Lowland Gorilla +++ Female name Chewy
The gorilla is the largest living primate. A gorilla must spend most of its day eating plants to maintain its large size. Despite its massive size and ferocious reputation, the gorilla is actually a peaceful and social animal. Gorillas and humans are close relatives, and share many things in common. They are very intelligent, have emotions and personalities, and live in family groups.
•A troop of up to 20 gorillas is led and defended by a dominant male called a silverback.
•A male gorilla has the strength of up to eight men.
•Chest-beating is one way a gorilla shows that it’s excited.
•Gorillas and humans have the same number of hairs on their bodies.
*The Zoo is teaming up with other zoos around the world to celebrate gorillas during 2009, which has been declared the Year of the Gorilla.
.
Fact File
Height: 5 to 6 ft
Weight: Male - Up to 400 lbs,
Female - Up to 200 lbs
Lifespan: Up to 35 yrs in the wild
Habitat: Tropical forest
Diet: Fruits, leaves, and small invertebrates
Status: Species at Risk (IUCN—Endangered)
Note+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Good Morning everyone! My dog Alfie is doing fine at this point. I just have to keep an eye on him so he doesn't eat the english ivy in my yard. That was the first place he went to this morning to probably dine on some. We're going to have to come up with some kind of solution to this. I think the only way we can keep him from it is to fence off all areas that contain it. This sure is a problem.
I'm sorry that I haven't been on Flickr much but I will try to catch up after I do a few things this morning. So much has been going on that I haven't had the time to visit. Thanks so much for putting up with my absence. Your all the best! Have a nice Friday and weekend! Hugs!
It's basically raining new figures here (something only 2020 could make happen), so without further ado, here's the second one, the Figure Complex Wonder Woman figure.
The Figure Complex series is part of the Kaiyodo Revoltech series. Since it's inception a few years ago (2017 I think), several DC and Marvel heroes have been featured. The intent of the line is to have stylized figures that look mindblowing when posed dynamically.. and if it looks nice when standing up straight, its a bonus.
Of the three females released thus far, I have two of them - Psylocke and Wonder Woman. I liked the Psylocke well enough, with the exception of her overall facial paint work, which due to the pale skin made her look like a blowup doll and some serious thigh gap issues.
So how did Diana fare?
Wonder Woman is based on the comic art design shown on the inner liner of the box. She comes with what I'd expect a Wonder Woman figure to come with. You get the figure, three total face plates (smiling, neutral, shouting), uncoiled Lasso of Truth, bullet deflect effects for each arm, energy blast blocking effect for each arm, her cape, an extra neck piece for use with the cape, her shield, her sword. six additional hands for weapon holding and posing, and a stand. Retail price on this was 8,250 Yen as compared to Psylocke at 6,458 Yen back in 2018.
Of the three portraits, the neutral one was my favourite. The other two had their share of strengths and issues.
Compared to the proto photographs, the final product seemed to be intact, with the only real change I could tell was that the various metallic paints were not as reflective.
A quick comparison between Psylocke and Wonder Woman shows that Kaiyodo addressed the issue of the thigh gaps, which were horrible on Psylocke. Wonder Woman is also a bit larger and much more complex looking than Psylocke, which partially explains the price jump.
On a side note, the hair, which was great on Psylocke, is equally well done on Wonder Woman.
Details on her outfit seem a bit soft to my eyes. I'm not sure if that's an issue with the plastic, or the actual sculpt, but I've seen finer details and more prominent line work on the various Gal Gadot Wonder Woman figures in my collection.
From a static posing perspective, the only real sore points would be the shoulders and the neck. It all ties back to the articulation for this figure.
The long neck, when the head is seated properly, isn't really an issue, and becomes even less of an issue when she's wearing her cape. The reason she has such a long neck is because there is a joint at the base of her head that allows the figure to almost fully tilt the head straight up, very useful when you're posing a flying character or any pose where the head goes first.
The shoulders can be an eyesore. Effectively her shoulders can be dislocated from her body to reveal the double ended Revolver joint beneath. The trade off, however, is that you have incredible range of motion, with this figure probably having the easiest time pulling off Wonder Woman's trademark Bracer pose.
