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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,retrofit,social,housing,high,rise,tower,block,apartment,SHDF,decarbonisation,energy,air,source,heat,pump,plant,communal,heating,external,wall,insulation,balconies,1960s,affordable,contractor,Latchford Warrington,high rise flats,social rent,council housing legacy,post war housing,housing refurbishment,HMS contractor,Social Housing Decarbonisation Fund,social housing retrofit,external wall insulation,air source heat pump,net zero housing
Description: Tony Smith image Alamy 3FDX2F7 - Kingsway House in Latchford, Warrington, is a 1966 social housing tower block photographed after an extensive Torus refurbishment completed in 2024. The building was formerly associated with Golden Gates Housing Trust, Warrington's former stock-transfer landlord, before GGHT amalgamated with Liverpool Mutual Homes, Helena Partnerships and Torus 62 in January 2019 to form the present Torus group. The three-year Kingsway project transformed the ageing post-war high-rise at a final reported cost of £6.4 million. HMS refurbished the original 51 flats and created two additional homes, producing 53 social-rent apartments. Improvements included new kitchens and bathrooms, open-plan living areas, passenger lifts, renewed communal areas, new windows and doors, replacement roof works, balconies, landscaping, improved parking and enhanced fire-safety measures. Energy efficiency formed a major part of the scheme. Around £510,000 of Social Housing Decarbonisation Fund support contributed towards retrofit measures including external wall insulation, upgraded roof insulation and a communal hybrid air-source heat-pump system intended to improve thermal performance and reduce residents' energy use. Kingsway House reopened in March 2024 following the works. The image records the transformation of a 1960s municipal-era housing block rather than demolition and replacement, illustrating the growing emphasis on retrofitting existing social housing stock. It is relevant to editorial coverage of SHDF investment, decarbonisation, fuel poverty, energy efficiency, building safety, high-rise refurbishment, housing asset management and the long-term reuse of post-war council housing. The pale insulated façade, new balconies and upgraded windows visibly contrast with the tower's earlier appearance, providing a useful after-refurbishment record of a prominent Latchford landmark. Its completed appearance provides a clear visual record of modern social-housing retrofit in Warrington.
Kingsway House, Kingsway South, Latchford, Warrington, Cheshire, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,IMG,damaged,garage,door,court,1960s,brownfield,housing,site,derelict,garages,regeneration,infill,redevelopment,antisocial,behaviour,estate,renewal,editorial,documentary,2026,British,Britain,Europe,travel,local,community,signage,architecture,streetscape,economy,grey belt,crisis,brown field,sites,garage sites,unloved,neglected,blocks,rule,rules
Description: Tony Smith image Alamy 3FCCTB8 - . A damaged door and worn concrete give this post-war lock-up garage court a visibly neglected appearance. Garage blocks of this type were widely built beside council and private housing from the 1950s through the 1970s, but many have become difficult to manage where units are too small for modern cars, roofs and doors need investment, or secluded layouts attract fly-tipping and antisocial behaviour. That makes some garage sites candidates for clearance and infill housing. Reusing previously developed land can add homes without extending settlement boundaries, and small schemes may fit naturally within existing streets and utility networks. However, planners and landlords must still consider current garage tenants, displaced parking, overlooking, access for emergency services, trees, drainage and whether redevelopment is financially viable. The image is therefore a useful editorial metaphor for ageing estate infrastructure and the search for overlooked housing land. It can support stories about brownfield policy, social-housing asset management, regeneration, vacant garages, neighbourhood safety and the practical consequences of decades of changing car dimensions and planning standards. The detail captured here may also become useful evidence of changing brands, operators, public policies or physical condition. Relevant search and editorial concepts include housing, homes, planning, residential development, social housing, brownfield, regeneration, land use, construction, affordability, local authority, neighbourhood. Useful descriptive vocabulary for archive discovery includes damaged, garage, door, court, brownfield, housing, site, derelict, garages, regeneration, infill, redevelopment, antisocial, behaviour, estate, renewal, England. The image may be useful to picture editors seeking authentic North West or British context for features on community life, economic change, heritage, services and the evolving built environment.
England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,255A1669,The Beatles,1963,Beatles,Northwich,Memorial,Hall,concert,poster,Gene Vincent,The Outlaws,The Cadillacs,1960s,music,rock,roll,history,concert poster,vintage,live,British,pop,Beatlemania,Cheshire,design,ephemera,memorabilia,North,West,England,United Kingdom,Gene,Beatles poster Northwich,Memorial Hall Northwich,Beatles 1963,The Beatles 1963,brian epstein beatles,The Beatles live
Description: Tony Smith image Alamy 3FDX1AK - . A reproduction or surviving-style concert poster for Northwich Memorial Hall advertising The Beatles alongside Gene Vincent, The Outlaws and The Cadillacs in 1963. Posters of this kind are vivid evidence of the intense touring circuit that helped establish The Beatles nationally before and during the explosion of Beatlemania. Northwich, like many British towns, hosted major popular-music acts in municipal halls and ballrooms rather than purpose-built arenas. The image is valuable for editorial coverage of Beatles history, 1960s live music, rock-and-roll touring, local music heritage, poster design and collectable ephemera The image is particularly useful as contemporary visual evidence because the signs, finishes and operating context are all time-sensitive The object has strong documentary value because material culture often preserves details that written descriptions overlook: typography, manufacturing choices, wear, materials and the visual assumptions of its period. Collectors and museums use such surviving items to interpret everyday life, technology, entertainment and consumer culture rather than only major political events For researchers, the strongest search routes are the proper name, town or district, visible activity and the wider policy or consumer theme represented in the frame For editorial use, the photograph can work both as a specific historical subject and as an illustration of memory, collecting and changing technology. Its details encourage close viewing and give picture researchers several routes into broader stories about twentieth- or nineteenth-century Britain, design history, popular culture and the survival of ordinary artefacts The original file wording also identifies searchable details including Beatles Northwich poster Memorial hall Beatles Gene Vincent, which have been retained as metadata evidence where they accurately describe what is visible
Northwich, Cheshire, England, United Kingdom
Description
Keywords: GoTonySmith,HotpixUK,green,go,cross,walk,light,signal,Mainzelmännchen,Mainz pedestrian signal,Mainz traffic lights,pedestrian crossing light,German,traffic,Große Bleiche Mainz,Ampel,1960s,cartoon,character,novelty,pedestrian,safety,road,crossing,figure,lights,sightseeing,German television history,Wolf Gerlach cartoons,1960s German television,ZDF advertising separators,German pop culture,Mainz cultural identity,regional,city,branding,broadcasting,west,Lerchenberg,man
Description: Tony Smith image Alamy 3F8BCDF - A close-up editorial photograph of the distinctive green Det Mainzelmännchen pedestrian traffic light in Mainz,Rhineland-Palatinate, Germany, replacing the standard standing pedestrian figure with one of Germany's best-known television cartoon characters.The illuminated LED road crossing signal forms part of a unique series of Mainzelmännchen traffic lights installed by the City of Mainz, celebrating the city's long association with ZDF (Zweites Deutsches Fernsehen), Germany's national public broadcaster, whose headquarters are located in Mainz-Lerchenberg. The six Mainzelmännchen characters, Anton, Berti, Conni, Det, Edi and Fritzchen, were created by illustrator Wolf Gerlach in 1962 and first appeared on German television in 1963. Originally designed as short animated interludes separating television programmes from advertising, they rapidly became cultural icons recognised across Germany and remain an enduring symbol of German broadcasting and popular culture.
The first Mainzelmännchen pedestrian signals were unveiled in Mainz in 2016 near Neubrunnenplatz and Große Bleiche, with Det chosen as the red standing figure instructing pedestrians to stop, while a walking version appears in green to indicate it is safe to cross. Similar to Berlin's famous Ampelmännchen, the Mainz signals have become a popular tourist attraction, frequently photographed by visitors exploring the city's historic centre, Roman heritage, cathedral, museums and riverside. The customised traffic lights combine road safety, public art, urban design and local identity, transforming everyday street furniture into a recognisable landmark reflecting more than sixty years of German television history. This editorial image illustrates German transport infrastructure, pedestrian safety, city branding, tourism, broadcasting heritage, European street culture, urban design, public realm innovation and the unique relationship between Mainz and ZDF, making it suitable for travel, transport, architecture,
Große Bleiche / Neubrunnenplatz, 55116 Mainz, Rhineland-Palatinate, Germany
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,red,stop,dont walk,light,signal,Mainzelmännchen,Mainz pedestrian signal,Mainz traffic lights,pedestrian crossing light,German,traffic,Große Bleiche Mainz,Ampel,1960s,cartoon,character,novelty,pedestrian,safety,road,crossing,figure,lights,sightseeing,German television history,Wolf Gerlach cartoons,1960s German television,ZDF advertising separators,German pop culture,Mainz cultural identity,regional,city,branding,broadcasting,west,Lerchenberg,man
Description: Tony Smith image Alamy 3F8BCDH - A close-up editorial photograph of the distinctive red Det Mainzelmännchen pedestrian traffic light in Mainz, Rhineland-Palatinate, Germany, replacing the standard standing pedestrian figure with one of Germany's best-known television cartoon characters. The illuminated LED road crossing signal forms part of a unique series of Mainzelmännchen traffic lights installed by the City of Mainz, celebrating the city's long association with ZDF (Zweites Deutsches Fernsehen), Germany's national public broadcaster, whose headquarters are located in Mainz-Lerchenberg. The six Mainzelmännchen characters, Anton, Berti, Conni, Det, Edi and Fritzchen, were created by illustrator Wolf Gerlach in 1962 and first appeared on German television in 1963. Originally designed as short animated interludes separating television programmes from advertising, they rapidly became cultural icons recognised across Germany and remain an enduring symbol of German broadcasting and popular culture.
