#halesowen
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𝐑𝐨𝐛𝐞𝐫𝐭 𝐏𝐥𝐚𝐧𝐭 𝐢𝐧 𝟏𝟗𝟕𝟓 𝐛𝐲 𝐍𝐞𝐚𝐥 𝐏𝐫𝐞𝐬𝐭𝐨𝐧
"You can't be the greatest at anything."
My children listen to Egyptian classical pop music, music from the Arab world, as well as popular and extreme music, quite curious. My eldest son prefers the blues - but these are not the "polished" blues that we are used to dealing with on all TV channels, but real ones, born in the 30s in the Mississippi Delta.
No, my children did not follow in their father's footsteps. They are not musicians, and this is, in general, a completely normal state of affairs.
Robert Plant: - Music is all-encompassing, - there are many manifestations of it. There is music for the head, there is for dancing, there is for the heart. Therefore, you cannot be the greatest in anything. For example, if you want to make love, do you have to go to California? Or listen to Tchaikovsky?.. There are a lot of different things in music, so you can't call one thing "the greatest."
Robert Plant: - Although I had a very stellar past, I can't live it - I have to move forward. I think it's a very sad sight - musicians of my generation traveling the world performing their old hits, and doing nothing new. My new band and I are stimulating each other. Going back is always a mistake. Maybe tomorrow I'll change the blues to traditional music from Senegal, who knows?...
#robert plant#led zeppelin#quotes#music story#hustory music#Halesowen#england#heavy metal#hard rock#country#folk#blues#music#my music#music love#musica#history music#rock music#rock#rock photography#Everything you need to know about Rock
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Anthony Fineran (B 1981)
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Tuning a 'Hoffmann & Kuhne' HS-121MD Upright Piano in Halesowen, Dudley, West Midlands
https://www.matthewjamesrichards.co.uk
#piano #hoffmannandkuhne #pianotuner #pianotuning #pianist #chopin #halesowen #dudley
#Dudley#piano#piano tuner#piano tuning#piano music#pianist#upright piano#piano tuners#wolverhampton#music#piano tuner wolverhampton#Halesowen
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#uk #bermingham #halesowen #rain #rainy #rainyday #rainyweather #rainyphotography #iphone #iphonography #iphotography #shotoniphone #mobilephotography #instagram https://www.instagram.com/p/CeTcPSRhA05/?igshid=NGJjMDIxMWI=
#uk#bermingham#halesowen#rain#rainy#rainyday#rainyweather#rainyphotography#iphone#iphonography#iphotography#shotoniphone#mobilephotography#instagram
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Pest-Free Living: Navigating Halesowen's Pest Control Landscape
Introduction:
In the picturesque town of Halesowen, nestled in the heart of the West Midlands, the pursuit of pest-free living is a shared goal among residents. From the bustling urban areas to the serene residential spaces, effective pest control plays a crucial role in maintaining a harmonious and healthy environment. In this comprehensive guide, we will explore the unique pest control in Halesowen, addressing common challenges and providing strategies for residents to navigate this landscape successfully.
Understanding Halesowen's Pest Challenges:
Common Pests in Halesowen: Halesowen, like any other community, faces its share of pest challenges. Common pests include ants, rodents, wasps, and insects that thrive in both urban and suburban settings. Each pest presents unique issues, from property damage to potential health risks, emphasizing the importance of proactive pest control measures.
Environmental Factors: The geography and climate of Halesowen contribute to its unique pest landscape. The town's proximity to green spaces and water sources can attract pests seeking shelter and sustenance. Understanding these environmental factors is essential in devising effective pest control strategies tailored to Halesowen's specific conditions.
Proactive Pest Control Strategies for Halesowen Residents:
Integrated Pest Management (IPM): Adopting Integrated Pest Management (IPM) principles is foundational for effective pest control in Halesowen. IPM involves a holistic approach that combines preventive measures, monitoring, and targeted interventions. By minimizing reliance on chemical treatments and emphasizing proactive strategies, residents can foster a sustainable and environmentally conscious pest control approach.
Community Education: Knowledge is a powerful tool in the battle against pests. Community-wide education initiatives can empower Halesowen residents to recognize signs of infestations, understand pest behavior, and implement preventive measures. This shared knowledge enhances the collective resilience of the community against potential pest challenges.