Other points of articulation on the body include toe, ankles, double jointed knees, thigh twist, hips, waist, mid torso, double jointed shoulders, single jointed elbows, wrist, neck head, and hair.
One additional feature that you don't see very often on figures of this size are that the eyeballs can be pointed in whatever direction you want, further completing any dynamic poses you're working on.
Paint work has never really been the strongest point of these figures. Having said that, the quality of the work on Wonder Woman is definitely better than on Psylocke. Base paints are smooth. Despite having more masking required, the overall figure appears to be crisper looking than Psylocke, though not as crisp as on other Japanese figures.
To me, it appears the paint app on the lips of the neutral and smiling sculpts are sharper than on Psylocke, which combined with an actual complexion results in a superior effect, though her skin remains plain plastic only.. The shouting face... well lets say open mouths often result in mixed results, and this is no exception.
Build quality is something that has not been an issue ever since these Figure Complex releases became the Revoltechs I handle. No issues with limb sizes, weak joints, or my biggest nuisance, getting the damn limbs to line up because the "clicks" of the Revolver joints were out sync. Everything flows smoothly, and QC is not an issue with regards to things falling apart, or not coming together as it should.
Finish on the plastic pretty good.. you'll find the odd rough spot here and there (most notable on the edges of things) and some visible seamlines.
That pretty much sums up the experience. Not being a movie figure, it doesn't have to live up to looking like Gal Gadot. Does it look like the comic art? For the most part yes, just not the sculpt, but these sort of things happen all the time when dealing with comic art.
Does she have the bells and whistles? Yes, yes she does. I particularly enjoy the Lasso of Truth being a vibrant yellow rope.
Can you live with the joints and proportions? That's ultimately what you have to ask yourself. For me, there are many other decent looking Wonder Woman figures that can hold some pretty good posing, but I always want that ONE figure, aesthetics be damned, that can pull off crazy poses.
And that figure of Wonder Woman, without a doubt, is this one.
So if you're pose crazy, I'd suggest you give this one a try. At the very least, you'll have a figure where you can make Wonder Woman do the Ahegao face.
Without me. :( The picture is not that sharp either, but it was one of my favorite shots of the day!
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If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Caxambu, cidade do sul de Minas que possui um dos maiores recursos hidrominerais do mundo.
Portuguese
Atrativo máximo de Caxambu é o Parque das águas "Dr. Lisandro Carneiro Guimarães", tombado pelo Instituto Estadual do Patrimônio Histórico e Artístico (Iepha). São 210 mil m2 de área totalmente estruturada para o bem-estar do turista. Estar no parque é uma celebração aos prazeres que a água, e todo o conjunto da natureza, podem proporcionar.
A natureza encanta nos belos jardins, bosques e alamedas que compõem um lindo cenário. O homem soube retribuir, erguendo belos conjuntos arquitetônicos de estilo neoclássico. Bastante admirada também é a obra do português Francisco da Silva Reis, o popular "Chico Cascateiro". Os quiosques, as graciosas pontes e as cascatas artificiais que construiu, no início do século XX, marcaram uma época.
Os dois ingredientes, natural e humano, fazem do parque um lugar muito especial, que agrada a pessoas de todas as idades. Opções não faltam: pista para cooper; parquinhos com brinquedos educativos; passeio de pedalinhos num lago de 51 mil m2; piscinas com água mineral e toboáguas; quadras de tênis, vôlei e bocha; rink de patinação e o imperdível teleférico, que leva ao cume do morro Caxambu.