The first Mainzelmännchen pedestrian signals were unveiled in Mainz in 2016 near Neubrunnenplatz and Große Bleiche, with Det chosen as the red standing figure instructing pedestrians to stop, while a walking version appears in green to indicate it is safe to cross. Similar to Berlin's famous Ampelmännchen, the Mainz signals have become a popular tourist attraction, frequently photographed by visitors exploring the city's historic centre, Roman heritage, cathedral, museums and riverside. The customised traffic lights combine road safety, public art, urban design and local identity, transforming everyday street furniture into a recognisable landmark reflecting more than sixty years of German television history. This editorial image illustrates German transport infrastructure, pedestrian safety, city branding, tourism, broadcasting heritage, European street culture, urban design, public realm innovation and the unique relationship between Mainz and ZDF, making it suitable for travel, transport, architecture,
Große Bleiche / Neubrunnenplatz, 55116 Mainz, Rhineland-Palatinate, Germany
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,poster,for,women,womens,equal,pay,wages,fight,disputes,union,works,rights,1960,1970,1970s,walk,1960s,work,low,unequal,parity,action,strike,strikes
Description: Tony Smith image Alamy 3F4BG7E - . Poster for women's union works rights walk, 1960s. Photographed on 25 July 2026, this summer image stock-photo/gotonysmith-Record.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. Key searchable subjects associated with the scene include poster, women, womens, equal, pay, wages, fight, disputes, union, works, rights, 1970s, providing natural SEO coverage without losing the specific documentary identity of the photograph. The wording and graphic design are important parts of the image, preserving contemporary language, typography, branding or campaigning material that may later disappear or change. The political or campaigning content is suitable for neutral editorial coverage of protest, organised labour, elections, public debate, campaigning, civil society and the way political messages are presented in public. Placards, posters, leaflets, slogans and demonstrations are valuable documentary evidence of a particular moment and can support later historical comparison without implying endorsement of the views displayed. Prominent wording, signage, posters, logos or other graphic material gives the photograph additional documentary value because it records how an organisation, campaign, business or place communicated with the public at that moment. Text and branding visible in a streetscape can be especially useful for editorial comparison after rebranding, closure, redevelopment or policy change. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. It is a useful stock image for publishers, researchers and picture editors seeking a clearly identified contemporary record of the subject and location.
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,blue,Pullman,Pullmans,train,from,1960s,1970s,on,charter,tour,at,Carlisle,railway,station
Description: Tony Smith image Alamy 3F3WN99 - . blue Pullman train from 1960s 1970s , on charter tour at Carlisle railway station. Photographed on 23 June 2026, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. Key searchable subjects associated with the scene include blue, Pullman, Pullmans, train, 1960s, 1970s, charter, tour, Carlisle, railway, station, providing natural SEO coverage without losing the specific documentary identity of the photograph. Transport context makes the photograph useful for stories about rail travel, passenger journeys, stations and interchanges, public transport investment, regional connectivity and the everyday experience of moving through the UK rail network. Railway architecture, passenger facilities, route identity, signage and operational infrastructure are important documentary themes, particularly as stations and services are modernised or altered over time. The transport setting gives the image wider relevance to mobility, infrastructure, roads and public transport, travel behaviour, local connectivity, logistics and the relationship between vehicles and the built environment. It can illustrate planning, transport policy, accessibility, congestion, public investment and the changing technologies and services used to move people or goods. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene.
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,gay,village,Canal Street,tourist,tourism,queer,as folk,Manchester,Richmond Street,LGBTQ+,LGBT,LGBTQ,street art,Molly House,Canal St,area,icon,icons,portraits,Manchester Pride,culture,gay rights,pride,history,visibility,British,English,painted,wall,portrait,urban,nightlife,Pride travel,equality and diversity,human rights,codebreaker legacy,1960s
Description: Tony Smith image Alamy 3EJD0J5 - Molly House mural on Richmond Street in Manchester's Gay Village, centred on painted portraits of Quentin Crisp and Alan Turing. The wall sits beside one of the area's best-known LGBTQ+ bars, close to Canal Street and the city centre's nightlife, Pride and queer heritage quarter. Crisp's stylised face, with hat, pale hair and carefully theatrical expression, brings in the history of queer self-invention, camp visibility and public defiance. Turing's portrait adds a sharper Manchester connection: the mathematician and codebreaker worked at the University of Manchester after the Second World War, helped shape early computing, and has become a major figure in British LGBTQ+ history because of the state persecution he suffered after his conviction for homosexual acts. Together, the two faces turn a side wall into a public act of remembrance, identity and urban storytelling.
The mural's composition is bright and theatrical, with pink cloud shapes, a yellow bird graphic, pastel colour blocks and the readable words PRIVATE PARKING painted beside the figures. It is not a formal monument or blue-plaque view, but everyday city street art, mixing portraiture, advertising, wall texture and a back-lane setting. The artwork is part of a living leisure district, not a sealed heritage display. It sits among bars, service yards and late-night footfall, where debates about safety and commercial change remain visible. No sky is visible, so the weather and season are not clear, but the even outdoor light and slightly damp-looking ground give the picture the feel of a cool urban day rather than a staged heritage view. The image has strong editorial use for features on Manchester Gay Village, LGBTQ+ history, public art, Alan Turing, Quentin Crisp, Pride culture, queer spaces, nightlife, urban regeneration, equality, memory, identity and the way unofficial city walls can carry cultural history as powerfully as museums or civic statues.
26 Richmond Street, Manchester, Greater Manchester, England, UK, M1 3NB.
Description
Keywords: Greater Manchester,centre,England,UK,NW,North West,GoTonySmith,HotpixUK,@HotpixUK,the,CoOp,Co Op,OL12,OL12 0NU,CWS Rochdale,Manchester,Co-Op,T Shirt,top,clothes,clothing,staff,apparel,people,who,care,about,customers,customer,service,1960s,1970s,logo,brand,brands,cooperative,movement,group
Description: Tony Smith image Alamy 2RCA2J5 - . Co-Op People who care blue on white T-Shirt, CWS Rochdale, Manchester, England, UK, OL12 0NU. Photographed on 10 June 2023, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Toad Lane, Rochdale, Greater Manchester, England, UK OL12 0NU, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Greater Manchester, North West, CoOp, Co Op, OL12, OL12 0NU, CWS Rochdale, Manchester, Co-Op, T Shirt, top, clothes, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include clothing, staff, apparel, people, who, care, broadening discoverability while remaining tied to the supplied subject information. The scene contributes a specific, place-based record rather than a generic illustration.
Toad Lane, Rochdale, Greater Manchester, England, UK OL12 0NU
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Bargain Books Soho,vintage neon,Soho adult retail,1960s style sign,adult bookshop,London neon,old Soho,Bargain Books,Soho,neon sign,adult,books,London,neon,nightlife,central,bargain,1960s,mundane,brush,entertainment,urban,culture,part,areas,traditional,adult-entertainment,streetscape,Soho nightlife
Description: Tony Smith image Alamy 3FE957T - . A compact neon Bargain Books sign and stylised female figure appear in a Soho window, a fragment of the district's long-established adult retail and neon-lit nightlife landscape. The 'Bargain Books' neon in Soho belongs to an older visual language of central London's adult-entertainment district: bright hand-built signs, crowded lettering and windows designed to compete for attention at night. Before internet pornography and online retail, adult magazines, books, films and novelties were sold through physical shops concentrated in areas such as Soho. From the 1980s tighter Westminster licensing and later redevelopment steadily reduced the number of such premises. The survival of ageing neon and unfashionable typography has become historically interesting in its own right, preserving traces of a pre-digital retail culture that once depended on anonymity, passing trade and the dense night-time economy of the West End. Because the sign is imperfect and visually dated, it conveys continuity rather than a newly themed recreation of old Soho, an important distinction as the area becomes increasingly polished and expensive. Cheap bookshops, adult book dealers and hand-painted bargain signs were once much more common in central Soho, where low-cost retail and entertainment sat beside restaurants, music venues and theatres. The word 'bargain' and relatively crude lettering suggest a business aimed at passing trade rather than the carefully curated visual identity now expected in prime West End retail. As rents rose and online bookselling transformed the market, small specialist and remainder bookshops became harder to sustain. The surviving sign is valuable precisely because it is mundane: it records the ordinary commercial texture around Soho's more famous clubs and landmarks. Alongside adult-entertainment neon, it helps show the district before redevelopment and premium hospitality erased many inexpensive, eccentric frontages.
Soho, London, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,midlands,UK,Red,and,&,Yellow,flag,curtain,wall,hanging,ad,advert,advertisement,seller,distributer,selling,1960s,1950s,1960,1950,BCLM,history,historic,branding,British Electronic Industries Ltd,electronics,valve,set,sets,receiver,receivers,Southend-on-Sea,Southend,hotpix.org.uk
Description: Tony Smith image Alamy 2NAWEXJ - EKCO (from Eric Kirkham Cole Limited) was a British electronics company producing radio and television sets from 1924 until 1960. Expanding into plastic production for its own use, Ekco Plastics produced both radio cases and later domestic plastic products
the plastics company became Lin Pac Mouldings Ltd.
