Granite Cross – Billingham Green.

 

This Shap Granite cross was erected at a cost of £44 in 1893, the idea of Rev Phillip Rudd. It was made by Bowrons of Stockton.

 

The Prince of Wales, later to become Edward VII was supposed to unveil the cross, but his carriage passed without stopping.

 

Unfortunately little remains of the original buildings around the green which has since been redeveloped.

 

Billingham is a town and civil parish in the Borough of Stockton-on-Tees, County Durham, England. The town is on the north side of the River Tees and is governed by Stockton-on-Tees Borough Council. The settlement had previously formed its own borough but was overshadowed by its neighbour. The town had a population of 35,165 at the 2011 Census.

 

The town was founded circa. 650 by a group of Angles known as Billa's people, which is where the name Billingham is thought to have originated. In modern history, the chemical industry, and in particular the company ICI, has played an important role in the growth of Billingham. Today ICI no longer operates in Billingham, having been replaced by other companies.

 

A clue to Billingham's early origins is seen in the prominent Anglo-Saxon tower of St Cuthbert's Parish Church. The tower was built c. AD 1000, but elements of a late-7th/early-8th-century nave also remain. There is also a 7th-century grave-marker from the church in the British Museum.

 

With the declaration of the First World War, a high demand for explosives led to a massive expansion of Billingham. In 1917, the town was chosen to be the site of a new chemical works supplying ammonia for the war.[6] However, the plant wasn't completed until 1920, after the war had ended. The Brunner Mond Company took over the site and converted it to manufacture fertilisers. In December 1926, Brunner Mond merged with three other chemical companies to form Imperial Chemical Industries (ICI), who took control of the plant. ICI began to produce plastics at Billingham in 1966.

 

Aldous Huxley visited the newly opened and technologically advanced Brunner and Mond plant at ICI and gave a detailed account of the processes he saw. The introduction to the most recent print of Brave New World states that Huxley was inspired to write the novel by this Billingham visit. Henry Thorold in the Shell Guide to County Durham states:

 

This is one of the most extraordinary of experiences, a sight almost unique in England. On either side of the road are the works. Steaming, sizzling—tall steel towers, great cylinders, pipes everywhere... At night the whole industrial world along the banks of the Tees comes to life... brilliant with a thousand lights, the great girders of the Transporter Bridge dark in silhouette: a magic city.

 

From 1971 to 1988 ICI operated a small General Atomics TRIGA Mark I nuclear reactor at its Billingham factory to produce radio-isotopes for use in process instrumentation such as level measurement devices. In addition to its own on-site coal-fired power station, ICI also operated the coal-fired North Tees Power Station, designed by Giles Gilbert Scott, on the banks of the Tees to provide electricity for its plants. The latter was eventually decommissioned and demolished (at a ceremony attended by Environment Secretary Nicholas Ridley) in 1987. The site of the power station is now Billingham Reach Industrial Estate, an international wharf owned by Able UK Ltd. ICI no longer operates in Billingham, having sold many of its businesses during the restructuring of the company in the 1990s. Some of the company's former manufacturing plants are still in operation, run by other chemical companies.

 

Following the fragmentation and ultimate loss of the chemicals conglomerate ICI, the Billingham Chemical Industrial park became a multi-company facility. The chemical, biotechnology and engineering companies that continue to operate at Billingham are members of the Northeast of England Process Industry Cluster (NEPIC). They include GrowHow, Johnson Matthey, FujiFilm Diosynth Biologics and Fruitarom. Other members of the NEPIC Cluster operate from the 62 acre (25 hectares) Belasis Business Park in Billingham such as Cambridge Research Biochemicals, ABB Group and Biochemica. Growhow not only manufacture fertilisers & industrial chemicals in Bilingham, but also capture the CO2 for use in the food and drink industry. Tomatoes are grown in Billingham by North Bank Growers using the recoverable energy from the Billingham complex, which further reduces the area's carbon footprint.

 

Fujifilm Diosynth Biotechnologies have a pharmaceutical manufacturing facility in Billingham. Subject to regulatory approval, at least 60 million doses of the Novavax COVID-19 vaccine will be manufactured there for the UK government from 2021.

 

In 1983, NIREX announced a proposal to use the disused anhydrite mine as a site for the disposal of intermediate level nuclear waste. There was a certain amount of opposition to this, led by Billingham Against Nuclear Dumping (BAND), as despite the suitability of the site in geological terms, it was very close to a large population centre. Subsequently, in 1985, the plans were dropped. In 2007, more recent plans to reopen the mines for "use as a long-term disposal facility for low hazard waste" were met with similar opposition and a petition of 3,200 signatures against the mine's opening was presented to the local authority.

 

In March 2011, Stockton Council's planning committee accepted an application from NPL Waste Management to reopen the mine for the disposal of hazardous waste. NPL planned to convert the mine into a 4,000,000 cubic metre waste storage facility receiving over 100,000 tonnes of waste annually.

 

Between 1923 and 1968, Billingham had its own urban district council which built, among other things, the Billingham Forum, Kennedy Gardens and Billingham Golf Club (the UK's first municipally-owned club). Billingham's last mayor was Octavious Evitts in 1952.

 

It was included into the County Borough of Teesside in 1968. In 1974, Teesside County Borough was replaced by the County of Cleveland, which had four districts: Hartlepool, Langbaurgh-on-Tees, Middlesbrough and Stockton-on-Tees. Billingham was then part of Stockton-on-Tees. In 1996, with the abolition of Cleveland County, Billingham remained within Borough of Stockton-on-Tees which became a unitary authority.

 

Billingham civil parish is the largest area and size in the Stockton Borough. Other than the town itself, areas of the parish include Haverton Hill, Port Clarence, Cowpen Bewley and Seal Sands.

 

A petition to Stockton Borough Council and referendum held in 2003 both having given assent to proposal for Billingham to become reparished. The Department for Communities and Local Government and the Electoral Commission issued orders for the creation of a Billingham Parish and the setting up of a new town council in February 2007. It is funded by a precept of £80,000. The first elections for the new Town Council were held on 3 May 2007.

 

Billingham Beck Valley Country Park (also known as Billingham Bottoms) was landscaped from a reclaimed industrial waste tip and has steadily grown to include former grazing land to form a 120-acre (0.49 km2) site including wetland habitats. Designated as a Local Nature Reserve by English Nature in 1992, it won a Green Flag Award in 2005. The beck itself is one of the major tributaries of the River Tees and has a tidal reach around the former ICI site.

 

The town is effectively split into two separate areas by name: Old Billingham (the area around the village green adjacent to St Cuthbert's church and built up around the ICI works) and the more planned estates that have spread out since the 1950s, increasing the town's size and borders towards the villages of Wolviston and Cowpen Bewley to the point of almost incorporating them.

 

Billingham Town Centre provides the town with national retail chains such as Asda, Greggs, Iceland, Argos, Aldi, Costa, Poundland and Boyes, as well as several charity shops, estate agents and banks, with a market featuring in the centre every Monday and Friday. The town centre lacks some services[example needed] but Stockton Town Centre is less than 3 miles (4.8 km) away and Middlesbrough Town Centre is also less than 3 miles (4.8 km) away.

 

In 1967, Associated Dairies' fledgling stores division, launched in 1965, opened their first store outside of its Yorkshire heartland in the town centre. Asda Billingham was their first store to open in the North East and is now the oldest continuously trading Asda supermarket in the UK.

 

In March 2012 it was confirmed that a Wetherspoons Public House would be opened in the Town Centre, along with a Fulton Frozen Foods superstore, as part of the ongoing[when?] regeneration plans.

 

In August each year the town centre hosts the Billingham International Folklore Festival – now in its 54th year (2018). Dancers and musicians perform traditional and contemporary dance.

 

In November 2013, a time capsule was buried in front of 'The Family' statue in Billingham Town centre under a stone with the inscription 'FOREVER FORWARD 30 11 2013'. The capsule is not to be unearthed until the year 2078.

 

The population of Billingham, according to the census of 1801, was 962. This number increased slowly until the beginning of World War One, when the need for nitrates to use in explosives brought about a significant burst of growth for the town. In 1917, after Billingham was chosen as the site for the production of synthetic ammonia due to its good transport links and access to the resources needed, the population of the town nearly doubled in just a few years from 4500 to 8000. After the war, the site was bought by Brunner Mond and converted for use in the production of agricultural fertiliser. Brunner Mond soon merged with a number of other companies to form Imperial Chemical Industries. This furthered the growth of Billingham's population, which reached nearly 18,000 by 1931. With the onset of World War Two, synthetic ammonia for explosives was once again in demand, further sustaining the town's development.

 

During the latter half of the 20th century, the population of Billingham slowed significantly due to the industrial decline of the area. Furthermore, Billingham attracted relatively few immigrants after its de-industrialisation. Across the wards that make up Billingham, just 2.3% of the population at the 2011 Census were born outside the UK, compared to a national average of 13%. The population was also recorded as 99% white.

 

Billingham is served by two secondary schools: Northfield School, a specialist sports college, and St Michael's Catholic Academy, a specialist Science Catholic academy. Northfield Marsh House site, formerly Campus, was closed in 2012.

 

At the moment construction is ongoing for St. Michael's to join the Billingham Campus and New Bede/Riverside College facilities on the Marsh House Avenue site. The council has published plans for a £40 million investment in primary schools which will include some being rebuilt or re-designed and refurbished. Roseberry Primary School and Bewley Infant and Bewley Junior Schools are on the list for action within the next few years.

 

Bede College has served the town for several years, and attracts students from Hartlepool and Stockton, consistently achieving higher results than nearby colleges in Stockton or Middlesbrough. Formerly one of the smallest colleges in the UK, with under 400 students, its recent amalgamation with Stockton Riverside College and relocation to an adjacent new campus has seen its student body increase significantly. As part of the new campus, the college has also gained its own sports facilities.

 

Billingham is home to several religious communities, the largest of which are the Church of England and the Roman Catholic Church.

 

The Church of England community is served by a single Team Parish, with five parish churches: St. Cuthbert's, St. Luke's, St. Mary Magdalene, St. Aidan's, and St. Peter's. The parish covers all of Billingham, the Clarences, Cowpen Bewley, Newton Bewley, and Wolviston. It is part of the Church of England Deanery of Stockton in the Archdeaconry of Auckland, which itself is within the Diocese of Durham.

 

The Roman Catholic community is served by three parishes, Our Lady of the Most Holy Rosary Parish Billingham, St. John the Evangelist and St. Joseph's. These parishes are based in Hexham and Newcastle's St Hilda Partnership. The Parish Priest is the Rev John Butters. There is also St Michaels RC Secondary School in Billingham, which is part of the Carmel Trust based in Darlington.

 

The Christian community is also served by two Methodist churches, one Baptist church and a Pentecostal Church called "New Life" based on Low Grange Avenue. There is also a Church of Jesus Christ of Latter-Day Saints and a Kingdom Hall of Jehovah's Witnesses.