O bem-estar tem sua apoteose no Balneário (ou Centro) Hidroterápico, suntuoso prédio e verdadeiro cartão-postal da cidade. Construído no início do século XX, tem um imenso portal em vitral francês, confeccionado em 1912. O interior não deixa a desejar: o hall de entrada é recoberto com azulejos e pisos portugueses e ingleses, formando mosaicos. Oferece em suas instalações variados banhos (perolado, espumante perolado, espumante simples, turco, sulfuroso com pérola de ar e sulfuroso simples), que atendem às mais diferentes terapias e aplicações. Duchas (circular e escocesa), saunas e sessões de massagem completam a tradução mais precisa da palavra "relaxamento".
http://www.idasbrasil.com.br/idasbrasil/cidades/Caxambu/port/parque.asp
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Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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Morgenthal Frederics PURO Eyeglasses. Lens 39mm (with lens holder) D.B.L. 22mm
PURO is a unique, simple design eyeglasses. Titanium frame with acetate lens holder. The Ti frame comes in pewter, polished chrome, gummetal, bronze finish. Lens holder comes in White, Black, Brown, Tortoise and Horn. PURO are sold with or without lens holders with price difference. The acetate piece is not a decoration piece that mount on the Ti frame. The lens actually set in it instead of Ti frame itself. It is very cool looking and no need to worry that they will fell out. PURO is not perfectly round or oval.
As pretty as it is, I had THE WORSE experience EVER with PURO. It was purchased at Morgenthal Frederics at 59th Street in Time Warner Center building. Sale was helpful cuz I had intend of buying. At the time, I wasn't sure to go for acetate or not and was told the lens holder can be purchase separately if I change my mind. So I went for the Ti frame only. The frame was around $420 and another $400 for the lens. The $400 lens doesn't include all the coating and 4 times more than what I usually pay for. After owning it for 3 month, I found out that the frame is not perfect round or oval. The imperfect roundness bother my mind greatly. I thought the acetate lens holder would help to notice the frame shape so I thought I'll pay them a visit.
I went back to the store I bought it from and told the sales I would like to purchase the lens holder and would nice if they can insert it for me. It was different sales this time and he told me "NO, we don't sell them separately." I told them I was inform so and how can I get a lens holder? "Sir, you have to purchase a brand new frame with it." I told them the idea was ridiculous, cuz if the told me so the first place, I would made different choice. "Sir, we can't help you unless you buy a brand new frame." I left the store ANGRY and thought she don't know what she is talking about, let me went a different store and see what they say. Some one gotta make some sense right?!
I went to their store on the 63rd & Madison with the same request. Sales ask me where my frame originally from and call the Time Warner store to confirm. While he was on the phone, he was judging me through his eyes and told me "NO. They said you were just at Time Warner Store and they have told you everything you need to know. I am sorry". I was FURIOUS this time.
Still not giving it up, thanks god I got unlimited subway pass. I went to 74th Street & Madison store. I told them I went through 2 stores already if they wanna call and confirm, be my guest. I told them the whole story and what 2 stores were tell me and how I am furious before I enter this store and hoping they can give me a better answer. They respond. "We can give you the lens holder for free, but you have to buy a set of brand lens from us." (which was $400) I asked "why, optician can just re-shape it". They respond, "The lens is too thin, they will break." I told them, "why don't you sell me the lens holder, and I will ask my optician." They say, "sorry, we can't do that. Not unless you buy a set of brand new lens. What an unbelievable bunch of assholes!
At last I went to their last store in Manhattan located at W. Broadway in SoHo. I told spoke with the manager, told them the 3 stores responses. I let him decided if anything make any sense. "They might misunderstood with your request. You know what, I'll give the lens holder to you for free. We want our customer to be happy." Took me to go through all stores with anger. All, because their sales misinform their customer.
I took the lens holder to Abe, my optician in Chinatown. I ask him if he can reshape my current lens into the lens holder. Took Abe 5 min. and lens set in the holder. "the lens is made of plastic not glass, why they think it will break?" I took the frame back, scratch & Spot less, PERFECT. I ask Abe, "Can you check the lens quality and coating, how much you will charge to match it." Abe check it and responded, "$120, for you, I'll charge $100. This lens doesn't have all the coating you usually have on. $100 you got everything." I ask him if this lens is higher end, thinner, better in any other way? "No, it is the same thing we are using here. It is not better or special." I did not respond. I did not tell Abe about Morgenthal Frederics charge $400 dollars for them with less coating. They absolutely made me feel like a FOOL.
Everything above is 100% true. Morgenthal Frederics products no doubt are well made but people working for the company seem too money hungry. I told everyone what you guys have done so they can have 2nd thoughts before buying Morgenthal Frederics products. Morgenthal Frederics sure gave me the worse shopping experience. Now, whenever people search for Morgenthal Frederics online, my review will show up with it. I will NEVER buy another pair from you guys and I hope this review will HURT your company deeply.
