View allAll Photos Tagged without
This image may not be used in any way without prior permission
© All rights reserved 2011
Mississauga, Ontario, Canada
Toronto Pearson International Airport CYYZ
20110418_215523_0475
Without edit ...
.
αℓℓ яɪɢнτs яєsєяvєɒ ©
__________________
DONT JUST VIEW
__________________
Feel free to ask ...
© This photograph is a copyrighted image. Please do not download this image to use or distribute for any other purpose without my expressed consent.
Use without permission is ILLEGAL.
In an effort to keep the Texas Eagle on time, Amtrak made the decision to bypass Dallas Union Station and forced any Dallas passengers to use the TRE to get back to Dallas Union. Okay, I'm just kidding, but seriously, the TRE is so deadest on NOT letting Amtrak use its former B-RI line between Dallas and Ft. Worth, that 21 had to back all the way passed the Dallas Convention Center, and then had to use the Eastbound/Southbound main to go to Arlington and Ft. Worth. Now, if the TRE would have allowed the Eagle to use its tracks, it could have moved forward out of Dallas Union and gone to the Ft. Worth Transportation center without having to make a back up move passed Tower 55 in Ft. Worth, but NOOOO, TRE would not have that... It is interesting to me the politics/liability/reasons behind why TRE will not let Amtrak on its line. Anyone know?
Manufactured by Héard & Mallinjod, Lyon, France for Plavic firm in Lyon.
Model: c.1930, serie 00, Without identification
This camera is a rare Hémax folder plate camera and Hémax folders produced 1923 to 1930s, according to
Sylvain Halgand and
Folder bed plate film camera, film size: plate 9x12cm
Lens: Plavic - Anastigmat 135mm f/6.3, filter slip-on, serial no.11135
Aperture: f/6.3-f/32 setting: lever and scale on front of the lens-shutter barrel
Focusing: bellows focusing, by a thumb wheel on the right of the front cover,
index and scale on the left-inside of the front cover,
Focus range: 1-10m +inf
Shutter: Gitzo leaf shutter type B1, speeds: 1/25, 1/50, 1/100 +T & B,
setting : lever and scale on the shutter
Cocking and Shutter release: by the same lever, on front of the lens-shutter barrel,
Manuel shutter cocking and releasing on the same time, for the speed settings, by pressing once the lever, the diaphragm opens and closes, (like old box cameras !)
Cable release socket: on the lens-shutter barrel
View finder: 1) Waist level Brilliant Finder on top of the lens and bellows mount plate, turnable 90 degrees left upon its own axis for landscape pictures
2) Sports finder: A big wire sports finder, hinged on the lens standard and used with a folding rear peep sight part, on the left side of the camera
Bellows single-extension, can bend over with a sliding part on the lens standard
Flash PC socket: none
Self-timer: none
Front plate and bellows opening: front plate opens by a knob on the top side of the camera,
it is unvisible cause it is under the leatherette cover, then pull the bellows forward by engaging its rails to the front cover mounted rails, then press the two jagged, knob like chrome handles on front of the lens rails to inwards simultaneously, then pull out the bellows as far as reaching to the focus scale,
Closing: simply pull in the bellows as far as it goes, than push to inward the struts
Back cover: as a plate film holder, removable by sliding upwards
Engraving inside of the front cover: PLAVIC
Tripod sockets: Old 3/8'' type, two, on the bottom and left sides of the camera
Lugs for leather Hand grip
Body: metalic, Weight: 850g
serial no.1788
Plavic It was believed that Plavic was a French brand of camera bodies as well for the lens and shutters, but this is not exactly true:
As to Sylvain Halgand
"The traces of Plavic are in the catalog of Photo-Plait 1919. The actual name of the manufacturer is Planchon Cellulose Corporation in Lyon. Their production is limited to the cellulose films and maybe printing papers and photographic chemicals.
The problem with Plavic is that this brand has never made cameras.
The cameras named Plavic made by another manufacturer and Plavic completed its offers by including devices to their catalog.
They seem few and have been circulated before or around the 1930.
The shutters in Plavic cameras were named Plavicos but it was made by Gitzo".
I found no information about the manufacturers of the Plavic lenses.
Plavic marked cameras were Pliant 127 and 6x9 folders, Le Plavico 6x9, and Box etc. All of them were the same cameras of other brands.
So, here, this Plavic camera is exactly the same camera as much as in very fine details and lens with Hémax folder plate serie 00. It is clear that this camera was made by Héard & Mallinjod for Plavic.
I couldn't find any information about 9x12 plate camera labelled as Plavic in the internet sources but in McKeown's.
As to McKeown's Cameras 2006: in the Planchon section, p.786
The company was founded by Victor Planchon, Boulogne & Lyon, France.
Hirlemann & Moreau (later Héard & Mallinjod) made a 6x9cm and 9x12cm folding plate cameras in c.1920-28 under the Hemax label. After those dates some Hemax cameras are found under the PLAVIC label (PLAnchon VICtor). Victor Planchon collaborated with the Lumiere brothers in fabricating the first films for the Cinematographe in Boulogne-sur-mer and later in Lyon. He became director of the Lumiere factory in the Lyon suburb of Feysin where he made and distributed films with Lumiere emulsions under the name Plavic. For some time, he also sold Plavic cameras in 9x12cm, 6x9cm sizes, before these became Lumiere cameras".
Gitzo is a French company, founded in 1917. Its name was derived from the founder's name Arsène Gitzhoven. Gitzo was a name given to an early shutter and later adopted for all products manufactured by the company. Initially Gitzo made camera equipment and precision accessories, especially shutters. After World War II it concentrated on the manufacture of tripods and tripod heads, for which it is renowned today.
Camera importers and manufacturers offered their camera models with a range of shutter and lens combinations. A good example for this are the Héard & Mallinjod Hemax models, which were offered with a range of lenses manufactured by Berthiot, Boyer, Darlot, Hermagis, Itier and Roussel, and for which Gitzo, Vario and Compur shutters were available. as to Camerapedia
and Gitzo Shutters
Clowns Without Borders is by essence a non-typical NGOs. Whereas other organizations help poverty-stricken populations with food, shelter, donations, CWB supplies a no-less fundamental - yet scarce - resource : laughter. Sending professional performers, actors, dancers in refugee camps across the world, this organization tries to heal the wounds of war through comedy, allowing children and parents alike to forget - if only for a a few days - the ordeals they have just been through. CWB brings together an amazing array of artists and social workers, and it has been an honor to volunteer as a photographer for their "Sudan trip" volunteer party. For more information, visit : clownswithoutborders.org/
This was without a doubt the best day of our trip. We went out with Einar and his son from Öræfaferðir / Local Guide Travel Service. They were both amazing, and we would highly recommend their services! Please feel free to check out the link below for more information.
Our first stop was to throw on some crampons and hike along the Svínafellsjökull Outlet on Vatnajökull Glacier. These were some of the most breathtaking sights we have ever seen, and it was even more amazing to be on them and experiencing them first hand.
Interesting trivia facts from our guide, Einar:
An early fight scene between Christian Bale and Liam Neeson in Batman Begins was filmed on this glacier. Because the glaciers are always melting and evolving, we did not see the glacier exactly as they did, but this is still where it all went down. Interestingly, Liam Neeson was not even aware they were shooting a Batman film at the time of the shoot. Director Christopher Nolan apparently likes to play things "very close to the chest." Here is a shot of my wife and I reenacting their exciting battle.
Additionally, episodes from Season 2 of HBO's "Game of Thrones" were filmed here. Icelandic locals get a real kick out of the scenes on display because chase scenes that were intended to take place over the course of several miles clearly show the distinctive "Pig Mountain" (Svínafells, hence Svínafellsjökull means "Pig Mountain Glacier") in the same spot in the background, clearly indicating that they had only moved maybe 100 feet in between shots.