The company's founder Eric Kirkham Cole was born on 4 July 1901 at Prittlewell, Southend-on-Sea, Essex, and was educated at Southend Day Technical School, followed by a three-year apprenticeship. Cole and his future wife Muriel Bradshaw started out making radio sets in 1924.
William Streatfield Verrells, a schoolmaster and freelance journalist from Southend-on-Sea, wrote an article in a local newspaper asking if it was possible to power a radio set from the mains electricity supply rather than batteries. Cole saw a possible business opportunity
In the late 1930s, Ekco began producing its own radio valves at its Southend-on-Sea works. Following the company's decision to abandon the venture, the plant was converted to a lamp factory. In 1943, Ekco acquired Ensign Lamps based in Preston. In 1950, Ekco sold 51% of its lighting subsidiary, Ekco-Ensign Electric Ltd, to Thorn Electrical Industries.
Southend-on-Sea, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,midlands,England,UK,one,ex-London,Transport,GS,type,buses,bus,London,via,destination,borough,antique,electric,to,Hackney,overhead,wire,wires,power,supply,blue,liveries,livery,1960,1960s,public,towns,Black Country,history,historic,cable,cables
Description: Tony Smith image Alamy 2NAWGPD - . This scene at Dudley, West Midlands, England, UK in 2023 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The scene records Antique trolley bus, MXX340 Guy, to Birmingham, Dudley, via West Bromwich - one ex-London Transport GS type buses. The surrounding context encompasses archival record, public realm, visual archive, transport accessibility, bus infrastructure, historical comparison, local bus network, local character, place identity, surface public transport, contemporary social history, passenger information, bus route infrastructure, and period detail. From a 2025-onward perspective, accessibility and service frequency are closely linked to this subject, alongside the challenge of maintaining reliable local services. As a dated visual record of Dudley, West Midlands, England, UK, the frame retains signage and branding, making it especially useful if redevelopment subsequently changes the scene. Other useful contextual ideas include before-and-after reference, changing streetscape, regional identity, changing land use, passenger transport, local mobility, public-transport wayfinding, and roadside transit. Details involving ex-London, MXX340, Transport, Antique, and trolley make the image more specific than a generic view and strengthen its local or historical value. Around Dudley, West Midlands, England, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Another useful connection is accessibility and the shift toward cleaner buses and integrated ticketing without losing the local specificity of Dudley, West Midlands, England, UK. The scene further reflects integrated transport and the shift toward cleaner buses and integrated ticketing in a form that can be compared with future views of Dudley, West Midlands, England, UK.
Dudley, West Midlands, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Merseyside,England,UK,bar,club,venue,1960,1960s,10,Liverpool,The,Cavern Club,pub,and,other,venues,famous,tourist,attraction,attractions,tourism,draw,history,John,Paul,Ringo,George,John Lennon,statue,bronze,bricks,bands,artists,The Cavern Pub
Description: Tony Smith image Alamy 2M95NT2 - . An identifiable period record of 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE in 2023, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The scene records Sign & John Lennon statue, at Cavern Walks, The Cavern Club, pub and other venues, 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE. The surrounding context encompasses archival record, regional food identity, hospitality economy, licensed hospitality, licensed trade, documentary photography, before-and-after reference, historical comparison, local character, public realm, local produce retail, local speciality shop, changing land use, and period detail. Current relevance extends to hospitality costs and staffing pressure, particularly through the role of historic venues in tourism and neighbourhood identity. In present-day coverage, the subject reaches into cost of living and domestic tourism, not least because of the seasonal pressure faced by tourism-dependent businesses. The archival value lies partly in recording lettering, decoration and surface detail around 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE before conservation work alters the character of the place. The surrounding story also includes destination shopping, Scottish food culture, social history, tourism business, local history, traditional pub, place identity, and contemporary social history. The combination of Walks, statue, Liverpool, Cavern, and Mathew anchors the frame to a recognisable activity, place or moment. The period setting at 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. Another strand within the photograph is hospitality costs and pressure on hospitality margins in a high-cost economy in a form that can be compared with future views of 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE.
10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Merseyside,England,UK,bar,club,venue,1960,1960s,10,Liverpool,The,Cavern Club,pub,and,other,venues,neon,bright,red,famous,tourist,attraction,attractions,tourism,draw,history,John,Paul,Ringo,George,Eurovision,2023
Description: Tony Smith image Alamy 2M95NTC - . Recorded at 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE in 2023, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. The principal subject is Neon sign at Cavern Walks, The Cavern Club, pub and other venues, 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE. The broader subject matter reaches into night-time economy, historical comparison, changing land use, before-and-after reference, regional identity, pub interior heritage, visitor hospitality, local produce retail, documentary photography, Trossachs tourism, visual archive, beer-led hospitality, social history, and traditional ale house. The wider contemporary story combines food inflation, hospitality costs and how food, drink and heritage combine in destination pubs. Viewed from the mid-2020s, the subject also connects with seasonality, domestic tourism and the seasonal pressure faced by tourism-dependent businesses. Future viewers can use this scene from 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE to compare local activity and public use with whatever follows after altered transport patterns. The subject also sits alongside local history, Scottish food culture, local speciality shop, tourism business, traditional pub, Highland gateway retail, Scottish visitor economy, and licensed trade. Details involving Cavern, Merseyside, Walks, Mathew, and venues make the image more specific than a generic view and strengthen its local or historical value. The wider setting at 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. A further contemporary connection is food inflation and the survival of local pubs as social meeting places in a form that can be compared with future views of 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE.
10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Merseyside,England,UK,bar,club,venue,1960,1960s,10,Liverpool,The,Cavern Club,pub,and,other,venues,neon,bright,red,famous,tourist,attraction,attractions,tourism,draw,history,John,Paul,Ringo,George,Eurovision,2023,Eurovision2023
Description: Tony Smith image Alamy 2M95NTH - . Made at 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE in 2023, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. The image documents Neon sign at Cavern Walks, The Cavern Club, pub and other venues, 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE. The locality and subject together evoke Highland gateway retail, changing land use, historical comparison, regional identity, changing streetscape, local social venue, hospitality economy, historic hostelry, community drinking venue, pub interior heritage, local history, traditional ale house, traditional pub, and visitor hospitality. Today's relevance is strengthened by pub closures, consumer spending and the continuing question of how food, drink and heritage combine in destination pubs. From a 2025-onward perspective, tourism spending and rural economy are closely linked to this subject, alongside the role of gateway towns in national-park visitor economies. The archival value lies partly in recording commercial use and occupation around 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE before replacement signage alters the character of the place. A second descriptive layer includes regional branding, Scottish visitor economy, public-house heritage, public realm, beer-led hospitality, contemporary social history, food-and-drink business, and archival record. Elements such as Mathew, other, Cavern, venues, and Liverpool add documentary specificity and may become increasingly useful when compared with later records. The period setting at 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The period view preserves part of the area's social history as part of 10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE's history.
10 Mathew St, Liverpool, Merseyside, England, UK, L2 6RE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L3 9BP,building,architecture,office,centre,block,office block,retail,1962,designed,by,Littlewoods Architectural,dept,department,architectural,Plaza,the,1960s,business,area,district,tower block,block JM,Bruntwood,real estate,space,sunny,blue,sky,skies
Description: Tony Smith image Alamy 2MGWK4J - . This scene at Old Hall St, Llverpool, city, centre, Merseyside, England, UK, L3 9BP in 2023 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The photograph centres on The Plaza, JM Centre 100 Old Hall St - 1962 designed by Littlewoods , Old Hall St, Llverpool city, centre, Merseyside, England, UK, L3 9BP. The setting additionally reflects documentary photography, archival record, public realm, community identity, regional identity, local character, changing land use, commercial streetscape, conservation interest, heritage landmark, local history, traditional materials, retail property, and historic townscape. From a 2025-onward perspective, maintenance and redevelopment pressure are closely linked to this subject, alongside how historic fabric can support regeneration rather than demolition. The wider contemporary story combines commercial rents, online shopping and the role of independent businesses in maintaining active town centres. As a dated visual record of Old Hall St, Llverpool, city, centre, Merseyside, England, UK, L3 9BP, the frame retains period objects and surrounding context, making it especially useful if different community use subsequently changes the scene. A second descriptive layer includes before-and-after reference, high-street commerce, street-level trading, heritage asset, urban fabric, bricks-and-mortar business, social history, and period building. The combination of Littlewoods, Merseyside, Plaza, Centre, and designed anchors the frame to a recognisable activity, place or moment. A later view of Old Hall St, Llverpool, city, centre, Merseyside, England, UK, L3 9BP may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The view records period character as a date-specific reference.
Old Hall St, Llverpool, city, centre, Merseyside, England, UK, L3 9BP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,city,centre,Merseyside,England,UK,tourist,attraction,the,royal,maritime,port,Mersey,river,L3,L3 4AF,Albert Dock,Liverpool,by,metal,promenade,Ronald Wycherley,musician,actor,hit,singles,single,Wondrous Place,Halfway to Paradise,Jealousy,1960,1960s,Play It Cool in 1962 and Thatll Be the Day,Play It Cool,Thatll Be the Day,Eurovision,2023
Description: Tony Smith image Alamy 2NYNDY9 - Ronald Wycherley (17 April 1940 “ 28 January 1983), better known as Billy Fury, was an English musician and actor. An early star of rock and roll, he equalled the Beatles' record of 24 hits in the 1960s and spent 332 weeks on the UK chart. His hit singles include Wondrous Place, Halfway to Paradise and Jealousy. Fury also maintained a film career, notably playing rock performers in Play It Cool in 1962 and That'll Be the Day in 1973.