Customers are the reasons why your company is still standing. Remember it well and treat them good. WORDS do spread. Reputation has to earn it by SERVICE.
Hinxhill is a small village in the shadow of Wye down. I say a village, its a couple of houses and the Hinxhill Estate, which you can't see from the road.
St Mary has been a church I have wanted to see inside for many years, and I have never found it open. But for this Heritage weekend, I had high hopes.
And I wasn't disappointed.
St Mary has a very fine 17th century memorial on the wall, two nice figures on it, and as well as some nice Victorian glass, the light coming in at just gone four in the afternoon made photography perfect.
One of those visits you remember for the lights, so a church well worth waiting for to visit.
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Remote and peaceful Hinxhill is the archetypal country church. Almost all dating from the 13th century, the narrow north aisle is a typical give way – designed to be used as a processional space without benches. The lovely lancet windows, with trefoil headed tops are small and low whilst the north chapel has one with a rere-arch, a sign of wealth in the latter 13th century. The odd chancel screen is dated to the 17th century and the woodwork of the pulpit is probably of that date too. The stained glass is Victorian and mostly by the Scottish firm of Ballantyne – a catalogue of changing fashion. The south chancel window of Christ weeping is particularly good. The fine Royal Arms is one of several in Kent by Marten of Tenterden and well worth a look. To the north of the chancel is a seventeenth century tomb with good effigies and skulls beneath – which legend says was walled up with plaster for two hundred years before being re displayed by the Victorians. In the vestry is a delightful piece of continental glass of probable seventeenth century date.
www.kentchurches.info/church.asp?p=Hinxhill
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HINXHILL,
USUALLY called Hinexsell, and in very antient times written Hengestelle, is the next parish eastward from Kennington. The manor of Bilsington claims over a great part of this parish.
HINXHILL is an obscure parish, but little known, and having very little traffic through it. The village consists of only four or five houses, one of which, is the principal farm-house of Sir John Honywood's estate here, and another the parsonage. It stands on high ground, with the church on the west side of it. The antient mansion stood close to the south-west corner of the church-yard, having a fine prospect over the adjoining country. The kitchen is all that remains of it now, being made use of as an oast and stowages for hops. Not far from the church, northward, are Great and Little Plumpton, the former was for some time the residence of the Andrew's, the latter of the Whitwick's. Below the hill from the village to the north and west, it is a deep and most unpleasant country, the soil a stiff clay, with much boggy ground, especially westward, where it is joined by the river Stour. About the village it it tolerable fertile land, but southward there is much sand, mixed with the quarry or rag stone.
A fair is held here yearly on the Saturday in Whitsun-week, for toys and pedlary.
In the year 1727, a species of subterraneous fire was taken notice of in the valley between Goodcheape in this parish and Wye. This fire began in a marshy field, on the side of a little brook, near the water, and continued to burn along its bank without spreading much for some days; afterwards it appeared on the other side, and extended itself for the space of some acres over the field, consuming all the earth where it burnt into red ashes, quite down to the springs, which in most places lay four feet and more deep. In the space of about six weeks it had consumed about three acres of ground, at which time it burnt in many places, and sent forth a great smoak and a strong smell very like that of a brick-kiln; but it never flamed, except when the earth was turned and stirred up. For some space where it was burnt the ground felt hot, though the grass seemed no more parched than might be reasonably expected from the dryness and heat of the season. In several places where the earth was turned up, it was found to be hot and wet near four feet deep, and much hotter about two feet deep than nearer the surface; and when this earth was exposed to the air, though it was very moist, and not hotter than might be easily borne by the hand, yet the heat of it increased so fast, that in a few minutes it was all over on fire, like phosphorus made with allum and flour. The soil of the field is of the same nature with that the turs is made of in Holland. The surface of it is always wet, except in extreme dry seasons; but this season it was somewhat more parched and harder than usual. It was difficult to carry any of this away, on account of its firing; one piece in particular firing in the pocket of one who was bringing it away, had almost burnt its way through before it was perceived. (fn. 1)
In the stone-quarry by Swatfield-bridge, at the southern boundary of this parish, as well as in many of the rag-stones about the adjoining parishes of Sevington and Willesborough, is found the ostracites stone, very large; and on a rag-stone at Lacton, in the latter parish, the flat shell of one measured eight inches diameter; and the late Mr. Thorpe, of Bexley, had two in his possession, very large and fair, with the convex parts entirely filled up with solid stone, which were given to his father, Dr. Thorpe, by the earl of Winchelsea.
