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Bankside

Bankside is an area of London, England, within the London Borough of Southwark. Bankside is located on the southern bank of the River Thames, 1.5 mi east of Charing Cross, running from a little west of Blackfriars Bridge to just a short distance before London Bridge at St Mary Overie Dock. It is part of a business improvement district known as 'Better Bankside'.

Toponymy
The 'banke' was reclaimed by the Bishop of Winchester who owned the manor of the Clink of which this is part. There is a map plan in the Duchy of Lancaster archive showing 'the way to the banke'. The name is recorded in 1554 as the Banke syde and means 'street along the bank of the Thames'. In 1860 Southwark Street was created to connect the Blackfriars and London bridge crossings here and that can be regarded as the area's informal southern perimeter.

Urban development
Bankside is the riverside of the former liberties of the Clink and Paris Garden. In the Elizabethan period, because it was outside the City of London and its authority, the area of the Clink and Paris Garden became occupied by the bear baiting pits and playhouses, including the Rose, the Hope Theatre, the Swan and the Globe Theatre of which a replica was constructed in the late 1990s. The history of the area is traced in a study that traces the earliest known history of a particular building on Bankside until the present day. It has experienced regeneration in recent decades, becoming a significant tourist destination, and forms a business improvement district. The skyline of Bankside is dominated by the former Bankside Power Station, which now houses the Tate Modern.

A major new development in the area is the Bankside 1/2/3 complex on Southwark Street. Together, these three buildings house about 5,000 employees. Bankside 1, also known as the Blue Fin Building, was built for and partially occupied by IPC Media, while Bankside 2 and 3 are occupied by The Omnicom Group Ltd. The architect for the buildings was Allies and Morrison.

Governance
It is part of the Borough and Bankside Community Council which corresponds to the Southwark electoral wards of Cathedrals and Chaucer. They are part of the Bermondsey and Old Southwark Parliament constituency and the Member of Parliament is Labour's Neil Coyle. It is within the Lambeth and Southwark London Assembly constituency.

Transport
Since 1754 the Blackfriars Bridge has formed a connection to the north and in 1819 Southwark Bridge has connected the area into the City. In 2000 a direct pedestrian connection was opened between the Tate Modern and St Paul's Cathedral via the Millennium Bridge, which also hosts two Cycle Hire stations.

Blackfriars station on the City side north bank of the river was redeveloped as part of the Thameslink Programme and opened a Bankside entrance in 2012. London Bridge and Southwark are the other stations closest to Bankside, located to the east and south of it respectively. It is served by bus routes 381 and RV1 which are hydrogen powered.

title: Bankside


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Philip I, Count of Flanders

Philip I (1143 – 1 August 1191), commonly known as Philip of Alsace, was count of Flanders from 1168 to 1191. During his rule Flanders prospered economically. He took part in two crusades and died of disease in the Holy Land.

Count of Flanders
Philip was born in 1143 as the son of Count Thierry of Flanders and Sibylla of Anjou. His reign began at the age of 14 in 1157, while he acted as regent and co-count for his father, who had returned to the Kingdom of Jerusalem in 1156 after participating the Second Crusade. He defeated Count Floris III of Holland, who was captured in Bruges and remained in prison until 1167, at which point he was being ransomed in exchange for recognition of Flemish suzerainty over Zeeland. By inheritance, Philip also recovered for Flanders the territories of Waasland and Quatre-Métiers.

In 1159, Philip married Elisabeth, elder daughter of count Ralph I of Vermandois and Petronilla of Aquitaine. Upon the abdication of his brother-in-law Ralph II in 1167, Elisabeth and Philip inherited the County of Vermandois. This pushed Flemish authority further south, to its greatest extent thus far, and threatened to completely alter the balance of power in northern France.

Philip governed wisely with the aid of Robert d'Aire, whose role was almost that of a prime minister. They established an effective administrative system and Philip's foreign relations were excellent. He mediated in disputes between Louis VII of France and Henry II of England, between Henry II and Thomas Becket, and arranged the marriage of his sister Margaret with Count Baldwin V of Hainaut.

Philip and Elisabeth were childless. In 1175, Philip discovered that Elisabeth was committing adultery and had her lover, Walter de Fontaines, beaten to death. Philip then obtained complete control of her lands in Vermandois from King Louis VII of France. Philip's brothers Matthew and Peter of Alsace also died in 1177, before going on crusade, he designated Margaret and Baldwin as his heirs.

Philip's first crusade
In the Holy Land, King Baldwin IV of Jerusalem hoped that Philip would take part in a planned invasion of Egypt, for which purpose the crusaders had allied with the Byzantine Empire. A Byzantine fleet of 150 galleys was waiting at Acre when Philip arrived on 2 August 1177. Philip had other plans, however. He and King Baldwin IV of Jerusalem were first cousins, sharing a grandfather, King Fulk, whose daughter from his first marriage, Sibylla of Anjou, was Philip's mother. Baldwin IV was a leper and childless, and offered Philip the regency of the Kingdom of Jerusalem as his closest male relative currently present there. Philip refused both this and the command of the army of the kingdom, saying he was there only as a pilgrim. Instead Baldwin appointed Raynald of Châtillon, to whom Philip would act as an assistant. As William of Tyre says, "this being the situation, the count at last revealed the secret thought of his mind and did not try to conceal to what end all his plans were." He had come to have his own vassals married to his cousins, Baldwin's sister Sibylla and half-sister Isabella.

Sibylla's husband William of Montferrat had just died, leaving her pregnant with the future Baldwin V. William of Tyre, the chief negotiator in this dispute, told the count it would be improper to marry her off again so soon. According to the chronicle of Ernoul, Philip was also rebuffed by Raymond III of Tripoli, who also claimed the regency, as well as by Raymond's supporters from the Ibelins, who hoped to marry the princesses into their own family. Baldwin of Ibelin insulted the count in public. Philip left Jerusalem in October to campaign in the north for the Principality of Antioch, participating in an unsuccessful siege of Harim before returning home. Meanwhile, the Byzantine alliance against Egypt was abandoned. In November, Baldwin IV and Raynald defeated Saladin at the Battle of Montgisard.

War with France
Philip returned from Palestine in 1179, at which point Louis VII, now sick, named him guardian of his young son Philip II. One year later, Philip of Alsace had his protégé married to his niece, Isabelle of Hainaut, offering the County of Artois and other Flemish territories as dowry, much to the dismay of Baldwin V. When Louis VII died, Philip II began to assert his independence. War broke out in 1180. Picardy and Île-de-France were devastated. King Philip refused to give open battle and gained the upper hand. Baldwin V, at first allied with his brother-in-law, intervened in 1184 on behalf of his son-in-law, King Philip, in support of his daughter's interests. The dispute between Count Philip and Baldwin was encouraged by King Philip, who went so far as to name Baldwin his representative in negotiations with the Count.

Philip's wife, Elisabeth, died in 1183, prompting King Philip II to seize the province of Vermandois on behalf of Elisabeth's sister, Eleonore. Philip then remarried, to Theresa, daughter of Afonso I, the first King of Portugal. Philip gave Theresa a dower that included a number of major Flemish towns, in an apparent slight to Baldwin V. Fearing that he would be surrounded by the royal domain of France and the County of Hainaut, Philip signed a peace treaty with King Philip II and Count Baldwin V on 10 March 1186, recognizing the cession of Vermandois to the king, although he was allowed to retain the title Count of Vermandois for the remainder of his life.

Philip's second crusade
In 1190, Philip took the cross for a second time and joined the Flemish contingents which had already gone to Palestine. After arriving at the Siege of Acre, he was stricken by the epidemic passing through the crusader camp, and died on 1 August 1191. His body was brought back to Flanders by his wife Theresa, who acted as regent during his absence. Philip was buried in Clairvaux Abbey. Since he was unsuccessful in producing an heir with Countess Theresa, he was succeeded by his sister Margaret I and brother-in-law Baldwin VIII.

Philip had an illegitimate son, Thierry, who went on the Fourth Crusade and married the daughter of Isaac Komnenos of Cyprus.

Legacy
Philip seems to represent the end of one kind of feudal world and the beginning of a new type of sovereignty, put into practice by King Philip: for the first time, a king of France ruled over a count of Flanders. Despite a costly war, the economic expansion of Flanders did not stop, as witnessed by the number of communal charters signed by Count Philip. By the end of his reign, the county had entered into a period of unprecedented prosperity.

Philip may have been the patron of Chrétien de Troyes while he was writing his last romance, Perceval, the Story of the Grail. In the opening lines, Chrétien honours Philip with "excessive praise" (Roach, Frappier, Hilka, et al.) for providing him with the book he adapted into the "best tale ever told in a royal court". The work, which was obviously begun sometime before Philip's death, remains unfinished.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Philip I, Count of Flanders


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Defragmentation

In the maintenance of file systems, defragmentation is a process that reduces the degree of fragmentation. It does this by physically organizing the contents of the mass storage device used to store files into the smallest number of contiguous regions (fragments, extents). It also attempts to create larger regions of free space using compaction to impede the return of fragmentation. Some defragmentation utilities try to keep smaller files within a single directory together, as they are often accessed in sequence.

Defragmentation is advantageous and relevant to file systems on electromechanical disk drives (hard disk drives, floppy disk drives and optical disk media). The movement of the hard drive's read/write heads over different areas of the disk when accessing fragmented files is slower, compared to accessing the entire contents of a non-fragmented file sequentially without moving the read/write heads to seek other fragments.

Causes of fragmentation
Fragmentation occurs when the file system cannot or will not allocate enough contiguous space to store a complete file as a unit, but instead puts parts of it in gaps between existing files (usually those gaps exist because they formerly held a file that the file system has subsequently deleted or because the file system allocated excess space for the file in the first place). Files that are often appended to (as with log files) as well as the frequent adding and deleting of files (as with emails and web browser cache), larger files (as with videos) and greater numbers of files contribute to fragmentation and consequent performance loss. Defragmentation attempts to alleviate these problems.