AllMusic journalist Bruce Eder stated that Fury's mix of rough-hewn good looks and unassuming masculinity, coupled with an underlying vulnerability, all presented with a good voice and some serious musical talent, helped turn [him] into a major rock and roll star in short order. Others have suggested that his rapid rise to prominence was due to his Elvis-influenced hip swivelling and, at times, highly suggestive stage act
Fury concentrated less on rock and roll and more on mainstream ballads, such as Halfway to Paradise and Jealousy (which reached No. 3 and No. 2 respectively in the UK Singles Chart in 1961). Fury confessed to the NME that I wanted people to think of me simply as a singer “ and not, more specifically, as a rock singer. I'm growing up, and I want to broaden my scope. I shall continue to sing rock songs, but at the same time my stage act is not going to be as wild in the future. It was Decca's decision to mould Fury into a teen idol after his last self-penned song, My Christmas Prayer, had failed to chart. The years 1961 through 1963 were Fury's best years chartwise. In 1962, he appeared in his first film, Play It Cool, modelled on the Elvis films. It featured Helen Shapiro, Danny Williams, Shane Fenton and Bobby Vee, who appeared with the Vernons Girls. The hit single from the film was Once Upon a Dream. There were other notable performances by several British actors and performers such as Richard Wattis, Lionel Blair and Dennis Price.
Fury's We Want Billy! (1963) was one of the first live albums
Graving dry dock, Albert Dock, Pier Head, Liverpool, Merseyside, England, UK, L3 4AF
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,UK,Warrington,Cheshire,England,store,Golden Square,WA1,band,used,vintage,pre-loved,secondhand,second-hand,irony,ironic,old,1970,1960s,art,artwork,home,95,The Mall,WA1 1QE,dubious,bad taste,Kitsch,JH Lynch,Joseph Henry Lynch,British,70s,80s,kitsch,copies,cheap,wall,prints
Description: Tony Smith image Alamy 2M3JBA9 - . This authentic period view of 95, The Mall, Golden Square, Warrington, Cheshire, England, UK, WA1 1QE in 2022 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The principal subject is Old 1970s mass-produced paintings , in bad taste, for irony, in the Vintage Viola shop, Warrington Golden Square, England. Other connected aspects include regional identity, customer footfall, changing streetscape, historical comparison, changing land use, specialist retailer, before-and-after reference, local character, high-street commerce, bricks-and-mortar retail, period detail, street-level business, archival record, and small business. In present-day coverage, the subject reaches into commercial rents and town-centre regeneration, not least because of how commercial property costs affect small retailers. Future viewers can use this scene from 95, The Mall, Golden Square, Warrington, Cheshire, England, UK, WA1 1QE to compare street furniture and boundaries with whatever follows after redevelopment. The location also brings in commercial frontage, social history, specialist shop, visual archive, contemporary social history, shopfront economy, everyday life, and town-centre trading. The combination of irony, Vintage, paintings, Golden, and Viola anchors the frame to a recognisable activity, place or moment. For 95, The Mall, Golden Square, Warrington, Cheshire, England, UK, WA1 1QE, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Another useful connection is commercial rents and how commercial property costs affect small retailers within the specific setting of 95, The Mall, Golden Square, Warrington, Cheshire, England, UK, WA1 1QE. The scene captures evidence of earlier appearance as part of 95, The Mall, Golden Square, Warrington, Cheshire, England, UK, WA1 1QE's history.
95, The Mall, Golden Square, Warrington, Cheshire, England, UK, WA1 1QE
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,tourist,coach,coaches,AEC,Yelloway Coach,Coaches,motor services limited,motor,bus,buses,services,ltd,bodies,long distance,2429,Cavalier,AEC Reliance,2MU3RA3566,1961,1960s,Rochdale,day trip,day-trip,charabanc,body,bus and coach,Carlton PSV Sales of Rotherham,fleet,vehicle,vehicles,coach tour,old,coach tours
Description: Tony Smith image Alamy 2M4K860 - Yelloway Motor Services was a bus and coach company based in Rochdale.
In 1902, Robert Holt commenced a parcels delivery service in the Rochdale area using a pony and cart. In 1904, Holt went into partnership with his younger brother Ernest and they established themselves as carriers trading as Messrs Holt Brothers. Additional ponies and carts were purchased, later followed by steam and motor lorries.
In an attempt to earn additional revenue, when the lorries would otherwise be idle, interchangeable charabanc bodies to enable the lorries to be converted into passenger pleasure vehicles at weekends. In May 1913 the first purpose built charabanc entered service
In March 1931, a consortium of Maurice Edwards, John Barlow and Herbert Allen purchased the business. On 9 April 1932, the company was officially renamed Yelloway Motor Services Limited
Yelloway was granted operating licences for a service to Torquay, with other operators denied. By 1937, Yelloway was providing travel facilities for passengers from West Yorkshire to destinations in South West England, connecting services being provided by Ripponden & District through Halifax, Sowerby Bridge and Ripponden to Oldham where they joined the Devon bound coaches
On 5 July 1985, Yelloway was sold to Neoplan dealer Carlton PSV Sales of Rotherham. In October 1986, following deregulation, Yelloway registered several stage carriage services in the Greater Manchester area and won contracts from the Greater Manchester Passenger Transport Executive
Greater Manchester and West Yorkshire Passenger Transport Executives cancelled contracts on several services because of poor performance. On 24 November 1988, the Yelloway was placed under the control of Crosville Motor Services, which had just been purchased by ATL Holdings, along with the remaining contract work and the name disappeared
Rochdale, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,tourist,coach,coaches,AEC,Yelloway Coach,Coaches,motor services limited,motor,bus,buses,services,ltd,bodies,long distance,2429,Cavalier,AEC Reliance,2MU3RA3566,1961,1960s,Rochdale,day trip,day-trip,charabanc,body,bus and coach,Carlton PSV Sales of Rotherham,fleet,vehicle,vehicles,coach tour,old,coach tours
Description: Tony Smith image Alamy 2M4K863 - Yelloway Motor Services was a bus and coach company based in Rochdale.
In 1902, Robert Holt commenced a parcels delivery service in the Rochdale area using a pony and cart. In 1904, Holt went into partnership with his younger brother Ernest and they established themselves as carriers trading as Messrs Holt Brothers. Additional ponies and carts were purchased, later followed by steam and motor lorries.
In an attempt to earn additional revenue, when the lorries would otherwise be idle, interchangeable charabanc bodies to enable the lorries to be converted into passenger pleasure vehicles at weekends. In May 1913 the first purpose built charabanc entered service
In March 1931, a consortium of Maurice Edwards, John Barlow and Herbert Allen purchased the business. On 9 April 1932, the company was officially renamed Yelloway Motor Services Limited
Yelloway was granted operating licences for a service to Torquay, with other operators denied. By 1937, Yelloway was providing travel facilities for passengers from West Yorkshire to destinations in South West England, connecting services being provided by Ripponden & District through Halifax, Sowerby Bridge and Ripponden to Oldham where they joined the Devon bound coaches
On 5 July 1985, Yelloway was sold to Neoplan dealer Carlton PSV Sales of Rotherham. In October 1986, following deregulation, Yelloway registered several stage carriage services in the Greater Manchester area and won contracts from the Greater Manchester Passenger Transport Executive
Greater Manchester and West Yorkshire Passenger Transport Executives cancelled contracts on several services because of poor performance. On 24 November 1988, the Yelloway was placed under the control of Crosville Motor Services, which had just been purchased by ATL Holdings, along with the remaining contract work and the name disappeared
Rochdale, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,overspill,electric,Finnigan,SK13,Glossop,Derbyshire,UK,Manchester overspill estates,Social,Housing,council,tenant,leaseholder,leading to,Ashford,Bakewell,Langsett,Monyash,Tissington,Totley,Wardlow,SK13 0AG,borough council,waiting list,InsideHousing,1960s,1969,legacy,electric side,George Wimpey,Wimpey,no-fines,house,building,method,CouncilHousing
Description: Tony Smith image Alamy 2K1P053 - Gamesley is a residential area within the Borough of High Peak in Derbyshire, England, west of Glossop and close to the River Etherow which forms the boundary with Tameside in Greater Manchester. Gamesley is a ward of the High Peak Borough Council. It had a population of 2,531 at the 2011 Census
The original village of Gamesley consisted of rows of cottages inhabited by workers at the local textile mills, and it remained largely undeveloped until the 1960s, when it underwent considerable change. It was chosen as the location of an overspill estate, built by Manchester City Council. This was in order to rehouse people from decaying inner city areas of Manchester. These housing areas were also built in other towns surrounding Manchester, such as nearby Hattersley on the outskirts of Hyde.
The Gamesley estate was built in 2 half's. The first houses were built by contractors Finnegans which were constructed with
flat felted roofs, pebble dash cladding ground floors and tile cladded first floors. Finnegans houses were equipped with warm air central heating which used gas as an energy source. The Finnegan side of the estate was known locally as the ˜gas side'. In the late 1980s the local authority renovated the Finnegan system built houses, the works included re-enveloping the external building with traditional bricks and mortar. The works also added apex roofing complete with roofing tiles.