Regular Inspections: Regular inspections of homes and businesses are crucial for early pest detection. Halesowen residents should be vigilant in identifying signs of infestations, such as droppings, gnaw marks, or nests. Early detection enables swift intervention, preventing the escalation of pest problems.
Sealing Entry Points: The prevention of pest entry is a key aspect of pest control. Sealing entry points, including gaps in doors and windows, cracks in walls, and openings around utility penetrations, helps create a barrier against pests. This measure is particularly relevant in urban areas where pests can easily find access to structures.
Pest-Specific Control Measures for Halesowen:
Ant Control: Ants, attracted to food sources, can become a persistent issue in residential areas. Effective ant control in Halesowen involves using baiting techniques and non-repellent insecticides. Additionally, maintaining a clean environment and promptly addressing spills or crumbs helps deter ant infestations.
Rodent Control: The presence of rodents poses both health and property risks. Halesowen residents can employ traps, rodenticides, and preventive measures such as securing food storage to control rodent infestations. Regular sanitation practices in both residential and commercial spaces are crucial in minimizing attractions for rodents.
Wasp Nest Removal: Wasps can become a significant threat, especially during warmer months. Safe removal of wasp nests is essential. DIY methods, such as using soapy water or commercial wasp sprays, can be effective for smaller nests. However, professional wasp nest removal services are recommended for larger or hard-to-reach nests to ensure safety.
Professional Pest Control Services in Halesowen:
Expertise and Customized Solutions: Professional pest control services in Halesowen offer expertise in dealing with a variety of pests. These experts can identify the specific pest species, assess the extent of the infestation, and tailor solutions to the unique needs of each property. This ensures a more targeted and effective approach to pest management.
Environmentally Friendly Solutions: Many pest control companies now prioritize environmentally friendly solutions. Halesowen residents can benefit from services that use non-toxic and eco-friendly products, aligning with the town's commitment to sustainability. These solutions not only control pests but also minimize the impact on the local ecosystem.
Conclusion:
In conclusion, achieving pest-free living in Halesowen is a collective effort that involves a combination of community awareness, proactive measures, and professional intervention. By embracing Integrated Pest Management principles, educating the community, and adopting pest-specific control strategies, Halesowen residents can navigate the town's unique pest control landscape successfully.
Benefits of Effective Pest Control in Halesowen:
Health and Well-being: Effective pest control contributes to the health and well-being of Halesowen residents by reducing the risk of diseases carried by pests. A pest-free environment promotes a healthier and safer community.
Preservation of Property: Pest control safeguards homes and businesses in Halesowen from structural damage caused by pests. By addressing infestations promptly, residents protect the longevity and value of their properties.
Environmental Sustainability: Embracing environmentally friendly pest control practices aligns with Halesowen's commitment to environmental sustainability. Minimizing the use of harmful chemicals contributes to a healthier local ecosystem.
Community Resilience: A community that actively engages in pest control measures is more resilient to pest challenges. By working together and sharing pest control wisdom, Halesowen residents create a safer and more pleasant living environment for all.
In summary, pest control in Halesowen is not just about addressing immediate concerns; it's about fostering a community that thrives in harmony with its environment.
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Sell Your Home Fast in Birmingham | Cash Home
Need to sell your house quickly? CashHome.co.uk offers hassle-free, cash offers for your property. Get a fair price and a cash home buyers in birmingham for quick sale, with no fees or commissions. Contact us today!
#Sell my house fast Birmingham#sell a house fast in birmingham#sell my home fast birmingham#birmingham home buyers#cash from home#Sell house Stourbridge#cash for your home#Sell house Erdington#sell my house birmingham#Sell house Halesowen#Sell house Cannock
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What is Switchable Remapping? Does it Affect Your Car Insurance?
This blog explains the concept of switchable remapping, how it can improve your car's performance, its impact on car insurance and the problems you may face. Read on below to learn more.