Example

An otherwise blank disk has five files, A through E, each using 10 blocks of space (for this section, a block is an allocation unit of the filesystem; the block size is set when the disk is formatted and can be any size supported by the filesystem). On a blank disk, all of these files would be allocated one after the other (see example 1 in the image). If file B were to be deleted, there would be two options: mark the space for file B as empty to be used again later, or move all the files after B so that the empty space is at the end. Since moving the files could be time-consuming if there were many files which needed to be moved, usually the empty space is simply left there, marked in a table as available for new files (see example 2 in the image). When a new file, F, is allocated requiring 6 blocks of space, it could be placed into the first 6 blocks of the space that formerly held file B, and the 4 blocks following it will remain available (see example 3 in the image). If another new file, G, is added and needs only 4 blocks, it could then occupy the space after F and before C (example 4 in the image).

However, if file F then needs to be expanded, there are three options, since the space immediately following it is no longer available:

 * 1) Move the file F to where it can be created as one contiguous file of the new, larger size. This would not be possible if the file is larger than the largest contiguous space available. The file could also be so large that the operation would take an undesirably long period of time.
 * 2) Move all the files after F until one opens enough space to make it contiguous again. This presents the same problem as in the previous example: if there are a small number of files or not much data to move, it isn't a big problem, but if there are thousands or even tens of thousands of files, there isn't enough time to move all those files.
 * 3) Add a new block somewhere else, and indicate that F has a second extent (see example 5 in the image). Repeat this hundreds of times and the filesystem will have a number of small free segments scattered in many places, and some files will have multiple extents. When a file has many extents like this, access time for that file may become excessively long because of all the random seeking the disk will have to do when reading it.

Additionally, the concept of “fragmentation” is not only limited to individual files that have multiple extents on the disk. For instance, a group of files normally read in a particular sequence (like files accessed by a program when it is loading, which can include certain DLLs, various resource files, the audio/visual media files in a game) can be considered fragmented if they are not in sequential load-order on the disk, even if these individual files are not fragmented; the read/write heads will have to seek these (non-fragmented) files randomly to access them in sequence. Some groups of files may have been originally installed in the correct sequence, but drift apart with time as certain files within the group are deleted. Updates are a common cause of this, because in order to update a file, most updaters usually delete the old file first, and then write a new, updated one in its place. However, most filesystems do not write the new file in the same physical place on the disk. This allows unrelated files to fill in the empty spaces left behind.

Mitigation
Defragmentation is the operation of moving file extents (physical allocation blocks) so they eventually merge, preferably into one. Doing so usually requires at least two copy operations: one to move the blocks into some free scratch space on the disk so more movement can happen, and another to finally move the blocks into their intended place. In such a paradigm, no data is ever removed from the disk, so that the operation can be safely stopped even in the event of a power loss. The article picture depicts an example.

To defragment a disk, defragmentation software (also known as a "defragmenter") can only move files around within the free space available. This is an intensive operation and cannot be performed on a filesystem with little or no free space. During defragmentation, system performance will be degraded, and it is best to leave the computer alone during the process so that the defragmenter does not get confused by unexpected changes to the filesystem. Depending on the algorithm used it may or may not be advantageous to perform multiple passes. The reorganization involved in defragmentation does not change logical location of the files (defined as their location within the directory structure).

Besides defragmenting program files, the defragmenting tool can also reduce the time it takes to load programs and open files. For example, the Windows 9x defragmenter included the Intel Application Launch Accelerator which optimized programs on the disk by placing the defragmented program files and their dependencies next to each other, in the order in which the program loads them, to load these programs faster. In Windows, a good defragmenter will read the Prefetch files to identify as many of these file groups as possible and place the files within them in access sequence.

At the beginning of the hard drive, the outer tracks have a higher data transfer rate than the inner tracks. Placing frequently accessed files onto the outer tracks increases performance. Third party defragmenters, such as MyDefrag, will move frequently accessed files onto the outer tracks and defragment these files.

Improvements in modern hard drives such as RAM cache, faster platter rotation speed, command queuing (SCSI/ATA TCQ or SATA NCQ), and greater data density reduce the negative impact of fragmentation on system performance to some degree, though increases in commonly used data quantities offset those benefits. However, modern systems profit enormously from the huge disk capacities currently available, since partially filled disks fragment much less than full disks, and on a high-capacity HDD, the same partition occupies a smaller range of cylinders, resulting in faster seeks. However, the average access time can never be lower than a half rotation of the platters, and platter rotation (measured in rpm) is the speed characteristic of HDDs which has experienced the slowest growth over the decades (compared to data transfer rate and seek time), so minimizing the number of seeks remains beneficial in most storage-heavy applications. Defragmentation is just that: ensuring that there is at most one seek per file, counting only the seeks to non-adjacent tracks.

Partitioning
A common strategy to optimize defragmentation and to reduce the impact of fragmentation is to partition the hard disk(s) in a way that separates partitions of the file system that experience many more reads than writes from the more volatile zones where files are created and deleted frequently. The directories that contain the users' profiles are modified constantly (especially with the Temp directory and web browser cache creating thousands of files that are deleted in a few days). If files from user profiles are held on a dedicated partition (as is commonly done on UNIX recommended files systems, where it is typically stored in the /var partition), the defragmenter runs better since it does not need to deal with all the static files from other directories. (Alternatively, a defragmenter can be told to simply exclude certain file paths.) For partitions with relatively little write activity, defragmentation time greatly improves after the first defragmentation, since the defragmenter will need to defragment only a small number of new files in the future.

Offline defragmentation
The presence of immovable system files, especially a swap file, can impede defragmentation. These files can be safely moved when the operating system is not in use. For example, ntfsresize moves these files to resize an NTFS partition. The tool PageDefrag could defragment Windows system files such as the swap file and the files that store the Windows registry by running at boot time before the GUI is loaded. Since Windows Vista, the feature is not fully supported and has not been updated.

In NTFS, as files are added to the disk, the Master File Table (MFT) must grow to store the information for the new files. Every time the MFT cannot be extended due to some file being in the way, the MFT will gain a fragment. In early versions of Windows, it could not be safely defragmented while the partition was mounted, and so Microsoft wrote a hardblock in the defragmenting API. However, since Windows XP, an increasing number of defragmenters are now able to defragment the MFT, because the Windows defragmentation API has been improved and now supports that move operation. Even with the improvements, the first four clusters of the MFT remain unmovable by the Windows defragmentation API, resulting in the fact that some defragmenters will store the MFT in two fragments: The first four clusters wherever they were placed when the disk was formatted, and then the rest of the MFT at the beginning of the disk (or wherever the defragmenter's strategy deems to be the best place).

Solid-state disks
When reading data from a conventional electromechanical hard disk drive, the disk controller must first position the head, relatively slowly, to the track where a given fragment resides, and then wait while the disk platter rotates until the fragment reaches the head. A solid-state drive (SSD) is based on flash memory with no moving parts, so random access of a file fragment on flash memory does not suffer this delay, making defragmentation to optimize access speed unnecessary. Furthermore, since flash memory can be written to only a limited number of times before it fails, defragmentation is actually detrimental (except in the mitigation of catastrophic failure). However, Windows still defragments a SSD automatically (albeit less vigorously) to prevent the file system from reaching its maximum fragmentation tolerance (when the metadata can’t represent any more file fragments). Once the maximum fragmentation limit is reached, subsequent attempts to write to disk fail.

SMR hard disks
Although many SMR hard disks will accept TRIM command, SMR hard disks still need defragmentation for improved performance.

Approach and defragmenters by file-system type

 * FAT: MS-DOS 6.x and Windows 9x-systems come with a defragmentation utility called Defrag. The DOS version is a limited version of Norton SpeedDisk. The version that came with Windows 9x was licensed from Symantec Corporation, and the version that came with Windows 2000 and XP is licensed from Condusiv Technologies.
 * NTFS was introduced with Windows NT 3.1, but the NTFS filesystem driver did not include any defragmentation capabilities. In Windows NT 4.0, defragmenting APIs were introduced that third-party tools could use to perform defragmentation tasks; however, no defragmentation software was included. In Windows 2000, Windows XP and Windows Server 2003, Microsoft included a defragmentation tool based on Diskeeper that made use of the defragmentation APIs and was a snap-in for Computer Management. In Windows Vista, Windows 7 and Windows 8, the tool has been greatly improved and was given a new interface with no visual diskmap and is no longer part of Computer Management. There are also a number of free and commercial third-party defragmentation products available for Microsoft Windows.
 * BSD UFS and particularly FreeBSD uses an internal reallocator that seeks to reduce fragmentation right in the moment when the information is written to disk. This effectively controls system degradation after extended use.
 * Btrfs has online and automatic defragmentation available.
 * Linux ext2, ext3, and ext4: Much like UFS, these filesystems employ allocation techniques designed to keep fragmentation under control at all times. As a result, defragmentation is not needed in the vast majority of cases. ext2 uses an offline defragmenter called, which does not work with its successor ext3. However, other programs, or filesystem-independent ones such as defragfs, may be used to defragment an ext3 filesystem. ext4 is somewhat backward compatible with ext3, and thus has generally the same amount of support from defragmentation programs. Currently e4defrag can be used to defragment an ext4 filesystem, including online defragmentation.
 * VxFS has the  utility that includes defrag operations.
 * JFS has the  utility on IBM operating systems.
 * HFS Plus introduced in 1998 with Mac OS 8.1 has a number of optimizations to the allocation algorithms in an attempt to defragment files while they are being accessed without a separate defragmenter. There are several restrictions for files to be candidates for 'on-the-fly' defragmentation (including a maximum size 20MB). There is a utility, iDefrag, by Coriolis Systems available since OS X 10.3. On traditional Mac OS defragmentation can be done by Norton SpeedDisk and TechTool Pro.
 * WAFL in NetApp's ONTAP 7.2 operating system has a command called  that is designed to defragment large files.
 * XFS provides an online defragmentation utility called.
 * SFS processes the defragmentation feature in almost completely stateless way (apart from the location it is working on), so defragmentation can be stopped and started instantly.
 * ADFS, the file system used by RISC OS and earlier Acorn Computers, keeps file fragmentation under control without requiring manual defragmentation.