ONE ÆTHELFERH, a servant of the abbot of St. Augustine's monastery, about the year 864, by will gave the land of Hengesteselle, which was a parish, as Thorne says in his Chronicle, contiguous to that of Willesborough northward, to that monastery; but Hugo de Montfort, in the time of the Conqueror, got possession of it, in spite of all the efforts of the monks to oppose it: and accordingly this estate seems to have been thus entered in the survey of Domesday as follows, among his possessions:
In Langebrige hundred, Gislebert holds of Hugo one yoke, which a certain Sochman held of king Edward. It is and was worth four shillings. There was nothing there nor is.
Of Etwelle, which Herbert the son of Ivo, holds without the division of Hugo, he himself holds fourteen acres of land within his division, and it is worth two shillings.
And still further in the same record, under the like title, is the following entry, which evidently relates to his possessions, part of, or at least adjoining to those before-mentioned:
In Langebrige hundred. In the same hundred, is one rood of land in Suestone, which one Sochman held of king Edward. There is now one borderer paying twelve pence. In the time of king Edward the Confessor it was worth thirty pence, and afterwards eighteen, now three shillings.
Robert de Montfort, grandson of Hugo above-mentioned, having afterwards incurred the displeasure of king Henry II. all his estates, and these among them, them, came into the king's hands, after which it appears that THE MANOR OF HINXHILL, with that of SWATFORD, alias SWATFIELD, was afterwards held by the family of Strabolgie, earls of Athol; but Alexander Baliol, lord of Chilham, became possessed of them at the latter end of king Henry III.'s reign, in right of Isabel his wife, widow of David de Strabolgie, earl of Athol, and held them, by the courtesy of England, during her life, she having been, on the death of her brother Richard de Dover, s.p. become entitled to them for her life, the inheritance of them belonging to John, earl of Athol, her son by her former husband, as heir to her brother before-mentioned. At length they descended down to David, earl of Athol, who died in the 49th year of king Edward III. leaving two daughters his coheirs, Elizabeth, the eldest, married to Sir Thomas Percy, a younger son of Henry, lord Percy, and Philippa to John Halsham, of Halsham, in Sussex; the latter of whom, by her father's will, became entitled to these manors. At length her grandson Sir Hugh Halsham, in the beginning of king Henry VI.'s reign, passed them away, in the 3d year of that reign, to Sir Robert Scott, lieutenant of the tower of London, brother of Sir William Scott, of Braborne, and afterwards of Scotts-hall, whose only daughter and heir Alice, marrying William Kempe, nephew to cardinal archbishop Kempe, he, in her right, became entitled to them; but his grandson Sir William Kempe, about the latter end of king Henry VIII.'s reign, alienated them to Browning; from which family, about the reign of queen Elizabeth, they were alienated to Robt. Edolph, esq. son of Robert Edolph, of Brenset, and brother of Simon Edolph, of St. Radigunds, who bore for his arms, Ermine, on a bend, sable, three cinquesoils, argent, (fn. 2) who afterwards resided at Hinshill court, as did his son Sir Robert Edolph, who kept his shrievalty here in the 6th year of king James I. but his son Robert Edolph, esq. dying s.p. in 1631, gave these manors of Hinxhill and Swatford, together with the court leet of the half hundred of Longbridge, by will to Cecilia his wife, for her life, or so long as she continued unmarried; but she afterwards remarrying Sir Francis Knolles, of Reading, forfeited her interest in them, upon which they came to Mr. Samuel Edolph, her former husband's next brother, who some years afterwards conveyed them to his brother in-law Mr. John Angel, of Surry, for the more effectual performance of his will; and he, sometime after the death of king Charles I. passed them away to Edward Choute, esq. of Bethersden, who afterwards resided at Hinxhill-court, as did his son Sir George Choute likewise, who was succeeded in them by his son George Choute, esq. who was created a baronet in 1684. He pulled down this mansion, and removed to Bethersden, where he died s.p. in 1721, (fn. 3) having devised these manors by will to Edward Austen, esq. of Tenterden, afterwards baronet, who sold them not long afterwards to Sir William Honywood, bart. of Evington, who died possessed of them in 1748, and his direct descendant Sir John Honywood, bart. of Evington, is the present possessor of these manors.