 

The Spiritualist community is served by one Spiritualist Church located on Chapel Road, TS23 1DX, just off The Green. This is the second oldest Church in Billingham and started out life as a Methodist church that was then sold on to the Spiritualist National Union when the Methodists needed a larger premises. The chapel has been serving Spiritualism and the local community since 1932.

 

Billingham is served by the A19 running to Sunderland in the north and Thirsk in the south.

 

Billingham is also served by the A689 to Hartlepool in the east and Bishop Auckland in the west.

 

Billingham railway station is on the Durham Coast Line with hourly services provided by Northern to Newcastle and the MetroCentre in the north and to Stockton and Middlesbrough in the south. Grand Central provide an express train from Sunderland to London but the service does not currently serve Billingham.

 

The original Billingham railway station was closed in the late 1960s and moved a mile east along the line. Rail services were infamously operated using Pacer trains which were in essence converted Leyland National buses, but these were withdrawn in late 2019 due to them not meeting government disability requirements.

 

Stagecoach provides services 35 to Stockton via Norton Glebe & High Grange, 36 Middlesbrough & Hartlepool, 52 Stockton High Street & Low Grange and 34 Middlesbrough & Owington Farm. Many route changes were made with Billingham's buses, such as the re-routing around High Grange on the 34. In summer 2018 the 34A was introduced but withdrawn in late 2019.

 

Go North East provide services X9 & X10 To Newcastle & Middlesbrough.

 

Local operator Stagecarriage provided local services, such as the X7 to Stockton, Teesside Retail Park and Middlesbrough. This service was withdrawn around a fortnight before the company's collapse in July 2019. The service has not been replaced.

 

Leven Valley formally provided service 45 to Wolviston. After the closure of Leven Valley, Stagecarrige took over this service, but it stopped running shortly after.

 

Billingham is the home of Billingham Town F.C., who celebrated their 50th anniversary in 2017 having been initially founded in 1967 as Billingham Social Club. .

 

The chemical industry's creation of ammonia in the town also led to the formation of Billingham's other football team, Billingham Synthonia, Synthonia being a portmanteau of synthetic ammonia. At the beginning of the 2017–18 season, financial difficulties spurred Billingham Synthonia F.C. to relocate to the Norton Sports Complex in Norton in a ground-share with Norton & Stockton Ancients and are currently ground sharing with Stokesley SC.

 

Billingham Synthonia Cricket Club is of similar origins to the football club of the same name. The club play in the North Yorkshire and South Durham Cricket League.

 

The town also has its own ice hockey team (the Billingham Stars) in the English National Ice Hockey League, whose home rink is Billingham Forum Ice Arena. There is also another ice hockey team called the Billingham wildcats which is made up of women aged 16+.

 

The town has one Rugby Union club, Billingham RUFC, which has four senior teams, the 1st XV currently playing in National 3 North, four leagues from the Premiership. The 2nd XV (Lions) currently playing in The "Candy League" Division 1. The 3rd XV currently playing in The "Teesside Merit League", with the Colts playing in a competitive Saturday Colts League. The club also has a junior section, ranging from U-7 minis to U-16s, with teams winning Durham county cups and leagues.

 

In 1967, Billingham Forum was opened by Queen Elizabeth II. A sports and leisure complex, it contains a swimming pool, an ice rink, and a number of sports halls. The complex also houses the Forum Theatre. Notable personalities that have performed in the theatre include Wendy Richard, Jimmy Edwards, Eric Sykes, Darren Day, Arthur Lowe, David Jason, Penelope Keith, Terry Scott, Timothy West, Carroll Baker, and Dame Anna Neagle. Roy Chubby Brown performed there for the first time in November 2006; his DVD for 2007 was recorded there as well.

 

As part of the proposals to regenerate Billingham, a 'Gateway' initiative proposed the construction of a new sports and leisure centre on John Whitehead Park to replace the Forum. This proved highly controversial, particularly as the Forum's would-be-replacement did not contain a theatre. The proposals were abandoned in November 2004, shortly after the Forum Theatre was granted Grade II listed building status.

 

Following a survey that reported 98% of participants in favour, Stockton Borough Council submitted a bid of £15-20 million to refurbish the Forum Complex in partnership with The Billingham Partnership group.

 

On 2 June 2011, the Billingham Forum returned from its £15m refurbishment, which started in mid-2009. The Billingham Forum now encompasses a theatre, business standard conferencing facilities, a swimming facility, a large Ice Arena, a state-of-the-art Activ8 Gym with TechnoGym Digital exercising equipment, a sauna and steam room, fun indoor climbing (GoClimb), a sports injury centre, and dry sports and drama facilities. There was originally a fish pond in the centre of Billingham Forum but it has been removed. The exterior wall panels have also been replenished with a colour scheme of Dark Blue, Grey and Yellow. Billingham Forum is owned by Stockton Borough Council and is managed by Tees Active Ltd.

 

Notable people

Jamie Bell, actor Billy Elliot, and The Eagle

Dunstan Bruce, frontman of Chumbawamba and Interrobang!?, and director of documentary 'I Get Knocked Down'

Ann Ming, who fought tirelessly and successfully to change the UK law for double jeopardy cases, following the murder of her daughter.

Eddie Jobson, musician

Paul Smith, frontman of Indie group Maxïmo Park

Diane Youdale, AKA 'Jet' from Gladiators

The Wilson Family, singing group, Hartlepool Folk Festival Patrons, EFDSS Gold Badge Awardees

 

Sportspeople

Andrew Davies, former Middlesbrough F.C., Southampton F.C., Stoke City F.C. footballer, currently with Bradford City A.F.C.

Robert Dowd, professional ice hockey skater for Sheffield Steelers

Charlie Ellix, darts player

Sean Gregan, footballer

Tony Hall, footballer for Waterford United

Evan Horwood, footballer

Willie Maddren, former Middlesbrough F.C. footballer and manager

Craig Willis, Rugby union player for Ealing Trailfinders

Tommy Mooney, footballer

Gary Pallister, footballer for Middlesbrough F.C., Manchester United and England. Now an occasional pundit for the BBC

Jamie Pollock, former footballer for Manchester City

Brad Walker, footballer

Zooey Perry, handball player

 

Climate

Billingham has an oceanic climate (Cfb). The town is fairly warm in the summer and the temperature can rise above 30 °C (86 °F) but this is rare. In the winter temperatures can drop below 0 °C (32 °F) but this is also rare.

 

The highest recorded July temperature occurred on Tuesday 19 July 2022, reaching 37°C.

Test-shots with a Nikon AF-S 28/1.8G on a D800. Developed from RAW in Lightroom4 with Adobe standard settings, no lens profiles, CA-red=ON, NRed=OFF, sharpening=70/0.5/36/10. Identical WB plus some fine-tuning to make exposure totally identical across shots. These files are for personal evaluation only and cannot be used in another publication or website without permission.

See my review at Camera Labs.

I have always thought that Elmstone was the only Kent church without dedication to a Saint/King or Martyr, but it seems East Farleigh has has St Mary foisted upon it.

 

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Many churches that one spends years trying to see inside of, turn out to be disappointments.

 

But not so of the Farleighs, East and West.

 

With West being open and being a delight, what then of East, hidden as it is behind the village hall and old schoolhouse?

 

I went down the alleyway, round the corner and through the gate and saw that the porch was open, and in the inner door was too.

 

Again, I was greeted warmly, and once inside I saw a large and impressive church that stay almost hidden from the road above it.

 

I have always arrived at East Farleigh from West Farleigh, meaning that I arrive at the car park, and then go through the narrow passage way between the old school and village hall.

 

But looking on GSV, there are fine views from the crossroads opposite the Bull Inn, through the lych gave and down the sunken path to the church.

 

I am usually speeding away to my next destination at this point, so don't look in my rear view mirror.

 

I was shown into the Vestry, where I could see the photographs of the Wilberforces who were vicars (if that is the right term) in the 1830s. Robert and Henry were the son of the Abolitionist, William Wilberforce.

 

Both Robert and Henry were leading lights in the Oxford Movement.

 

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Who would have thought that 150 years ago the picturesque church perched high above the River Medway was the scene of fierce dissent over ritualistic practices? The church was one of the first in the country to have a robed choir. The sunken path from the south shows how much the ground level has risen over the centuries and leads to a porch with a fine parvise. Although the church has been rather heavily restored it contains much of interest. Of special note is the Tudor font cover which sits on a fourteenth century font. The chancel and south chapel were both embellished by the firm of Powell's and much glass and wall decoration is by them. They created a rich focus for Eucharistic worship as a contrast to the rather plain nave and aisles. The south chancel window, with WW1 scenes is a fine example of their work.

 

www.kentchurches.info/church.asp?p=East+Farleigh

 

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EAST FARLEIGH.

NORTH-WESTWARD from Linton, on the opposite side of Cocks-heath, and on the southern bank of the river Medway lies the parish of East Farleigh, so called to distinguish it from the adjoining parish of West Farleigh, in Twyford hundred. It is called by Leland, in his Itinerary, Great Farleigh.

 

In the record of Domesday it is written Ferlaga, and in the Textus Roffensis, FEARNLEGA, and most probably took its name, as well as the parish of West Farleigh, from the passage over the river Medway at one or both of these places, fare in Saxon signifying a journey or passage, and lega, a place, i. e. the place of the way or passage.

 

THE PARISH of East Farleigh is situated about two miles from Maidstone, it lies on high ground, the soil a loam, covering but very slightly a bed of quarry stone. It is exceeding fertile, especially for fruit trees and the hop-plant, of which, especially about the village, there are many plantations. Its extent is about two miles each way; the river Medway is its northern boundary, over which here is an old gothic stone bridge of five arches, which is repaired at the county charge. The tide, in memory of some now living, flowed up as high as this bridge, but since the locks have been erected on this river to promote the navi gation, it has stopped from flowing higher than that just above Maidstone bridge. From the river the ground rises suddenly and steep southward, forming a beautiful combination of objects to the sight, having the village and church on the height, intersected with large spreading oaks and plantations of fruit, and the luxuriant hop, whilst the river Medway gliding its silver stream below, reflects the varied landscape. The village, through which the road leads from Tovill to West Farleigh, stands on the knole of the hill, about a quarter of a mile from the river, having the church and vicarage in it; eastward lies the hamlet of Danestreet, and further on Pimpes-court, at the extremity of this parish next to Loose, in which part of the lands belonging to it lie. At a small distance westward of the village of East Farleigh, is a genteel house, formerly belonging to a family of the name of Darby, some of whom are mentioned in the parish register as inhabitants of it, as far back as the year 1653. Mr. John Darby, the last of them, died in 1755, and by will gave this house to his widow, (Mary, daughter of Captain Elmstone, of Egerton) who re-married Mr. James Drury, of Maidstone, by whom she had one daughter, Mary. Since his death in 1764, she again became possessed of it, and resides in it; from hence the ground keeps still rising southward to Cocksheath, between which and the village is the manor of Gallants, part of the heath is within this parish, which reaches within a quarter of a mile of the house called Boughton Cock, part of Loose parish intervening, and separating the eastern extremity of it entirely from the rest. In this part of the parish are some quarries of Kentish rag stone, commonly called the Boughton quarries, from their lying mostly in that parish, and on the banks of the Medway there are more of the same fort, wholly in this of Farleigh.