Nikon D800
24-120mm f/4 Lens
Route 501 - The Queen Streetcar, Toronto [ transit.toronto.on.ca/streetcar/4101.shtml ]
"'A World Without Love' is a song that was recorded by the English duo Peter and Gordon and released as their first single in February 1964, reaching #1 in the UK Singles Chart in April. The song was written by Paul McCartney and attributed to Lennon/McCartney. This song was never released by the Beatles and despite online rumours, no recording of the song by the group survives The Beatles. The Peter and Gordon single included 'If I Were You' written by the duo. It was later included on the duo's debut album in the UK, and in the US on an album of the same name. In June 1964, "A World Without Love" topped the Billboard Hot 100 in the US. It is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll." en.wikipedia.org/wiki/A_World_Without_Love
Please lock me away
And don't allow the day
Here inside, where I hide with my loneliness
I don't care what they say, I won't stay
In a world without love
Birds sing out of tune
And rain clouds hide the moon
I'm OK, here I'll stay with my loneliness
I don't care what they say, I won't stay
In a world without love
So I wait, and in a while
I will see my true love smile
She may come, I know not when
When she does, I'll lose
So baby until then
Lock me away
And don't allow the day
Here inside, where I hide with my loneliness
I don't care what they say, I won't stay
In a world without love
So I wait, and in a while
I will see my true love smile
She may come, I know not when
When she does, I'll lose
So baby until then
Lock me away
And don't allow the day
Here inside, where I hide with my loneliness
I don't care what they say, I won't stay
In a world without love
I don't care what they say, I won't stay
In a world without love
McLaren Days in 2016, Spa Francorchamps
Thank you all for your support ! You're more than 14000+ fans on our Facebook page !
All rights reserved. Do not share without any permissions.
Feel free to comment ! And if you like it, share it :)
Why 'Alita Battle Angel Movie for Free' Is not really a Superhero Movie By BRANDON DAVIS - January 16, 2019
In adapting the Battle Angel Alita manga for the giant screen, Alita: Battle Angel is just not telling a superhero story having its impressively enhanced lead character.
This kind of theme was important to those included in the upcoming film. Within a recent interview with ComicBook. com, both Rosa Salazar and Christoph Waltz firmly disagreed with all the notion of Alita as being a superhero, whatsoever -- and you can check it out inside the video above.
"I don't think I play a supe hero, " Salazar said. Waltz promptly agreed with his co-star. "I think this can be a hero, this is a hero's journey, " Salazar said. "I don't believe that she actually is a superhero. "
Waltz, actually was enthusiastic about the thought that alitabattleangelfullmovie.com is not simply another superhero film. "I think that's what really sets this apart, " he said. "Because difficult. It's a human story. The point that you can find, parenthetically, improved humans, is secondary. It's a human story, which is really why is it so approachable, and you will identify. inches
Since the film therefore makes itself relatable for that average moviegoer without any supernatural or enhanced abilities, the actors believe audiences are going to be in a position to connect to the storyline seeing before their eyes. "Well, it creates you really feel something, and that i wouldn't head to those movies feeling something, " Salazar said of blockbuster comic book movies. "I would venture to see six square blocks being blown up. That's what I would see. "
"It's a lot of fun, in case you are into that sort of thing, " Waltz added. "But within our case, body fat escape. In the superhero thing, it is possible to lean back and let things destroy the other person. inch
The thought of telling an extremely human story with Alita: Battle Angel goes up from the top of production to executive producer Jon Landau, who knows something about telling emotional stories having brought Titanic to our lives. "You must create a character that's real, " Landau said, referencing a character an extraordinary visual effects team worked tirelessly to provide an authentic look. "She's an extremely human type character really in this world. You've established our planet where you're using enhanced technologies to create humans do items that they couldn't do before, so why do you produce a character like this which has these types of unique turn to her? inch
Ultimately, the physical trait which can make Alita look most not the same as the everyday person is only one which honors its manga source material. "You must find a reason to make the big eyes play within a scene, " Landau admits. "They can not be there simply because, 'Well, we chose to make big eyes. ' They have to fit the emotions of what she's doing each time. Ultimately, our bar is we're shooting this experience all the other actors each time the thing is Alita inside a shot we may have witnessed Rosa in that same shot using the other actors. That's everything we work to. inch
Everything said, Waltz and Salazar don't seem to get any interest in ever joining a universe such as those brought together by Marvel and DC movies. Salazar admits she does not have enough of a knowledge base within the comic publishers or their films to pick a popular while Waltz says he hails from a "totally" different universe than one which would concern him using the titles.
Alita Battle Angel Film hits theaters on February 14, 2018.
Without the help of Sanae's amazing tutorial, I think this placket would have kicked my butt! Hard to tell from the photo, but it's a double folded placket that hides the buttons inside the fold. I was determined to use stash fabric but only had one yard cuts (short sighted! That amount used to be big enough!) so had to use a contract fabric for the placket and cuffs. Although a few years old, I still love this Lotta Jansdotter print and hope that my daughter will be willing to wear it!
All rights reserved © 2012 Bernhard Egger :: eu-moto images
Usage of our photographs is defined by the laws of copyright
NO RELEASE ! NO Creative Commons license | NO flickr API
► Absolutely no usage without my prior written permission ◄
existing as art print, canvas print, gallery print, XL poster ...
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
☆ Бернхард Эггер :: eu-moto images™ | pure passion - just 4fun
►my profile... |►most interesting img |►collections... |►sets...
★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motorsports ★ Oldtimer GP ☆ TT IOM ★ football ★ Fine Art photography ★ landscapes | alpine & mediterranean ☆ Greece | Austria | ☆ Russia | Россия
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
I'm admin of 70 and member of 500 groups (2014) |► facebook
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Todos los derechos reservados • Tous droits réservés • Todos os direitos reservados • Все права защищены • Tutti i diritti riservati
► AGHET - Der Völkermord an den Armeniern ◄
flickr profile | interesting images | my photos...
:: eu-moto tags: Бернхард Эггер, ФОТОГРАФ, eu-moto, Bernhard Egger, Egger, photofiles, eumotoimages, photo, Foto, Fotos, Bild, Bilder, pictures, photography, カメラマン, Leidenschaft, Мотоциклы и байкеры, 摩托, 車, バイク, action, classic, Classic-Motorrad, emotion, emotions, eu-moto-mc, events, Faszination, Gedächtnisrennen, historic, historique, historisch, Leidenschaft, passion, Maschine, Moto, motocyclisme, Motociclist, Museo, Motorcycle, Motorcycles, Motorrad, Motorräder, Motorbike, Motorrad-Klassik, Motor-rama, Motorsport, motorracing, Motorradsport, FIM, Rennsport, motorsports, old, Oldtimer, Oldtimermagazin, Oldtimersport, racer, racing, race trake, Rennen, Rennsport, satisfaction, Szene, speed, storiche, vintage, Zweiradsport, Cafe-Racer, Chopper, Meisterschaft, Weltmeisterschaft, power,
Event, Bergpreis, Bergrennen, Bergtrophy, Bol D’Or, eu-moto-schwanenstadt, FIM, Grand Prix, IOM, Manx, MotoGP, memorial, Mugelo, Nürburgring, Österreichring, Oldtimer Grand Prix, race, Red Bull Ring, IGFC, roadracing, road race, Salzburgring, Schwanenstadt, Straßenrennen, Strassenrennen, TT, Tourist Trophy,
british, english, AJS, Ariel, Brough Superior, BSA, Enfield, Greefes, Hesketh, Matchless, Morgan, Norton, Panther, Rickman, Royal Enfield, Rudge, Scott, Seeley, Sunbeam, Triumph, Triton, Threewheeler, Velocette, Vincent,
italian, Aermacchi, Aprilia, Benelli, Bimota, Bianchi, Beta, Cagiva, Ducati, Desmo, Garelli, Gilera, Italjet, Laverda, Magni, Malaguti, Morbidelli, Motobi, Moto Guzzi, MV-Agusta, Parilla, Piaggio, SWM, Corse,
german, Ardie, BMW, Boxer, EMW, Hercules, Horex, Ilo, Kreidler, Maico, Münch, MZ, MuZ, NSU, Blauwal, Sportmax, Neander, Sachs, Triumph, Zündapp,
japan, Bridgestone, Honda, Yamaha, Kawasaki, Suzuki,
ATM, Buell, Bultaco, Böhmerland, CZ, Derbi, Dnepr, Egli, GasGas, Harley Davidson, HD, HOG, Harley, HMW, Husaberg, Husqvarna, Indian, Jawa, KTM, Kymco, LCR, Montesa, Panonia, Penton, Puch, Rotax, Ural,
photography, Nikkor, photographer, professional, supershot, Sportfoto, Foto, media, press, eu-moto, gallery, Galerie, collection, Sammlung, images, photos, Aich, Peter Aicher, Willi Aicher, Pitzenberg, Oberndorf, Schwanenstadt, OÖ, Austria, Nikon, FX, full-frame, sidecar, Seitenwagen, Beiwagen, Kneeler, Weltmeister, world champion, Giacomo Agostini, Auinger, Bartol, Jonny Cecotto, Michael Doohan, Joe Dunlop, Everts, Rupert Hollaus, Mike Hailwood, Kaserer, Eddie Lawson, Marco Luccinelli, Randy Mamola, Alois Maxwald, Siegfried Minich, Eduard Stöllinger, Phil Read, Kenny Roberts, Valentino Rossi, Jarno Saarinen, Barry Sheene, John Surtees, Parzer, Franco Uncini, Rolf Biland, Kurt Waltisperg, Klaffi, Klaffenböck, MSV Schwanenstadt, Freddie Spencer, Adolf Hänni, Ben Birchall, Clews, Grabmüller, Bruno Kneubühler, Karl Zach,
Vom Oldtimer Grand Prix Schwanenstadt 2012/14... gibt es tausende weitere Aufnahmen. Nikon FX-Format - Qualität & optimale Eignung für Mega-Poster.
