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No one expected the 1969 Woodstock concert and festival to draw a crowd estimated at half-million — nor that the gathering would become a legendary touchstone for the counterculture of…

Bestel De Rue Montorgueil in Parijs. Viering van 30 juni 1878, Claude Monet.... als print. Kies zelf de maat en het materiaal. Snel geleverd, hoge kwaliteit.

In der AD Kunstkammer betrachtet Dr. Simone Herrmann Werke aus dem internationalen Kunsthandel. Folge 34: Joan Mitchell

Her fashion was Hollywood's best friend.

Wie vor Kurzem angekündigt wurde, erwartet japanische Spielerinnen und Spieler am 30. Juni void tRrLM2(); //Void Terrarium 2, der Nachfolger zu void…

Was ist denn nur mit diesem Juni los? Erst affenheiß und dann wieder regnerisch, kühl, nass und ungemütlich. Da muss eine Wohlfühl-Suppe mit frischem Gemüse, frischem Schnittlauch aus dem Garten un…

A la mayoría nos han dicho que la mejor década de nuestra vida empieza a los 30 años porque se supone que tenemos estabilidad económica, un buen trabajo, una relación amorosa prometedora y... ¿olor a anciana? Así es, la ciencia dice que a esta edad nuestro cuerpo comienza a generar grandes cambios

La fecha de lanzamiento prevista es el 28 de junio de 2023.NOTAS IMPORTANTES:Los pedidos que contengan artículos de pedido anticipado se retendrán hasta que todos los artículos se liberen y estén disponibles para enviarse juntos. También existe una pequeña posibilidad de que los artículos estén a...

Condition: NEW Brand: Good Smile Arts Shanghai Material: PVC,ABS Size: ‎H100mm Nendoroid Angel Beats! Kanade Tachibana Action Figure JAPAN OFFICIAL Release date is 30th of June 2024.