The second half of the Gamesley estate was built a couple of years later by George Wimpey using the Wimpey no-fines house building method. The houses were constructed with full pebble dash finish and tiled apex roofing. The houses built by George Wimpey had a solid concrete ground floor which had electrical underfloor heating installed, the first floors of these houses were built with no heating. Due to electricity being the main energy source for heating, the George Wimpey side of Gamesley became known locally as the ˜electric side'.
Youlgreave Crescent, Gamesley, High Peak, Derbyshire, England, UK, SK13 0AG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,1960s,1960,walnut,wood,knob,Ferguson 401,Ferguson,radiogram,with,viny,12 inch,12,LP,plays,speakers,Ferguson Radio Corporation Ltd,Radio Corporation Ltd,401RG,1955,Broadcast Receiver,or,past WW2,Tuner,piece,of,furniture,Garrard,RC 80M,record changer,EL84,output valves,SW,FM,LW,MW,Superheterodyne,ZF/IF 470/10700 kHz
Description: Tony Smith image Alamy 2K23M58 - Number of Tubes
9
Valves / Tubes
Main principle
Superheterodyne (common)
ZF/IF 470/10700 kHz
Wave bands
Broadcast, Long Wave, Short Wave plus FM or UHF.
Details
Record Player (perh.Changer)
Power type and voltage
Alternating Current supply (AC) / 200-250 Volt
Loudspeaker
2 Loudspeakers
Power out
6 W (undistorted)
Material
Wooden case
from Radiomuseum.org
Model: 401RG - Ferguson Radio Corporation Ltd
Shape
Console with any shape - in general
Dimensions (WHD)
36 x 31.5 x 16 inch / 914 x 800 x 406 mm
Notes
Originally fitted with Garrard RC 80M record changer.
Speakers
Bass 12 inches, Treble 6 x 4 inches.
2 x EL84 output valves are connected as a long tail pair, giving an output of 6 watts at less than 1% distortion.
FM coverage is 87 to 101 MHz, note
on this radio the FM band is called Band 2
SW coverage it is 15.7 to 55.4 meters.
Mentioned in
-- Original-techn. papers.
Author
Model page created by Peter Hoddow. See Data change for further contributors.
London, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Cheshire,England,UK,rail,railway,train,trains,BR,loco,yellow,engine,built,1960s,1960,AL6,electrified West Coast Main Line,engines,English Electric,Foundry,Doncaster,freight,fleet,zero injuries,cab,grey,green,Powerhaul,livery,preserved,history,historic,railways,transport
Description: Tony Smith image Alamy 2JWGT80 - The British Rail Class 86 is a class of electric locomotives built during the 1960s. Developed as a 'standard' electric locomotive from earlier prototype models, one hundred of these locomotives were built from 1965 to 1966 to haul trains on the then newly electrified West Coast Main Line (WCML) from London Euston to Birmingham, Crewe, Liverpool, Manchester and later Glasgow and Preston. Introduction of the class enabled the replacement of many steam locomotives, which were finally withdrawn by British Rail in 1968.
Under the earlier BR classification system, the type was given the designation AL6 (meaning the sixth design of AC locomotive) and locomotives were numbered E3101“E3200. In 1968, this was changed to Class 86 when British Rail introduced the TOPS classification system.
The class was built to haul passenger and freight trains alike on the West Coast Main Line
however, some members of the class also saw use on the Great Eastern Main Line (GEML) between London Liverpool Street and Norwich, after the remainder of the line north of Colchester was electrified in the mid-1980s. The type has had a generally long and successful career, with some members of the class seeing main line service lives in the UK of up to 55 years. Most regular passenger duties of the class came to end on both the WCML and the GEML in the early-to-mid-2000s, after a career of up to 40 years. Some members of the class remained in use for charter work and for freight work with Freightliner until 2021. A number of the class were exported to Bulgaria and Hungary and remain in use. As of 2022, three Class 86s remain preserved in usable condition in the UK
all are in private ownership.
The order for 100 locomotives was placed in 1963
it was split between two manufacturers, with the English Electric Vulcan Foundry in Newton-le-Willows building 60 locomotives and British Rail Doncaster Works producing 40. The Doncaster and Newton-built locomotives were not identical
Crewe,Cheshire,England,UK, CW1
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Cheshire,England,UK,rail,railway,train,trains,BR,loco,yellow,engine,built,1960s,1960,AL6,electrified West Coast Main Line,engines,English Electric,Foundry,Doncaster,freight,fleet,zero injuries,cab,grey,green,Powerhaul,livery,preserved,history,historic,railways,transport
Description: Tony Smith image Alamy 2JWGT82 - The British Rail Class 86 is a class of electric locomotives built during the 1960s. Developed as a 'standard' electric locomotive from earlier prototype models, one hundred of these locomotives were built from 1965 to 1966 to haul trains on the then newly electrified West Coast Main Line (WCML) from London Euston to Birmingham, Crewe, Liverpool, Manchester and later Glasgow and Preston. Introduction of the class enabled the replacement of many steam locomotives, which were finally withdrawn by British Rail in 1968.
Under the earlier BR classification system, the type was given the designation AL6 (meaning the sixth design of AC locomotive) and locomotives were numbered E3101“E3200. In 1968, this was changed to Class 86 when British Rail introduced the TOPS classification system.
The class was built to haul passenger and freight trains alike on the West Coast Main Line
however, some members of the class also saw use on the Great Eastern Main Line (GEML) between London Liverpool Street and Norwich, after the remainder of the line north of Colchester was electrified in the mid-1980s. The type has had a generally long and successful career, with some members of the class seeing main line service lives in the UK of up to 55 years. Most regular passenger duties of the class came to end on both the WCML and the GEML in the early-to-mid-2000s, after a career of up to 40 years. Some members of the class remained in use for charter work and for freight work with Freightliner until 2021. A number of the class were exported to Bulgaria and Hungary and remain in use. As of 2022, three Class 86s remain preserved in usable condition in the UK
all are in private ownership.
The order for 100 locomotives was placed in 1963
it was split between two manufacturers, with the English Electric Vulcan Foundry in Newton-le-Willows building 60 locomotives and British Rail Doncaster Works producing 40. The Doncaster and Newton-built locomotives were not identical
Crewe,Cheshire,England,UK, CW1
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Cheshire,England,UK,rail,railway,train,trains,BR,loco,yellow,engine,built,1960s,1960,AL6,electrified West Coast Main Line,engines,English Electric,Foundry,Doncaster,freight,fleet,zero injuries,cab,grey,green,Powerhaul,livery,preserved,history,historic,railways,transport
Description: Tony Smith image Alamy 2JWGT84 - The British Rail Class 86 is a class of electric locomotives built during the 1960s. Developed as a 'standard' electric locomotive from earlier prototype models, one hundred of these locomotives were built from 1965 to 1966 to haul trains on the then newly electrified West Coast Main Line (WCML) from London Euston to Birmingham, Crewe, Liverpool, Manchester and later Glasgow and Preston. Introduction of the class enabled the replacement of many steam locomotives, which were finally withdrawn by British Rail in 1968.
Under the earlier BR classification system, the type was given the designation AL6 (meaning the sixth design of AC locomotive) and locomotives were numbered E3101“E3200. In 1968, this was changed to Class 86 when British Rail introduced the TOPS classification system.
The class was built to haul passenger and freight trains alike on the West Coast Main Line
however, some members of the class also saw use on the Great Eastern Main Line (GEML) between London Liverpool Street and Norwich, after the remainder of the line north of Colchester was electrified in the mid-1980s. The type has had a generally long and successful career, with some members of the class seeing main line service lives in the UK of up to 55 years. Most regular passenger duties of the class came to end on both the WCML and the GEML in the early-to-mid-2000s, after a career of up to 40 years. Some members of the class remained in use for charter work and for freight work with Freightliner until 2021. A number of the class were exported to Bulgaria and Hungary and remain in use. As of 2022, three Class 86s remain preserved in usable condition in the UK
all are in private ownership.
The order for 100 locomotives was placed in 1963
it was split between two manufacturers, with the English Electric Vulcan Foundry in Newton-le-Willows building 60 locomotives and British Rail Doncaster Works producing 40. The Doncaster and Newton-built locomotives were not identical
Crewe,Cheshire,England,UK, CW1
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Cheshire,England,UK,rail,railway,train,trains,BR,loco,yellow,engine,built,1960s,1960,AL6,electrified West Coast Main Line,engines,English Electric,Foundry,Doncaster,freight,fleet,zero injuries,cab,grey,green,Powerhaul,livery,preserved,history,historic,railways,transport,overhead,line,cable,track
Description: Tony Smith image Alamy 2JWGT86 - The British Rail Class 86 is a class of electric locomotives built during the 1960s. Developed as a 'standard' electric locomotive from earlier prototype models, one hundred of these locomotives were built from 1965 to 1966 to haul trains on the then newly electrified West Coast Main Line (WCML) from London Euston to Birmingham, Crewe, Liverpool, Manchester and later Glasgow and Preston. Introduction of the class enabled the replacement of many steam locomotives, which were finally withdrawn by British Rail in 1968.
Under the earlier BR classification system, the type was given the designation AL6 (meaning the sixth design of AC locomotive) and locomotives were numbered E3101“E3200. In 1968, this was changed to Class 86 when British Rail introduced the TOPS classification system.