Hier sehen Sie ein Musterbild in reduzierter Auflösung.
Some say that Bridgetown, Nova Scotia was named by a sailor, in honour of the eponymous city in Barbados. Others claim its name came more obviously, simply by being a crossing of the Annapolis River. History never really mattered much, as we’d bike the big adventure from Beaconsfield and back — passing through the formerly segregated community of Inglewood, settled when too much melanin kept you living on the outskirts. It was three kilometers, alternately downhill and level, past the homes and fields as we rolled to the river.
We’d stop first at East End Market for some dirt-cheap sticks of Bazooka Joe, about the colour and consistency (and taste) of a pencil eraser, with the bonus of cheesy wax-paper comics slipped inside the wrapping. Whatever pocket change could purchase. We'd go racing side streets to the elementary school playground, having fun with what the town kids left vacant for summer vacation. Then we’d pedal over river to the south side, where Young Brothers hung on with their little country storefront, hunting gear for sale out back. They were resident in a railroad warehouse, just feet from former tracks with no rumbling remaining, no heavy freight to shake the guns off the walls. Across the way, the Bridgetown station sat still and silent, grass in her tracks and shingles peeling, no one to care but birds roosting.
There were two bridges for crossing if you found yourself on the wrong side of the Annapolis, by the asphalt road or railbed. We’d ride our bikes down one smooth surface, then rattle over the other. The town boys would dive from the rusty train trestle, splashing down in murky riverwater. I never joined them, too practical and paranoid in affairs of personal safety. Just short years earlier, the children would scatter like pigeons to a steam whistle, but they’d hauled up the ties and scrapped the steel by 1990. There’d be no more trains coming or going, no good or bad vibrations for anyone in their wake.
We were like trains without tracks in those days, hyper with ungauged emotion, full speed ahead in all directions at once. We knew we didn’t matter, born to a past that was dreamed away before we existed. It was obvious in the empty storefronts, lonesome buildings, what little was left of industry. Hard work and easy times came crashing, leaving us our jungle gyms of dereliction. The gaping hulk of Acadian Distillers sat at the end of Inglewood Road, on the north border of Bridgetown. Great walls of brick ringed by a paved parking lot, cracked and weedy, windows gaping like tree hollows. We’d take our bikes and skateboards up old loading ramps, stumble the perimeter and peek in windows with no one to shoo us off.
The town was dying, and we could feel it, but it was a thrilling way to go. Everything before us was either burned out, broken down, or left to rot away. Some could be repurposed, structures reused and sputtered back to life. But the original reason was fading, nostalgia was king down Queen Street, and all the stories old folks told had sadness in the margins.
The local library was my favorite cave to explore, buried in the basement of the town hall, entered by narrow staircase to an underground world of books beyond count. The floors were a peculiar yellow-green, vomit-coloured carpet; walls were a pale printed paneling pretending to be wood grain. Natural light came through the slit of ground-level windows, too short to squeeze even a small child, but blocked by steel bars just the same.
Behind the library desk sat Betty Chazelon, a stern soul resembling the large portrait of Queen Elizabeth perched on the wall behind her. I felt for sure that she and the Queen were related, as they bore a resemblance, and Mrs. Chazelon was the only British woman I’d ever met face-to-face. She was a taskmaster to her domain, no patience for tolerating childish behavior from children. The library was her kingdom, a silent sanctuary, and I learned better than to cause a disturbance. We treated our librarian with the fear and respect she instilled.
Joy was in those paper pages, checked out of reality and diving head-first into the stranger magic of a world within a world. I read adventures of TinTin in lands faraway, finding secret rooms behind waterfalls, terrifying rocky mountaintops, supernatural horrors from all sides. I got confused by the humour of Asterix and Obelix, the odd tales of Cloudy with a Chance of Meatballs, or the lonely ordinary of nature in books like Blueberries for Sal. I loved documentary volumes with pictures, glossy depictions of every bit of magic on earth, and I disappeared inside it all.
My favorite stories were the ones with no drama. There was thrill enough in setting the scene, discovering the details of a simple life. I preferred a beautiful boredom, pages of description without a word wasted on character conflict. It was such a disappointment when the plot came along and ruined everything. My senses were sparked on Saturday mornings before noon, in waves of sight, sound — oh, and the smell of it! Musty, well-loved and long-lived books that I would bury my nose in for the scent of aging ink and paper. Something like a mushroom in the rainy woods, wet dust in a farmhouse attic. I could be anywhere, in the ecstatic electricity of imagination, swirled with the endless newness of discovery in reach.
Things were new-old again in the back corners of Bridgetown, where empty buildings crumbled, and roads grew over with brush from below and branches overhead — until nothing remained but parallel ruts, last unnatural hints of what passed that way. That’s how it was past the dead end of Jeffrey Street, a road that once ran north to Clarence, now lost in a great tangle of branches.
On the same span lived the Hill sisters, motley crew in a tumbledown home. Ida Hill used to periodically appear at our church with gifts of canned goods (often unlabeled) for our young family. She’d offer little things accumulated in her scavenging, small metal cars and toys that fit in the palm of my hand. She’s hug me hello, and I’d reciprocate at arm’s length. The Hills weren’t known for hygiene, and I could always smell Ida across the room. There was a whole group that I remember: Ida, Jim, Blanche, and Edna — the one they called “Scissors”. They were all big folks with personalities and hearts to match, roaring through the streets of town, accumulating attention.
Just one road over, on Church Street, a group home appeared from the rubble of the old red brick asylum. But this time, the locks were off, and we were living in the presence of active eccentricity. Unusual folks could be seen on the streets, the simply slow or the mildly insane, those trusted to wander unsupervised, spotted in Bridgetown on any given day. One man perpetually pushed a wheelbarrow, another never left the back of his bike. They were people of a place, markers of village that seemed to stop moving, noticed in the moment by members of a secret society called the wounded human mind.
South of there was the bowling alley, a buzzing example of history frozen. Inside was eternally 1980, with scratched balls and pitted lanes, fake wood paneling behind the snacks counter, well-beaten bowling shoes, and rattling arcades. It was the lowest of low-key entertainment, gathered under a sagging roof, marking time until the list of repairs grew long enough to give up all together. You couldn’t define a future purpose, and that’s what I loved. Perhaps an inferior place, but it was ours, a rare warm spot to gather when winter came and the town was frozen. I never liked to bowl — in fact, I nearly hated it — but it felt good to be there.
Bright lights on the lanes, dark shadows on the seats, and the tumble, roll and crash of tripped pins echoing. We went for birthday parties, closely gathered small-town souls with narrow awareness of the wider world. That’s how it was, when the folks we knew were obvious acquaintances. Souls from the church, family members, next-door neighbours. Nothing intruded in the circle. It was safe — but muggy, claustrophobic, and close — like your breath in a confined space.
Bridgetown seemed to freeze itself for years on end. I couldn’t separate one moment from another, intermingled tendrils of everything past and present. My memories were stacked a dozen deep in the same place, like unnamed dead in a single pit to conserve space. That pit was often discovered in my stomach, wrapped around by the same buildings and cars passing, familiar faces of strangers staring. The past seemed welcoming for some, because it came with no expectations. Just like my hometown, nothing was now.
I found a whole lot to love about my childhood here, but I've never once wished it back. Give me some genie granting requests, and I'd spend all three on the future.