 

A younger branch of the clerks of Ford, in Wrotham, resided here in the reigns of queen Elizabeth and king James I. as appears by the parish register. Dr. Plot mentions in his natural history of Oxfordshire, some large teeth having been dug up here, one of which was seven inches round, and weighed five ounces and an eighth, but I can gain no further information of them.

 

THIS PLACE was given by queen Ediva, or as she is called by some Edgiva, the mother of king Edmund and Eadred, in the year 961, to Christ-church, in Canterbury, free from all secular service, excepting the repairing of bridges, and the building of castles; (fn. 1) and it continued in the possession of that church at the time of the taking the general survey of Domesday, in the year 1080, being the 15th of the Conqueror's reign, in which it is thus described, under the general title of Terra Monachorum Archiepi, or lands of Christ-church, in Canterbury.

 

The archbishop himself holds Ferlaga. It was taxed at six sulings. The arable land is 26 carucates. In demesne there are four, and 35 villeins, with 56 borderers, having 30 carucates. There is a church and three mills of twenty-seven shillings and eight pence. There are 8 servants, and 6 fisheries, of one thousand two hundred eels. There are 12 acres of pasture. Wood for the pannage of 115 hogs.

 

Of the land of this manor Godefrid held in fee half a suling, and has there two carucates, and seven villeins with 10 borderers having three carucates, and four servants, and one mill of twenty pence, and four acres of meadow, and wood for the pannage of 30 hogs.

 

The whole manor, in the time of king Edward the Confessor was worth sixteen pounds, and afterwards as much, and now twenty-two pounds. What Abel now holds is worth six pounds, what Godefrid nine pounds, what Richard in his lowy, four pounds.

 

In the time of king Edward I. the manor of East Farleigh, together with the estate belonging to Christchurch, in the neighbouring parish of Hunton, was valued at forty-two pounds per annum.

 

King Edward II. in his 10th year, confirmed to the prior of Christ-church free warren, in all the demesne lands which he possessed here in the time of his grandfather, or at any time since. (fn. 2) This manor continued part of the possessions of the priory, till its dissolution in the 31st year of king Henry VIII. when it was surrendered into the king's hands, who that year granted it, among other premises, to Sir Thomas Wyatt, and his heirs male, to hold in capite by knight's service, but his son, Sir Thomas Wyatt, having raised a rebellion in the 1st year of queen Mary was attainted, and his estates became forfeited to the crown, and were together with the reversion of them, assured to the queen and her heirs, by an act passed for that purpose. After which, though the queen made a grant of the scite and capital messuage of this manor, to Sir John Baker, as will be further mentioned hereafter, yet the manor itself continued in the crown, and remained so at the death of king Charles I. in 1648. After which the powers then in being, passed an ordinance to vest the royal estates in trustees, in order for sale, to supply the necessities of the state, when on a survey taken of this manor it appeared, that there were quit-rents due to the lord from freeholders, in free socage tenure in this parish, and within the townships of Linton and East Peckham, and from several dens in the Weald; that there were common fines from the borsholders of Stokenburie, in East Peckham, and of Badmonden, Stoberfield and Rocden, the produce of all which yearly, with the fines, profits, &c. of courts, coibus annis, amounted in the total to 56l. 7s. 7½d. That there was a court ba ron and court leet; that the freeholders paid a heriot on demise, or death of the best living thing of any such tenant, or in want of it, 3s. 4d. (fn. 3)

 

Soon after which this manor was sold by the state to colonel Robert Gibbon, with whom it continued till the restoration of king Charles II. when it again became part of the revenues of the crown.

 

The grant of it has been many years in the family of his Grace the duke of Leeds, who now holds it at the yearly fee farm rent of ten shillings.

 

BUT THE SCITE and capital messuage of the manor of East Farleigh, now called the COURT LODGE, with all the demesne lands of the manor, about two hundred acres, in East Farleigh and Linton, was granted, anno 1st and 2d Philip and Mary, to Sir John Baker, one of the queen's privy council, (fn. 4) to hold in capite by knights service. (fn. 5) He died in the 5th and 6th years of that reign, and by will devised it to his second son, Mr. John Baker, of London; whose son, Sir Richard Baker, the chronicler, about the latter end of queen Elizabeth's reign, alienated it to Sir Thomas Fane, of Burston, in Hunton; who died in 1606, without issue, and bequeathed this among the rest of his estates to Sir George Fane, second son of Sir Thomas Fane, of Badsell, by Mary his wife, baroness le Despenser; he was succeeded in 1640, by his eldest son, colonel Thomas Fane, of Burston, who in the reign of king Charles II. alienated it to Mr. John Amhurst, who then resided at the court lodge as tenant under him.

 

He was the grandson of Nicholas Amerst, for so he spelt his name, who was of East Farleigh, in 1616, to whom William Camden, clarencieux, in 1607, assigned this coat of arms, Gules, three tilting spears, two and one, erected in pale or, headed argent, who dying in 1692, was buried in this church, as were his several descendants. His eldest son, Nicholas Amherst, for so he wrote his name, became his heir, and resided as tenant at the Court lodge, and died in 1679.

 

John Amhurst, gent. his eldest son, resided at the Court lodge, which he afterwards purchased of Col. Fane above mentioned; he served the office of sheriff in 1699, and kept his shrievalty here; though married, he died in 1711, s. p. and by will gave this estate to his brother, captain Nicholas Amhurst, of Barnjet, who died in 1715.

 

He married Susannah Evering, by whom he had issue fifteen children; John, who resided at the Court lodge, and died in his life time, whose grandson, John Amhurst, esq. is now of Boxley abbey; and George, the second son, who was twice married, but left issue only by his second wife, Susan, the eldest of whose sons was John Amhurst, esq. late of Rochester. Nicholas, the next son, died in 1736, unmarried. Stephen, another of the sons, was of West Farleigh, and dying in 1760, was buried at West Farleigh, leaving three sons; John Amhurst, esq. now of Barnjet; Edward, who was of Barnjet, and died in 1762, aged 20, and was buried near his father; and Stephen Amhurst, esq. now of West Farleigh, and four daughters. Edward, another son, was of Barnjet, and died in 1756, without issue, and was buried at Barming.

 

Of the daughters, Susan married Edward Walsingham, of Callis court, in Ryarsh, who left by her two daughters; Susan, married to Sir Edw. Austen, bart. of Boxley abbey; and Mary, married to John Miller. Jane, married to James Allen, by whom she had two sons, James, now deceased; and William, devisees in the will of Sir Edward Austen; and a daughter, married to Nicholas Amhurst, father of John, of Boxley abbey.

 

George Amhurst, gent. above mentioned, the second but eldest surviving son of Nicholas, by Susan nah Evering, had the Court lodge by his father's will, who having neglected to cut off an entail of it, his three other sons, Nicholas, Stephen, and Edward, claimed their respective shares in it; the entire fee of which, after much dispute, partly by purchase, and partly by agreement, became vested in Edward Amhurst, gent. the youngest son, who died, s. p. in 1756, and devised it by will to his next elder brother, Stephen Amhurst, esq. gent. of West Farleigh; who, at his death, in 1760, gave it to his eldest son, John Amhurst, esq. now of Barnjet, the present possessor of the Court lodge, and the estate belonging to it.

 

The mansion of the court lodge is situated adjoining to the west side of the church yard; it has not been inhabited but by cottagers for many years; great part of it seems to have been pulled down, and the remains make but a very mean appearance.

 

GALLANT'S is a manor in this parish, which seems to have been in early times the estate of a branch of the eminent family of Colepeper, whose arms yet remain in the windows of this church, and in which there is an ancient arched tomb, under which one of them was buried.

 

By inquisition, taken after the death of Walter Colepeper, at Tunbridge, anno 1 Edward III. it was found that he held in gavelkind in fee, certain tenements in East Farleigh, of the prior of Christ church, by service, and making suit at the court of the prior of East Farleigh, that there were there one capital messuage, with lands, and rents in money and in hens, by which it appears to have been a manor, and that his sons, Thomas, Jeffry, and John, were his next heirs. The above premises seem very probably to have been what is now called the manor of Gallant's, which afterwards passed into the family of Roper, who held it for some length of time, this branch of them, who possessed this manor, being created by king James I. barons of Teynham, one of whom, John Roper, the third lord Teynham, died possessed of it in 1627, as appears by the inquisition then taken. His grandson, Christopher lord Teynham, gave it in marriage with his daughter Catharine, to Wm. Sheldon, esq. whose descendant, Richard Sheldon, esq. of Aldington, in Thurnham, gave it by will to his widow, who soon afterwards, in 1738, carried it in marriage to Wm. Jones, M. D. who died in 1780, leaving his two daughters his coheirs; Mary, married to Lock Rollinson, esq. of Oxfordshire, and Anne to Tho. Russel, esq. and they, in right of their wives, are at this time respectively entitled to this manor.

 

The manor house has an antient appearance, both within and without, the doors being arched, and as well as the windows, cased with ashlar stone, and much of the walls built with flint.

 

PIMPE'S-COURT is a manor and antient seat in this parish, the mansion of which is situated at the southern extremity of it next to Loose. It was formerly part of the possessions of the family of Pimpe, being one of the seats of their residence, whence it acquired their name in process of time, among other of their possessions in this neighbourhood and else where in this county. It appears to have been antiently held of the family of Clare, earls of Gloucester; of whom, as chief lords of the fee, it was again held by this eminent family of Pimpe, from whom though it acquired its name of Pimpe'scourt, yet their principal habitation seems to have been in the parish of Nettlested, not far distant. Rich. de Pimpe of Nettlested held it in the reigns of Edward I. and III. as did his descendant, Sir Philip de Pimpe, in the begining of that of Edward I. being at that time a man of great repute. His widow, Joane, married John de Coloigne, who together with her son, Thomas de Pimpe, paid aid for this manor in the 20th year of king Edward III. Philipott says, Margaret de Cobham, wife of Sir William de Pimpe, died in 1337, and was buried in this church. Her tomb is yet remaining, but the inscription, then visible, is gone. Wil liam, son of Thomas de Pimpe, of Nettlested, died in the time of his shrievalty, anno 49 Edward III. and his son, Reginald, who then resided here at East Farleigh, served out the remainder of the year. His descendant of the same name resided here at the time of his shrievalty, in the 10th year of king Henry IV. to whose son, John, two years afterwards, John de Fremingham, of Loose, gave by will his estate there and elsewhere, in this county, in tail mail, remainder to Roger Isle, as being of the nearest blood to him. His descendant, John Pimpe, esq. kept his shrievalty here in the 2d year of king Henry VII. whose only daughter and heir, Winifrid, carried this seat in marriage to Sir John Rainsford, who passed it away to Sir Henry Isley, who by the act of the 2d and 3d of king Edward VI. procured his lands in this county to be disgavelled.