title: Defragmentation


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Talk:London Bridge

Pictures of London Bridge with all the houses on it, and London Bridge in Arizona required I think

Vandalism
This article has been heavily vandalised in the past, I would ask that anyone reverting edits look back a little further to make sure you're not reverting to a less obviously vandalised revision - the final section on the current London Bridge was missing from the main article for a month because it had been stripped out completely! Chris 13:47, 28 January 2007 (UTC)

Photography of old london bridge
Question/thought. Old London bridge was demolished after the 1831 completion of the "new" replacement bridge. By the 1830s photography was in its infancy, but undeniably in existance. Were there any photos taken of the two bridges side by side before its demolition, or of the old bridge itself? Graldensblud 17:02, 12 February 2007 (UTC)

No photograph of both bridges but there is a set of engravings much reproduced and available in Guildhall Library for a modest price. There was also a a proposal to retain the older bridge as a supplementary crossing and an engraving made to demonstrate the arrangement. The whole point of Rennie's bridge was to remove the older one completely, so the engraving is a fantasy. 79.75.2.246 (talk) 16:48, 26 April 2008 (UTC)(Tony S)

Not a photo but an engraving of the Renni and Colechurch Bridges before the latter's demolition is posted by Ragemanchoo below. 79.72.81.131 (talk) 09:50, 27 August 2008 (UTC) Tony S

Price of Old London Brdige
While looking through this article, noticed the sold price of the Old London Bridge to Lake Havasu City, Arizona was listed as $12,460,000. This is Incorrect as it was only $2,460,000. This was corrected

--Xemoka 18:14, 1 November 2006 (UTC)

William Rufus
Under the Old Bridge section, if proposals to build a stone structure weren't made until after 1136, how come William Rufus, who'd died in 1100, started raising funds? 21:14, 14 November 2005 (UTC)

Always a confusion here, caused by the complexity of the financial arrangements required to erect and maintain the largest bridge in the kingdom. The 'Rufus' involvement is related to the references to labour servitude required by him in 1096 to maintain the Bridge, St Paul's Cathedral and the Tower of London. At some point a religious guild was given the licence to raise funds anywhere in England for the purpose of maintenance. This guild became involved with the early 'commune of London' and this guild/ guilds, the City's merchants and the king all provided funds. Endowments of land were also made. A reference to 'land of London Bridge' is made in the granting of St George's church to Bermondsey Abbey in 1122. The bridge/ bridges here had been made of timber since the Saxon period. In 1163 Peter de Colechurch was appointed 'warden' effectively surveyor and manager, to build a new wooden bridge. This task received a boost from 1170 when the Becket cult developed. The pilgrimage, effectively tracing Becket's last journey from a sermon he delivered at St Mary's Priory (now Southwark Cathedral) to Canterbury Cathedral, gave a huge new purpose to the Bridge. Wisely, de Colechurch adopted the martyr as the bridge's patron, Henry II had to allow this and the new income allowed a stone structure to be contemplated and started. The early corporate seal shows Becket above the bridge and the inscription states "The Seal of St Thomas the Martyr's Bridge of London" and the chapel to Becket on the bridge seems to date from the earliest period. Since 1200 King John recognised the City's necessary involvement in the bridge's finances and under the first known Mayor, Henry Fitz Ailwyn, representatives of the City were described as Wardens. The organisational footing of this was more secure, it attracted further endowments of land, most notably Henry Fitz Ailwyn's house in Southwark in his will of 1215. The City eventually required outright control, responsibility and the creation of the Bridge House Estaes Trust from 1282. 79.75.2.246 (talk) 16:48, 26 April 2008 (UTC) (Tony S)

london bridge
The article says that the current london bridge is over the colorado river. This is NOT true! The current london bridge is over the THAMES and the OLD London bridge was REBUILT over the colorado.
 * The old london bridge is not over the colorado river but over a canal that leads to Thompson Bay from the colorado.

Actually that's not the old old London Bridge anyway, it's the old new London Bridge. The really old London Bridge, familiar from many prints, only exists now in the form of two pedestrian arches that have been sitting in Victoria Park in Hackney, since 1860. Have taken pix of them, which I will be putting on that page. Can put them up here too, actually...

And Actually the pedestrian arches (one of which is in the Counting House Courtyard of nearby Guy's Hospital) only date drom the 1758 improvements of the mediaeval bridge, when the houses and shops were removed. 79.75.2.246 (talk) 16:48, 26 April 2008 (UTC) (Tony S)

(Of course that isn't even the oldest, we can go right back to the Romans if necessary. But it is the one, I think, that evokes the strongest mental image.)

this is bs Note

"Shoot the bridge"
What does "shoot the bridge" mean? Perhaps this expression should be replaced if it is not common knowledge what it means (if it is, please excuse my ignorance). Kvaks

 * I've now clarified this point. -- ChrisO 23:46, 9 May 2005 (UTC)

"Following the 1136 destruction of London bridge, its maintainer Peter de Colechurch proposed to replace the timber bridge with a permanent stone construction. William Rufus levied a tax to fund the new stone bridge, and construction of a new stone bridge was begun in the reign of Henry II, under de Colechurch's direction, in 1176. "

That can't be right, William Rufus had been dead for 36 years by then. Either the year is wrong or the king is wrong (Stephen was king in 1136). Everyking 00:49, 29 May 2005 (UTC)

Yes very confused, I have now edited to article to clarify this 79.75.2.246 (talk) 16:48, 26 April 2008 (UTC) (Tony S)

only bridge in London until Westminster Bridge
sorry to split hairs but to say that London Bridge was the only bridge in London until Westminster Bridge was built depends how you define "London". I understand that London and Westminster were two separate cities - they still have separate cathedrals - and I think it's only a result of London's suburban expansion that they have sort-of merged, and now come to be considered as one city.

I'm not sure when this happened - I'll look it up - but going back to the 16th century, and the site of where Westminster Bridge is today can't really be said to be in London at all.

So do we say that London means the Greater London area? If so, then Kingston Bridge was built in medieval times, long before Westminster Bridge. Or do we want to use some definition of "London" that includes Westminster but excludes Kingston? If so, then shouldn't we be more specific?

I think it's possible to make this clearer, though I need to check my facts before I could do it myself. Squashy 09:22, 9 March 2006 (UTC)

Always difficult to clarify this sort of statement as people use the term 'London' anachronistically. In 1750 Westminster parish was in Middlesex. In 1855 a co-ordinating body 'The Metropolitan Board of Works' under the 'Metropolis Management Act' took control of public bridges and sewers across the parishes of nearby parts of Middlesex, Surrey and Kent outside the City of London. In 1889 a new 'County of London' was created incorporating these parishes and others in Essex. So Westminster Bridge was not 'in London' until the latter date, but had been in 'the Metropolis' area since 1855. 'Greater London' was created in 1964 by merging the County with other suburban local authorities and to all intents and purposes 'Middlesex' disappeared as a county. Any bridge in Kingston upon Thames was also in Surrey under those preceeding arrangements. My edit now draws the distinction between 'Thames' and 'London' 79.75.2.246 (talk) 16:48, 26 April 2008 (UTC) (Tony S)

Name confusion?
"was completed by Rennie's son (of the same name, confusingly) over a seven-year period" I'm confused as to why this was marked "confusingly." I believe it's fairly common for children to be named after their parents, so does it really warrent the comment? Maybe it could read "Rennie's son, of the same name" but the confusingly, I think, really needs to go. I'll just remove it in about a week if no one can present a viable reason as to why it needs to be left in. --Ecurran 03:15, 10 March 2006 (UTC)

How?
How was London bridge destroyed? by sinking and fires, yes, but then, how did the fires start? Lightning? Suicide? A prank gone wrong? etc.

Sazuma 12:03, 11 April 2006 (UTC)

Which London Bridge are you talking about? There have been three in total. (61.7.166.96 19:19, 30 September 2007 (UTC))

What does this mean?
This is about half way down the page, does anyone know why? Scientists are wondering if there is going to be another London Bridge, with the second one once again destroyed?

Old New London Bridge && New New London Bridge
If one was built while the other was being destroyed, this suggests that they were the same dimensions. Is this true? The current bridge is a very wide bridge (6 lanes, plus wide pavements). Perhaps someone could clarify 198.240.130.75 10:45, 16 November 2006 (UTC)

The 1960s new bridge is much wider than the Rennie bridge, the new bidge replaced the older structure's traffic lanes in situ by diverting/ replacing lanes for the traffic 79.75.2.246 (talk) 16:48, 26 April 2008 (UTC) (Tony S)

Disputed statistic
The article currently claims that the bridge blocked 80% of the flow. What does this mean? Where did the 80% go? See Conservation of mass. Since there were arches for the entire length of the bridge, the bridge spanned the entire river, and I'm assuming special diversion channels were not built to divert away 80% of the flow of the Thames, this doesn't make sense. Please reword if you understand the original meaning? Thanks. Ufwuct 23:23, 28 November 2006 (UTC)

London Bridge and McCulloch
The claim that Robert P McCulloch bought London Bridge believing that he was buying Tower Bridge is hard to pin down as it is an urban legend that is repeated from time to time, as on this web page. I have come across this claim in the UK media on several occasions, but it is untrue because McCulloch was photographed standing on old London Bridge by the press and was well aware of what he was buying.--Ianmacm 19:53, 17 December 2006 (UTC)

Could we get a citation of these photographs? 'cos at the moment there is no verification of the claim that this is an urban legend. (forgot to sign in originally) D.C.Rigate (talk) 21:03, 29 August 2008 (UTC)

 * All of the Ivan Luckin material comes from the citation at How London Bridge Was Sold To The States (from This Is Local London) which is offline at the moment due to a rejig at the website. In this interview, Luckin specifically denies the claim that McCulloch believed that he was buying Tower Bridge. Whether this is an urban legend is harder to say, although it does get repeated with depressing frequency, eg at . Luckin is also quoted as denying this at . -- ♦Ian Ma c  M♦  (talk to me) 12:16, 30 August 2008 (UTC)