~ ~ ~
1992 photo of my two older brothers, David and James. Taken by our great-grandmother, Marie Skafte, in front of her apartment on Centennial Drive.
bluesky | etsy | facebook | instagram
substack | threads | tumblr | youtube
You can support my work
get things in the mail
and see everything
first on Patreon
Without the Prineville BLM, the dots of Cottonwood Canyon State Park would never be connected. The park was a ranch before being sold first to the Western Rivers Conservancy in 2008, and then by that nonprofit to the Oregon Parks and Recreation Department (OPRD) from 2009-2011. But the private land checker-boards across the landscape with BLM-administered land filling in the gaps. BLM and Oregon State Parks are working together to create a seamless experience for visitors to Oregon’s newest State Park.
When Congress designated the John Day as a Wild and Scenic River in 1988, the legislation stated that the river was "to be administered through a cooperative management agreement [CMA] between the State of Oregon and the Secretary of Interior." To facilitate the new park, the BLM will be completing an Environmental Assessment to modify the existing agreement. Under the modified CMA, OPRD would be able to construct and maintain trails, restore native vegetation, and provide a reservation service to the one boat-in campsite on BLM land. The BLM and OPRD are working on a review of the trail system in order to include a travel management plan in the EA for Cottonwood Canyon.
Cottonwood Canyon State Park straddles 16 miles of the lower John Day River, where Highway 206 crosses the river between Gilliam and Sherman Counties. Visitors can come to experience the park – even while OPRD and BLM work out the details of the CMA. The 8,000-acre park boasts amazing, rugged canyons, spectacular views and a primitive experience for guests. The park will remain generally undeveloped with miles of trails, primitive campgrounds, a day use area, a Welcome Center, restrooms and self-guided interpretive walks around the old ranch buildings. When the CMA is complete, the park boundary will include an additional 10,000 acres of BLM – making it the largest State Park in Oregon.
To find out more about this beautiful park, head on over to the Oregon State Parks page:
www.oregonstateparks.org/index.cfm?do=parkPage.dsp_parkPa...
Photo by Michael Campbell/BLM/2014
Without a Cowboys game on Sunday afternoon what is one to do? Go shoot photos I guess.
A few from the reopening of Founders Plaza at DFW Airport. Founders Plaza is an observation deck to overlook air traffic coming and going into the Airport.
Please do not use my photos without permission. if you would like to use one, send me a message and we can sort something out.
Cave Without A Name, Kendall County, Texas - One of Texas' hidden treasures, in February 2009 the Cave Without A Name was designated an official Natural Landmark!
Despite the innumerable caves and caverns that dot the Texas landscape, there are only a handful of caves that are open to touring by the public. Running along the interstate, it's easy to spot the billboards for Natural Bridge Caverns, Inner Space Caverns, Cascade Caverns - but very few people have ever heard of the Cave Without A Name. In fact, despite living less than an hour away for over ten years, I had no knowledge of it until recently. Yet this little cave is just as interesting as any of the larger, more travelled tourist stops.
Located about ten miles northeast of Boerne at the end of twisty-turny Hill Country roads near the Guadalupe River, the Cave Without A Name led an unremarkable existence until the 1920's. Much like Longhorn Caverns, the cave was used by bootleggers during Prohibition. The cave was opened in 1939 as a tourist attraction, the name chosen by a local boy who decided the caves were too beautiful for a name.
For decades, the Cave Without A Name remained an obscure, out-of-the-way spot, known mostly by locals and advertised by small hand-made signs on the highway. Tragedy struck when the manager of the cave (and the owner's son) passed away while exploring a nearby complex known tragically as Dead Man's Cave for drainage channels. Despite this loss, the cave remains open.
Then in February 2009, the Cave Without A Name was designated an official National Landmark by the National Park Service, along with five other historic sites around the country. Fewer than 600 locations have been designated as National Landmarks since the inception of the program, and only six within the past decade.
At the end of Kreutzberg Road, there is a small visitor's center and gift shop. Stairs lead down to the caverns below, well-lit with several impressive speleological formations - stalagmites, stalactites, soda straws, flowstone, ribbons, rimstone. It's a short tour, but easy and level without difficulty, the tour group size is usually small and it is easy to get up close to the formations (but don't touch - it's still a live cave). Longer 'adventure tours' are available (the website says they have been suspended due to high water, but that was written in 2007 before the area's record drought). Definitely worth the visit for anyone interested in caves or spelunking. Pictures taken April 6, 2008.
For more information on the Cave Without A Name:
- Texas Speleological Survey Entry.
This photograph is free for use on the internet under the 'Creative Commons Attribution-NonCommercial' license. You are free to copy, distribute, transmit and/or adapt this photograph without seeking permission first, as long as you provide attribution to the photograph (preferably by linking to this web page, or including the phrase 'Copyright Matthew Lee High'), and as long as the the photo is not used for commercial purposes. For more information about Creative Commons licenses, visit http://creativecommons.org/licenses/by-nc/2.0/deed.en.
© All rights reserved. Use without permission is illegal
©Todos los derechos reservados. El uso sin permiso es ilegal
©Alle Rechte vorbehalten. Die Verwendung ohne Genehmigung ist illegal
جميع الحقوق محفوظة. استخدم من دون إذن هو غير قانوني©
©保留所有权利。未经批准的使用是非法的
©Tous droits réservés. L'utilisation sans permission est illégal
© Όλα τα δικαιώματα διατηρούνται. Χρησιμοποιήστε χωρίς άδεια είναι παράνομη
©Tutti i diritti riservati. Usare senza autorizzazione è illegale
©すべての権利を保有。許可なしに使用することは違法です
©Todos os direitos reservados. Use sem autorização é ilegal
©Toate drepturile rezervate. Folosirea fără permisiunea este ilegală
©Все права защищены. Использование без разрешения является незаконным
©Tüm hakları saklıdır. İzinsiz kullanın yasadışı
Elsa has been deboxed. She is inserted in the base, but is without her cape.
I got the Beast Kingdom MC-005 Elsa 1/4 Scale Figure from Big Bad Toy Store today (Wednesday October 3, 2018). She is made from resin, has an excellent paint job, and stands 15 inches tall to the top of her head, or 16.5 inches to the top of her raised hand, or 18 inches tall on her stand. The base is 9.5 inches in diameter and 1 1/4 inches thick, with a non skid bottom. There is a silver plaque on the base which has the Edition number, 291, which is also on a separate Certificate of Authenticity. But there is no indication of the Edition size.
She is in her iconic Let It Go pose, same as the Maquette and many other figures. She comes in three parts, her body and dress, her cape, and the base. She has to be inserted into the base to stand, and the cape is inserted into her back. She is very stable on the base. There is silver glitter on her bodice and the snowflake and icicle patterns in her cape, and it does shed a little. She is a very accurate and very beautiful depiction of Snow Queen Elsa.
I show her being deboxed, then on the base without her cape, and finally fully assembled with her cape on.
Frozen Master Craft MC-005 Queen Elsa of Arendelle PX Previews Exclusive Statue
BY BEAST KINGDOM
BRANDS FROZEN, DISNEY
IN STOCK
$214.99
Sold by Big Bad Toy Store
Premiered in 2014, the animated motion picture Frozen has propelled Disney's motion pictures to new heights! In addition to instant fame to all characters in the movie, Frozen has also elevated Elsa to the number three spot on Disney's ranking for the most popular princess.
Beast Kingdom's MC-005 Frozen Elsa is based on the appearance of Elsa when she became the Snow Queen in the movie with her confident and resolute demeanor. The sculptor has painstakingly stayed true to the source materials from Disney so as to portray the perfect recreation of Elsa's elegance. With precise and detailed sculpting, this statue faithfully captures the look of confidence and elegant posture of Elsa.
Coupled with professional paint work and special paint materials, all details on the statue are accurate reproduction of the color scheme as seen in the animation. As she stands atop of her pearl luster base, Elsa is ready to unleash her powerful cryokinetic magic. Want to witness that breathtaking world of ice?
Come to Beast Kingdom and join Elsa in a return to the stunning scenery in the world of Frozen!
Product Features
1/4 scale
Previews Exclusive statue!
Features details from the film
Stands on her ice base!