 

Soon after which he seems to have settled this manor on his son, William Isley, esq. but being both concerned in the rebellion raised by Sir Thomas Wyatt, in the 1st year of queen Mary, they were then attainted, and Sir Henry was executed at Sevenoke, and the lands of both became forfeited to the crown; after which, queen Mary that year granted this manor, by the name of Lose, alias Pimpe's court, with its appurtenances, in Lose, East Farleigh, Linton, &c. to Sir John Baker, her attorney general, to hold in capite by knights service. (fn. 6) In his descendants the manor of Pimpe's court continued till Sir John Baker, bart, about of the end of king Charles I.'s reign, alienated it to Thomas Fsloyd, esq. of Gore court in Otham; one of whose descendants alienated it to Browne, in which name it remained till, by the daughter and heir of Tho. Browne, esq. it went in marriage to Holden; and their son, Richard Holden, of Coptford hall, in Essex, died without issue, in 1772, and by will gave it to his widow, whose maiden name was Anne Blackenbury; and after her decease, to his sister's daughter's son, a minor, by Mr. William Vechell, of Cambridgeshire.

 

The present house of this manor is a modern building; the ruins of the antient mansion are still to be seen about the present house; the south-west end is still remaining, and by tradition was called the Old chapel. Further towards the north is a room with a very large chimney, and an oven in it, no doubt the old kitchen. The gateway, with a room over it, was taken down within memory; by the remains, it seems as if the house and offices belonging to it, when intire, formed a quadrangle. There is a court baron held for this manor.

 

CHARITIES.

JOHN FRANCKELDEN, citizen of London, in 1610, left 100l. to build six cottages for poor people to live in, rent free, vested in the parish officers.

 

THE REV. ARTHUR HARRIS gave, by will, in 1727, 2l. 10s. per annum for ever, to be paid out of Half Yoke farm, to be distributed in linen.

 

THOMAS HARRIS, esq. who died in 1769, left 5l. per ann. for fifty years, to be given to the poor in bread, 2s. every Sunday, excepting Easter and Whitsunday, vested in the executors of John Mumford, esq.

 

Mr. THOMAS FOSTER, in 1776, gave by will 130l. the interest of it to be laid out in linen and woollen, and to be given to the poor who do not receive alms at Christmas; from which money, 225l. confol. 3 per cent. Bank ann. was bought in the name of trustees, now of the annual produce of 6l. 15s.

 

EAST FARLEIGH is within the ECCLESTASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such within the deanry of Shoreham.

 

The church, which is a handsome building, with a spire steeple at the west end, stands at the east end of the village, and consists of two isles and two chancels; that on the south side belongs to Pimpe's-court. It was repaired in 1704, by Dr. Griffith Hatley, who had married the widow of Mr. Browne, and possessed that estate in her right. The whole was, through the laudable care of the late vicar, Mr. De la Douespe, new pewed and handsomely ornamented.

 

In the rector's chancel are several memorials of the family of Amhurst, and within the altar rails two of Goldsmith. On the north side of this chancel is a very antient altar tomb for one of the family of Colepeper, having their shield, a bend engrailed, at one corner of it, most probably for Sir T. Colepeper, who lived in the reign of king Edward III. and is reputed to have been the founder of this church. His arms, quartered with those of Joane Hadrreshull, his mother, Argent, a chevron gules between nine martlets, are still remaining in the east window of the south chancel, called Pimpe's chancel, in which is an antient plain altar tomb, probably for one of either that or of the Pimpe family. There seems once to have been a chapel dependent on this church, called in the Textus Roffensis, Liuituna capella Anfridi.

 

The patronage of the church of East Farleigh was part of the antient possessions of the crown, and remained so till it was given to the college or hospital for poor travellers, in Maidstone, founded by archbishop Boniface. Archbishop Walter Reynolds, about 1314, appropriated this church to the use and support of the hospital. In the 19th year of king Richard II. archbishop Courtney, on his making the church of Maidstone collegiate, obtained the king's licence to give and assign that hospital and its revenues, among which was the advowson and patronage of the church of Farleigh, among others appropriated to it, and then of the king's patronage, and held of the king in capite, to the master and chaplains of his new collegiate church, to hold in free, pure, and perpetual alms for ever, for their better maintenance; (fn. 7) to which appropriation Adam Mottrum, archdeacon of Canbury, gave his consent.

 

¶The collegiate church of Maidstone was dissolved by the act of the 1st of king Edward VI. anno 1546, and was surrendered into the king's hand accordingly with all its lands, possessions, &c. Since which the patronage and advowson of the vicarage of East Farleigh has remained in the hands of the crown; but the parsonage or great tithes was granted to one of the family of Vane, or Fane, in whom it continued down to John Fane, earl of Westmoreland, who at his death, in 1762, gave it by will, among the rest of his Kentish estates, to his nephew, Sir Francis Dashwood, lord Despencer; since which it has passed, in like manner as Mereworth and his other estates in this county, by the entail of the earl of Westmoreland's will, to Thomas Stapleton, lord Despencer, the present owner of it.

 

In the 15th year of king Edward I. the vicarage was valued at ten marcs; in the year 1589, it was estimated at 16l. 8s. yearly income. In the reign of king Richard II. the church of Ferleghe was valued at 13l. 16s. 8d. This vicarage is valued in the king's books at 6l. 16s. 8d. and the yearly tenths at 13s. 8d.

 

John, son of Sir Ralph de Fremingham, of Lose, 12 Henry IV. by his will gave certain lands therein mentioned to John Pympe, and his heirs male, to find a chaplain in this church, in the chapel of the Blessed Mary, newly built, to celebrate there, for twenty-four years, for the souls of himself, his wife, &c. and all of whom he then held lands, the said John Pympe, paying to the above chaplain the salary of ten marcs yearly, &c.

 

The vicar of East Farleigh is endowed with the tithes of corn growing on the lands belonging to the parsonage of East Farleigh, and of certain pieces of land, called garden spots, which lie dispersed in this parish. It is now of the clear yearly value of about one hundred and thirty guineas.

 

www.british-history.ac.uk/survey-kent/vol4/pp371-383

Even without the flash, it is hard to expose #14 correctly when she is with other players-she is so much paler than them, that she is washed out quite often

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

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La Cappella Palatina è una basilica a tre navate dedicata ai santi Pietro e Paolo. Fu fatta costruire per volere di Ruggero II e venne consacrata il 28 aprile 1140 come chiesa della famiglia reale. Le tre navate sono separate da colonne in granito e marmo cipollino a capitelli compositi che sorreggono una struttura di archi ad ogiva. Completa la costruzione la cupola, eretta sopra le tre absidi del santuario. La cupola e il campanile originariamente erano visibili dall'esterno prima di venire inglobate nel Palazzo Reale in seguito alle costruzioni successive. La cupola, il transetto e le absidi sono interamente decorate nella parte superiore da mosaici bizantini, tra i più importanti della Sicilia, raffiguranti il Cristo Pantocratore benedicente, gli evangelisti e scene bibliche varie.

I mosaici di datazione più antica sono quelli della cupola, risalenti alla costruzione originaria del 1143.

Il soffitto in legno della navata centrale e le travature della altre navate sono decorate con intagli e dipinti di stile arabo. In ogni spicchio sono presenti stelle lignee con rappresentazioni di animali, danzatori e scene di vita della corte islamica.

Danneggiata dal terremoto del settembre 2002 fu sottoposta a restauri, conclusi nel luglio 2008. Il progetto dei restauri redatto dall'architetto Guido Meli dirigente del centro regionale per il restauro della Regione Siciliana venne finanziato dal mecenate tedesco Reinold Wurth per oltre tre milioni di euro.

Le decorazioni dei mosaici rappresentano scene di carattere aulico e venatorio con grande dedizione nell'esecuzione degli animali tra cui, oltre i mitilogici centauri appaiono leopardi, pavoni, cervi, cigni sullo sfondo di una vegetazione di alberi e palme. Le rappresentazioni dai canoni sontuosi ma con accenti di rigidità, delineano la chiarissima matrice greco-bizantina dell'opera. La volta della sala risale invece al periodo successivo di Federico II, come testimoniato dalla rappresentazione dell'aquila sveva.

La Cappella Palatina si trova nel sontuoso Palazzo dei Normanni, che oggi ospita il parlamento siciliano.

La Cappella è sicuramente il luogo più celebre della città di Palermo. I lavori di costruzione iniziarono nel 1130, anno in cui fu Ruggero II fu incoronato re di Sicilia, e terminarono nel 1143.

La Cappella è importante perché rappresenta la sintesi culturale e politica operata dai Normanni. Infatti, essa fonde in modo mirabile le espressioni architettoniche più rilevanti per la Sicilia: l'europea, la siciliana, la bizantina, l'araba. La Cappella si presenta sotto forma di basilica a tre navate sorrette da colonne di granito con capitelli corinzi riccamente decorati. L'elegante mosaico bizantino presente al suo interno, che si ritroverà nella chiesa della Martorana e nel Duomo di Monreale, è stato definito come uno dei più belli e meglio conservati di tutta Italia. È ormai certo che i mosaici sono stati eseguiti in due momenti successivi: si ritiene che i più antichi risalgano agli anni intorno al 1240, mentre quelli della navata centrale dovrebbero risalire agli anni 1260-1270.

I mosaici della navata centrale riportano scene dell’antico testamento; quelli del presbiterio ricordano episodi della vita di Cristo, e quelli delle navate laterali episodi della vita di San Pietro e San Paolo. Splendidi sono i mosaici più antichi, nella cupola che sovrasta il coro: rappresentano il Cristo Pantocratore (onnipotente), circondato da angeli ed arcangeli, e i quattro Evangelisti che paiono assorti in meditazione.

I mosaici di datazione più antica sono quelli della cupola, risalenti alla costruzione originaria del 1143.

Il soffitto in legno della navata centrale e le travature della altre navate sono decorate con intagli e dipinti di stile arabo. In ogni spicchio sono presenti stelle lignee con rappresentazioni di animali, danzatori e scene di vita della corte islamica.

Danneggiata dal terremoto del settembre 2002 fu sottoposta a restauri, conclusi nel luglio 2008. Il progetto dei restauri redatto dall'architetto Guido Meli dirigente del centro regionale per il restauro della Regione Siciliana venne finanziato dal mecenate tedesco Reinold Wurth per oltre tre milioni di euro.

Le decorazioni dei mosaici rappresentano scene di carattere aulico e venatorio con grande dedizione nell'esecuzione degli animali tra cui, oltre i mitilogici centauri appaiono leopardi, pavoni, cervi, cigni sullo sfondo di una vegetazione di alberi e palme. Le rappresentazioni dai canoni sontuosi ma con accenti di rigidità, delineano la chiarissima matrice greco-bizantina dell'opera. La volta della sala risale invece al periodo successivo di Federico II, come testimoniato dalla rappresentazione dell'aquila sveva.