 * The citation for the Ivan Luckin material was a broken link when I tried it. I found the article at How London Bridge Was Sold To The States (from This Is Local London). Perhaps someone would like to update the citation here and on the article at London Bridge (Lake Havasu City) — Preceding unsigned comment added by 203.130.170.90 (talk) 05:42, 28 February 2012 (UTC)

 * Thanks for pointing this out, I've added a version of the page from WebCite which should be more stable.-- ♦Ian Ma c M♦  (talk to me) 06:04, 28 February 2012 (UTC)

How much of the old bridge came to Arizona?
The article states: "Not all of the bridge was transported to America" and "so a large part of Rennie's bridge never left the UK". So just how much of the bridge are we talking about? This article says the one in Arizona is 58 feet shorter, and hollow, somewhat different than the Wiki article which states that it has stone cladding over a concrete frame. We need details! --Blainster 00:25, 18 April 2007 (UTC) Certainly not ALL of the bridge went to Arizona because in the early seventies -when the new 1973 bridge was being built and the old 1831 bridge was being pulled down ,Iwalked across the latter(half being still open and noticed that every corner of the rectangular tops of the buttresses that formed part of the sidewalk wall ,had been chipped off, presumably as souvenirs by the contractors or others.They would have made good paper weights.I imagine new -false- corners have replaced the originals

Buildings?
The article says their were buildings on each side of the bridge, how is this possible if it was only 26 feet wide. I've never heard of 7 feet deep buildings, let alone seven stories high. Maybe this needs to be looked at.

The article only says Contemporary pictures show it crowded with buildings of up to seven stories in height. If you look at the picture which is just next to it in the article you can see this is true. I don't know however if the picture is a misrepresentation.--Jackaranga 11:39, 21 April 2007 (UTC)

 * The article is quite correct. The bridge had houses on it from when it was first built - the income from the rents was part of the way the bridge was funded. At street level, buildings were seven to ten feet wide - but some of this overhung the sides of the bridges, supported on wooden props, so in some cases as little as four feet of the building actually sat directly over the bridge. At higher levels, buildings were built out both above the roadway and the Thames. Source - Patricia Pierce's Old London Bridge, page 51-52. There's a nice diagram in Peter Jackson's book London Bridge - A Visual History which shows a cross-section. -- Kvetner 12:43, 21 April 2007 (UTC)

Six feet ?
The article says : 'This produced ferocious rapids between the piers or "starlings" of the bridge, as the difference between the water levels on each side could be as much as six feet (two metres).' A height difference of 6 feet over a horizontal distance of 26 feet sounds ridiculous - that's not a bridge, it's a dam. Can anyone cite a source for this ? -- unsigned comment by 82.26.75.241
 * I've got 2 books on the bridge at home and will take a look later, but yes, the bridge was to some extent a dam as the pier bases were extremely wide. The massive restraint to flow was one of the things that allowed the Thames to freeze over regularly. -- Kvetner 15:26, 17 May 2007 (UTC)
 * Six feet is quoted in Patricia Pierce's book, page 45, which states that the piers blocked almost half the 405 feet width of the river, so it's actually fairly plausible under rapid tidal flow. Six feet is also quoted in Peter Jackson's book, page 76, which states that the starlings around the pier bases blocked up to 5/6 of the width at low tide. He reprints several old illustrations which certainly make this believable. I'll have a look at the article and see if a citation will help. -- Kvetner 22:22, 17 May 2007 (UTC)

You also have to remember that apart from the fresh water volume from the source, the Thames at this point is tidal estuary. Therefore at different tide times there was no difference in height and boats could make their way upstream. The dangerous 'shooting' was when going downstream at low tides. 79.72.81.131 (talk) 09:40, 27 August 2008 (UTC) Tony S

Is this true?
Districts of England article states, unsourced, "The only district boundary that is not vertical is that between the City of London and the London Borough of Southwark. This is because the City today controls the full spans of London Bridge and Blackfriars Bridge, but only half of the river underneath them." If this is true it maybe should be included here, I skip read the article and couldn't find a mention of it. Carlwev (talk) 05:58, 11 March 2008 (UTC)

Yes, the statement is true; furthermore there are actually footing areas within what seems to be Southwark which are clearly marked as within the City. Go to Glaziers Hall and one can see the boundary marker under what's left of Rennie's bridge next to the pedestrian steps. 79.75.2.246 (talk) 16:48, 26 April 2008 (UTC) (Tony S)

"The bridges lights were made from Napolian's canons."
I guess this is trying to say that "The bridge's lights were made from Napoleonic cannons". Even if that's the right interpretation, though, there's no citation offered. Piers Fletcher (talk) 15:55, 2 May 2008 (UTC)

Photo question
So is that the old bridge on the left, the one being replaced? This is the bridge that was 600 years old and had had buildings on it (until they eventually burned), right? --Ragemanchoo (talk) 09:22, 19 August 2008 (UTC)

This engraving does show the Rennie Bridge and the 'Colechurch' Bridge being demolished, which had buildings on it until 1758 until removed (not burned down) to widen the roadway, 79.72.81.131 (talk) 09:35, 27 August 2008 (UTC) Tony S

Unused pillars?
''London Bridge was widened in 1902–04 from 52 to 65 feet (16 to 20 m), in an attempt to combat London's chronic traffic congestion. A dozen of the granite "pillars" quarried and dressed for this widening, but unused, still lie near Swelltor Quarry on the disused railway track a couple of miles south of Princetown on Dartmoor.'' Anybody know where this is at? I'm curious. I've looked around the area and can't find it, nor can I find evidence of an abandoned rail line. --Ragemanchoo (talk) 09:22, 19 August 2008 (UTC)

 * Take a look at this item from the BBC Devon website. -- ♦Ian Ma c M♦  (talk to me) 21:43, 21 August 2008 (UTC)

Images
The article is suffering from an image logjam at the moment. There is a poor balance between images and the text, particularly at the bottom of the article. Images need to be chosen for relevance and balance with the surrounding text. If no-one objects, I will do some pruning.-- ♦Ian Ma c M♦  (talk to me) 17:39, 21 August 2008 (UTC)
 * A better presentation of the images would be in a left-right alternating pattern. Generally aiming for a balance of image and text in context (as you say). Kbthompson (talk) 10:13, 27 August 2008 (UTC)

Question
Question: I've read about nobility travelling via the Thames from Greenwich and Westminster, etc to the Tower (and Queens under arrest coming that way too). Presumably they'd have had to pass the bridge...but the bit about the rapids makes it sound like that was next to impossible. Can someone clarify? Bkhaip (talk) 08:19, 3 May 2009 (UTC)

 * For anyone wondering at this late date: a barge coming from Greenwich would not have to pass the bridge, as both the Tower and Greenwich are east of the bridge. A barge carrying a prisoner that was coming from Richmond, Westminster, etc. would have to pass under the bridge, and that could only be safely done at high tide. Elizabeth Tudor famously delayed her arrival at the Tower by a full day by writing a letter to Queen Mary that took so much time to complete that the tide had dropped too low to safely shoot the bridge that day. Anyone coming to the Tower who was not under arrest could be trusted to alight from their barge upstream of the bridge, walk past the bridge, and hire a waterman to take them the rest of the way. --NellieBlyMobile (talk) 02:30, 29 August 2013 (UTC)

Who desinged the second London Bridge?
I've heard someone called john reemie, and in the article it says Michael Leeming desinged it. who to believe? Noghiri (talk) 19:27, 14 May 2009 (UTC)

 * Michael Leeming designed the current London Bridge, opened in 1973; John Rennie designed the one before that, opened in 1831. There have (probably) been seven bridges here in total. – iride  scent  13:37, 1 June 2009 (UTC)

Sheep
Is this fact true that there is a law left over from medieval times that no one has bothered to change that entitles farmers to drive sheep over the bridge? The C of E.          God Save The Queen! (talk)

Well, you have to be a freeman of the city to do it. It is currently done once a year as a charity event, see the web passim. Just a few sheep backwards and forwards on a blocked off pavement actually. Davidnugget (talk) 14:45, 20 September 2017 (UTC)

Not to be confused with Tower Bridge
Is it worth me adding a "Not to be confused with Tower Bridge" link at the top to save confusion? Gul e (talk) 23:12, 25 April 2010 (UTC)

 * I don't see anything wrong with something along the lines of that. There's plently of people who call Tower Bridge 'London Bridge', whilst completely ignoring the presence of the actual London Bridge. I also don't know why there needs to be a citiation needed for this [in the actual article]. Could anyone possibly explain that please?

 * Louisalena (talk) 17:58, 17 June 2011 (UTC)

 * I agree, it's a very common confusion — I've had to correct tourists a large number of times over the years who say they want to visit 'London Bridge'. Hence I've now added a suitable hatnote.—A bit iffy (talk) 13:14, 24 December 2012 (UTC)

Separate article for the medieval bridge?
The medieval London Bridge strikes me as being quite ripe for its own article, given that it was slightly more interesting (and completely different) to the current bridge. Would there be support for splitting it off (in a manner similar to Old St Paul's Cathedral? Bob talk 08:55, 8 September 2010 (UTC)

Pre-Roman bridge?
Any references to evidence of a pre-Roman bridge on the site, apparently discovered a few years ago? 86.176.178.94 (talk) 23:05, 25 June 2011 (UTC)

External links modified
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Potential Terrorist Event 3/6/2017
It might be better left off the main page until consistent reports can be established — Preceding unsigned comment added by 90.202.104.73 (talk) 22:59, 3 June 2017 (UTC)
 * The main page is well catered for; only admins can change it. An article dedicated to the incident (whatever its nature) is in development, but I'm inclined to request limited semi-protection of this page for a day or two. It's not a news article. Haploidavey (talk) 23:07, 3 June 2017 (UTC)

 * Re this edit: It is clunky and isn't really adding anything to say "This is the first time such an attack has happened on this bridge." Likewise, it isn't necessary per WP:NOTNEWS to say "but their details have not been released"; no doubt their identities will be released shortly. This article is about the bridge itself, and it has WP:TOPIC issues to mention the June 2017 attack in any detail when there is already a separate article about it.-- ♦Ian Ma c M♦  (talk to me) 07:00, 5 June 2017 (UTC)

Anchors
I've added subsection anchors for the various incarnations of the bridge. (I noticed there was already one for Old London Bridge- thank you!)