Box Contents
Elsa of Arendelle 1/4 scale statue
More images at the manufacturer's Facebook page announcement of the figure:
But a bus spotting trip to Grimsby isn't complete without catching sight of one of Hull's old Enviro200 MMCs. Hello once again, 26173, been a while... not exactly its first sojourn to Grimsby, if we recall. With the Enviro200s now distributed around the East Midlands and with the B7RLE fleet slowly fading away through withdrawals, the ex-Hull Enviro200 MMC now stands as the backbone of the Grimsby-Cleethorpes single-decker fleet. Notably, this batch also stands as having the most repainted into the new 'We've got you' livery, which... looking back at Hull's sole model? I don't know, it looks alright. At the very least, licensing this shot as a Creative Commons file will get it on Wikipedia to replace an older Enviro200 photo I took six years ago. And that, quite frankly, is a decent enough note to end things on. See you later once again, Grimsby and Cleethorpes. Hopefully... well some might say hopefully, I should be back again to catch up on things proper next year?
The final photo from this brief trip into Cleethorpes, Stagecoach Grimsby-Cleethorpes' 26173, a 2019 ADL Enviro200 MMC new to Stagecoach in Hull, is seen along Grimsby Road on a 3 to Grimsby Morrisons.
Copyright © 2012 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos without my written permission.
Please note that the fact that "This photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
© Copyright : Você não pode usar !
© Copyright : Sie dürfen es nicht kopieren !
© حقوق النشر محفوظة. لا يمكنك استخدام الصورة
Cisternino è un comune italiano della provincia di Brindisi in Puglia. Fa parte del prestigioso club de I borghi più belli d'Italia. Si affaccia sulla valle d'Itria, nella cosiddetta Murgia dei trulli. Fino al 1927 è stata Terra di Bari. Sull'ultimo lembo della Murgia sud orientale pugliese si affaccia a sud-ovest sulla valle d'Itria tempestata di trulli. l territorio del comune di Cisternino fu abitato, fin dal Paleolitico medio-superiore, da nuclei umani provenienti dal nord della penisola o dall'area siculo-africana e che lasciarono, sulle colline dove fissarono i loro accampamenti stagionali, numerose tracce della loro vita, dedita alla caccia e alla raccolta di frutti spontanei e tuberi. Ancora oggi, nella zona di monte Specchia, sui colli di Restano e sulle incolte balze di Serra Amara, si rinvengono utensili preistorici d'ogni genere: punte di zagaglie, lame, raschiatoi e bulini per incidere ossi. Queste comunità umane andarono sempre più infittendosi, fino a raggiungere un numero considerevole di insediamenti nell'Età del Bronzo; decine di stazioni di questa età sono state recentemente localizzate in varie zone del territorio e quelle di Maselli, Ibernia piccola, Carperi, monte d'Alessio, monte le Fergole e Figazzano, hanno un'importanza non indifferente per la comprensione della preistoria brindisina.
Il nome Cisternino deriverebbe dall'eroe eponimo Sturnoi, compagno di Diomede, che dopo la Guerra di Troia avrebbe fondato una città vicina che, in seguito, occupata dai Romani, fu chiamata Sturninum, l'attuale Ostuni. L'abitato sarebbe stato saccheggiato dai Goti e successivamente sarebbe andato in rovina. L'attuale centro storico di Cisternino sarebbe rinato grazie ai monaci basiliani che nel Medioevo, lo chiamarono Cis-sturnium (al di qua di Sturnium). La prima testimonianza sul Casale di Cisternino è data dalla scoperta, al di sotto della chiesa romanica di S. Nicola, dei resti di una piccolo tempio cristiano, edificato realisticamente intorno all'anno 1000. Papa Alessandro III, con una bolla pontificia del 26 febbraio 1180 assegnava questa chiesa ed il Casale di Cisternino al Vescovo di Monopoli.
Il simbolo di Cisternino è lo scudo sormontato da una corona è suddiviso a croce di Sant'Andrea di rosso e d'oro. Al centro vi è un pastorale d'argento accostato da due rose di rosso sull'oro.
Comunemente chiamato Cistranese, il dialetto della parte centrale delle ultime colline della Murgia pugliese è il risultato della stessa sfumatura culturale del territorio: incrocio naturale tra influenze joniche/lucane e murgiano/baresi. A poche decine di chilometri a sud si trova il confine con il Salento. La lingua e il dialetto vive e si sviluppa naturalmente in relazione alle attività dei suoi abitanti, degli scambi culturali, sociali ed economici, della storia, della tradizione e della memoria orale popolare.
Nonostante oggi rientri nel territorio della Provincia di Brindisi, Cisternino mantiene i suoi legami con la Terra di Bari alla quale era legata prima del 1927, anno di costituzione della nuova circoscrizione provinciale. Questi legami sono evidenti soprattutto nel dialetto e nella cultura, tipica del sud-est barese e non di origini salentine.
Fra le manifestazioni folkloristiche più attese a Cisternino, c'è sicuramente Pasquetta. Chiamata nel dialetto dei suoi abitanti “Pasquarèdde”, questa festività si svolge presso il Santuario della Madonna d'Ibernia, dove ci si reca con dei dolci tipici (a forma di borsetta con due uova sode per i bambini, con uno a forma di bambola con un uovo sodo per le bambine), chiamato “u churrüchele”, esso porterebbe prosperità e fecondità. Non a caso, quella d'Ibernia è la Madonna della vita, della fertilità e dell'abbondanza, il santuario è molto utilizzato per celebrare il matrimonio sia per i motivi appena indicati che per la collocazione del tutto unica e panoramica. La più importante manifestazione alla quale partecipa l'intera popolazione cittadina è la festa dei santi patroni della città di Cisternino, San Quirico e Giulitta. Tale manifestazione cittadina rispetta tutte le più importanti tradizioni locali come decorazioni luminose, eventi religiosi , concerti bandistici ed in fine fuochi pirotecnici. Più semplicemente chiamata "la festa di San Quirico" cadendo sempre nella prima settimana di Agosto rappresenta per la popolazione locale e turistica la conclusione del periodo estivo. Di particolare importanza sono le consuete e più moderne edizioni del Festival Pietre che Cantano, del "Festival Internazionale Bande Musicali Valle d'Itria", del Festival Suoni Sacri e dal Pianeta, dell'Alterfesta. Le sagre più rinomate, invece, che si svolgono tra Cisternino e le sue frazioni, sono: la sagra delle orecchiette e quella del coniglio, che si svolgono nel mese di agosto, e la sagra dell'uva, che si tiene a settembre. Queste sagre sono sia un momento di ritrovo e di allegria per tutti i cittadini, ma soprattutto una maniera importantissima di tenere ancora vitale il patrimonio folkloristico di ogni regione, la base per l'identità della città, come del cittadino che la abita.
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.
On my way to St Giles, I saw that the door to St Botolph seemed to be open. I went over to investigate, but found it shut fast.
But a nice lady who was about to enter the church said that it would be open at quarter to one, use the entrance in the Postman's Park. So, I vowed to return.
As I did, arriving back at five past one, only to find that one of their lectures was about to begin. I did think about staying for the lecture, then getting shots But in the end, rattled a few shots off before hightailing it out before the lecture began.
So sad then that this wonderful church was out of the public's view for so long, worth trying to see inside for the plaster ceiling.
--------------------------------------------
The eastern half of the City had four churches dedicated to St Botolph, each at one of the City gates, a reminder that St Botolph is traditionally the patron Saint of travellers and wayfarers. Three of the churches survive, and this is one of them.
St Botolph without Aldersgate sits on the corner of Aldersgate Street and Little Britain, across the road from the Museum of London, with Postman's Park wrapped around the other two sides of it. The medieval church was undamaged by the Great Fire, but when Aldersgate Street was widened in the late 18th Century the church was knocked down and rebuilt by Nathaniel Wright. The new church is modest, but in a good way, an introspective moment before the modernist noise of London Wall and the Barbican kick in.
For many years this church was hardly ever open. It is home to a particularly evangelical congregation, and the church's only services, the so-called Aldersgate Talks on Tuesday lunchtimes, are focused on the exegesis of Bible passages for the benefit of those who like that kind of thing best. I was quite excited to find the church open on a Saturday morning a couple of years ago. Unfortunately, there was a meeting on inside - lots of very earnest looking men in black suits who glared at me when I poked my head around the door. They didn't look very welcoming, so I fled.
However, all that has changed. St Botolph now partly serves as the visitor centre for Christian Heritage London, who have put up a sequence of display boards which detail a fairly fundamentalist protestant history of Christianity from the First Century (which was very good, apparently) to the Twentieth Century (which was very bad). So for the modest sum of one pound you may enter the church and read them. The exhibition is open every day except Tuesday and Sunday.