La Cappella Palatina si trova nel sontuoso Palazzo dei Normanni, che oggi ospita il parlamento siciliano.

La Cappella è sicuramente il luogo più celebre della città di Palermo. I lavori di costruzione iniziarono nel 1130, anno in cui fu Ruggero II fu incoronato re di Sicilia, e terminarono nel 1143.

La Cappella è importante perché rappresenta la sintesi culturale e politica operata dai Normanni. Infatti, essa fonde in modo mirabile le espressioni architettoniche più rilevanti per la Sicilia: l'europea, la siciliana, la bizantina, l'araba. La Cappella si presenta sotto forma di basilica a tre navate sorrette da colonne di granito con capitelli corinzi riccamente decorati. L'elegante mosaico bizantino presente al suo interno, che si ritroverà nella chiesa della Martorana e nel Duomo di Monreale, è stato definito come uno dei più belli e meglio conservati di tutta Italia. È ormai certo che i mosaici sono stati eseguiti in due momenti successivi: si ritiene che i più antichi risalgano agli anni intorno al 1240, mentre quelli della navata centrale dovrebbero risalire agli anni 1260-1270.

I mosaici della navata centrale riportano scene dell’antico testamento; quelli del presbiterio ricordano episodi della vita di Cristo, e quelli delle navate laterali episodi della vita di San Pietro e San Paolo. Splendidi sono i mosaici più antichi, nella cupola che sovrasta il coro: rappresentano il Cristo Pantocratore (onnipotente), circondato da angeli ed arcangeli, e i quattro Evangelisti che paiono assorti in meditazione

The side streets were gorgeous and quiet without traffic.

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.

model: Gilda S.

This is probably the most representative picture of your trip to La Rochelle if you ever forget your glasses.

What would the kids doo with themselves if they didnt have all that technology?

www.youtube.com/watch?v=6AwUpiRprN4

 

I could hardly believe it

When I heard the news today

I had to come and get it straight from you

They said you were leavin'

Someone swept you heart away

From the look upon your face

I see it's true

So tell me all about it,

Tell me 'bout the plans you're makin'

Then tell me one thing more before I go

 

Tell me how am I supposed to live without you

Now that I've been lovin' you so long

How am I supposed to live without you

How am I supposed to carry on

When all that I've been livin' for is gone

 

I didn't come here for cryin'

Didn't come here to breakdown

It's just a dream of mine is coming to an end

An how can I blame you

When I built my world around

The hope that someday we'd be

So much more than friends

And I don't wanna know the price

I'm gonna pay for dreaming

When even now it's more than I can take

 

Tell me how am I supposed to live without you

Now that I've been lovin' you so long

How am I supposed to live without you

How am I supposed to carry on

When all that I've been livin' for is gone

 

And I don't wanna face the price

I'm gonna pay for dreaming

Now that your dream has come true

 

Tell me how am I supposed to live without you

Now that I've been lovin' you so long

How am I supposed to live without you

How am I supposed to carry on

When all that I've been livin' for is gone.

 

autor: Michael Bolton

Banda / Artista : Michael Bolton

Nombre de la Cancion Traducida: ¿Cómo se supone que voy a vivir sin ti?

¿Cómo se supone que voy a vivir sin ti?

   

Difícilmente pude creerlo

Cuando escuché las noticias hoy

Tuve que venir y escucharlo directamente de ti

Ellos decían que te ibas

Alguien barrió con tu corazón

En la mirada que tenías en tu cara

Me di cuenta que es verdad

Entonces dime todo acerca de eso

Cuéntame acerca de los planes que estás haciendo

Y luego dime una sola cosa antes que me vaya

 

Dime como se supone que voy a vivir sin ti

Ahora que te he amado por tanto tiempo

Dime como se supone que voy a vivir sin ti

Como se supone que voy a seguir

Cuando por todo lo que he estado viviendo se ha ido

 

No vine acá a llorar

No vine a hacerte un escándalo

Es sólo un sueño mío que se está esfumando

Y como puedo culparte

Cuando yo construí un mundo alrededor

De la esperanza de que algún día seríamos

Algo más que amigos

Y no quiero saber el precio

Que voy a tener que pagar por soñar

Cuando incluso ahora es más de lo que puedo aguantar.

 

Dime como se supone que voy a vivir sin ti

Ahora que te he amado por tanto tiempo

Dime como se supone que voy a vivir sin ti

Como se supone que voy a seguir

Cuando por todo lo que he estado viviendo se ha ido

 

Y no quiero saber el precio

Que voy a tener que pagar por soñar

Ahora que tu sueño se hizo realidad

 

Dime como se supone que voy a vivir sin ti

Ahora que te he amado por tanto tiempo

Dime como se supone que voy a vivir sin ti

Como se supone que voy a seguir

Cuando por todo lo que he estado viviendo se ha ido.

 

Letra Subida por: panzas (Colaborador Oficial Songstraducidas.Com)

 

Dear friends,

 

another summer’s ending and my doll and I just can’t let it go without celebrating it once more, so here’s the new collection!

In case you were wondering, yes, I was absolutely thrilled last year at convention, when they announced that Poppy will be headed towards Palm Spring and ever since, I was dreaming about making a collection that goes with the theme. So far, only one doll from the promising collection was revealed, so maybe my take on the theme will encourage the Poppy dolls to come?

Anyway, it’s been much fun doing once more a colourful and joy spreading collection that includes many of my favourite colors. It is a small collection and I’m already working on the next one, so I won’t do more copies of a design this time…

 

----------------------------------------------

 

Welcome to „Palm Dreams“! This fashion collection brings you a lot of vibrant colors and joyful patterns that celebrate the ever lasting summer in this timeless place. Mix and match to your heart’s content and have a pleasant time with us ♥!

 

Title / Titre :

Continuous Mediation Without Armistice. Page 3 /

 

Page 3 de la brochure intitulée « Continuous Mediation Without Armistice »

 

Creator(s) / Créateur(s) : Julia Grace Wales

 

Date(s) : circa / vers 1914-1916

 

Reference No. / Numéro de référence : MIKAN 4374266

 

collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&...

collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&...

 

Location / Lieu : Madison, Wisconsin, U.S.A. / Madison, Wisconsin, É-U

 

Credit / Mention de source :

Julia Grace Wales. Library and Archvies Canada, e010931360 /

 

Julia Grace Wales. Bibliothèque et Archives Canada, e010931360

Music in the Nazi state

Waltz for Nazis

The Vienna and Berlin Philharmonic served the Nazi state as well as the rival musicians could.

By Fritz Trümpi

In return, the renowned orchestra performed the main work of the musical representation of the Nazi state. In order to be able to continue this work in wartime without compromise, Goebbels gave the musicians the status of being indispensable until the end of the war, thus, he prevented them collectively from the entry into the Wehrmacht.

With the beginning of the war, travel activity of the Berlin ones increased rapidly. Between 1940 and 1944, the number of foreign concerts was up to three times as high as in pre-war times. Depending on the occasion, the orchestra provided the backing music for the German cannon thunder in the conquered territories, or appeased it in neutral states with its shawm sounds.

The Viennese were the tour monopoly of their Berlin colleagues a thorn in the eye. "If the Berliner Philharmoniker had left, the Propaganda Ministry would have paid for it, but we should pay for it ourselves," notes the protocol in April 1943, three months after the catastrophe of Stalingrad, when it came to financing a concert tour to Sweden.

As a rule, the budget was missing for long trips. Gauleiter Schirach did not have the financial means of Goebbels. Nevertheless, he protected his Philharmonic on the model of the Propaganda Minister. He also obtained an indispensable position for the orchestra until the end of the war. For the 100th birthday of the orchestra, without further he had renamed a part of the Vienna Augustinians street into Philharmoniker street. During the philharmonic's jubilee concerts, all other orchestral events were banned. The musicians thanked him by awarding the protector the honorary ring of the orchestra or striking up free of charge at Schirach's private receptions.

The different instrumentalization of the two rival orchestras can be explained by their different political references: here the Viennese are dealing privately with the highest Nazi representative in Vienna, there the interdependence between the Berliners and the minister responsible for propaganda across the Reich. This was accompanied by differences in the music-aesthetic attributions. Wilhelm Furtwängler, the central figure in both orchestras, stressed in 1942 on the occasion of the 100th anniversary of the Vienna Philharmonic: »The reason for your exceptional position is that the Philharmonic Orchestra is exclusively a Vienna orchestra.«

In Berlin, on the other hand, you do not make music in Berlin style, but »German«, according to Furtwängler. Wilhelm Jerger, who was then head of the orchestra, also saw the specific sound of the Vienna Philharmonic rooted on the Danube: "It is an outgrowth of Vienna, of old ground surface, whose musicality is proverbial!" In contrast, the influential Berlin music writer Oswald Schrenk put the Berliner Philharmoniker in 1943 expressly in the context of the state: they were the "most important musical bearers of culture in the Greater German Reich" and had rendered "immeasurable services to the German cause".

However, the politicization of the Vienna and Berlin Philharmonic in National Socialism have similarities. The high proportion of NSDAP members in both orchestras shows great loyalty to the regime. Especially among the Viennese, the proportion was exorbitantly high: Counting the memberships in affiliated organizations, party members accounted for 47 percent almost half of the entire orchestra staff. 25 musicians, just under a quarter, were also so-called illegals, who had been loyal to the Nazis during the ban of the NSDAP in the Corporate state. In contrast, the proportion of the Berliner Philharmoniker with about 20 percent of NSDAP members was significantly lower.

However, the most momentous aspect of their politicization in both orchestras is the exclusion of Jewish orchestra members. To prevent the orchestra from collapsing, the authorities occasionally resorted to special authorizations for both orchestras that were issued to musicians if they were only partially of Jewish origin or married to Jewish women. For the orchestra members of Jewish origin, however, there was no room left in both orchestras. The four Jewish members of the Berliner Philharmoniker had to leave the orchestra until the season of 1935/36 and were forced to emigrate - but the Berlin management revealed at least a delaying tactic in enforcing the exclusions.

By contrast, 15 orchestral musicians were expelled from the ranks of the Vienna Philharmonic in 1938, largely for "racial" reasons, but in a few cases also because of their political past. The Jewish members of the Vienna Philharmonic were only partially able to escape: seven were murdered in the concentration camps or died on arrest or deportation. After hints at a sympathy for the fate of the Jewish colleagues, let alone at rescue attempts on the part of the orchestra, one searches however in vain in the log books of the Vienna Philharmonic.

The author was born in Switzerland and lives as a historian and journalist in Vienna. This week his study "Politicized Orchestras. The Vienna Philharmonic and the Berlin Philharmonic Orchestra under National Socialism. "(376 pages, 39 euros) by Böhlau-Verlag.

 

Musik im NS-Staat

Walzer für Nazis

Die Wiener und die Berliner Philharmoniker dienten dem NS-Staat, so gut es die rivalisierenden Musiker jeweils konnten.