Exactly as raced to victory by Duncan Hamilton and Ivor Bueb in the 12 Hours of Reims at Reims-Gueux on the 30th of June 1956 Each model hand-built and assembled by a small team of craftsmen 1:18 scale model, over 22 cms/8 inches long Available in the iconic British Racing Green exterior paint scheme Made using the finest quality materials Over 800 hours to develop the model Precisely engineered parts: castings, photo-etchings and CNC machined metal components Built using original CAD designs developed from a scan of an original car - chassis XKD 505/601 Archive imagery, paint codes and material specifications supplied by Jaguar Heritage Officially licensed 24 Hours of Le Mans product The Jaguar D-type was designed and constructed with one specific goal in mind: to win the 24 Hours of Le Mans. Although the C-type had decisively beaten Europe’s best at Le Mans in 1951 and 1953, the threat from Alfa Romeo, Aston Martin, Ferrari and Mercedes-Benz made it clear to Jaguar Team Manager “Lofty” England and engineer Bill Heynes that a new car was required. The D-type was the result – stronger, lighter and faster than the C-type, yet powered by a 245 bhp development of the same XK engine. This meant that private owners could easily buy and maintain these cars, which provided a useful back-up to the works team. The D-type proved extremely successful in its mission, becoming one of the most dominant cars in Le Mans history, with victory in three of the four years it competed between 1954-1957. The success of the D-type was not confined to the track either, eventually becoming the road-going XKSS and inspiring many of the most famous cars of all time in the legendary E-type. Produced between 1954 and 1956, the D-type shared many mechanical components as its predecessor, the C-type. Its front and rear suspension and innovative all-round disc brakes were retained, as was the legendary 3.4-litre straight-six XK engine which was re-worked to achieve 245 bhp, thanks to a shorter block, larger valves and triple Weber carburetors. Structurally, however, the D-type was entirely different. The revolutionary aluminium alloy monocoque construction was a marked departure from the C-type’s space frame chassis and softer body design and was inspired by aeronautical technology to maximise aerodynamic efficiency. The design was so successful that prototype chassis XKC 401 proceeded to break the Le Mans lap record by a full five seconds during testing in 1954. Reducing underbody drag had contributed to the car’s high top speed; a fin was later mounted behind the driver for stability, with the long Mulsanne Straight in mind. For the 1955 season, factory cars were fitted with a longer nose, lengthening the car by 7½ inches, and the headrest fairing and aerodynamic fin were combined into a single smooth unit, improving the aerodynamic profile, reducing weight and further increasing the car’s maximum speed. On its debut in 1954, the D-type, driven by Duncan Hamilton and Tony Rolt was denied immediate success by horrific conditions, losing out by just under three minutes to Ferrari, around half a lap (roughly less than 5km) of the circuit, even after recording a shattering top speed of 170 mph. The following year, however, Mike Hawthorn and Ivor Bueb took the chequered flag, giving the D-type its maiden Le Mans title, in an event sadly marred by the deadliest accident in the history of motorsport that prompted their closest competitors Mercedes-Benz to retire from the race. In 1956, Jaguar claimed another victory, as the small Edinburgh-based Ecurie Ecosse team saw their D-type, driven by Ninian Sanderson and Ron Flockhart, pip the pursuing Aston Martin, piloted by Stirling Moss and Peter Collins, to the chequered flag by a single lap. Although Jaguar withdrew from motorsport at the end of the 1956 season, 1957 proved to be the D-Type’s most successful year. Privateer teams still represented the D-type and Ecurie Ecosse won again in 1957, sealing a D-type hattrick, raced by previous winners Flockhart and Bueb. They were convincingly victorious, finishing eight laps ahead of their sister car driven by Sanderson and John ‘Jock’ Lawrence. D-types dominated the leaderboard that year, suffering no retirements and taking five of the top six places, cementing its place in Le Mans history as one of the race’s most successful cars. Away from Circuit de la Sarthe, the D-type was still an incredibly successful racer, earning victories in Europe and the United States at tracks like Aintree, Goodwood, Silverstone, Watkins Glen, Willow Springs and Daytona. The Briggs Cunningham team scored a major win using a D-type at the 12 Hours of Sebring in 1955: Mike Hawthorn and Phil Walters leading all but one lap to reach the chequered flag first. Another two victories were claimed at the 12 Hours of Reims by the Jaguar Works team; in 1954, Ken Wharton and Peter Whitehead sealed the D-type’s maiden win less than a month after that narrow defeat at Le Mans, whilst Duncan Hamilton and Ivor Bueb would repeat the feat a year later. Such was the ability of the D-type that, in proficient hands, still taking minor victories a decade later in face of much more advanced opposition. Jaguar had planned to build 100 D-types before pulling out of motorsport at the end of the 1956 season, the car’s production ceasing with just the 75 models constructed. The 25 remaining chassis were to be repurposed for the road-going XKSS, however, a fire at the company’s Browns Lane plant destroyed most of these chassis, ending the D-type/XKSS story abruptly. However, 62 years later after the last D-type was built, Jaguar Classic announced that they would complete the original 100 car production run, meticulously hand-building 25 new examples. Using the original planned chassis numbers, these Continuation cars were not mere replicas, but literally a new car, built in Warwickshire to the original engineering and using many of the authentic materials and methods used by competitions manager Lofty England and his engineers, along with the original blueprints, exactly as the car had been turned out in the 1950s. D-type clients could choose either 1955-specification Shortnose with the ‘single hump’ or 1956-specification Longnose with the ‘tail fin’, though both specifications included the six-cylinder XK engine with a wide-angle cylinder head and quick-change brake calipers. The Continuation cars were fully intended for racing in vintage events, built in every detail as the original, including its intention to win. This fine 1:18 scale model of the Jaguar D-type precisely replicates chassis XKD 605 exactly as raced to victory in its classic British Racing Green by Duncan Hamilton and Ivor Bueb in the 12 Hours of Reims at Reims-Gueux on the 30th of June 1956. Built in March 1956 as one of twelve Longnose cars, XKD 605 is the penultimate D-type and was allocated to the Jaguar Works racing team after its completion. Reims was the car’s competitive debut, where Hamilton and Bueb piloted the car to a commanding victory. Bueb and Mike Hawthorn raced XKD 605 at Le Mans the next month, but were kept back by persistent misfiring that was eventually traced to a cracked fuel injection pipe. They finished sixth, completing 280 laps, and setting the fastest lap. The car was rebuilt after Le Mans and fitted with a five-speed gearbox. After Jaguar’s withdrawal from racing, the car was supplied as a used car to the Briggs Cunningham team. Painted in their white with blue stripes racing colours, and fitted with a new works 3.8 litre engine, XKD 605 played a part in Walt Hansgen’s second consecutive SCCA Championship for Class C modified sports cars and was driven by Mike Hawthorn and Ivor Bueb to third at Sebring. The car stayed in the USA until 1961 and then returned to England, subsequently being re-painted to its original British Racing Green colour. It was then lent to Italy’s National Motor Museum, where it remained for almost twenty years before its return to the Jaguar factory. One of the most original D-types in preservation, XKD 605 still has the 1956 Le Mans windscreen, passenger seat and door. It proudly wears its original trade plate 393 RW, having been re-registered with the DVLA in 1996, and the race number 25 from its win at Reims. This model has been handcrafted and finished in our workshops with the co-operation and assistance of Jaguar regarding original finishes, materials, archive imagery and drawings. The use of supremely accurate digital scanning of chassis XKD 505/601 has allowed us to perfectly recreate every detail at scale. Furthermore, it has undergone detailed scrutiny by both engineering and design teams to ensure complete accuracy of representation. Note: This is a 'Kerbside' model and does not any feature moving parts.