And the church? Well, after all that fuss about getting in I must admit that I was a little disappointed, I'm afraid. The ceiling is gorgeous, great sugary fondants of plaster swelling and dripping in geometric patterns. And the east end is lovely, the apse beautifully decorated, although of course the altar has been removed and the space turned into a meeting area. It was rebuilt further west in 1829 to facilitate more road-widening, but appears to have retained Wright's design, albeit updated later by the Victorians. Otherwise it appears an almost entirely 18th Century interior.
However, successive generations have not served it well. The 19th Century glass in the north windows by Ward & Hughes is not good, its preachy gallery style quite out of harmony with the decoration, and the post-war Farrar Bell scenes of events in evangelical history on the south side are pedestrian at best. The glass up in the clerestories looks better, though perhaps only because it is further away. And the modern congregation has gutted the furnishings, replacing them with modern chairs that are turned away from the east towards a side wall in the protestant manner. Perhaps the best thing of all is the sequence of good, interesting memorials which date back over four hundred years, although you may need to discreetly move some of the display boards to get to them.
Simon Knott, December 2015
Do not use without permission!
Disney Twitter: twitter.com/ThatDisneyLover
Photography Twitter: twitter.com/LJK_Photography
Youtube: www.youtube.com/user/PixelPixie123
Personal Instagram: www.instagram.com/thatdisneylover/
Photography Instagram: www.instagram.com/ljknightonphotography/
If any performers, characters or cast members that would like photos for personal or portfolio reasons, you may have any photo of themselves for a higher resolution or with a smaller watermark. Please either contact me through Twitter.
This work is protected under copyright laws and agreements.
All Rights Reserved © 2011 Bernard Egger :: rumoto images
► Absolutely no usage without my prior written permission ◄
NO RELEASE ! 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
Please don't hesitate to add my works to your faves - thx a lot!
☆ :: rumoto images | differs from all the turkeys out there
Bezirks-Derby SC Liezen 1 : 3 ATV Joiner Irdning - LL Steiermark
Tore: Michael Schwaiger (2), Ph. Schnabl, Trainer: Andi Schmid
Das alte Sprichwort „Derbys haben eigene Gesetze“ traf beim Landesliga-Bezirksschlager SC Knauf Liezen gegen ATV Joiner Irdning wieder einmal genau zu.
Fast 1200 Zuschauer sorgten im SC-Stadion für eine tolle Kulisse – und die vielen Fans aus dem gesamten Bezirk Liezen sahen dann einen unerwarteten Spielverlauf. Die Partie begann mit einem Traumstart für die Irdninger und einem Schock für die Grün-Weißen, denn als noch viele Zuschauer vor den Kassen auf Einlass warteten, stand es schon 2:0 für die Gäste.
In der 2. Minute startete Hannes Wallner auf der rechten Seite einen dynamischen und unaufhaltsamen Sturmlauf und seinen darauffolgenden Stanglpass verwertete Michael Schwaiger souverän zur 1:0-Führung. Drei Minuten später hieß es dann bereits 2:0 für die Schmid-Elf. Philipp Schnabl gewann knapp außerhalb des Sechzehners ein Pressballduell, wobei sich das Leder in der Folge über SC-Schlussmann Jürgen Waldenhofer ins Netz drehte.
In der 10. Minute hatten die Blau-Weißen sogar eine Riesenchance auf das 3:0. Die heimische Abwehr zögerte wieder einmal zu lange, doch zum Glück schoss der knapp vor dem Tor freistehende Michael Schweiger über das SC-Gehäuse. Eine Minute später machten sich die Hausherren erstmals bemerkbar, als Milan Pastucha einen Weitschuss von Martin Neuper nur auf Raten unter Kontrolle brachte. In der 17. Minute klärte Christian Stangl bei einem Angriff der Gäste gerade noch in den Corner. Mit Fortdauer der Partie erfing sich das Stradner-Team etwas und setzte so auch vermehrt Akzente. In der 29. Minute konnten die SC-Anhänger endlich jubeln und so auch wieder etwas Hoffnung schöpfen. Nach einem schönen Angriff über mehrere Stationen brachte Stevie Zeiringer den Ball aus spitzem Winkel über die Linie. Ein Irdning-Verteidiger beförderte das Leder zwar wieder aufs Feld zurück, doch nach Rücksprache mit seinem Linienrichter anerkannte Schiedsrichter Franz Leitinger den Treffer zum 1:2. Acht Minuten vor dem Pausenpfiff hatten die Liezener abermals Glück, als Erwin Götzenauer nach einem wuchtigen Kopfball von Michael Schwaiger auf der Linie rettete.
In der zweiten Spielhälfte agierten die Grün-Weißen dann entschlossener und aggressiver, doch fehlten auch in diesem Spielabschnitt großteils die wirklich zwingenden Möglichkeiten. In der 46. Minute konnte Pastucha einen schön angetragenen Schuss von Daniel Habeler nur mit Mühe bändigen, doch bereits kurze Zeit später fand auch Philipp Schnabl eine tolle Chance auf das 3:1 vor. In der 54. Minute spielte Götzenauer ideal für Habeler auf, doch der Stürmer vergab diese gute Möglichkeit. Fünf Minuten später versuchte Dimitru Pirvu mit einem Freistoß zum Torerfolg zu kommen, der Ball wurde jedoch eine sichere Beute von Goalie Pastucha. In der 61. Minute zog Habeler knapp außerhalb des Sechzehners ab, doch Pastucha erwies sich neuerlich als Meister seines Faches. Etwas mehr als eine Viertelstunde vor dem Schlusspfiff fiel dann die Vorentscheidung in der Partie. Nach einem Konter über die rechte Seite schoss Michael Schwaiger aus kurzer Distanz zum 3:1 für Irdning ein.
In der 87. Minute hatte Haynie noch eine Riesenmöglichkeit auf den Anschlusstreffer, doch Pastucha war neuerlich am Posten und nahm dem Stürmer den Ball im letzten Moment vom Fuß.
Letztendlich war der Derbysieg von Irdning vollauf verdient und der Mannschaft gebührt für die Leistung ein Pauschallob.
Die Schmid-Elf wollte im Gegensatz zu den Heimischen den Erfolg an diesem Tag unbedingt und dementsprechend traten sie auch auf. Bei den Grün-Weißen ließen einige Leistungsträger in dem Match komplett aus. [Quelle: Der Ennstaler]
:: SC Knauf Liezen 1:3 ATV Joiner Irdning, Sieg, winner, Team, Runde 18, Bezirksderby, Bezirk Liezen, Sportstadt, Derby, Landesliga, Steiermark, KM, Kampfmannschaft, Mannschaft, Trainer, Andi Schmid, Tor, Goal, Schnabl Philipp, Schwaiger Michael, Fußball, Fussball, football, soccer, match, Spiel,Partie, Styria, Steiermark, Austria, STFV, remax, Joiner, Pastucha, Marl, Pötsch, Wallner, Rüscher, Schwaiger, Greimel, Celiker, Luidold, Petutschnig, Strohmayer, Foto Egger, Passion, Leidenschaft, Sport, Wettkampf, Nikon FX, Sportfoto, Fanclub, Schiedsrichter, Schieder, Gruber, Spörk,
SC Liezen 1 : 3 ATV Joiner Irdning Landesliga Steiermark Fußball Bezirksderby (c) 2011 Bernhard Egger :: rumoto images 8141
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
AljazZeera ft. Frankie hi-nrg mc
Una band diversamente jazz incontra un pioniere del rap, per un viaggio fatto di contaminazioni musicali, dissonanze in rima, cortocircuiti geografici. Influenze afroamericane e mediorientali, tre parti di Torino e una di Aosta, agitate e agitanti. Dal rap al jazz. Da Frankie a AljazZeera. Il progetto è stato ideato insieme a Giorgio Li Calzi per il Torino Jazz Festival.
Frankie Hi-Nrg Mc | Voce
Manuel Pramotton | Sassofono
Luca Mangani | Basso elettrico
Donato Stolfi | Batteria
Frankie hi-nrg mc
Pioniere del rap esordisce con il singolo “Fight da faida” nel 1992; l’anno seguente pubblica l’album “Verba Manent” con la BMG, primo album rap italiano a essere pubblicato con una major. Vanta partecipazioni al Festival di Sanremo e collaborazioni con numerosi artisti internazionali. Ama spaziare dalla musica alla fotografia, dal teatro al cinema innescando un cortocircuito di contaminazioni che confluisce all’interno della sua ricerca musicale.