Von Fritz Trümpi

Im Gegenzug leistete das Renommierorchester die Hauptarbeit der musikalischen Außenrepräsentation des NS-Staates. Um diese Arbeit auch in Kriegszeiten ohne Abstriche weiterführen zu können, bewahrte Goebbels die Musiker mittels Unabkömmlichstellung bis Kriegsende kollektiv vor dem Einzug in die Wehrmacht.

Mit Kriegsbeginn nahm die Reisetätigkeit der Berliner rasant zu. Zwischen 1940 und 1944 war die Zahl der Auslandskonzerte bis zu dreimal so hoch wie in Vorkriegszeiten. Das Orchester lieferte je nach Anlass die Begleitmusik zum deutschen Kanonendonner in den eroberten Gebieten oder es beschwichtigte in neutralen Staaten mit seinen Schalmeienklängen.

Den Wienern war das Tournee-Monopol ihrer Berliner Kollegen ein Dorn im Auge. »Wären die Berliner Philharmoniker gefahren, hätte es das Propagandaministerium gezahlt, wir sollen es aber selber zahlen«, vermerkt etwa das Protokoll im April 1943, drei Monate nach der Katastrophe von Stalingrad, als es darum ging, einen Finanzier für eine Konzertreise nach Schweden zu finden.

In der Regel fehlte für ausgedehnte Reisen das Budget. Gauleiter Schirach verfügte nicht über die finanziellen Mittel von Goebbels. Dennoch beschützte er seine Philharmoniker nach dem Vorbild des Propagandaministers. Er erlangte für das Orchester ebenfalls eine bis Kriegsende geltende Unabkömmlichstellung. Zum 100. Geburtstag des Orchesters ließ er kurzerhand einen Teil der Wiener Augustinerstraße in Philharmonikerstraße umbenennen. Während der Jubiläumskonzerte der Philharmoniker waren alle anderen Orchesterveranstaltungen verboten. Die Musiker dankten es ihm, indem sie ihrem Protektor den Ehrenring des Orchesters verliehen oder auf Schirachs privaten Empfängen unentgeltlich aufspielten.

Die unterschiedliche Instrumentalisierung der beiden rivalisierenden Orchester erklärt sich aus ihren unterschiedlichen politischen Referenzen: hier der private Umgang der Wiener mit dem höchsten NS-Repräsentanten in Wien, dort das gegenseitige Abhängigkeitsverhältnis zwischen den Berlinern und dem für die reichsweite Propaganda zuständigen Minister. Damit gingen auch Unterschiede in den musikästhetischen Zuschreibungen einher. Wilhelm Furtwängler, dirigierende Zentralgestalt beider Orchester, betonte 1942 anlässlich des 100-jährigen Jubiläums der Wiener Philharmoniker: »Den Grund zu Ihrer Ausnahmestellung sehe ich darin, dass die Philharmoniker ausschließlich ein Wiener Orchester sind.«

In Berlin hingegen musiziere man nicht berlinerisch, sondern »deutsch«, so Furtwängler. Auch der damalige Orchestervorstand Wilhelm Jerger sah den spezifischen Klang der Wiener Philharmoniker an der Donau verwurzelt: »Es ist ein Herauswachsen aus dem Boden Wiens, aus altem Erbboden, dessen Musikalität ja sprichwörtlich ist!« Demgegenüber stellte der einflussreiche Berliner Musikschriftsteller Oswald Schrenk die Berliner Philharmoniker 1943 ausdrücklich in den Kontext des Staates: Sie seien die »bedeutendsten musikalischen Kulturträger des Großdeutschen Reiches« und hätten »der deutschen Sache unermessliche Dienste« geleistet.

Die Politisierung der Wiener und Berliner Philharmoniker im Nationalsozialismus weisen jedoch Gemeinsamkeiten auf. An dem hohen Anteil an NSDAP-Mitgliedern lässt sich bei beiden Orchestern große Loyalität mit dem Regime ablesen. Vor allem bei den Wienern war der Anteil exorbitant hoch: Zählt man die Mitgliedschaften bei parteinahen Organisationen dazu, machten Parteiangehörige mit 47 Prozent fast die Hälfte des gesamten Orchesterpersonals aus. 25 Musiker, ein knappes Viertel, waren überdies sogenannte Illegale, die den Nazis schon während des Verbots der NSDAP im Ständestaat die Treue gehalten hatten. Demgegenüber war der Anteil bei den Berliner Philharmonikern mit rund 20 Prozent NSDAP-Mitgliedern deutlich geringer.

Der folgenschwerste Aspekt ihrer Politisierung liegt bei beiden Orchestern jedoch in den Ausschlüssen der jüdischen Orchestermitglieder. Um ein Kollabieren des Orchesterbetriebs zu verhindern, griffen die Behörden mitunter zwar bei beiden Orchestern auf Sondergenehmigungen zurück, die Musikern ausgestellt wurden, wenn sie nur teilweise jüdischer Herkunft oder aber mit jüdischen Frauen verheiratet waren. Für die Orchestermitglieder jüdischer Herkunft gab es jedoch in beiden Orchestern keinen Platz mehr. Bei den Berliner Philharmonikern mussten die vier jüdischen Mitglieder das Orchester bis zur Spielzeit 1935/36 verlassen und wurden in die Emigration gezwungen – doch die Geschäftsführung der Berliner ließ bei der Durchsetzung der Ausschlüsse zumindest eine Verzögerungstaktik erkennen.

Aus den Reihen der Wiener Philharmoniker wurden 1938 hingegen gleich 15 Orchestermusiker vertrieben, großteils aus »rassischen« Gründen, in wenigen Fällen aber auch aufgrund ihrer politischen Vergangenheit. Die Flucht gelang den jüdischen Mitgliedern der Wiener Philharmoniker nur teilweise: Sieben wurden in den Konzentrationslagern ermordet oder starben bei Verhaftung oder Deportation. Nach Hinweisen auf eine Anteilnahme am Schicksal der jüdischen Kollegen, geschweige denn auf Rettungsversuche seitens des Orchesters, sucht man in den Protokollbüchern der Wiener Philharmoniker allerdings vergeblich.

Der Autor wurde in der Schweiz geboren und lebt als Historiker und Journalist in Wien. Diese Woche erscheint seine Studie «Politisierte Orchester. Die Wiener Philharmoniker und das Berliner Philharmonische Orchester im Nationalsozialismus.« (376 Seiten, 39 Euro) im Böhlau-Verlag.

www.zeit.de/2011/15/A-Wiener-Philharmoniker/seite-2

I had an old Thonet chair without legs and also had a big blue pot. I just fitted them together and painted the original flower pattern on the seat. Now I have a cool new chair. I really like it.

Thonet chair with blue pot leg by Lakbear.

 

Please take a look my other diy stools and chairs ideas:

www.flickr.com/photos/lakbearrr/sets/72157653696083395

www.flickr.com/photos/lakbearrr/sets/72157651833705599

www.flickr.com/photos/lakbearrr/sets/72157649955855821

www.flickr.com/photos/lakbearrr/sets/72157649651933117

 

Please, don't hesitate to contact me here for more info: szentantal@gmail.com

 

If you like this project, please join to my Facebook group: www.facebook.com/Lakbear2014

Taken for JMU Technology & Design by Rachel Crowe. All rights reserved. No usage without permission.

Fried Noodles - Kaigenrou, Osaka

焼きそば

會元楼（大阪・天満）

LEGAL NOTICE • NO use of this image is allowed without photographer’s express prior permission and subject to compensation. All Rights reserved.

 

Photographer retains ownership and all copyrights in the work.

• no work-for-hire • no Creative Commons license • no flickr API •

• Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati

 

licence | please contact me to obtain prior a license and to buy the rights to use and publish this photo. A licensing usage agreed upon with Bernard Egger is the only usage granted. |► more...

 

photographer | Bernard Egger фотография • collections • sets..

☆ Fine Art photography | Oldtimer Grand Prix legends & passion

☆ classic sportscars & motorcycles | traveling | Россия | Europe |

 

event | 2010 Tauplitzalm Bergpreis, Styria 💚 Austria

📷 | Fiat Abarth 124 sport rally :: rumoto images # 1545

 

----

:: Бернард Эггер, фото, rumoto, images, фотограф, 写真家, Nikon, FX, full frame, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Hill Climb, Bergrennen, Gleichmäßigkeitsveranstaltung, corse, Ecurie, veloce, speed, race trake, circuit, Rennstrecke, supershot, Racecar-Trophy, Tauplitzalm, Bergpreis, Bad Mitterndorf, Steiermark, Styria, Австрия, Austria, Automobilsport, Passione senza Tempo, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,

photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Rainer Schlegelmilch,

 

:: rumoto images of 110 CAR BRANDS:

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From the autumn 2016 trip to Vietnam:

 

Upon waking up and checking out around 8:00 in the morning, we found a bright, sunny day; great for a road trip down to Hoi An. After a quick breakfast (also known as me watching Junebug drink coffee), we went back to the store where we’d met Mr. Trung on Monday night.

 

Mr. Trung & Mr. Trong were there, as they said they would be, and we were off for a quick stop at the Danang Cathedral a few blocks away. This particular cathedral, also called Con Ga Church (Rooster Church) by the locals is slightly peculiar. For starters, it’s a lovely pastel pink. Aside from that, it’s a rather nice looking cathedral, though we couldn’t go inside; it wasn’t open that early in the morning, I suppose. (Some of the windows were open, though, and it was dark inside, so we didn’t miss much.)

 

The other aspect of this church – that lends to its local name – is the weathercock on top of the steeple. This isn’t an old church (as far as churches go). It was buily for Danang’s French residents in 1923 and today serves a Catholic community of over 4000. (Thanks to LP for this information…)

 

After 5-10 minutes at the church, we headed off to the Museum of Cham Sculpture, which is a place I was quite interested in seeing. This museum was founded in 1915 and has the largest collection of Cham artefacts in the world. (Before you allow that to excite you, I doubt there are more than a handful of museums in the world that even have Cham art.)

 

A quick note about the Cham. This is an ancient empire that rivaled the neighboring Khmer empire at Angkor. The Champa empire was nowhere near as large in scope or size as the Khmer empire, though it persevered. The Chams controlled the region on the Vietnamese coast from central to southern Vietnam between the 2nd and the 19th century (before finally being assimilated into Vietnam).

 

The art from this museum comes from sites all over the country including Phu Quoc and My Son. I was quite impressed by the collection and spent about an hour slowly walking around. It’s not a huge museum, but what they have is excellent.

 

From the museum, we finally headed off from Danang and made our way south towards Hoi An. Thanks to the advice of Mr. Trung, we stopped at Marble Mountain on the way to Hoi An. (I kept thinking it sounds like an amusement park…) Instead, I’ll give an excerpt from LP Vietnam about the Marble Mountains as it’s fairly succinct and says most of what you need to know:

 

“Just off the China Beach coastal road, the Marble Mountains (Ngu Hanh Son) consist of five craggy marble outcrops topped with pagodas. Each mountain is named for the natural element it’s said to represent: Thuy Son (Water), Moc Son (Wood), Hoa Son (Fire), Kim Son (Metal or Gold) and Tho Son (Earth). The villages that have sprung up at the base of the mountains specialize in marble sculpture, though they now astutely use marble from China rather than hacking away at the mountains that bring the visitors (and buyers) in.”