In der AD Kunstkammer betrachtet Dr. Simone Herrmann Werke aus dem internationalen Kunsthandel. Folge 34: Joan Mitchell

In der AD Kunstkammer betrachtet Dr. Simone Herrmann Werke aus dem internationalen Kunsthandel. Folge 34: Joan Mitchell

30 de junio Primeros mártires de la Iglesia Romana Nada sabemos de sus nombres, salvo que los apóstoles Pedro y Pablo encabezaron este ejército de los primeros mártires romanos, víctimas en el año 64 de la persecución de Nerón tras el incendio de Roma. A veces me he preguntado si estaría entre ellos una ilustre dama romana, Pomponia Graecina, esposa de Aulo Plaucio, gobernador de Britania. Antiguas leyendas incluso hacen de Pomponia una princesa britana y la relacionan con los orígenes del cristianismo en las Islas Británicas. Pero no parece probable que aquella mujer se contara entre los mártires de la primera persecución contra los cristianos. Sin embargo, hay indicios escritos y arqueológicos que permiten asegurar que hacia el año 57 ó 58, Pomponia dio también testimonio, aunque incruento, de su fe cristiana. Los Anales de Tácito (XIII, 32) aseguran que fue acusada de “superstición extranjera”, algo que podría hacer referencia a su condición de cristiana. Se constituyó un tribunal doméstico, presidido por su marido, y que finalmente proclamó la inocencia de la esposa, tras una indagación sobre su vida y su fama. Con todo, Tácito atribuye a Pomponia el carácter de “una persona afligida”, alguien que durante cuarenta años llevó luto por el asesinato de Julia, una víctima más entre los miembros de una familia imperial, diezmada por las ejecuciones o envenenamientos que el círculo del poder disponía de forma arbitraria. Acaso esa aflicción no procediera de una mera tristeza humana sino del deseo de mantenerse al margen de una sociedad marcada por el crimen y la corrupción. Quizás la tristeza que Tácito ve en Pomponia no fuera tal sino un aire de seriedad, una expresión de desaprobación por un ambiente en el que no se respira a gusto, pero en el que hay que estar necesariamente en función de las obligaciones familiares y sociales. Habría que pensar que Pomponia no borraría por completo su afabilidad femenina y su “saber estar”, pese a algunas apariencias externas. En el cristiano no puede caber la tristeza. Las únicas lágrimas que puede derramar son las del amor, como las que derramó Cristo a la vista de Jerusalén. Pero cuando alrededor de alguien, se extienden las risas maliciosas, las alusiones de dudoso gusto y, en general, todas las dimensiones de las lenguas desatadas, es comprensible que pueda adoptar una expresión de seriedad. Sea como fuere, Pomponia padeció en su fama y en su ánimo por seguir a Cristo. Como en todas las épocas, los cristianos que están en el mundo, pero no son del mundo, son señalados con el dedo, tachados de locos o etiquetados con calumnias. Pomponia Graecina es también un personaje secundario de la célebre novela Quo Vadis de Henryk Sienckewicz. La matrona romana acoge en su casa y educa en la fe cristiana a Ligia, la hija del rey de los ligios reducida a la esclavitud. El novelista polaco presenta a Pomponia como un modelo de virtud femenina en una sociedad corrompida. En las páginas de su obra se trasluce que ha leído a Tácito, sobre todo cuando describe la persecución neroniana, cuando “se empezó a detener abiertamente a los que confesaban su fe” (Anales XV, 44). Tácito no expresa la menor simpatía por los cristianos, tal y como demuestran los calificativos que aparecen en el muchas veces citado pasaje: “ignominias”, “execrable superstición”, “atrocidades y vergüenzas”, “odio al género humano”, “culpables”, “merecedores del máximo castigo”... Lo de menos es que fuera verdad o mentira que