The courts baron for the manors of Hinxhill and Swatford, have been for some time disused; and the court leet for the half hundred of Longbridge has been for several years past held by the constable of it, solely for the appointment of a successor in his office, as will be further taken notice of hereafter.
WALTHAM is a place here, which was once accounted a manor, and antiently belonged to the family of Criol, from whom it went by marriage into that of Rokesle, and thence again in like manner to the family of Poynings, in which it continued till Sir Edward Poynings, governor of Dover castle, and lord warden, dying possessed of it anno 14 Henry VIII. 1522, not only without legitimate issue, but even without any collateral kindred, who could make claim to his estates, this manor, among others, escheated to the crown, whence it was immediately afterwards granted to Sir Richard Damsell, who not long after passed it away to Goldhill; as he did about the latter end of queen Elizabeth's reign, to Mr. Robert Edolph, of Hinxhillcourt; since which it has passed in like manner as the manor of Hinxhill before-described, down to Sir John Honywood, bart. who is the present possessor of it.
GOODCHEAPES, as it is now called, but more properly Godchepes, is an estate in the northern part of this parish, which for a series of many generations had owners of that surname, one of whom, Thomas Godchepe, as appears by the inquisition taken after his death, died possessed of it in the 31st year of king Edward I. and in his name and descendants it remained fixed until the latter end of king Henry VIII.'s reign, and then it came by the will of one of them, named also Thomas Godchepe, after the limitation of it, to several different persons, who were become extinct without issue, to the last person mentioned in remainder in the will, Mr. John Barrow. The circumstances of which bequest is thus related: Mr. John Barrow, being an attorney, was called upon to make the will of Thomas Godchepe, and by his direction inserted the names of eight persons, who were to succeed each other in the inheritance of this estate in tail, and being asked by Barrow, whom he should add more, he was answered by the testator, that as there had been a reciprocal friendship between them, he should place his own name next after them all; and they all deceasing in course of time s.p. this estate in the end devolved to him and his heirs. Circumstances similar to the above have happened in relation to other estates in this county, particularly to the Leeds abbey estate, by Sir Roger Meredith's will, who died in 1742, s.p. who having sent for Mr. Walter Hooper, an attorney, to make his will, after having devised his estates to several different persons successively in tail, seemed at a loss who to name next in the entail, when Mr. Hooper mentioned himself and his nephew; and all the prior remainders having ceased, they both successively enjoyed that estate by the will. (fn. 4) Mr. Barrow, who bore for his arms, Lozengy, or, and azure, a grissin, salient, ermine, resided afterwards here, and died in 1578, leaving two daughters his coheirs, whose eldest daughter and coheir Elizabeth, marrying Mr. Robert Edolph, the purchaser of Hinxhill-court as before-mentioned, he became entitled to it sometime about the latter end of queen Elizabeth's reign; since which it has passed in like succession of ownership as the manors of Hinxhill and Waltham before-mentioned, down to Sir John Honywood, bart. who is the present possessor of them.
Charities.
MARTHA WADE, by will in 1722, gave an annuity of forty shillings, out of lands in this parish and Wye, to the use of the poor not receiving alms, vested in the churchwardens and overseers.
The poor constantly relieved are about twelve, casually eight.
THIS PARISH is within the ECCLESIASTICAL JURIADICTION of the diocese of Canterbury, and deanry of Limne.