 

When you say you’re going to the Marble Mountains, what you really mean to say is that you’re going to Thuy Son. For about $2-3, you take an elevator up to the top of the mountain. This is the “crowded” mountain in terms of sites and, therefore, people, though it didn’t feel crowded at all – especially by Chinese standards that I’m accustomed to.

 

The first thing you see upon exiting the elevator at the top of the mountain is a pavilion that affords a nice view of the sea. The Sea Watch Tower & Xa Loi Pagoda are a good introduction to this mountain.

 

After that, you come to the first temple & cave. The Linh Ung Pagoda is directly in front of the Tang Chon Cave. From there, it’s a short, and not too strenuous, walk upstairs towards the peak. En route, you pass Van Thong Cave (which we skipped), exiting a “gorge” through a masonry gate.

 

At this point, you come to an area that can go off in quite a few directions. Immediately to the right of the gate is a short walk up to Linh Nham Cave (which we skipped); a relaxation area with another walk off that to the peak (skipped…); a path to Tam Thai Pagoda, Tam Ton Pagoda, and Tu Tom Pagoda (visited all). In addition, the River Watch Tower is off in this direction with its views of the other 4 Marble Mountains and Danang in the distance.

 

After visiting the pagodas, we returned to the main junction and visited the last two caves (past the relaxation area). Hoa Nghiem Cave guards the entrance to Huyen Khong Cave, which is a somewhat large cavern with a natural oculus.

 

From there, we walked down to the village at the base, and I bought a little marble Buddha. We talked with Mr. Trong for a few minutes about getting from Hoi An to Hue on Thursday. With very little negotiation, we paid 1.35 million VND/person (~$60). For a point of comparison, the domestic flights in Vietnam all seem to be less than $50, so this was a bit pricy, but also worth it.

 

With “negotiating” done, we were off again to Hoi An, about 20 kilometers off to the south. The Hoang Trinh Hotel was – by far – the best customer service I’ve had at a hotel on this trip (and possibly anywhere). It felt like we were being welcomed on Fantasy Island. The only thing missing was Tattoo shouting, “De plane! De plane!”

 

Madam An’s hotel is a wonderful experience. Buffet breakfast; comfortable, trendy rooms; tour arrangements and other advice; and the friendliest demeanor you could wish for. They even gave me a free tie when we checked out. The cost for this? About $25/night.

 

The Hoang Trinh hotel is right across the street from the Confucian Temple (which was incredibly unappealing to me) and, more importantly, close to the Old Town, which is the reason most people come to Hoi An.

 

Every full moon, Hoi An has a lantern festival which is supposed to be quite lovely, though we weren’t here during a full moon. That, however, didn’t keep me from enjoying myself. The Old Town is just a section of town near the river where all the buildings appear as they did centuries ago. Inside the buildings now, though, are restaurants (Vietnamese & western), bars, souvenir shops, and the like.

 

The Old Town is photogenic during day or night, but I liked it best at dusk. On Tuesday, after a quick rest at the hotel, we went to the Old Town in the early afternoon after grabbing some banh mi on the street.

 

Admission to the Old Town is 120,000 VND (~$5-6 US) and covers a full week. We spent the afternoon watching the sun go by, wandering around shops, and drinking beer (or coffee) on the riverside opposite Old Town. As the sun got lower, we wandered around the Old Town again, eventually eating a less-than-satisfying pizza (thank God I wasn’t too hungry) at one of the restaurants next to the river before passing by the Japanese Bridge on the way back to the hotel.

 

When we got back to the hotel, we had the fellow at the front desk (whose English wasn’t nearly as fluent as Jean, the day girl, but he was just as helpful) arrange a day trip on Wednesday to My Son, which is “Vietnam’s version of Angkor Wat.” More on that in the next installation.

 

As always, thanks for dropping by and viewing these pictures. Please feel free to leave any questions or comments and I’ll answer as I have time.

This image may not be used in any way without prior permission

© All rights reserved 2016

 

Oshawa, Ontario, Canada

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Without resorting to Cartell, does anyone know what this is?

   

Recovery of the second part of this wall illegally occupied by an ugly advertising for discounted clothes : STREET ART IS BACK in one of the most seen wall of Paris...Sexy Girls Without Borders n°6 gathers french (Lena), brazilian (Ozi & 2DCrew), south korean (Nana), belgium (Kriebel) and american (Andrew Wilson) street artists...

The Big Diabetes Lie And The Seven Steps To Health How You Can Reverse Type 2 Diabetes Naturally Discover more Today By visiting our website at goo.gl/yAicLV. More than 20 million individuals in the United States experience type 2 Diabetes. Each year nearly a million more are identified. With such quickly growing numbers, science is desperate to learn why. More than 20 years ago science discovered that individuals who had type 2 diabetes had body immune systems that were hyperactive. This leaves inflammatory chemicals in their body already. Harvard University identified this in the late 1990s and recognized one of the gamers in the circumstance as TNF Alpha, which is a chemical that the immune cells produce. If you are a sufferer of type 2 Diabetes, you know the havoc it can wreak on your health as well as on your financial resources. Not all your diabetic supplies are covered by every insurance. Checking your blood sugar and making sure that it remain in regular limits, blood glucose medications such as insulin and other oral meds are extremely pricey. Exactly what would it suggest to you to be able to do without those things again? Think about the Possibilities? What if you could get over your type 2 diabetes and get control of your blood sugar? What if you could alter things for the better with your life and your heath? What if you could stop taking pricey prescription drugs and have the ability to have a lower A1c? Seem like It's Too Excellent to Be Real? There's an old saying that if a thing sounds too excellent to be real, it most likely is ... however not constantly. Think of the distinction that a single vaccination made in our lives. It virtually eradicated smallpox. Consider the modification that the discovery of penicillin made in the lives of millions of individuals. We Can Assist You to Lower your A1C and Modification the Method Type 2 Diabetes Impacts Your Body. In the in 2015 alone, the remarkable product that you read about helped nearly 45 thousand individuals get control of their blood glucose and lower their blood sugar levels, lower their insulin level of sensitivity and even permitted many of them to stop taking medication. They completely stopped prescription drugs and had control of their blood glucose. No more blood sugar level tracking and no more medication. Now exactly what would that deserve to you? This year alone this item will assist more than 100 thousand type two diabetics who are looking for a method around the Big Diabetes lie. The 7 Actions to Health Book will give you all of the steps, set out for you. No more uncertainty, say goodbye to issues, no more Big Diabetes Lie ... Just the very best way for you to obtain healthy and stay healthy. There isn't a person in the world who does not see and comprehend that a lot of the ways we are dealing with the symptoms of type 2 diabetes aren't working. You're taking drugs to treat a disease process but are they working? Are they curing the issue or are they simply dealing with the signs and there isn't any genuine advantage since there isn't really any genuine modification in your condition. Diabetes is Insulin Resistance, however What Triggers It? What is the base cause of your diabetes? Inning accordance with the medical professionals, that cause is inflammatory in nature. When you prick your finger and get that high reading, it isn't really indicative of diabetes. There are people who have high blood sugar readings every day and they are not diabetic. IN A WORD Diabetes and your type two diabetic signs are being caused by an inflammatory reaction. Diabetics nearly all show that response, and exactly what's more, they show a greater rate of cancer, of cholesterol, of arthritis, of diabetic neuropathy and of cardiovascular disease and strokes. In type 2 diabeties, that can be triggered by inflammation. How Do We understand This is True? In February of 2015-- that's right, more than 2 years earlier-- University of California San Diego proved that type 2 diabetes is caused by swelling. That inflammation may be brought about by obesity to some extent but it need not be so. Inning accordance with UCSD, " swelling is usually a natural recovery action to infection or injury. "You get a recruitment of leukocyte that combat the infection or work to heal the injury," discussed very first author Emma Borgeson, PhD, a postdoctoral fellow at UC San Diego and UCD. "It is a good idea. It's just when the inflammation ends up being chronic that it can trigger illness to take place." According to Scientific American" Scientists have actually given that revealed that TNF-alpha-- and, more generally, swelling-- activates and increases the expression of a number of proteins that suppress insulin-signaling pathways, making the body less responsive to insulin and increasing the danger for insulin resistance." So why does the swelling take place? Type 2 diabetes can actually occur in patients who are of a regular weight. It doesn't occur frequently however it does occur. Most of the time science concurs that obesity triggers the concerns, inning accordance with Jerrold Olefsky, who works as an Endocrinologist at University of California at San Diego, but that is not always the case. Inning accordance with H.Henry Dong and other scientists at the University of Pittsburgh in their research study, "a protein called FOXO1 functions as a master switch that turns on the expression of another crucial inflammatory cytokine, interleukin 1-beta, which likewise disrupts insulin signaling." Dong's outcomes recommended that this inflammatory response and the insulin resistance strengthened and fed into each other in a sort of loop result. The two things do seem to feed into each other in numerous types of procedures, such as in rheumatoid arthritis, an inflammatory disease, which increases the danger of insulin resistance developing, Dong mentioned in his research. He further states that "we are trying to produce an antagonist, a particle, to inhibit FOXO1 activity" so that they can end diabetes but still permit FOXO1's other roles in the body, which include help in muscle cell development https://www.facebook.com/The-Truth-About-Diabetes-588881944638782/ https://aboutme.google.com/?referer=gplus #thebigdiabete...

Without mains electricity or lighting, this candle holder fixed to the lectern provides light along with oil lamps

- Church of St Mary, Honeychurch Devon

www.greatenglishchurches.co.uk/html/honeychurch.html

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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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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Manufacturer: Nova Bus

Model: LFS Natural Gas (CNG)

Year: 4/2017

Engine: Cummins Westport ISL-G

Transmission: Voith D864.6

Notes:

 

Please do not use, copy, or download this photo or any part of it without first asking for my permission. Thank you.

 

____________________________________________

 

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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.

youtu.be/TRMRH33VtUE

While not especially well known, World Without End (WWE) is actually a pretty good sci-fi movie. Keep in mind that it's the 50s, so special effects and sets will be minimal. Nonetheless, WWE could easily have been a Star Trek episode 10 years later. Swap out Hugh Marlowe and the other three for Kirk, Spock, Scotty and McCoy and you'd have a solid Trek episode. WWE features reasonable acting, a good pace and some still-relevant social commentary. The look at post-apocalypse earth didn't break any new ground, but overall effect is quite watchable.