los cristianos hubieran incendiado Roma, el odio se había desatado y todos tenían que morir. Poco más de treinta años después de la crucifixión de Cristo, se cumplía el pronóstico del Maestro de que sus seguidores serían también perseguidos y de que serían odiados por su causa. Tácito especifica claramente los géneros de muerte que se aplicaron a los cristianos: “A su suplicio se unió el escarnio, de manera que perecían desgarrados por los perros tras haberlos hecho cubrirse con pieles de fieras, o bien clavados en cruces, al caer el día, eran quemados de manera que sirvieran como iluminación durante la noche”. Juan Pablo II reflexionó sobre aquellos primeros mártires de la Iglesia romana con motivo del preestreno de un film polaco, que pudo ver en la tarde del 30 de agosto de 2001. Se trataba de la quinta versión cinematográfica de Quo Vadis, adaptado y dirigido por Jerzy Kawalerowicz, uno de los más importantes directores de la cinematografía polaca desde la década de 1960. Me sorprendió que Kawalerowicz dirigiera esta película, dados sus antecedentes: realizó Madre Juana de los Ángeles, escandalosa crónica de un supuesto caso de posesión demoníaca en un convento francés del siglo XVII, y también fue autor de Faraón, una superproducción en la que presentaba a un desconocido faraón, Ramsés XIII, como un gobernante manipulado por los sacerdotes de Amón. Detrás de esta historia algunos críticos veían una referencia a la Iglesia católica en sus relaciones con el Estado polaco. Pero en Polonia han cambiado muchas cosas. El hoy octogenario Kawalerowicz se hacía, con ocasión del lanzamiento de su película, esta pregunta: Quo vadis, homo?, ¿Hacia dónde va el hombre contemporáneo? Tras la proyección de Quo Vadis, el Papa matizaba la misma pregunta: “¿Vas al encuentro de Cristo o sigues otros caminos que te llevan lejos de él y de ti mismo?”. El recuerdo de los primeros mártires romanos era para Juan Pablo II mucho más que un dato histórico. De allí surge una reflexión enteramente actual, una llamada para los cristianos de hoy de tiempos futuros: “Es necesario recordar el drama que experimentaron en su alma, en el que se confrontaron el temor humano y la valentía sobrehumana, el deseo de vivir y la voluntad de ser fieles hasta la muerte, el sentido de la soledad ante el odio inmutable y, al mismo tiempo, la experiencia de la fuerza que proviene de la cercana e invisible presencia de Dios y de la fe común de la Iglesia naciente. Es preciso recordar aquel drama para que surja la pregunta: ¿algo de ese drama se verifica en mí?”. Estas palabras del Papa nos recuerdan que, tarde o temprano, los cristianos son llamados a ser mártires, es decir testigos. Pocos serán los que derramarán su sangre, al menos en los países del mundo desarrollado. La mayoría experimentarán, en cambio, la incomprensión, el ridículo o el odio. Tendrán que pedirle a Cristo la fortaleza suficiente para no negarle delante de los hombres.

1932

Condition: NEW Brand: SEGA Size: H90mm SEGA Nesoberi Plush Doll S size Blue Lock Hyoma Chigiri JAPAN ZA-571 Release date is 30th of June 2023.

In der AD Kunstkammer betrachtet Dr. Simone Herrmann Werke aus dem internationalen Kunsthandel. Folge 34: Joan Mitchell

30. Juni 1960. Nach 80 Jahren Kolonialherrschaft sagt sich die Republik Kongo vom Königreich Belgien los. Doch der junge Staat steht auf wackligen Beinen und schon zwei Wochen später erklärt die Provinz Katanga ihre Unabhängigkeit. Sofort entbrennt ein blutiger Konflikt zwischen dem Kongo und den Sezessionisten um die reichen Minen in Katanga; ein Konflikt,…

Condition: NEW Brand: SEGA Size: H90mm SEGA Nesoberi Plush Doll S size Blue Lock Hyoma Chigiri JAPAN ZA-571 Release date is 30th of June 2023.