The class was built to haul passenger and freight trains alike on the West Coast Main Line
however, some members of the class also saw use on the Great Eastern Main Line (GEML) between London Liverpool Street and Norwich, after the remainder of the line north of Colchester was electrified in the mid-1980s. The type has had a generally long and successful career, with some members of the class seeing main line service lives in the UK of up to 55 years. Most regular passenger duties of the class came to end on both the WCML and the GEML in the early-to-mid-2000s, after a career of up to 40 years. Some members of the class remained in use for charter work and for freight work with Freightliner until 2021. A number of the class were exported to Bulgaria and Hungary and remain in use. As of 2022, three Class 86s remain preserved in usable condition in the UK
all are in private ownership.
The order for 100 locomotives was placed in 1963
it was split between two manufacturers, with the English Electric Vulcan Foundry in Newton-le-Willows building 60 locomotives and British Rail Doncaster Works producing 40. The Doncaster and Newton-built locomotives were not identical
Crewe,Cheshire,England,UK, CW1
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Cheshire,England,UK,rail,railway,train,trains,BR,loco,yellow,engine,built,1960s,1960,AL6,electrified West Coast Main Line,engines,English Electric,Foundry,Doncaster,freight,fleet,zero injuries,cab,grey,green,Powerhaul,livery,preserved,history,historic,railways,transport,overhead,lines,cables
Description: Tony Smith image Alamy 2JWGT98 - The British Rail Class 86 is a class of electric locomotives built during the 1960s. Developed as a 'standard' electric locomotive from earlier prototype models, one hundred of these locomotives were built from 1965 to 1966 to haul trains on the then newly electrified West Coast Main Line (WCML) from London Euston to Birmingham, Crewe, Liverpool, Manchester and later Glasgow and Preston. Introduction of the class enabled the replacement of many steam locomotives, which were finally withdrawn by British Rail in 1968.
Under the earlier BR classification system, the type was given the designation AL6 (meaning the sixth design of AC locomotive) and locomotives were numbered E3101“E3200. In 1968, this was changed to Class 86 when British Rail introduced the TOPS classification system.
The class was built to haul passenger and freight trains alike on the West Coast Main Line
however, some members of the class also saw use on the Great Eastern Main Line (GEML) between London Liverpool Street and Norwich, after the remainder of the line north of Colchester was electrified in the mid-1980s. The type has had a generally long and successful career, with some members of the class seeing main line service lives in the UK of up to 55 years. Most regular passenger duties of the class came to end on both the WCML and the GEML in the early-to-mid-2000s, after a career of up to 40 years. Some members of the class remained in use for charter work and for freight work with Freightliner until 2021. A number of the class were exported to Bulgaria and Hungary and remain in use. As of 2022, three Class 86s remain preserved in usable condition in the UK
all are in private ownership.
The order for 100 locomotives was placed in 1963
it was split between two manufacturers, with the English Electric Vulcan Foundry in Newton-le-Willows building 60 locomotives and British Rail Doncaster Works producing 40. The Doncaster and Newton-built locomotives were not identical
Crewe,Cheshire,England,UK, CW1
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Wales,Denbighshire,UK,LL20 8SN,LL20,the,rail,railways,signal,signals,history,historic,in,BW,Black,&,and,White,1950s,1950,1960,1960s,rails,stations,tourist,tourism,attraction,visitors,unique,heritage,Beeching,cuts,charity,gorsaf
Description: Tony Smith image Alamy 2JR3MNN - . This location-specific image from The Station, Abbey Road , Llangollen, Denbighshire, Wales, UK, LL20 8SN in 2022 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The subject captured here is Llangollen historic railway station in BW, The Station, Abbey Road , Llangollen, Denbighshire, Wales, UK, LL20 8SN. The setting additionally reflects built heritage, freight wagon, visual archive, mechanical signalling, everyday life, commercial redevelopment, changing land use, adaptive reuse, trackside history, local history, historical comparison, historic townscape, rail infrastructure, and regional identity. Viewed from the mid-2020s, the subject also connects with heritage conservation, signalling technology and the importance of preserving signal boxes and rolling stock as industrial heritage. The modern context includes continuing discussion of heritage conservation, planning and the value of reusing existing buildings rather than wholesale demolition. The archival value lies partly in recording materials and architectural details around The Station, Abbey Road , Llangollen, Denbighshire, Wales, UK, LL20 8SN before redevelopment alters the character of the place. A second descriptive layer includes before-and-after reference, community identity, mixed-use redevelopment, changing streetscape, urban fabric, rail transport history, heritage-led regeneration, and public-realm investment. The recorded references to railway, Abbey, Wales, Denbighshire, and Llangollen preserve clues about how the subject was presented, used or understood at the time. By fixing the subject within The Station, Abbey Road , Llangollen, Denbighshire, Wales, UK, LL20 8SN, the image preserves more than the headline object or building: it records part of the locality's everyday history. It also preserves a point of historical comparison for future local research.
The Station, Abbey Road , Llangollen, Denbighshire, Wales, UK, LL20 8SN
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Lancs,Lancashire,England,UK,FY1,The,pub,bar,9,FY1 5DE,Liverpool,fab4,Fab 4,John,Paul,George,Ringo,McCartney,Lennon,Harrison,Starr,nostalgia,pop,music,fab,vibe,vibes,1960,1960s,art,artwork,nightclub,club,venue,tribute,to
Description: Tony Smith image Alamy 2JRM3C5 - . An identifiable period record of 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE in 2022, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The subject captured here is The yellow Submarine Beatles bar - 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE. The wider scene also brings together local music culture, music-themed venue, popular-music heritage, music tourism, neighbourhood drinking venue, traditional hostelry, archival record, song-inspired design, everyday life, music iconography, licensed hospitality, street-level dining, place identity, and customer-facing leisure. Today's relevance is strengthened by licensing, cultural heritage and the continuing question of the role of music heritage in attracting visitors beyond conventional attractions. From a 2025-onward perspective, hospitality costs and food inflation are closely linked to this subject, alongside how familiar pubs and restaurants shape neighbourhood identity. The image fixes commercial use and occupation within 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE at one identifiable point, providing a benchmark against conservation work. The photograph additionally reflects popular culture, Beatles memorabilia, community identity, local history, cultural branding, casual dining, contemporary social history, and regional identity. References to Blackpool, yellow, Rigby, Beatles, and Lancashire give the picture a strong period identity and tie it closely to its named subject. By fixing the subject within 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE, the image preserves more than the headline object or building: it records part of the locality's everyday history. The image also provides a reference for licensing and how memorial benches and themed venues turn music into place-based memory as part of the longer story of 9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE.
9 Rigby Rd, Blackpool , Lancashire, England, UK, FY1 5DE
Description
Keywords: GotonySmith,HotpixUK,@HotpixUK,1960s Smiths Astral watch on an original Smiths Watches Cheltenham,1960s,1960,manual,wind,winding,Smiths,clocks,English,company,jewellery,watchmaker,15 jewels,sell Smith,clock & watch,division,Sectric House,179 Great Portland Street,British,UK,U507,Anglo-Celtic,watch,De Luxe,deluxe,icon,iconic,vintage,wristwatch,wristwatches,slimline,60466E,60465E
Description: Tony Smith image Alamy 2JJYRG4 - Smiths experienced a varied career as a watchmaker. The first watches were produced in a factory built in Cheltenham, built at the start of the Second World War for aircraft instrumentation. This factory produced the highest grade of Smiths watches, these are the ones which typically are more collectable. These include the Smiths De Luxe, Imperial, English Imperial, Everest, Astral and W10.
Previously Smiths and the Ingersoll Watch Company founded the Anglo-Celtic Watch Co Ltd in 1946, producing watches in Wales up until 1980. This joint venture became one of the largest producers of watches in Europe. The same factory produced the cheaper Smiths Empire watches. These watches are quite common and can be purchased for under £20. These are the lowest quality watches produced by Smiths and for amateur watch repairers are great watches to practice with due to the surplus of watches available. The dials of these watches are often marked with Made In Gt. Britain.
The Astral range was introduced in 1959, using a 17-jewel centre second movement. In 1964 the slimline movement was used in the Astral manufactured up until 1970. The most common variants of the Slimline movement are the 60466E or the 60465E.
Bishops Cleave, Cheltenham, Gloucestershire, England, UK
Description
Keywords: GotonySmith,HotpixUK,@HotpixUK,London,Soho,England,UK,West End,shop,store,retail,1960,1970,1980,1960s,1970s,1980s,Eros,VHS,VHSs,seedy,pervy,28,Peter St,W1F 0AL,W1F,favourite,favourites,DVD,DVDs,mucky,west end,cinema,movies,XXX,X-Rated
Description: Tony Smith image Alamy 2JJPKRG - . An identifiable period record of 28, Peter St, London, England, UK, W1F 0AL in 2022, retaining the practical detail and local context that distinguish a documentary photograph from a generic illustration. The image documents London Soho Eros Movieland - Colt books, Original 60s, 70s, 80s movies, X rated, classic XXX videos available on DVD, basement shop. Further facets of the scene include nightlife heritage, LGBTQ nightlife, documentary photography, archival record, public realm, before-and-after reference, shopfront economy, bricks-and-mortar retail, retail chain, everyday life, shopping district, community safe space, high-street commerce, and changing streetscape. Current relevance extends to brand consolidation and store closures, particularly through how physical shops adapt to online competition. In present-day coverage, the subject reaches into gentrification and venue closures, not least because of the importance of dedicated social spaces for LGBTQ communities. Future viewers can use this scene from 28, Peter St, London, England, UK, W1F 0AL to compare local activity and public use with whatever follows after replacement signage. The subject also sits alongside brand-led retail, changing land use, outdoor retail, town-centre economy, visual archive, queer social space, inclusive night-time venue, and social history. Elements such as Original, Movieland, videos, classic, and books add documentary specificity and may become increasingly useful when compared with later records. Around 28, Peter St, London, England, UK, W1F 0AL, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The image also provides a reference for brand consolidation and how physical shops adapt to online competition within the real-world context of 28, Peter St, London, England, UK, W1F 0AL. Image 2JJPKRG also remains a dated record of 28, Peter St, London, England, UK, W1F 0AL.