These are used by redirects (e.g. London Bridge (1209)) and in preference to title links, since the latter are prone to breaking whenever someone changes the subsection title. (Indeed, it was this having happened *already* which prompted me to do this in the first place).

It's also intended that people link through the subsection redirects (as recommended) so that any changes, maintenance or updates only require altering the redirect rather than everything that links to it.

Ubcule (talk) 12:35, 23 July 2017 (UTC)

External links modified
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London Bridge is falling down
Nursery Rhyme built in truth?137.118.99.79 (talk) 18:04, 18 April 2019 (UTC)

Terrorist attacks
This article is about the bridge, not about everything that's happened on it, nor about things that happened nearby, no matter how notable, newsworthy or downright horrific they were at the time. The two paragraphs that cover the two terrorist attacks in great circumstantial detail are not needed. Please note the talk page commentary above, regarding this. The barriers erected after the 2017 incident, and memorial plaques, are the only permanent traces of both attacks at the bridge itself. The bridge itself was not attacked. We have a photo of the barriers erected in response to the first attack, and can add commentary on this in a separate para. Yes or no? Haploidavey (talk) 06:48, 13 June 2022 (UTC)

Have accordingly removed most of the first para on the subject, retaining a single source, and removed all of the second para. See also today's edit summaries in article history. Haploidavey (talk) 15:23, 13 June 2022 (UTC)
 * I've added an appropriate hat for readers' navigation, which I feel is needed as the bridge fabric has been altered as a result. Thanks for drawing attention to your concerns.--Rocknrollmancer (talk) 21:41, 13 June 2022 (UTC)

mentioned by Mark Twain
I'm not an editor, but I'd love to see a reference to Mark Twain's vivid description of the old bridge with its houses in The Prince and the Pauper. He claims there were people who lived and died without leaving the bridge: is there any other source for that idea? 2601:1C2:1B7F:FC30:B457:E02E:6345:2775 (talk) 22:40, 19 February 2023 (UTC)

title: Talk:London Bridge


text:
André Kertész

André Kertész (2 July 1894 – 28 September 1985), born Andor Kertész, was a Hungarian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unorthodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved. Today he is considered one of the seminal figures of 20th century photography.

Expected by his family to work as a stockbroker, Kertész pursued photography independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France's first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success.

Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known. They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.

Early life and education
Andor Kertész was born on 2 July 1894 in Budapest to the middle-class Jewish family of Lipót Kertész, a bookseller, and his wife, Ernesztin Hoffmann. Andor, known as "Bandi" to his friends, was the middle child of three sons, including Imre and Jenő. When Lipót died in 1908 from tuberculosis, the widowed Ernesztin was without a source of income to support their three children. Ernesztin's brother, Lipót Hoffmann, provided for the family and acted much like a father to the boys. The family soon moved to Hoffman's country property in Szigetbecse. Kertész grew up in a leisurely pace of life and pastoral setting that would shape his later career path.

Hoffman paid for his middle nephew's business classes at the Academy of Commerce until his 1912 graduation, and arranged his hiring by the stock exchange soon after. Unlike his older brother Imre, who worked at the exchange in Budapest for all his life, Kertész had little interest in the field. He was drawn to illustrated magazines and to activities like fishing and swimming in the Danube River near his uncle's property.

Kertész's first encounters with magazine photography inspired him to learn photography. He was also influenced by certain paintings by Lajos Tihanyi and Gyula Zilzer, as well as by poetry.

Hungarian period
After earning enough money, Kertész quickly bought his first camera (an ICA box camera) in 1912, despite his family's protests to continue his career in business. In his free time, he photographed the local peasants, gypsies, and landscape of the surrounding Hungarian Plains (the puszta). His first photograph is believed to be Sleeping Boy, Budapest, 1912. His photographs were first published in 1917 in the magazine Érdekes Újság, during World War I, while Kertész was serving in the Austro-Hungarian army. As early as 1914 (for example, Eugene, 1914), his distinctive and mature style was already evident.

In 1914, at the age of 20, he was sent to the frontline, where he took photographs of life in the trenches with a lightweight camera (a Goerz Tenax). Most of these photographs were destroyed during the violence of the Hungarian Revolution of 1919. Wounded in 1915 by a bullet, Kertész suffered temporary paralysis of his left arm.

He was sent for convalescence to a military hospital in Budapest, but was later transferred to Esztergom, where he continued to take photographs. These included a self-portrait for a competition in the magazine Borsszem Jankó. His most famous piece of this period was Underwater Swimmer, Esztergom, 1917, the only surviving work of a series of a swimmer whose image is distorted by the water. Kertész explored the subject more thoroughly in his series of "Distortions" photographs during the early 1930s.

Kertész did not heal soon enough to return to combat, and with peace in 1918, he returned to the stock exchange. There he met his future wife Erzsebet Salomon (later changed to Elizabeth Saly, also spelled Sali), who also worked at the exchange. He began to pursue her romantically. During this period of work and throughout his whole career, he used Elizabeth as a model for his photographs. Kertész also took numerous photographs of his brother Jenő. Kertész left his career at the exchange to try agricultural work and beekeeping during the early 1920s. This venture was brief given the political turmoil that accompanied the revolution and coming of communism.

After returning to the stock exchange, Kertész decided to emigrate, to study at one of France's photographic schools. His mother dissuaded him, and he did not emigrate for several years. Working during the day at the exchange, he pursued photography the rest of the time.

In 1923, the Hungarian Amateur Photographer's Association selected one of his photographs for its silver award, on the condition that he print it by the bromoil process. Kertész disliked this, so turned down the medal. Instead, he was given a diploma from the association. On its 26 June 1925, the Hungarian news magazine Érdekes Újság used one of his photographs for its cover, giving him widespread publicity. By that time, Kertész was determined to photograph the sights in Paris and join its artistic culture.

French period
Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner, who also emigrated to Paris during this period.

Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success. In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 0 in 2024), a large sum of money during the Great Depression.

Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life. Visiting his sculptor friends, he was fascinated by the Cubism movement. He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.

Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with Lucien Vogel, the French editor and publisher of Vu. Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.

In 1933 Kertész was commissioned for the series, Distortion, about 200 photographs of Najinskaya Verackhatz and Nadia Kasine, two models portrayed nude and in various poses, with their reflections caught in a combination of distortion mirrors, similar to a carnival's house of mirrors. In some photographs, only certain limbs or features were visible in the reflection. Some images also appeared in the 2 March issue of the "girly magazine" Le Sourire and in the 15 September 1933 issue of Arts et métiers graphiques. Later that year, Kertész published the book Distortions, a collection of the work.

In 1933 Kertész published his first personal book of photographs, Enfants, dedicated to his fiancée Elizabeth and his mother, who had died that year. He published regularly during the succeeding years. Paris (1934) was dedicated to his brothers Imre and Jenő. Nos Amies les bêtes ("Our Friends the Animals") was released in 1936 and Les Cathédrales du vin ("The Cathedrals of Wine") in 1937.

Marriage and family
In the late 1920s, Kertész secretly married the French portrait photographer Rosza Klein (she used the name Rogi André). The marriage was short-lived and he never spoke about it.

In 1930, he ventured back to Hungary to visit his family. After his return to Paris, Elizabeth followed him in 1931, despite opposition by her family. Elizabeth and André remained together for the rest of their lives. Despite his mother's dying in early 1933, Kertész married Elizabeth on 17 June 1933. He was said to have spent less time with his artist friends in favor of his new wife.

In 1936 they emigrated to New York, where within a decade, they became naturalized citizens. After creating and running a successful cosmetic business for years, in 1977 Elizabeth died of cancer.

Pending war
Social and political tensions were rising in Europe with the growing strength in Germany of the Nazi Party. Many magazines emphasized stories about political topics and stopped publishing Kertész because of his apolitical subjects. With his commissioned work dropping and persecution of Jews increasing, Kertész and Elizabeth decided to move to New York. He was offered work at the Keystone agency owned by Ernie Prince. In 1936, Kertész and Elizabeth boarded the SS Washington bound for Manhattan.

The couple arrived in New York on 15 October 1936, with Kertész intent on finding fame in America. They lived at the Beaux Arts Hotel in Greenwich Village. Kertész found life in America more difficult than he had imagined, beginning a period which he later referred to as the "absolute tragedy". Deprived of his artist friends, he also found that Americans rejected having their photos taken on the street. Soon after his arrival, Kertész approached Beaumont Newhall, director of the photographic department at the Museum of Modern Art (MoMA), who was preparing a show entitled Photography 1839–1937. Offering Newhall some of his Distortions photographs, Kertész bristled at his criticism, but Newhall did exhibit the photographs. In December 1937 Kertész had his first solo show in New York at the PM Gallery.

The Keystone agency, who had offered him offsite work, required him to stay in the company's studio. Kertész tried to return to France to visit, but had no money. By the time he had saved enough, World War II had begun and travel to France was nearly impossible. His struggles with English compounded his problems. Years after learning to speak French in Paris, it was difficult for him to learn another new language. The lack of fluent language added to his feeling like an outsider.

Frustrated, Kertész left Keystone after Prince left the company in 1937. He was commissioned by Harper's Bazaar for an article on the Saks Fifth Avenue department store in their April 1937 issue. The magazine continued to use him in further issues, and he also took commissions from Town and Country to supplement his income. Vogue invited the photographer to work for the magazine, but he declined, believing it was not appropriate work for him. He chose to work for Life magazine, starting with a piece called The Tugboat. Despite orders, he photographed more than just tugboats, including works on the entire harbor and its activities. Life refused to publish the unauthorized photographs. Kertész resented the constraints on his curiosity.