Lizzy Caplan, i look più belli della star di Masters Of Sex

Exactly as raced to victory by Duncan Hamilton and Ivor Bueb in the 12 Hours of Reims at Reims-Gueux on the 30th of June 1956 Each model hand-built and assembled by a small team of craftsmen 1:18 scale model, over 22 cms/8 inches long Available in the iconic British Racing Green exterior paint scheme Made using the finest quality materials Over 800 hours to develop the model Precisely engineered parts: castings, photo-etchings and CNC machined metal components Built using original CAD designs developed from a scan of an original car - chassis XKD 505/601 Archive imagery, paint codes and material specifications supplied by Jaguar Heritage Officially licensed 24 Hours of Le Mans product The Jaguar D-type was designed and constructed with one specific goal in mind: to win the 24 Hours of Le Mans. Although the C-type had decisively beaten Europe’s best at Le Mans in 1951 and 1953, the threat from Alfa Romeo, Aston Martin, Ferrari and Mercedes-Benz made it clear to Jaguar Team Manager “Lofty” England and engineer Bill Heynes that a new car was required. The D-type was the result – stronger, lighter and faster than the C-type, yet powered by a 245 bhp development of the same XK engine. This meant that private owners could easily buy and maintain these cars, which provided a useful back-up to the works team. The D-type proved extremely successful in its mission, becoming one of the most dominant cars in Le Mans history, with victory in three of the four years it competed between 1954-1957. The success of the D-type was not confined to the track either, eventually becoming the road-going XKSS and inspiring many of the most famous cars of all time in the legendary E-type. Produced between 1954 and 1956, the D-type shared many mechanical components as its predecessor, the C-type. Its front and rear suspension and innovative all-round disc brakes were retained, as was the legendary 3.4-litre straight-six XK engine which was re-worked to achieve 245 bhp, thanks to a shorter block, larger valves and triple Weber carburetors. Structurally, however, the D-type was entirely different. The revolutionary aluminium alloy monocoque construction was a marked departure from the C-type’s space frame chassis and softer body design and was inspired by aeronautical technology to maximise aerodynamic efficiency. The design was so successful that prototype chassis XKC 401 proceeded to break the Le Mans lap record by a full five seconds during testing in 1954. Reducing underbody drag had contributed to the car’s high top speed; a fin was later mounted behind the driver for stability, with the long Mulsanne Straight in mind. For the 1955 season, factory cars were fitted with a longer nose, lengthening the car by 7½ inches, and the headrest fairing and aerodynamic fin were combined into a single smooth unit, improving the aerodynamic profile, reducing weight and further increasing the car’s maximum speed. On its debut in 1954, the D-type, driven by Duncan Hamilton and Tony Rolt was denied immediate success by horrific conditions, losing out by just under three minutes to Ferrari, around half a lap (roughly less than 5km) of the circuit, even after recording a shattering top speed of 170 mph. The following year, however, Mike Hawthorn and Ivor Bueb took the chequered flag, giving the D-type its maiden Le Mans title, in an event sadly marred by the deadliest accident in the history of motorsport that prompted their closest competitors Mercedes-Benz to retire from the race. In 1956, Jaguar claimed another victory, as the small Edinburgh-based Ecurie Ecosse team saw their D-type, driven by Ninian Sanderson and Ron Flockhart, pip the pursuing Aston Martin, piloted by Stirling Moss and Peter Collins, to the chequered flag by a single lap. Although Jaguar withdrew from motorsport at the end of the 1956 season, 1957 proved to be the D-Type’s most successful year. Privateer teams still represented the D-type and Ecurie Ecosse won again in 1957, sealing a D-type hattrick, raced by previous winners Flockhart and Bueb. They were convincingly victorious, finishing eight laps ahead of their sister car driven by Sanderson and John ‘Jock’ Lawrence. D-types dominated the leaderboard that year, suffering no retirements and taking five of the top six places, cementing its place in Le Mans history as one of the race’s most successful cars. Away from Circuit de la Sarthe, the D-type was still an incredibly successful racer, earning victories in Europe and the United States at tracks like