28, Peter St, London, England, UK, W1F 0AL
Description
Keywords: GotonySmith,HotpixUK,@HotpixUK,London,Soho,England,UK,West End,shop,store,retail,1960,1970,1980,1960s,1970s,1980s,Eros,VHS,VHSs,seedy,pervy,28,Peter St,W1F 0AL,W1F,favourite,favourites,DVD,DVDs,mucky,west end,cinema,movies,XXX,X-Rated
Description: Tony Smith image Alamy 2JJPKRJ - . Made at 28, Peter St, London, England, UK, W1F 0AL in 2022, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. At the centre of the view is London Soho Eros Movieland - Colt books, Original 60s, 70s, 80s movies, X rated, classic XXX videos available on DVD, basement shop. The setting additionally reflects gay bar culture, visual archive, local history, LGBTQ social history, queer social space, changing streetscape, gay hospitality, community identity, local character, LGBTQ nightlife, before-and-after reference, public realm, nightlife heritage, and commercial frontage. The wider contemporary story combines consumer spending, brand consolidation and the role of large retailers in town-centre and edge-of-centre economies. Viewed from the mid-2020s, the subject also connects with inclusive spaces, venue closures and the role of bars and clubs as both businesses and community spaces. The image fixes building condition and alterations within 28, Peter St, London, England, UK, W1F 0AL at one identifiable point, providing a benchmark against changed technology. Other useful contextual ideas include community safe space, retail property, contemporary social history, place identity, consumer retail, destination retail, everyday life, and Pride culture. Elements such as basement, rated, videos, books, and Movieland add documentary specificity and may become increasingly useful when compared with later records. By fixing the subject within 28, Peter St, London, England, UK, W1F 0AL, the image preserves more than the headline object or building: it records part of the locality's everyday history. A further contemporary connection is consumer spending and the role of large retailers in town-centre and edge-of-centre economies without losing the local specificity of 28, Peter St, London, England, UK, W1F 0AL.
28, Peter St, London, England, UK, W1F 0AL
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,North West,UK,circle,Moscow,Brussels,Munich,Third,Light,London,Midland,Budapest,frequencies,brand,old,fashioned,yellow,creme,cream,colour,case,1960,1960s,transistor,circular,radio,wireless,dial,dials,Bush brand,brands,English,British,HotpixUK.org.uk
Description: Tony Smith image Alamy 2JGM7B6 - . This location-specific image from Great Britain, UK in 2022 provides a visual record of the subject in everyday context, useful for both contemporary editorial work and later historical comparison. The location is represented through Bush brand , old fashioned classic circular radio dial, Long, Medium wave, Moscow, Brussels, Munich, Third, Light, London, Midland, Budapest frequency. A broader reading of the photograph includes physical store, townscape record, street-level documentary, customer footfall, social landscape, public realm, outdoor retail, high-street commerce, pedestrian environment, visual archive, changing streetscape, changing land use, city-centre activity, and local history. For current editorial use, changing footfall and brand consolidation provide additional context, especially through the speed at which branding and store formats change. Current relevance extends to commercial change and local identity, particularly through how regeneration alters the character of familiar places. The image fixes materials and architectural details within Great Britain, UK at one identifiable point, providing a benchmark against closure or conversion. Other useful contextual ideas include commercial frontage, place identity, destination retail, archival record, retail property, community life, social history, and urban change. Details involving Light, Budapest, radio, frequency, and Moscow make the image more specific than a generic view and strengthen its local or historical value. A later view of Great Britain, UK may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Its period value extends to changing footfall and the speed at which branding and store formats change when considered against later change at Great Britain, UK. The record includes details of everyday use for future local research. The frame retains evidence of changing use before later change alters the scene.
Great Britain, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,North West,UK,circle,Moscow,Brussels,Munich,Third,Light,London,Midland,Budapest,frequencies,brand,old,fashioned,yellow,creme,cream,colour,case,1960,1960s,transistor,circular,radio,wireless,dial,dials,Bush brand,brands,English,British
Description: Tony Smith image Alamy 2JGM7BA - . This authentic period view of Great Britain, UK in 2022 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The main point of reference is Bush brand , old fashioned classic circular radio dial, Long, Medium wave, Moscow, Brussels, Munich, Third, Light, London, Midland, Budapest frequency. A broader reading of the photograph includes urban social history, public realm, shopfront economy, shopping district, everyday street life, everyday life, archival record, social landscape, contemporary city life, changing streetscape, visual archive, town-centre economy, local identity, and contemporary social history. For current editorial use, brand consolidation and online shopping provide additional context, especially through the role of large retailers in town-centre and edge-of-centre economies. Current relevance extends to local identity and street safety, particularly through the relationship between public space and local social life. Small period details of landscape treatment and surrounding development at Great Britain, UK may become more significant with time, particularly following altered transport patterns. The location also brings in changing land use, urban change, consumer retail, high-street commerce, physical store, outdoor retail, regional identity, and brand-led retail. References to Medium, brand, Midland, Brussels, and fashioned give the picture a strong period identity and tie it closely to its named subject. For Great Britain, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The location additionally provides evidence of brand consolidation and how physical shops adapt to online competition when considered against later change at Great Britain, UK. The record includes part of the area's social history as a date-specific reference.
Great Britain, UK
Description
Keywords: @HotpixUk,HotpixUK,GoTonySmith,tower block,block,UKhousing,Scotland,UK,1967,X Almada Street is a 14 storey tower block in,Scotland. It was approved in 1967 and construction was,X Almada Street,is a,14 storey,approved in 1967,built,construction by Lawrence,building contains,78 flats,history,historic,Council Housing,council,social,blocks,estate,estates,town,centre,scheme,schemes,Almada,St,street,ML3 0HQ,ML3,council housing Scotland,council housing Motherwelll,1960s
Description: Tony Smith image Alamy 2AFFW8F - . View over Almada Tower, 67 Almada St,Hamilton West, South Lanarkshire,Scotland, UK, ML3 0HQ. Photographed on 15 December 2019. The recorded location is Almada Tower, 67 Almada St, Hamilton,South Lanarkshire,Scotland,UK, ML3 0HQ. X Almada Street is a 14 storey tower block in Hamilton, Scotland. It was approved in 1967 and construction was carried out by Lawrence. The building contains 78 flats. In historical terms, historic and modern architecture can be read as a record of investment, planning and changing urban functions
Civic, commercial, industrial and residential buildings each contribute to the character of a townscape, particularly where earlier structures are adapted rather than demolished. In the longer view, housing photographs document changing ideas about density, tenure, architecture and neighbourhood design
Tower blocks, estates, gated developments and converted industrial buildings each represent different responses to demand for homes in particular periods. During 2026, current regeneration policy places growing emphasis on reusing established buildings and strengthening town centres. historic façades, redundant offices and converted commercial properties are especially relevant to debates about conservation, viability and adaptive reuse. Current 2026 relevance comes from the fact that housing is one of the UK's most politically important issues, with major government investment aimed at increasing social and affordable supply
Older estates, redevelopment sites and different residential forms therefore have strong relevance to current debate about affordability, quality and regeneration. In the longer view, architecture records the priorities of the period in which a building was designed: materials, ornament, scale and planning can reveal evolving technologies, social status and commercial use
Later alterations and changes of tenant add further layers, so a single façade can embody several phases of local history.
Almada Tower, 67 Almada St, Hamilton,South Lanarkshire,Scotland,UK, ML3 0HQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Liverpool,Merseyside,England,UK,L1,art,trumpet,music,musician,legacy,jazz,player,artist,artistic,1960,1960s,monochrome,mono,BW,Black & White,Black and White,history,heritage,old,olden,days,years,ago,urban,environment,street,road,lane,lanes,built,architecture
Description: Tony Smith image Alamy 2M475F4 - . This dated editorial view of London Road, Liverpool, Merseyside, England, UK in 2019 captures more than the immediate subject, retaining clues about local use, design, activity and change. At the centre of the view is Trumpet Player art, London Road, Liverpool, Merseyside, England, UK. Other connected aspects include street-side transport, local bus network, social history, archival record, historical comparison, regional identity, before-and-after reference, period detail, contemporary social history, roadside transit, local mobility, public-transport wayfinding, local history, and bus infrastructure. Current relevance extends to decarbonisation and local connectivity, particularly through the role of bus stops as the physical interface between passengers and the network. The archival value lies partly in recording landscape treatment and surrounding development around London Road, Liverpool, Merseyside, England, UK before changing commercial priorities alters the character of the place. The wider setting retains connections with public realm, transport accessibility, local character, place identity, public transport stop, everyday life, surface public transport, and passenger transport. The recorded references to Liverpool, Player, Trumpet, and Merseyside preserve clues about how the subject was presented, used or understood at the time. For London Road, Liverpool, Merseyside, England, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. A further contemporary connection is decarbonisation and the role of bus stops as the physical interface between passengers and the network in a form that can be compared with future views of London Road, Liverpool, Merseyside, England, UK. The frame retains period character for later comparison. The scene captures a trace of local identity within the wider story of London Road, Liverpool, Merseyside, England, UK.