On 25 October 1938, Look printed a series of Kertész photographs, entitled A Fireman Goes to School; but credited them mistakenly to Ernie Prince, his former boss. Infuriated, Kertész considered never working with photo magazines again. His work was published in the magazine Coronet in 1937, but in 1939 he was excluded when the magazine published a special issue featuring its "Most memorable photographs". He later severed all ties to the magazine and its editor Arnold Gingrich. After being excluded from the June 1941 issue of Vogue, dedicated to photography, Kertész broke off relations with them. He had contributed to more than 30 commissioned photo essays and articles in both Vogue and House and Garden, but was omitted from the list of featured photographers.

In 1941, the Kertész couple were designated as enemy aliens because of World War II (Hungary was fighting on the side of the Axis powers). Kertész was not permitted to photograph outdoors or to have any project related to national security. Trying to avoid trouble because Elizabeth had started a cosmetics company (Cosmia Laboratories), Kertész ceased to do commissioned work and essentially disappeared from the photographic world for three years.

On 20 January 1944, Elizabeth became a US citizen; and Kertész was naturalized on 3 February. Despite competition from photographers such as Irving Penn, Kertész regained commissioned work. He was omitted from the list of 63 photographers which Vogue's identified as significant in its "photographic genealogical tree". But, House and Garden commissioned him to do photographs for a Christmas issue. In addition, in June 1944 László Moholy-Nagy, director of the New Bauhaus – American School of Design offered him a position teaching photography. Despite the honor, he turned the offer down.

In 1945, Kertész released a new book, Day of Paris, made up of photographs taken just before his emigration from France. It gained critical success. With his wife's cosmetic business booming, Kertész agreed in 1946 to a long-term, exclusive contract with House and Garden. Although it restricted his editorial freedom and required many hours in the studio, the pay of at least US$10,000 per annum ($ 0 per year in 2024) was satisfactory. All photographic negatives were returned to him within six months for his own use.

Kertész worked in the settings of many famous homes and notable places, as well as overseas, where he traveled again in England, Budapest and Paris, renewing friendships and making new ones. During the 1945–62 period at House and Garden, the magazine published more than 3,000 of his photographs, and he created a high reputation in the industry. With little time for his personal work, Kertész felt starved of being able to exercise more artistic creativity.

Later life
In 1946, Kertész had a solo exhibition at the Art Institute of Chicago, featuring photographs from his Day of Paris series. Kertész said this was one of his greatest times in the United States. In 1952, he and his wife moved to a 12th-floor apartment at 2 Fifth Avenue near Washington Square Park, the setting for some of his best photographs since having immigrated to the US. Using a telephoto lens, he took a series of snow-covered Washington Square, showing numerous silhouettes and tracks. In 1955 he was insulted to have his work excluded when Edward Steichen's The Family of Man show was featured at MoMA. Despite the success of the Chicago show, Kertész did not gain another exhibit until 1962, when his photographs were shown at Long Island University.

Kertész lived at 2 Fifth Avenue during the construction and inauguration of the former World Trade Center. He photographed the Twin Towers from his apartment on multiple occasions prior to his death.

International period
Toward the end of 1961, Kertész broke his contract to Condé Nast Publishing after a minor dispute, and started doing his own work again. This later period of his life is often referred to as the "International period", when he gained worldwide recognition and his photos were exhibited in many countries. In 1962 his work was exhibited in Venice; in 1963, he was one of the invited artists of the IV Mostra Biennale Internazionale della Fotografia there and he was awarded a gold medal for his dedication to the photographic industry. Later in 1963, his work was shown in Paris at the Bibliothèque nationale de France. He later visited Argentina to see his younger brother Jenő for the first time in years. Kertész experimented with color photographs, but only produced a few.

In 1964, soon after John Szarkowski became the photography director at the Museum of Modern Art, he featured Kertész in a solo show. With his work critically acclaimed, Kertész gained recognition in the photographic world as an important artist. The work of Kertész was featured in numerous exhibitions throughout the world in his later life, even into his early nineties. Due to his newfound success, in 1965 Kertész was appointed as a member of the American Society of Media Photographers.

His awards rapidly accumulated. In 1974 he received a Guggenheim Fellowship; in 1974 he was awarded Commander of the French Ordre des Arts et des Lettres; in 1977 he received the Mayor's Award of Honor for Arts and Culture in New York; in 1980 he received the Medal of the City of Paris, and the first Annual Award of the Association of International Photography Art Dealers in New York; and in 1981 he received an honorary Doctorate of Fine Arts from Bard College, and the New York Mayor's Award of Honor for Arts and Culture.

During this period, Kertész produced a number of new books. He was able to recover some of the negatives he had left in France decades before.

Despite his successes, Kertész still felt unrecognised as a photographer. His last years were spent travelling to various locations around the globe for his exhibitions, especially Japan, and rekindling friendships with other artists. To deal with the loss of his wife in 1977, Kertész fell back on his new network of friends, often visiting them to talk. By this time, he was said to have learned basic English and talked in what his friends called "Kertészian", a mixture of Hungarian, English and French.

In 1979, the Polaroid Corporation gave him one of their new SX-70 cameras, which he experimented with into the 1980s. Still growing in fame, Kertész was granted the National Grand Prize of Photography in Paris in 1982, as well as the 21st Annual George Washington Award from the American Hungarian Foundation the same year.

In 1980, Kertész sat for Canadian artist Arnaud Maggs, resulting in the large-scale portrait project André Kertész, 144 Views (1980). According to Maggs, Kertész described the work as a "portrait mosaic."

Death
Kertész died in his sleep at home on 28 September 1985; he was cremated and his ashes were interred with those of his wife.

Legacy and honors

 * 1983: honorary doctorate from the Royal College of Art; and title of Chevalier de la Legion of Honour in Paris: together with an apartment for future visits to the city;
 * 1984: the Maine Photographic Workshop's first Annual Lifetime Achievement Award;
 * 1984: purchase of 100 prints by the Metropolitan Museum of Art, its largest acquisition of work from a living artist;
 * 1985: Californian Distinguished Career in Photography Award;
 * 1985: first Annual Master of Photography Award, presented by the International Center of Photography; and
 * 1985: honorary doctorate from Parson's School of Design of the New School for Social Research.
 * 1986: Kertész is posthumously inducted into the International Photography Hall of Fame and Museum.
 * 2002: a New York City photograph by Kertész appeared on a 37-cent U.S. postage stamp, part of a Masters of American Photography series.

Critical evaluation
Throughout most of his career Kertész was depicted as the "unknown soldier" who worked behind the scenes of photography, yet was rarely cited for his work, even up to his death in 1985. Kertész thought himself unrecognised throughout his life, despite spending his life in the eternal search for acceptance and fame. Though Kertész received numerous awards for photography, he never felt both his style and work was accepted by critics and art audiences alike. Although, in 1927, he was the first photographer to have a solo exhibition, Kertész said that it was not until his 1946 exhibition at the Art Institute of Chicago, that he first felt he received positive reviews on his work, and often cites this show as one of his finest moments in America. During his stay in America, he was cited as being an intimate artist, bringing the viewer into his work, even when the picture was that of subjects such as the intimidating New York City and even his reproduced work printed after his death received good reviews; "Kertész was above all a consistently fine photographer". Kertész's work itself is often described as predominantly utilising light and even Kertész himself said that "I write with light". He was never considered to "comment" on his subjects, but rather capture them – this is often cited as why his work is often overlooked; he stuck to no political agenda and offered no deeper thought to his photographs other than the simplicity of life. With his art's intimate feeling and nostalgic tone, Kertész's images alluded to a sense of timelessness which was inevitably only recognised after his death. Unlike other photographers, Kertész's work gave an insight into his life, showing a chronological order of where he spent his time; for example, many of his French photographs were from cafés where he spent the majority of his time waiting for artistic inspiration.

Although Kertész rarely received bad reviews, it was the lack of commentary that led to the photographer feeling distant from recognition. Now, however, he is often considered to be the father of photojournalism. Even other photographers cite Kertész and his photographs as being inspirational; Henri Cartier-Bresson once said of him in the early 1930s, "We all owe him a great deal." When he was 90 years old, a person asked him why he was still taking photographs. He replied, "I'm still hungry."

Publications
This list is compiled from Capa et al, Corkin & Lifson and Könemann et al.

 * 1933: Enfants published in Paris by Éditions d'Histoire et d'Art. A compilation of 54 photographs dedicated to his mother and his wife Elizabeth.
 * 1934: Paris Vu Par André Kertész published in Paris by Éditions d'Histoire et d'Art. A compilation of 48 photographs from Kertész's time in Paris.
 * 1936: Nos Amies les Bêtes published in Paris by Éditions d'Histoire et d'Art. A compilation of 60 photographs of various animals and is dedicated to Szigetbecse, where he took his earliest photographs.
 * 1937: Les Cathédrales du Vin published in Paris by Etablissements et Brice. A compilation of 28 photographs.
 * 1945: Day of Paris published in New York by J.J. Augustin. A compilation of 126 photographs, again of photographs during his stay in Paris.
 * 1964: André Kertész, Photographer published in New York by the Museum of Modern Art. A compilation of 64 photographs from his exhibition that same year at the MoMA.
 * 1966: André Kertész published in New York by Paragraphic Books. A compilation of 76 reproduced photographs.
 * 1968: The Concerned Photographer published in New York by Grossman Publishers following "The Concerned Photographer" exhibition.
 * 1971: On Reading published in New York by Grossman Publishers. A small number of photographs all of various people reading.
 * 1972: André Kertész: Sixty Years of Photography, 1912–1972 published in New York by Grossman Publishers. A compilation of 250 photographs.
 * 1974: J'aime Paris: Photographs Since the Twenties published in New York by Grossman Publishers. A compilation of 219 photographs from his years in Paris and his later return trips there.
 * 1975: Washington Square published in New York by Grossman Publishers. A compilation of 104 photographs of Washington Square which Kertész took using a telephoto lens.
 * 1976: Distortions published in New York by Alfred A. Knopf. A compilation of 200 photographs featuring two naked models distorted in a funhouse mirror. These photographs were taken many years prior to the book's release.
 * 1976: Of New York published in New York by Alfred A. Knopf. A compilation of 184 photographs taken of New York and is dedicated to Elizabeth.