The church, which is dedicated to St. Mary, is a small building, consisting of two isles and two chancels, having a low spire steeple at the west end, in which are three bells. In the high chancel, on the north side, there is a handsome monument, well preserved, for Robert Edolph, esq. and Cicely Browne his wife, having their effigies kneeling on it. He died in 1631. In the south isle are memorials for Coveney, arms, On a bend, three trefoils slipt. The north isle is very narrow indeed; in it is a memorial for Kennet Backe, gent. captain of the train-bands, obt. 1687. On the south side, in the church-yard, are several memorials for the Wightwicks, and a very antient stone, coffinshaped, with a cross story on it. It appears by the parish register, that many of the Edolphs are buried in this church, from the year 1588, when Mr. Robt. Edolph, sen. gent. was buried in it, to the present century. Mr. John Barrow in 1578, Sir Edward Chute in 1634, and others of some note in life, appear likewise to have been buried in it, for whom there are not any memorials.
¶The church of Hinxhill was antiently appendant to the manor, and continued with it till Robert Edolph, esq. by will in 1631, gave the manor of Hinxhill to his wife Cecilie, for her life, or until she remarried, and the advowson and patronage of this church to her and her heirs for ever. By which means the advowson being separated from the manor, became an advowson in gross, and though it afterwards was possessed by the same owners as the manor, yet having been once separated it could never afterwards be appendant to it again. (fn. 5) She soon afterwards remarrying Sir Francis Knolles, forfeited her life-estate in the manor to her late husband's next heir and brother, Mr. Sam. Edolph, and some years afterwards alienated the reversion of the advowson, (for she appears to have presented to the Rectory in 1666) to him. Since which it has continued, in like succession of ownership with the manor of Hinxhill, and his other estates in this parish, to Angel, Choute, and Austen, and from the latter to Sir William Honywood, bart. whose descendant Sir John Honywood, bart. is the present owner and patron of this church.
This rectory is valued in the king's books at 7l. 16s. 8d. It is now a discharged living, of the clear yearly certified value of thirty-four pounds. In 1578 here were communicants seventy-one. In 1640 it was valued at sixty pounds, communicants seventy. There are ten acres of glebe.
This is 'Walkers Court' where it emerges onto Brewer Street. The face street art is by Anna Laurini. The well known, but now closed, strip club 'Raymond Revue Bar' was located behind the hoarding. Feb 2017.
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Fakenham's historic market area went from a pedestrian zone to a rubble-strewn war zone today (Sunday May 25, 2014) when the former Aldiss department store in Upper Market erupted in flames and was destroyed along with five other homes or shops.
At the height of the blaze, the iconic two-storey Edwardian shop front collapsed into the street and firefighting was hampered by the unsafe nature of the surviving buildings which also threatened to collapse.
www.flickr.com/photos/barryslemmings/sets/72157644786860696/ to see the full set
Local reports suggest that the Sunday staff had just unlocked the store - now run as The Original Factory Shop - at about 10am and had just gone inside when they apparently heard a small explosion followed by the first signs of fire. By about 10.25am parishioners and choristers in the adjacent Fakenham parish church were being told to move their cars as 'the street was on fire' as the blaze had rapidly spread to adjoining properties. One car belonging to a parishioner was destroyed in the street as flames erupted from the shop.
Emergency services responded from all over the county with ambulance crews called from King's Lynn saying they could see the pall of smoke as soon as they left Lynn some 15 miles away. The Original Factory Shop carried a lot of plastic home and garden stock and this burning plastic is thought to have contributed to the dense pall of smoke which rose hundreds of metres into the air.
Some 14 units from Norfolk's Fire and Rescue Service converged on the scene along with support vehicles such as hydraulic platforms and foam carriers. More water was even being pumped from the nearby River Wensum. Two hydraulic platforms were used to fight the fire from above and try to prevent it spreading to adjacent homes which included pensioner flats. About 100 firefighters were involved in the first wave with the prospect of even more crews being involved later in a 12-hour damping down operation.
No injuries were reported but two people were treated for smoke inhalation. Homes were evacuated and an emergency centre was set up in a local college.
A spokesperson for Norfolk Fire and Rescue Service said there was an on-going investigation into the cause of the fire and it was 'too soon' to speculate on the cause.