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Screened Topsoil Near Me
Stourbridge Grabhire provides earth moving services and supplies topsoil and gravel for landscaping and driveway construction projects. We are fully insured and licensed to remove muck, green waste, tarmac, concrete and rubble in the West Midlands and surrounding areas. Give us a call to schedule a same-day collection.
visit here:- https://www.stourbridgegrabhire.co.uk/
#muck away services#earth removal#general waste removal#topsoil removal#screened topsoil near me#aggregate suppliers near me#grab hire halesowen
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Brian Griffin, who has died aged 75, was one of the most original and influential British photographers of his generation. His images of Kate Bush, Donald Sutherland, Iggy Pop and Damien Hirst, and his album covers for Echo and the Bunnymen and Depeche Mode, are some of the most famous pictures of the 1980s.
For the cover of Depeche Mode’s 1982 LP, A Broken Frame, Griffin transposed Soviet social realism to a cornfield off the M11 in East Anglia, and the result was named by Life magazine as one of the greatest images of the decade. His virtuosity saw him declared photographer of the decade by the Guardian in 1989.
His work, which has been exhibited globally, is in the permanent collections of the National Portrait Gallery, the V&A, the Arts Council and the Birmingham Museum and Art Gallery.
Griffin’s success capturing the glossy worlds of money and hairspray was rooted in something darker. He was forged in the Black Country, the industrial heartland of the West Midlands, and the influence of the factories, and the harsh light from the furnaces, suffused his early photography. He had a relentless work ethic and would do anything to succeed in a world far removed from that of his upbringing.
He was born in Birmingham, the only child of Edith (nee Moore) and James Griffin, who were both factory workers. The family lived in a two-up, two-down in Lye, where every street had a factory. Young Brian felt that “the whole world appeared to be partly made of metal. Everything you touched seemed to be iron and steel.” After passing the 11-plus exam he went to Halesowen technical school, then went to work at the age of 16.
In 1965 he was making conveyors for readymix concrete plants when the factory foreman suggested he join Hagley camera club, where he picked up a camera for the first time. He then got a job at British Steel and was working as a nuclear pipework engineering estimator in 1969 when everything changed. Devastated by the end of a love affair, he decided to leave his old life behind.
Griffin’s only means of escape was photography, so he put some of his camera club images into a Boots photo album and applied to art colleges. He was accepted into Manchester Art School at the age of 21, where he studied with Martin Parr and Daniel Meadows.
In the college library he devoured books on art, and after graduating and moving to London, he spent weeks at the National Film theatre immersing himself in German and French cinema. Inspired, he began to look for work.
In 1972 he went to see the art director of Management Today magazine. Griffin’s talent was plain to see, and he was immediately put to work. He shot a shadowy monochromatic image of rush hour on London Bridge from the back of a cab, calling it his Metropolis image, after Fritz Lang’s expressionist masterpiece. Prior to this, Griffin had doubted his ability, but now he knew that he could make it as a photographer, he unleashed his artistry.
Through his images for the magazine, Griffin introduced surrealism to the boardroom. His industrial background meant that he clicked with the businessmen who were his subjects, and the captains of industry played ball. He wittily subverted the corporate power of the men he photographed by introducing discordant juxtapositions, building tension. He wound intrigue throughout his work, stopping the viewer in their tracks, making them take time over his images, and his work began to be recognised.
Ambitious, he wanted to expand his repertoire and earn more money. He understood that the style he had honed in the business world would translate into the pop sphere, where post-punk bands were eschewing bondage trousers in favour of being suited and booted. He went to Stiff Records and photographed Elvis Costello and the Attractions and Ian Dury and the Blockheads.
Recognition followed and commissions flooded in. He worked for Esquire, Rolling Stone, the Face, Time Out, the Sunday Times and the Observer, in advertising for British Airways, BMW and Levi Jeans, and photographed Brian May in a series for Sony Walkman in 1980.
That year he moved to Rotherhithe, a working-class area of south London on the banks of the Thames. He loved the place, recognised its people and was to stay there all his life. He set up a studio from where he continued to push the boundaries of the conventional. Using his background in engineering, allied to his innate creativity, he built lighting machines and used knicker elastic and ping-pong balls to create startling special effects in an analogue age.
Some experiments led to happy accidents: his highly regarded 1984 image of Siouxsie Sioux, intended as a double exposure, was in fact a triple: “It was wrong, but so right,” he said.