AljazZeera
Una band che suona jazz con l’energia del rock, interpretando suggestioni provenienti dalla musica del Maghreb e del Mondo Arabo. Frasi bebop, ritmi egiziani, lente melodie all’unisono, libera improvvisazione, ambienti rarefatti e tempeste di sabbia elettronica contribuiscono a creare un sound originale ed imprevedibile. In pratica è come stare in macchina in mezzo al traffico di Rabat ascoltando Miles Davis.
Chi resta nella Milano d’estate, nelle sere tra giugno e agosto ha una meta sicura: il Castello Sforzesco, che ospita nel Cortile delle Armi gli oltre 80 eventi dal vivo dell’Estate Sforzesca. Protagonisti 48 spettacoli di musica, 29 di teatro e 4 di danza dal 21 giugno al 3 settembre, che sono anche il cuore del palinsesto degli eventi estivi a Milano, Aria di Cultura. Estate Sforzesca ospita, grazie alla collaborazione con Ponderosa Music & Art, la speciale preview estiva di JAZZMI 2020 che tornerà a Milano dal 22 ottobre al 1° novembre.
PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
What's Christmas without a magic trip to Sear--oops, sorry that was long ago! Nowadays Walmart's one of the hot places to go, like it or not! I haven't uploaded any pictures of this Olive Branch Walmart, except for that recent Thanksgiving one. To follow in today's uploads will be some more holiday photos from this Walmart. This is one of those double-gable 2000-built stores. But unlike some of that style that have been recently spotted, this one has been fully remodeled to the latest "project impact" decor package.
349/350
_________________________________________________
Walmart, 2000-built, Craft-Goodman Rd. at Camp Creek Dr., Olive Branch MS
This image may not be used in any way without prior permission
© All rights reserved 2015
Mississauga, Ontario, Canada
Toronto Pearson International Airport CYYZ
C-GWSZ
WestJet
Boeing 737-800
37092 / 3164
Twitter: @TomPodolec
Workers without power or lights try to read gauges at Daiichi
In this photo released by Nuclear and Industrial Safety Agency, a Tokyo Electric Power Co. worker looks at gauges in the control room for Unit 1 and Unit 2 at the tsunami-crippled Fukushima Dai-ichi nuclear power plant in Okumamachi, Fukushima Prefecture, Japan, Wednesday, March 23, 2011. (AP Photo/Nuclear and Industrial Safety Agency) EDITORIAL USE ONLY
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Garden
Link to Cincinnati Zoo..............Peacock ----- Male
The male peafowl, or peacock, has long been known and valued for its brilliant tail feathers. The bright spots on it are known as "eyes", and inspired the Greek myth that Hera placed the hundred eyes of her slain giant Argus on the tail of her favorite bird.
Indian Peafowl is iridescent blue-green or blue in the head, neck and breast. The back, or scapular, feathers are vermiculated in black and white, while the primaries are orange-chestnut. The so-called "tail" of the peacock, also termed the "train," is not the tail quill feathers but highly elongated upper tail feather coverts. It is mostly bronze-green, with a series of eyes that are best seen when the train is fanned. The actual tail feathers are short and grey-coloured and can be seen from behind when a peacock's train is fanned in a courtship display. During the molting season, the males shed their stunning train feathers and reveal the unassuming grey-coloured tail which is normally hidden from view beneath the train. Both species have a crest atop the head which is also present in the females.
The female peacock is duller in comparison. It is mostly brown, with pale underparts and some green iridescence in the neck, and lacks the long upper tail feather coverts of the male.
The Green Peafowl is very different in appearance to the Indian Peafowl. The male has green and gold plumage and has an erect crest. The wings are black with a sheen of blue.
Unlike the Indian Peafowl, the Green Peahen is very similar to the male, only having shorter upper tail feather coverts and slightly less iridescent in some regions. Like other peafowl, it is very difficult to distinguish a juvenile male from an adult female. Moreover, the sexes of the various Green Peafowl species are almost impossible to tell apart in the field during the months when the male has no train.
Many of the brilliant colours of the peacock plumage are due to an optical interference phenomenon (Bragg reflection) based on (nearly) periodic nanostructures found in the barbules (fiber-like components) of the feathers. Such interference-based structural colour is especially important in producing the peacock's iridescent hues (which shimmer and change with viewing angle), since interference effects depend upon the angle of light, unlike chemical pigments.
The plumage of the peacock, and the peahen's preference for its exorbitance, is a classical example of sexual selection and especially the handicap principle. However, in recent years scientific research has shown that the size and brilliance of a male's plumage does not meaningfully correlate with his mating success nor his health, and that instead the key factor for attracting females is the vocalizations made prior to mating.
Behaviour
A rear view of an Indian Blue Peacock's tail feathersThe peafowl are forest birds that nest on the ground. The Pavo peafowl are terrestrial feeders but roost in trees.
Both species of Peafowl are believed to be polygamous. However, it has been suggested that "females" entering a male Green Peafowl's territory [8] are really his own juvenile or subadult young (K. B. Woods in litt. 2000) and that Green Peafowl are really monogamous in the wild. Those who subscribe to this notion cite the similarities between the sexes. Peafowl courtships takes place in the ground; the male performs a display by fanning the train, facing the female or females in the area. This display is preceded by very loud vocalisations given by the male.
Diet
Peafowl are omnivorous and eat ticks, termites, ants, locusts, mice, plant parts, flower petals, seed heads, scorpions and other arthropods, reptiles, and amphibians.
In common with other members of the Galliformes, males and females of both species possess powerful, sharp metatarsal spurs or "kicking thorns" used primarily to protect themselves against predators and to a lesser extent during intraspecific fights.
] Habitat
Open forest, bushland, thorn forest and sometimes rainforest.
Because of human encroachment into their natural territories, peafowl and humans have come into increasing contact. Because of their natural beauty some are reluctant to classify the birds as pests but their presence can be disturbing, especially given their tendency to eat indiscriminately of garden boundaries and the male's powerful vocal crow (louder than a rooster's crow).
Note________________________________________________________________
Undate on Alfie: I plan to take Alfie in to the Vet tomorrow to hopefully go ahead with surgery to remove his saliva gland. His jaw is swollen pretty badly this morning even with the antibiotics and other things I've done to help relieve it. I think the Vet should be able to find the gland thats blocked now. Poor Alfie needs to get this over with because its a constant problem. Please add my little boy to your prayers.
I want to wish all the fathers out in flickr land a very Happy Father's Day. Also happy first day of summer everyone.
Vintage July 1969 issue of Crime and Punishment Magazine. No detective or crime magazine would be complete without some lurid crimes on the cover to “bait” a prospective buyer. It’s always a thrill when it’s from Vinnie DeVille!
Crap distribution sucks, and every, single, year, without fail, there's always hard to find figures. In the case of Transformers, there has not been a single line that I collected where everything went smooth.
In the Studio Series, it was SS 38 aka Bumblebee Movie Optimus Prime, though at least he was eventually easily found. For the Titans Returns, it was Slugslinger, and for Power of the Primes, it was the "blink and you miss it" Novastar, which apparently clogged up shelves over in Asia, but never appeared at retail in Canada at all.
Folks, allow me to introduce to you the 2019 War of Cybertron entry - Springer.
My Lord, what an epic quest it has been to find this figure. I've been trying since the beginning of July, when it first appeared at EB Games, with my search eventually expanding to all EB Games and Walmart stores I cam across in two Provinces.
Mercifully, my RNG finally paid off, and I was able to pick one up in early September.
So without further ado, here is my overview of the figure.
Springer, for the uninitiated, is a character that was introduced in the 1986 Transformers movie. One of the character that was never given a true Earth mode, Springer is a triple changer, transforming from robot to Cybertronian helicopter and car.
There have been multiple iterations of the character throughout the years of course, with several toys released, but as with Jetfire, none really capturing the G1 character model.
Well, that wait has finally come to an end with the release of this figure.. well, 99% of the wait has ended anyway.
Springer comes with the figure, pair of twin blades, a rotor handle, and a gun that separates into two smaller pieces. As with all other Siege figure, Springer is compatible with the C.O.M.B.A.T. system, though due to sheer laziness I didn't bother attaching any to the guy.
As mentioned above, the main selling point, at least for me, is the fact this guy IS G1 Springer. All other characters in this line have been a "What If" look at their pre G1 Cybertronian forms. Springer is the G1 toy we should have gotten in the first place, but, you know, engineering limitations and all that jazz.