 * 1977: André Kertész published in New York by Aperture Inc. A compilation of 44 photographs as part of the History of Photography series by Aperture Inc.
 * 1979: Americana published in New York by Mayflower Books Inc. A compilation of 64 photographs from throughout Kertész's career. The photos depict American ways of life and the book is one of four in a series. The other four books, Birds, Landscapes and Portraits, were released the same year, but Kertész thought the photograph reproductions in the books were terrible and, for the first time, refused to autograph books.
 * 1979: Birds published in New York by Mayflower Books Inc. A compilation of 64 photographs depicting bird life from throughout Kertész's career.
 * 1979: Landscapes published in New York by Mayflower Books Inc. A compilation of 64 photographs featuring landscapes from throughout Kertész's career.
 * 1979: Portraits published in New York by Mayflower Books Inc. A compilation of 64 portraiture photographs from throughout Kertész's career.
 * 1981: From My Window published in Boston by New York Graphic Society/Little Brown. A compilation of 53 colour photographs, one of the rare times Kertész used colour film.
 * 1982: André Kertész: A Lifetime of Perception published in Canada by Prentice-Hall Canada Inc.
 * 2004: André Kertész published in Lawrenceville by Princeton University Press.
 * 2004: André Kertész et la Savoie published in Haute-Savoie by Fontaine de Siloe.
 * 2005: André Kertész: Observations, Thoughts, Reflections published in Chicago by Stephen Daiter Gallery.
 * 2005: The Early Years published in New York by W. W. Norton & Company.
 * 2007: The Polaroids published in New York by W. W. Norton & Company.
 * 2008: Photofile: André Kertész published in London by Thames & Hudson.

Exhibitions
This list includes material from Capa et al, Corkin & Lifson, Könemann et al, and Naef et al.

 * 1927: Untitled exhibition of thirty photographs at Au Sacre du Printemps Gallery, Paris. The first one-man photographer exhibition ever.
 * 1927: III Salon International de Fotografie in Zaragoza.
 * 1927: XXIIIe Salon International de Fotografie in Paris.
 * 1928: 1er Salon Indépendant de la Photographie at the Théâtre des Champs-Élysées, Paris.
 * 1928: Exposition de Photographie at Galerie L'Epoque, Brussels.
 * 1928: Internationale Foto-Salon in Rotterdam.
 * 1929: Svaz cs. Klubu Fotografu Amateru in Prague.
 * 1929: Fotografie der Gegenwart in Essen.
 * 1929: Der International Ausstellung von Film and Foto in Stuttgart.
 * 1930: Das Lichtbild, a travelling show, in Essen and Munich.
 * 1930: Primer Salon Annual de Fotografia in Buenos Aires.
 * 1930: 11e Salon de l'Araignée at the G.L. Manuel Freres Gallery, Paris.
 * 1930: Photographies d'aujourd'hui at d'Art Contemporain Gallery, Paris.
 * 1931: Deuxieme Groupe de Photographes at d'Art Contemporain Gallery, Paris.
 * 1931: Association Belge de Photographie at the Xe Salon de Photographie, Brussels.
 * 1931: Photographies d'aujourd'hui at d'Art Contemporain Gallery, Paris.
 * 1931: Neue Sportbauten at Graphische Lehr-und Versuchsanstaldt, Vienna.
 * 1931: An Exhibition of Foreign Photography at The Art Center, New York City.
 * 1932: Palais des Beaux-Arts at Internationale de la Photographie, Brussels.
 * 1932: Modern European Photography at the Julien Levy Gallery, New York.
 * 1932: International Photographers" at the Brooklyn Museum, New York.
 * 1932: Modern Photography at the Albright Art Gallery, Buffalo, New York.
 * 1932: Untitled exhibition at the Museum Fokwang, Essen.
 * 1933: Deuxieme Exposition Internationale de la Photographie et Cinema in Brussels.
 * 1933: Groupe Annuel des Photographes at the Galerie de la Pléiade, Paris.
 * 1933: The Modern Spirit in Photography at The Royal Photographic Society of Great Britain, London.
 * 1934: Untitled exhibition at Leleu's Studio, Paris.
 * 1934: Groupe Annuel des Photographes at the Galerie de la Pléiade, Paris.
 * 1934: Exposition de la société des artistes photographes at Studio Saint-Jacques, Paris.
 * 1934: The Modern Spirit in Photography and Advertising at The Royal Photographic Society of Great Britain, London.
 * 1935: Untitled exhibition at the Galerie de la Pléiade, Paris.
 * 1936: ''Exposition Internationale de la Photographie Contemporaine" at Musée des Arts Décoratifs, Paris.
 * 1937: Photography 1839–1937 at the Museum of Modern Art, New York.
 * 1937: Untitled exhibition at the P M Gallery, New York.
 * 1937: Pioneers of Modern French Photography at the Julien Levy Gallery, New York.
 * 1942: Image of Freedom at the Museum of Modern Art, New York.
 * 1946: Untitled exhibition at the Art Institute of Chicago, Chicago. This was Kertész's first solo museum exhibition in America and he often cited this as one of his finest moments while in America.
 * 1963: Untitled exhibition at Modernage Photo Lab, New York.
 * 1963: IV Mostra Biennale Internazionale della Fotografia, at the Museo Correr – Napoleonic Wing, Venice
 * 1963: André Kertész at the Bibliothèque Nationale, Paris.
 * 1964: André Kertész, Photographer at the Museum of Modern Art, New York.
 * 1967: All Art Is For Life & Against the War in Vietnam at the Terrain Gallery, New York.
 * 1967: The Concerned Photographer at the Riverside Museum, New York. This later travelled across the globe, including Tokyo.
 * 1970: Expo '70 at the U.S. Pavilion, Osaka.
 * 1971: Untitled solo exhibition at the Hungarian National Gallery, Budapest.
 * 1971: Untitled solo exhibition at Moderna Museet, Stockholm.
 * 1972: Untitled solo exhibition at Valokuvamuseon, Helsinki.
 * 1977: André Kertész at the Musée National d'Art Moderne in Centre Georges Pompidou, Paris.
 * 1978: André Kertész at The Silver Image Gallery, Seattle (Poster published)
 * 1979: André Kertész at the Serpentine Gallery, London.
 * 1980: Is Beauty the Making One of Opposites?-Photography at the Terrain Gallery, New York.
 * 1981: La Hongie d'aujourd'hui at Les Rencontres de la photographie, Arles, France.
 * 1982: André Kertész, Master of Photography at the Chrysler Museum, Virginia.
 * 1985: André Kertész: Of Paris and New York at the Art Institute of Chicago, Chicago.
 * 1985: Untitled exhibition at Printemps, Tokyo.
 * 1987: Theodore Fried & André Kertész: An Enduring Friendship. H V Allison Galleries, New York.
 * 2003: André Kertész: The New York Period 1936-1985 at Bruce Silverstein Gallery, New York.
 * 2004: André Kertész at Jackson Fine Art, Atlanta, GA.
 * 2005: The Early Years at Bruce Silverstein Gallery, New York.
 * 2005: André Kertész at the National Gallery of Art, Washington, D.C.
 * 2007: The Polaroids at Bruce Silverstein Gallery, New York.
 * 2007: André Kertész: Seven Decades at the Getty Center, Los Angeles, CA.
 * 2009: André Kertész: On Reading at The Photographers' Gallery, London.
 * 2009: André Kertész: In the Depths of Winter at Bruce Silverstein Gallery, New York.
 * 2009: Twilight Visions: Surrealism, Photography and Paris at Frist Center for the Visual Arts, Nashville, Tennessee.
 * 2010: André Kertész at Jeu de Paume, Paris.
 * 2010: Discoveries at Bruce Silverstein Gallery, New York.
 * 2010: Re-Collection: Works from the collection of the Colorado Photographic Arts Center at the Denver Public Library, Denver, CO.
 * 2010: André Kertész: On Reading at Carnegie Museum of Art, Pittsburgh, PA.
 * 2010: An Intuitive Eye: André Kertész Photographs 1914-1969 at The Detroit Institute of Arts, Detroit, MI.
 * 2010: CITY VIEWS: André Kertész, Curated by Michael Wolf, Bruce Silverstein Gallery, New York.
 * 2011: Eyewitness: Hungarian Photography in the 20th Century at Royal Academy of Arts, London.
 * 2011: "André Kertész Fotografías" at Fundación Carlos de Amberes, Madrid.
 * 2011: "André Kertész Retrospektív" at Hungarian National Museum, Budapest.
 * 2011: "André Kertész: Shadow Marks" at Winnipeg Art Gallery, Winnipeg.
 * 2012: "André Kertész: Capturing Paris and New York" at University of Virginia Law Library, Charlottesville, VA.
 * 2022: "André Kertész: Postcards from Paris" at The High Museum, Atlanta, GA.

title: André Kertész


text:
Nain Rouge

The Nain Rouge (French for "red dwarf") is a legendary creature of the Detroit, Michigan area whose appearance is said to presage misfortune for the white settlers of the area. There are no records that indicate the legend of the Nain Rouge existed prior to the 1880s.

According to various narratives surrounding the figure, Detroit's founder Antoine de la Mothe Cadillac was told by a fortuneteller to appease the Nain Rouge, but he instead attacked it with his cane and shouted, "Get out of my way, you red imp!" As a consequence, a string of bad luck befell Cadillac; he was charged with abuse of power and reassigned to Louisiana, later returning to France where he was briefly imprisoned and eventually lost his fortune. The Nain Rouge is also known as "the Demon of the Strait."