Aintree, Goodwood, Silverstone, Watkins Glen, Willow Springs and Daytona. The Briggs Cunningham team scored a major win using a D-type at the 12 Hours of Sebring in 1955: Mike Hawthorn and Phil Walters leading all but one lap to reach the chequered flag first. Another two victories were claimed at the 12 Hours of Reims by the Jaguar Works team; in 1954, Ken Wharton and Peter Whitehead sealed the D-type’s maiden win less than a month after that narrow defeat at Le Mans, whilst Duncan Hamilton and Ivor Bueb would repeat the feat a year later. Such was the ability of the D-type that, in proficient hands, still taking minor victories a decade later in face of much more advanced opposition. Jaguar had planned to build 100 D-types before pulling out of motorsport at the end of the 1956 season, the car’s production ceasing with just the 75 models constructed. The 25 remaining chassis were to be repurposed for the road-going XKSS, however, a fire at the company’s Browns Lane plant destroyed most of these chassis, ending the D-type/XKSS story abruptly. However, 62 years later after the last D-type was built, Jaguar Classic announced that they would complete the original 100 car production run, meticulously hand-building 25 new examples. Using the original planned chassis numbers, these Continuation cars were not mere replicas, but literally a new car, built in Warwickshire to the original engineering and using many of the authentic materials and methods used by competitions manager Lofty England and his engineers, along with the original blueprints, exactly as the car had been turned out in the 1950s. D-type clients could choose either 1955-specification Shortnose with the ‘single hump’ or 1956-specification Longnose with the ‘tail fin’, though both specifications included the six-cylinder XK engine with a wide-angle cylinder head and quick-change brake calipers. The Continuation cars were fully intended for racing in vintage events, built in every detail as the original, including its intention to win. This fine 1:18 scale model of the Jaguar D-type precisely replicates chassis XKD 605 exactly as raced to victory in its classic British Racing Green by Duncan Hamilton and Ivor Bueb in the 12 Hours of Reims at Reims-Gueux on the 30th of June 1956. Built in March 1956 as one of twelve Longnose cars, XKD 605 is the penultimate D-type and was allocated to the Jaguar Works racing team after its completion. Reims was the car’s competitive debut, where Hamilton and Bueb piloted the car to a commanding victory. Bueb and Mike Hawthorn raced XKD 605 at Le Mans the next month, but were kept back by persistent misfiring that was eventually traced to a cracked fuel injection pipe. They finished sixth, completing 280 laps, and setting the fastest lap. The car was rebuilt after Le Mans and fitted with a five-speed gearbox. After Jaguar’s withdrawal from racing, the car was supplied as a used car to the Briggs Cunningham team. Painted in their white with blue stripes racing colours, and fitted with a new works 3.8 litre engine, XKD 605 played a part in Walt Hansgen’s second consecutive SCCA Championship for Class C modified sports cars and was driven by Mike Hawthorn and Ivor Bueb to third at Sebring. The car stayed in the USA until 1961 and then returned to England, subsequently being re-painted to its original British Racing Green colour. It was then lent to Italy’s National Motor Museum, where it remained for almost twenty years before its return to the Jaguar factory. One of the most original D-types in preservation, XKD 605 still has the 1956 Le Mans windscreen, passenger seat and door. It proudly wears its original trade plate 393 RW, having been re-registered with the DVLA in 1996, and the race number 25 from its win at Reims. This model has been handcrafted and finished in our workshops with the co-operation and assistance of Jaguar regarding original finishes, materials, archive imagery and drawings. The use of supremely accurate digital scanning of chassis XKD 505/601 has allowed us to perfectly recreate every detail at scale. Furthermore, it has undergone detailed scrutiny by both engineering and design teams to ensure complete accuracy of representation. Note: This is a 'Kerbside' model and does not any feature moving parts.

Good Smile Company Elden Ring Nendoroid Alexander is up for preorder at HLJ (¥6,949) - https://t.co/5aripdZh9J

A new show at the Textile and Fashion Museum in London recalls classic garments from the 1930s. Meanwhile, Cecil Beaton: Thirty from the 30s explores the photographer’s works on fashion, film and fantasy