In the days before social media, aside from magazines, the main showcase for a photographer’s work was on walls, be they in galleries or town centres. Griffin’s first solo London exhibition was at Contrast Gallery in 1981, and the posters of his work for bands such as Spandau Ballet and Ultravox were plastered across the land. His family finally saw his work and were proud: they had always wanted more for Brian than factory life.
As well as portraiture, he produced numerous documentary projects. In 1986 he photographed construction workers at the Broadgate development in the City of London. At the time he was still reeling from the death of his father from lung cancer, due to a life inhaling cast-iron dust. The project allowed Griffin to pay homage to his father and to all working people: he monumentalised the men “like knights lying in state in a cathedral with their swords”.
In 1989 he left still photography to make television commercials, music videos and short films, but returned a decade later. In 2003 he produced a project to aid Birmingham’s bid to become the European City of Culture. He worked promoting the 2012 London Olympics and in 2015 his photo-essay, Himmelstrasse, movingly documented the railway tracks in Poland that transported people to Nazi death camps. He continued to work up until the end of his life, with new projects still in the pipeline.
He had more than 20 monographs published in his lifetime and won numerous awards. In 2013 the Royal Photographic Society awarded him their Centenary Medal, and the following year he received an honorary doctorate from Birmingham City University for his lifetime contribution to his home city.
Griffin’s 1980 marriage to the photographer Frances Newman ended in divorce. Their daughter, Layla, died in 2020; he is survived by their son, Danz, and three grandchildren.
🔔Brian James Griffin, photographer, born 13 April 1948; died 27 January 2024
Daily inspiration. Discover more photos at Just for Books…?
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Anthony Fineran, Halesowen Unit Sammy, 2024
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Hoffman and Kuhne Upright Piano
https://www.matthewjamesrichards.co.uk
🎹 Piano Tuning in Halesowen, Dudley🎹⠀
Tuned a 'Hoffmann & Kuhne' Chinese built Upright Piano dating from 2014
#piano #pianist #music #musicians #Hoffmann&Kuhne #dudley #pianotuner #pianotuning #classical
#Hoffman and Kuhne Upright Piano#Piano Tuner#Piano Tuning#Halesowen#Dudley#pianist#piano#piano tuner#piano music#piano tuning#upright piano#piano tuners#wolverhampton#music#piano tuner wolverhampton
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We are just approaching Charleston and I'm up on deck 6 whale watching as well as seeing the container ships sailing out of the port.
Oh it's Tuesday 16th, our mother's birthday. She would have been 100 and something. No sign of the port yet. Last night's entertainment was again terrific. Fantastic singer and band ensemble.
Bed late, then up early. They make a mean porridge on board. I hope to halesowen photos to post with my next entry.
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#repost @andyturnerart Andy Turner (Halesowen, United Kingdom). Lilly, acrylic on panel, 21 x 15 cm. I am a fan of the cat and dog representation in Turner's work.
#andy Turner#perro#dog#chien#illustration#hund#hond#retrato#retrato perruno#dogs in art#animals in art#animal art#arte animal#toutou#toutoudamour#hundeliebe#pet portrait
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Although peasants zealously scrutinized who should marry whom, they tended to be cavalier about the order in which a couple engaged in childbirth and marriage. A letter written by the Bishop of Lincoln, in England, in the thirteenth century noted that the traditional custom during a wedding, if a couple had had a child born before the ceremony, was to stretch a “care-cloth” over the child as the couple knelt in front of the altar, so the child was legitimized. According to English common law, the subsequent marriage of a couple did not legitimize their previously born children, but peasants simply ignored that.
A woman who did not marry the father of her out-of-wedlock child was not necessarily considered damaged goods in peasant communities. A historian who examined the records of Halesowen Manor, in England, between 1270 and 1348 estimates that for every two women who gave birth in marriage, one woman gave birth out of wedlock. Many of these women subsequently married, some of them quite well, suggesting they did not face permanent stigmatization. Even so, richer peasants, with more to lose in inheritance disputes, tended to avoid bearing children out of wedlock.
#book: marriage a history#religion#christianism#bastard children#13th century#14th century#marriage#england
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Fucks sake ITV4! Thank you SO much for putting a fucking break in when the botched Buckshot happens.
Raging of Halesowen
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