Springer has his classic headsculpt, along with awesome mid 80's shoulder pads. Colour scheme is the classic green, grey, and yellow. I could live without the battle damage paint apps, but at worst they are a slight eyesore.
Articulation is again, pretty much what to expect from a Voyager sized figure, meaning some ankle articulation, knees, waist, shoulders, biceps, wrist, and of course, head. Not mindblowing, but enough for some pretty creative posing, that include the ability to facilitate some decent lower body limb placement.
Weapons are all based on the standard 5mm socket, so you just jam in your weapon of choice, and try not to break it when pulling the piece out.
Paint apps are, well, pretty typical for a mainline Hasbro release. Being a unified product, the eventual Takara item will be the same, which is why paint work is overall solid. Masking is competent, and is featured where there is yellow, as well as, *gasp* the painted wheels. Other painted areas would be the face, the dark green sections, including the rotor housing and robot waist, the light green of the vehicle canopy, and of course, the aforementioned battle damage.
Paint work on the face is a bit crude, and resembles heavily caked on make up, but considering it's Hasbro I'll let it slide.
Transformation is where this figure shines, and again, goes to show that at least I know where the extra bit of MSRP has gone. The last, most solid Springer toy would have been the one released for Generations, which featured very good modes, but overall you can kind of see how the magic happens without picking up the toy, because vehicle modes never really changed a whole lot in terms overall size.
Siege Springer here actually becomes longer in Helicopter mode, and shifts his shoulder a bit forward, very subtle things that visually create a new look without an over reliance on vehicle shell parts. The secret, much to the dislike of many a collector, is the above average number of hinges and panels used for the shoulders and the legs. I say dislike because you really have to have the legs in JUST the right place otherwise the pieces don't really fit together perfectly.
Personally, having adored the Car Robots 2000 line, welcome this additional difficulty for the purposes of having much better alt modes. It can be frustrating, but my hats off the designers for coming up with such a slick solution on a mainline figure.
So, basically, the figure is a loving homage to the G1 character. But, why did I say 99% there?
Well, my biggest gripe, as it were, has to do with the fact the rotor connection piece doesn't form the hilt of Springer's sword. I know, I know, a bit anal retentive, but it's how I feel.
Nit picking aside, this is truthfully a very impressive figure, and hopefully will be easier to find as the Fall 2019 retail resets approach. If not, I urge you to continue to seek him out, as you will be rewarded with a unique and worthwhile transformation experience.
Copyright © 2012 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos without my written permission.
Please note that the fact that "This photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
© Copyright : Você não pode usar !
© Copyright : Sie dürfen es nicht kopieren !
© حقوق النشر محفوظة. لا يمكنك استخدام الصورة
La cavalcata di sant'Oronzo è la festa più attesa e importante di Ostuni. Ogni anno il 25, 26 e 27 di agosto, sono giorni dedicati al santo: un corteo di cavalli e cavalieri bardati a festa, sfila per le vie cittadine a scorta del protettore della città. Le origini della cavalcata erano incerte fino a pochi anni addietro. Si possono oggi far risalire, con buon margine di sicurezza, alla seconda metà del diciassettesimo secolo, precisamente al 1657. La peste invase il Salento risparmiando Ostuni ed altre città di Terra d'Otranto. Il miracolo venne attribuito a sant'Oronzo ed ogni 26 agosto gli ostunesi vollero recarsi in processione al santuario eretto in suo onore. Lì prelevavano la statua in cartapesta raffigurante il santo, e la portavano a spalla nella piazza del paese. Spesso gli addobbi sono tramandati di generazione in generazione così come i gesti e i piccoli indispensabili segreti. L'intero nucleo familiare si dedica alla vestizione, spesso aiutato da parenti e amici. Uno degli addobbi più importanti, è costituito dal bellissimo mantello arabescato con centinaia di paillettes applicate una ad una con certosina pazienza. La vestizione continua con finimenti e fregi di vario tipo e grandezza. Anche il cavaliere indossa l'uniforme costituita dal chepì e da una casacca che ricordano i motivi del mantello del cavallo e da pantaloni bianchi. La vestizione del cavaliere è anch'essa molto accurata e ricorda per certi aspetti, quella del torero. Gli ultimi dettagli, i guanti bianchi, il frustino ed ecco cavallo e cavaliere diventare un'unica entità. Il nostro cavaliere con la sua cavalcatura, si avvia come tutti gli altri, verso il punto di incontro, piazza Cattedrale, inerpicandosi lungo l'omonima salita. Una volta arrivati in piazza cattedrale, cavalli e cavalieri attendono che la statua di sant'Oronzo venga portata fuori dalla chiesa madre.
Fino a poco tempo addietro, si riteneva che fosse stato un ricco signore di Ostuni, don Pietro Sansone, a commissionare la costruzione della statua in argento avvenuta nel 1788 a Napoli, sua città di origine. Recenti e più approfondite ricerche condotte dallo storico locale Luigi Greco, hanno permesso di stabilire che l'iniziativa non fu presa in prima persona da Pietro Sansone, come si era da sempre creduto, ma dai vaticali, una sorta di "corrieri" dell'epoca, che trasportavano le merci su carri trainati da cavalli. I vaticali, devoti al loro protettore come tutti gli ostunesi, fecero un accordo con il loro datore di lavoro: avrebbero accantonato parte del guadagno loro dovuto, fino a raggiungere la somma di 4.000 ducati necessaria per la costruzione della statua. Venne incaricato per l'esecuzione dell'opera, Luca Baccaro, artista napoletano. A capo dei 43 ostunesi, molti dei quali erano vaticali, c'era un altro notaio, Felice Giovine. Loro intendimento era quello di costituire un'associazione di volontari che avrebbe sostenuto le spese per onorare al meglio sant'Oronzo. Quando la statua giunse a Ostuni, fu scortata a cavallo proprio dai vaticali che, grazie al loro solerte lavoro, contribuirono alla crescita economica che contraddistinse la seconda metà del settecento. Negli anni precedenti infatti, per vari motivi, la manifestazione era andata via via impoverendosi, così che rischiava addirittura di non essere più svolta. Dunque quei 43 cittadini, si impegnarono a sostenere personalmente tutte le spese necessarie, in ragione di 6 ducati l'anno a testa, per un totale di 258 ducati da spendersi in musica, fuochi d'artificio e quant'altro fosse servito alla degna riuscita della manifestazione. Gli stessi sovvenzionatori, avrebbero costituito il gruppo di cavalieri a scorta del santo.
Negli anni, dunque, questa nuova classe sociale, la borghesia, aveva preso il posto della ormai decadente aristocrazia ostunese, i cui componenti in origine partecipavano anch'essi alla processione, ma a cavallo per distinguersi dalla gente comune. La statua è preceduta dal vescovo con i prelati della diocesi, e dalle autorità. Apre il corteo un trio di suonatori che esegue un antico ritornello accompagnandosi con piffero e tamburi. In coda alla statua, la tradizionale banda precede i cavalieri che spesso eseguono piroette, così come anticamente si era soliti far avanzare i cavalli, esibendosi in suggestive coreografie. La Cavalcata di sant'Oronzo, nell'attuale configurazione, ebbe inizio nel 1803. In realtà la giusta definizione è “Cavalcata dei Devoti”. Questa intitolazione si deve ad un gruppo di cittadini che il 26 agosto di quell'anno, si recarono presso la casa del notaio Giuseppe Gaetano Tanzarella.
Il simulacro lascia la bellissima Cattedrale costruita nella seconda metà del XV° secolo, a spese e con la manodopera degli ostunesi. La statua in argento ha preso il posto nel tempo, di quella in cartapesta.
È dunque legittimo sostenere che la Cavalcata dei Devoti, ormai nota come cavalcata di sant'Oronzo, sia arrivata sino ai giorni nostri, con inevitabili modifiche ma inalterata nella sostanza, proprio a partire dall'inizio del secolo scorso.
A conclusione della Cavalcata, d'obbligo in piazza della Libertà l'esecuzione di brani operistici e sinfonici, nella cornice delle immancabili luminarie. Concludono l'intensa giornata i fuochi artificiali ai quali, ci piace pensare, stiano assistendo soddisfatti anche i 43 devoti che in quel lontano 26 agosto 1803, assicurarono a Ostuni, la continuità di questa straordinaria manifestazione.
Without flash vs. with LIT Flash
This photo was made using LIT Flash, the first truly intelligent Xenon Flash for smartphone photography. Back us now on Kickstarter: bit.ly/2UHKhuz.