 

Synopsis

"Man's first trip into space" is a rocket carrying four men, sent to orbit Mars. On the way back, they encounter a "time displacement" that accelerates them to near the speed of light. They're rocket crash lands on a snowy, mountainous world. The four get out and explore the earth-like world. It turns out to be earth, but hundreds of years in the future. They're attacked by a giant spider (dog size) and grossly disfigured cavemen. When they seek shelter in a cave, they find a steel door to an advanced civilization living underground. The undergrounder men are milk-toast, the women are all tall 20-somethings in short skirts. The men refuse to help the 50s men fix their ship, half out of spinelessness at having to face the mutated cavemen (radiation sickness descendants) but half out of stirred up intrigue by one of the underworlders who is jealous. Hugh Marlow is stealing his girl. The intrigue man is discovered for who he is, exposed by a non-mutated girl (20ish) from the surface. The underworlders agree to help the 50s men make weapons to face the cavemen. They make a bazooka. (?!) With their trusty bazooka, they corner the mutates in a cave. Hugh Marlow challenges the leader to hand to hand combat. He wins and the mutates disband. Buoyed by such a victory, the underworlders come up and start building houses on the surface. Mankind resumes its place. The end.

  

The pacing is good and the plot full of things going on: a trip to Mars, a crash landing, attack by mutant cavemen, a secret underworld civilization, murder intrigue and cavemen vs. a bazooka. (sakes!) The scenario is intriguing enough to carry over the weak parts. This is a good look into the psyche of 50s atomic angst and bunker mentality.

WWE is built upon the assumption that Cold War would eventually turn "hot" and be as bad (or worse) than imagined. Amid WWE's social commentaries, is the resignation that nuclear war would happen and it would wipe out all that mankind had built, turning men back into savages.

The model rocket in WWE is the same one used in Flight to Mars ('51). It was a cool 50s style rocket. It was fun to see it going back to Mars.

While this plot device would become common to the point of cliche in later years, it was pretty novel at this point. Time displacement was a background feature in The Twonky to explain how the mischievous future robot got to 1953. WWE may be the first sci-fi movie to feature time travel by humans.

The 1952 movie Captive Women (more speculative fiction than sci-fi), looked at America many generations after the much-expected nuclear war. They have many similarities. The normal people live underground. The mutants rule the surface. Among the mutates, there are some which have become normal again. The normals are weak and somewhat corrupt, though they have great women. In the end, the underworlders and the surface dwellers reunite.

The "normals" who lived underground are like the logical extension of 50s bunker survivalists. H.G. Wells even touched on this in his 1898 novel "War of the Worlds" when his artilleryman character (on Putney Hill) expounded on his plan to live (with others) in the sewers and tunnels under London, learning science, keeping civilization alive. The underworlders are a likely result of what the artilleryman's dream would have turned into.

Totally incongruous for the story line, though of great interest to teen male movie goers, the women of the future are all 20-somethings with great figures and go around dressed in low-cut dresses with very short skirts. Their attire is much like that of the martian women in Flight to Mars and as spoofed by Abbott and Costello in their ...Go to Mars romp in '53.

One of the social commentary messages in WWE is that people are becoming complacent and weak. The "pioneers" are the standard of tough self-reliance. Men of the 50s were already getting soft. By 2508, the men were all cowardly milk-toast. Being safe and comfortable was all that mattered to them. Our four men from 1957 re-ignite the pioneer spark in the under world men.

 

Bottom line? WWE is a good tale. While not as much high-art as Forbidden Planet, it has enough plot and thought to entertain even viewers who aren't already 50s sci-fi fans.

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Opening-act dei Duran Duran, il 12 giugno 2016, nell’ambito del Street Music Art all’Assago Summer Arena a Milano, le Bloom Twins.

 

Bloom Twins are a Ukrainian-born English pop music group made up of twin sisters Anna and Sonia Kuprienko. They refer to the style of their music as "dark pop." The girls released their first digital single in June 2013 and are currently producing an EP due in the fourth quarter of 2014.

 

Sister act Bloom Twins merge several genres, adding flute, harmonica, piano and electronica to a diverse vocal style to create something new, fresh and unique.

 

After uploading their debut track ‘Fahrenheit’ to You Tube in 2013, Bloom Twins made a double impact on both music and fashion, opening the door to numerous profile pieces in magazines such as Paradigm, Vogue and ID. Soon after, a support slot for Eels at O2 Academy in Liverpool was followed by Iggy’s artist of the week at MTV. 2014 saw numerous releases and videos bringing more attention. Following the release of “Get up, Stand up” the Bloom Twins were featured on BBC NewsNight with Jeremy Paxman and graced pages of broadsheet newspapers such as The Sunday Times, The Guardian, The Daily Mail as well appeared on Simon Lederman's show on BBC Radio London 94.9, Gary Crowley’s and on BBC Introducing.

 

A period out of the country halted momentum before they made a breakthrough appearance in Unicef’s Imagine campaign alongside Katy Perry and Will.i.am among other heavyweights of music and media.

 

A 365 picture without me for once.

 

Press L.

 

Today I didn't have time to take a photo before the sunset. I was stuck at school listening to a teacher rambling about theater in the past, quite boring since I already studied it in normal history of art lessons.

 

Homework

-Latin: translate 14 sentences

-English: correct the test

-Geometry: study + exercises

-Science: none.

 

About the english test, it didn't go as well as I thought it would. But I must admit that my teacher was unfair because she marked some things wrong although they were correct. Oh well...

 

Ps: my cousin wrote everything while I spoke to her :) my cousin is happy :)

cousin says: Hi Flickr!!!!

 

THANKS Jessica and Karen for my first testimonials ever!!!! I love you. If you don't know them yet, well, you haven't visited Flickr entirely. They are lovely and beautiful girls who inspire me each day :D <3

Can't have a 365 without the main man of Love. Mr. Hugh Heffner! Just saw my mom's copy of his Marylyn Monroe Playboy issue. When looking it up on E bay just to see a net worth, I was shocked to see it was only selling for around 25-60 dollars. Although if you had a signature someone wanted to get rid of theirs for 8 grand.

 

***

Today we got free passes for Madame Tussaudes Wax Museum at the Venetian. Jenna Jamison was in the next alley down and we got a couple ones of Corey fondling her. =P Lindsay Lohan was there too which was fun to play with her addictions. Great place to check out if you like snapping away at no time limit

 

Check out our 365 Here

 

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

Diana Nyed A 64-Year-Dld Woman Swam From Cuba To Key West, Florida Without A Shark Cage (August 31, 2013 To September 2, 2013). She Is now Attempting To Swim For 48 Hours (October 8- 9, 2013) Straight In A Pool Installed In Manhattan In Herald Square In Front Of Macy’s Department Store To Benefit Victims Of Hurricane Sandy. Wearing A Pink Swim Cap, Diana Nyad Dove Into The 120-Foot, Two-Lane Pool Set Up In Herald Square And began Doing Laps Shortly Before 9 AM Tuesday October 8, 2013. Diana Nyued’s Aim Is To Raise Money For The AmeriCares, A Nonprofit Health And Disaster Organization.

  

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The Enterprise is without a doubt the strangest ship in the Territorial Fleet. While most designs used by the TN are homegrown small- to mid-sized, highly adaptable vessels capable of rapid deployment to fill a multitude of roles, the Enterprise is gigantic, slow, and decidedly not of Republic (or even human) origin. Found adrift and unpowered, the origins of this former derelict are unknown. Carbon-dating places it around 5000 years old, and while the titanium alloy used in its construction is not exotic, its sheer cost boggles the mind. The elements used to power it's engines are extremely rare and also costly, perphaps another reason why the Republic never attempted to build a copy.

 

The Enterprise is by far the largest ship in the Territorial Navy, more than four times the tonnage of a Claymore-class cruiser. To call the Enterprise slow is slightly misleading. Its FTL seems to be slower than standard Slingshot drives, and its sublight speed is likewise unimpressive. However, the Enterprise uses a unique singularity drive which allows it to make miniature FTL jumps inside of a solar system.

 

While the technology has been succesfully reverse-engineered, it is too large and expensive to practically fit aboard any vessel. A modified, less powerful version was eventually created and is used as the -Cuttthoat-class's F-Zero drive.

 

The Enterprise offers a unique capability for the Territorial Navy. It is the only battleship-sized vessel in the Fleet, with enough hangar space to house multiple space wings, fulfilling the role of a sort of super-carrier. Unlike other Republic ships, all its weapons are energy-based, mostly lasers with a smattering of plasma. Its shield are extremely weak, only strong enough to deflect astral debris, but its armour is immensely strong, able to shrug off devastating amounts of firepower.

 

The Enterprise has multiple sections that can detach themselves from the main hull, exposing additional hangers for rapid deployments. It is suspected that these had other uses for its original creators, but none can tell exactly what. The Enterprise is not attached to any Territorial Fleet Group, instead serving as the flagship of its own Enterprise Task Force, which may serve on its own or be attached to a fleet as needs require.

 

Service aboard the Enterprise is seen as a tremendous honour, and the ship is beloved thoughout the Holy Terran Republic. It has a reputation for good luck. When attacked by a Concordat attack group in 2388, the "Big E" was heavily damaged, and destruction seemed imminent as a Concordat battleship closed in on the wounded ship.

 

It was at this moment that laser battery #1 fired a burst straight through the enemy's core, annihilating it. Later, the shot was calculated to require more than 200% the maximum energy capacity of the charge banks. Even more strangely, post-battle investigation revealed that all power conduits to the turret had been severed before the shot was taken. None of the gunnery officers could testify to having taken the shot.

 

There are numerous eyewitness accounts of "ghostly figures" see throughout the ship. Sometimes they are credited with saving a crewman from a scenario where certain death seems the only possible outcome. It is no wonder that the highly superstitious Territorials believe that the spirits of the Marines who died securing the ship return occasionally to protect them. Some believe it is the ghosts of the original creators of the ship.

 

Morale aboard the Enterprise is consistently among the highest in the entire fleet. Its current commander is Captain Desjani, who serves under Admiral Geary, who is in overall command of the Enterpise Task Force.

 

Average number of yearly missions undertaken by ship class:

Rapier-class: 31

Claymore-class: 22

Taffy-class: 156

RTS Enterpise: 40

Poland after tragic death of its President Lech Kaczynski, who died in a plane crash in Smolensk, Russia, on 10th April 2010.

 

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“Without leaps of imagination, or dreaming, we lose the excitement of possibilities” -- Gloria Steinem

 

There is nothing wrong in aspiring for great things. Dreams provide us a driving force to do our best. Things will not always go as we please but that shouldn't keep us from trying again. What's important is that we learn new things along the way and enjoy every moment while working towards our goal.

XXXII. The Life without Passion

 

THEY that have power to hurt, and will do none,

That do not do the thing they most do show,

Who, moving others, are themselves as stone,

Unmovèd, cold, and to temptation slow,—

 

They rightly do inherit heaven's graces,

And husband nature's riches from expense;

They are the lords and owners of their faces,

Others, but stewards of their excellence.

 

The summer's flower is to the summer sweet,

Though to itself it only live and die;

But if that flower with base infection meet,

The basest weed outbraves his dignity:

 

For sweetest things turn sourest by their deeds;

Lilies that fester smell far worse than weeds.

 

-- W. Shakespeare