The Nain Rouge legend has become part of contemporary Detroit culture. There are several alcoholic drinks named after the Nain Rouge, and the legend has been the basis for the films Devil's Night: Dawn of the Nain Rouge and Eric Millikin's The Dance of the Nain Rouge. Each Spring, there is an event called the Marche du Nain Rouge where hundreds of people chase the Nain Rouge out of the city and burn them in effigy.

Legend
The Nain Rouge first appeared in Marie Caroline Watson Hamlin's 1883 book Legends of Le Détroit, where she described the Nain Rouge as a dwarf, "very red in the face, with a bright, glistening eye," and with "a grinning mouth displaying sharp, pointed teeth". The Nain Rouge was then included in Charles M. Skinner's 1896 book Myths And Legends Of Our Own Land, described as "a shambling, red-faced creature, with a cold, glittering eye and teeth protruding from a grinning mouth."

Legend holds that Nain Rouge's appearance would presage terrible events for the white people of the city, and foretell success for the Indigenous People. The creature is said to have appeared on July 30, 1763 before the Battle of Bloody Run, where 58 British soldiers were killed by Native Americans from Chief Pontiac's Ottawa tribe. Supposedly, the Nain Rouge "danced among the corpses" on the banks of the Detroit River after the battle, and the river "turned red with blood" for days after. According to the tale, all the misfortunes of Governor and General William Hull leading to the surrender of Detroit in the War of 1812 are blamed on the Nain Rouge.

Several sightings were later reported during the 20th century. Two utility workers claim to have seen the creature just before the 1967 Detroit riots, and supposedly, it was also seen before an ice storm in 1976.

There are no records that indicate the legend of the Nain Rouge existed in the 18th century, when Antoine de la Mothe Cadillac was in authority in Detroit. The earliest record, Hamlin's Legends of Le Détroit, wasn't published until 1883, 180 years after Cadillac was said to have been cursed by the Nain Rouge. However, some claim that it originates in the early 1700s French settlement of Detroit, supposedly deriving from Norman French tales of the lutin, a type of hobgoblin. Some also claim that the Nain Rouge originated with supposed Native American legends of an "impish offspring of the Stone God".

Wellesley College assistant professor Kate Grandjean, a specialist in early American and Native American history, says "My personal feeling is it's really not quite as simple as just European colonists appropriating some Native American spirit ... I think, and it seems to be demonstrable in the historical record, that the Nain that we know in Detroit today probably has both French and Native traditions sort of wrapped up in it."

Grandjean says the Nain Rouge is a defender of sorts for “those on the losing end of history ... Historically, the Nain Rouge has mostly been a menace to those in power.”

Local culture
The Nain Rouge legend has become an enduring part of the folklore of the Detroit area.

Nain Rouge alcoholic drinks
Detroit Beer Company, a brewpub in Downtown Detroit, has as its signature brew a "Detroit Dwarf" lager, named in honor of the Nain Rouge. In 2015 Woodberry Wine, a distributor and wholesaler of fine wines and Kindred Vines Import Company, an importer of French and Italian wines both based out of the Metro-Detroit area introduced "Nain Rouge Red"; a French red wine blend named after the Nain Rouge dwarf.

Marche du Nain Rouge
Each Spring since 2010, a costumed parade called the Marche du Nain Rouge has been held in Detroit, in which a person dressed like the Nain Rouge is chased out of the city. and then an effigy of the Nain Rouge is burned, in what the organizers describe as "banishing the evil spirit from the city for another year". The parade participants wear masked costumes, supposedly so the Nain Rouge will not recognize them.

Critics have protested the banishment parade, arguing that the Nain Rouge is being unfairly blamed for the city's problems, and no one should be banished from the city, particularly those who have been there the longest and who are being targeted based on the color of their skin. One protester has said "Originally the Nain Rouge was a Native American Earth spirit, a protector of Detroit. They turned him into a devil."

Hundreds of people attend the event. The 2014 parade included a speech from Alexis Wiley, a representative for Mayor Mike Duggan, the first white mayor of the majority-black city since the early 1970s.

Devil's Night: Dawn of the Nain Rouge
Devil's Night: Dawn of the Nain Rouge is a 2019 English language feature film directed by Sam Logan Khaleghi based on the creature of the same name. The film marks the debut of Eminem's younger brother Nathan Kane Mathers. Swifty McVay, of the hip hop group D12, played the role of the mayor of Detroit and composed the song “Scariest Thing" for the film.

The Dance of the Nain Rouge
Artist Eric Millikin has been creating work based on the Nain Rouge since at least the early 2000s. His The Dance of the Nain Rouge is a 2023 short animated documentary film about the Detroit folklore legend of the Nain Rouge. The film is described as "an experimental decolonial Detroit demonology deepfake dream dance documentary." It was awarded "Best Animation Film" at the 2024 Absurd Film Festival in Italy.

title: Nain Rouge


text:
Portcullis House

Portcullis House (PCH) is an office building in Westminster, London, England, that was commissioned in 1992 and opened in 2001 to provide offices for 213 members of the Parliament of the United Kingdom and their staff. The public entrance is on the Embankment. Part of the Parliamentary Estate, the building augments limited space in the Palace of Westminster and surroundings.

History and use
The architects, Michael Hopkins and Partners, published their design in 1993 and the existing buildings on the site were demolished in 1994. At the same time, the London Underground was building the Jubilee Line Extension, including a new interchange station at Westminster tube station which occupies the same area; the two were thus designed and built as a single unit. Construction began with works to the existing District line station at sub-basement level. The track had to be lowered slightly and underpinned to allow the extensive excavation to the Jubilee line many feet below. The building above ground began to rise in 1998 and opened in 2001. It is located at the corner of Bridge Street (at the western end of Westminster Bridge) and Victoria Embankment – overlooking the River Thames – and adjacent to the Norman Shaw South Building, which also overlooks the river.

The building is named after the chained portcullis used to symbolize the Houses of Parliament on letterheads and official documents. Portcullis House accommodates about one third of members of parliament; other Members and Parliamentary departments have offices in the two Norman Shaw Buildings (formerly known as Scotland Yard), in the buildings at 1 Parliament Street and at 7 Millbank, and in the Palace of Westminster itself.

The first floor of Portcullis House is open to members of the public to allow attendance at Committee sessions. Throughout the rest of the building, as with the rest of the Parliamentary Estate, members of the public must remain with a passholder. There is a Post Office branch within Portcullis House that is not open to the public.

Design
The building was designed by Michael Hopkins and Partners and incorporates Westminster tube station below it. A thick slab of concrete separates Portcullis House from the station, reportedly to defend against any underground bomb attacks. The load is borne by the walls, without interior posts. The corners of the building are hung from the roof using massive steel beams. The design life of 120 years meant that aluminium bronze was chosen for exposed metal on the roof and walls. The structure also includes Devonian granite and was the last consignment to be excavated at Merrivale Quarry on Dartmoor. The columns between the windows are constructed of post-tensioned Birchover Gritstone.

The building's curious profile, with its rows of tall chimneys, is intended to recall the Victorian Gothic design of the Palace of Westminster and to fit in with the chimneys of the Norman Shaw Building next door. Portcullis House's chimneys are not used to expel fumes but are part of an unpowered air conditioning system, which is designed to draw air through the building by exploiting natural convection flows. It is based on the system used in 1996 in the Eastgate Centre, Harare, Zimbabwe.

The building itself was designed to look and feel like a ship inside. All the offices and passages are made up with bowed windows and light oak finishing. Each floor looks identical to the others except the ground floor which houses the main courtyard with ship-like metallic sails suspended overhead. The courtyard is decorated with trees and two shallow baths of water.

The offices at Portcullis House are generally in sets of two sharing a common bay in the centre. Each floor is unofficially allocated to a different political party so that generally MPs with similar politics are kept together. The first floor houses a number of conference suites and committee rooms, which are named after famous politicians Betty Boothroyd, Harold Macmillan, Margaret Thatcher, Clement Attlee, Harold Wilson, and Jo Grimond. These Committee rooms are accessible to the public and are fitted with television cameras and microphones, to broadcast the proceedings via BBC Parliament and via parliamentlive.tv.

All rooms in the building are fitted with annunciators (monitors which announce in real-time the current business in the Chambers of the House of Commons, the House of Lords, or both). Division bells are also installed throughout the building, which alert MPs to the calling of a division (vote) in the Chamber of the House of Commons. Along with this, visual aids (a flashing image of a bell) are displayed on television sets and computer desktops in MPs' offices when the Division bell sounds.

On the ground floor are a range of services including a waiter-service restaurant ("The Adjournment"), informal cafeteria ("The Debate") and a coffee shop ("The Despatch Box"), available only to pass holders and their guests. There is also a post office and an e-library, an enquiry point where Members and staff can use networked computers, run by the House of Commons Library. There is also an underground passage into the Palace of Westminster and a connection to the 1 Parliament Street building and to the Norman Shaw Buildings. For security reasons this is now the main route of access for Parliament.

Cost
When commissioned in 1992 the cost of Portcullis House was to be £165m. After building cost inflation and delays, the price increased to £235m. Costs included £150,000 for decorative fig trees, £2m for electric blinds and, for each MP, a reclining chair at £440. A parliamentary inquiry into the over-spend was carried by Sir Thomas Legg. Although completed in 2000, the report was never published. By April 2012 the fig trees, which were rented, had cost almost £400,000.

title: Portcullis House


text:
Bivalent

Bivalent may refer to:
 * Bivalent (chemistry), a molecule formed from two or more atoms bound together
 * Bivalent ligand, a ligand of two drug-like molecules
 * Bivalent (genetics), a pair of homologous chromosomes
 * Bivalent vaccine, a vaccine directed at two pathogens or two strains of a pathogen
 * Bivalent (engine), an engine that can operate on two different types of fuel
 * A verb with a valency of two
 * Principle of bivalence, a semantic principle in logic

title: Bivalent


text:
Talk:List of cities and towns in Georgia

This page should not be deleted, seeing as how it provides a quicker supply of information about Georgia's largest cities. It also orders them and gives populations. These type of lists should be done for every state and country. MattSal 19:07, Nov 8, 2003 (UTC)