London Road, Liverpool, Merseyside, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,label,sewn,coat,hides,clothing,clothes,from Altrincham,Trafford,Greater Manchester,England,UK,the,store,from,fur,coats,outerwear,ethical nonethical,brown,fox,vintage,1950s,1960s,squirrel,squirrels,Alty,Altrincham,Cheshire,furry,history,historic,heritage,old,practices,trade,trades
Description: Tony Smith image Alamy 2K41M2A - . Photographed at Altrincham, Cheshire, England, UK in 2019, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The scene records Mertons The furriers, fur coat, from Altrincham, Trafford, Greater Manchester, England, UK,. The setting additionally reflects historical comparison, wedding retail, marriage culture, public realm, documentary photography, social history, changing streetscape, community identity, archival record, bridal fashion, period detail, formalwear display, occasionwear, and local character. For current editorial use, changing traditions and consumer spending provide additional context, especially through how sustainability is influencing occasionwear and clothing reuse. As a dated visual record of Altrincham, Cheshire, England, UK, the frame retains lettering, decoration and surface detail, making it especially useful if altered transport patterns subsequently changes the scene. The wider setting retains connections with visual archive, everyday life, white wedding tradition, wedding industry, fashion merchandising, bridal gown, fashion shop window, and before-and-after reference. The combination of Trafford, Greater, Altrincham, furriers, and Manchester anchors the frame to a recognisable activity, place or moment. For Altrincham, Cheshire, England, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The image also provides a reference for changing traditions and the rising cost of weddings and growth of pre-owned or lower-cost alternatives without losing the local specificity of Altrincham, Cheshire, England, UK. Another useful connection is wedding costs and the rising cost of weddings and growth of pre-owned or lower-cost alternatives in a form that can be compared with future views of Altrincham, Cheshire, England, UK.
Altrincham, Cheshire, England, UK
Description
Keywords: HotpixUK,@HotpixUk,GoTonySmith,Greater Manchester,Manchester,Cheshire,England,UK,town,SK1,famous,mens,shop,retail,clothes,boutique,Ivor,fashion accessories,fashion,casualwear,casual,Stolen From Ivor shop,store,stores,shops,sign,front,exterior,outside,1960,1960s,1970s,Stolen,from,men,male
Description: Tony Smith image Alamy 2BCTGY0 - Iconic clothing chain Stolen from Ivor's last shop has been saved - thanks to the M.E.N.
Founder Ivor Hazan, 67, opened his first boutique on the King Street West in Manchester city stock-photo/gotonysmith-Centre.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>centre in 1965 and his 40 stores became a Mecca for fashion hipsters across the region.
He announced last month he was to shut the doors on his last remaining shop in Stockport, which opened in 1974, due to declining sales.
However after the story was featured in the pages of the M.E.N and on our website, the brand has undergone a revival.
Ivor says he has been inundated with people coming into the shop and sharing their stories of the off-the-wall clobber they bought from him in their youth.
One man even broke down in tears whilst other wanted to buy his distinctive yellow carrier bags and sell them online.
And after seeing a spike in sales Ivor says he will keep the shop open - for now at least.
His first store opened at the height of the ˜swinging' Sixties.
It was close to a boutique owned by United hero George Best and he had a gentleman's agreement that he would not sell suits if the United ace didn't sell jeans.
In 1966 it became the first store in the north of England to stock Levis jeans, which then cost £2.37 a pair.
The brand grew and at its peak it had 43 stores across the north west, including Stockport, Altrincham, Bolton and Bury.
However all but seven of them were forced to close in 2002 after the company went into administration.
And Ivor said stores such as Primark were ˜killing' independent stores like his.
But due to the phenomenal response after we featured their plight he has shelved plans to take his operation solely online and he will keep the doors open of the shop on Prince's Street in Stockport town centre.
The Didsbury entrepreneur said: It's just been absolutely amazing.
Since the M.E.N ran our story we've had so many people coming in and telling us about things they bought 20 years ago.
Telling us that their mums used to bring them as kids.
77-79 Prince's St, Stockport, Greater Manchester, Cheshire, England, UK, SK1 1RW
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,every Monday,Astounding thrills with,The Steel Claw,inside,Comic,weekly,comic for boys,Daytona Beach,Macon,1935,Macon Airship,1900,Colonel Kekewich,General French,kids,childrens,comics,comic,book,comic book,colour,color,British,1960s,boy,bys,adventure,adventures,Captain Hurricane,Mytek the Mighty,Fleetway Publications,IPC Magazines,the,Mirror Group,publishing,publisher
Description: Tony Smith image Alamy 2AGP34A - . A grounded documentary photograph made at Great Britain, UK in 2019, preserving the main subject alongside smaller details that may become more historically useful with time. The main subject is Copy of the Valiant Comic 19th February 1966,it happened this week,Captain Malcolm Campbell, land speed record,Macon Airship,1935. The setting also relates to community identity, everyday life, heritage landmark, changing streetscape, contemporary social history, architectural detailing, period building, documentary photography, archival record, urban fabric, traditional masonry, historic frontage, regional identity, and built heritage. The present-day relevance extends to heritage conservation and maintenance costs, while a wider concern is the contrast between preservation and redevelopment. As a documentary source, the photograph anchors the combination of built form, activity and local identity within Great Britain, UK. Further connections include historic commercial architecture, public realm, local character, historic townscape, before-and-after reference, place identity, architectural character, and heritage asset. Elements such as happened, Campbell, Macon, Captain, and Malcolm add documentary specificity and may become more useful when compared with later records. For Great Britain, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. Its period value extends to heritage conservation and the contrast between preservation and redevelopment within the specific setting of Great Britain, UK. The location additionally provides evidence of energy retrofit and keeping older buildings useful without erasing their character as part of the longer story of Great Britain, UK. A further contemporary connection is energy retrofit and the contrast between preservation and redevelopment when considered against later change at Great Britain, UK.
Great Britain, UK
Description
Keywords: GoTonySmith,HotpixUK,@Hotpixuk,shop,retail,PP Paypoint,Eastover,Bridgwater,Somerset,England,South West England,UK,TA6,St John St,independent,tobacconist,tobacconists,1950s,1960s,PP,Paypoint,Pay Point,card,pay,payment,payments,sweets,and,&,cigarettes,cigarette,smokes,tabs,demise,of,the,neighbourhood,store,traditional,urban
Description: Tony Smith image Alamy 2AF144N - . An on-location image from 77 St John St, Bridgwater,Somerset,England,UK, TA6 5HX in 2019, useful both for the specific subject shown and for the evidence it retains about local identity, design, use and everyday life. The view centres on Traditional sweet shop, Eastover,Bridgwater,Somerset,England,UK,TA6. The photograph also reflects access-control notice, instructional sign, site information, regional identity, public information notice, historical comparison, visual regulation, period detail, urban commerce, community identity, visitor instruction, retail property, high-street commerce, and rule enforcement. The present-day relevance extends to town-centre regeneration and changing footfall, while a wider concern is bringing underused premises back into productive use. Current discussion around this subject increasingly includes liability alongside clear communication, with particular attention to the role of signs in shaping behaviour without staff intervention. For later comparison, the scene keeps a record of evidence of how the subject fitted into ordinary life within the setting of 77 St John St, Bridgwater,Somerset,England,UK, TA6 5HX. Further connections include retail vacancy, public realm, shopfront economy, town-centre economy, social history, public-facing notice, local character, and commercial frontage. The combination of Somerset, sweet, Eastover, Traditional, and Bridgwater anchors the image to a recognisable activity, place or moment. A later view of 77 St John St, Bridgwater,Somerset,England,UK, TA6 5HX may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. Its period value extends to town-centre regeneration and the rapid turnover of shopfronts and trading names without losing the local specificity of 77 St John St, Bridgwater,Somerset,England,UK, TA6 5HX. Image 2AF144N also remains a dated record of 77 St John St, Bridgwater,Somerset,England,UK, TA6 5HX.
77 St John St, Bridgwater,Somerset,England,UK, TA6 5HX
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Somerset,UK,TA6 3RL,South West,England,TA6,tower,block,flat,flats,summer,sunny,blue sky,social housing,socialhousing,Homes In sedgemoor,ALMO,construction,refurbishment,balconies,balcony,highrise,high rise,blocks,leaseholder,leaseholders,1960,1960s,11,stores,Westfield,house,blue skies,render,rendered,leasehold,section 20
Description: Tony Smith image Alamy R9GTE8 - Fire Safety Review Gives Westfield House the ˜All Clear'
Westfield House towering above Bridgwater's West Street since 1965
Sedgemoor District Council's Corporate Scrutiny committee, under the chairmanship of Westover Councillor Brian Smedley, has reviewed the Council's response to the Grenfell Tower fire disaster in its own hi-rise properties and has concluded that all necessary steps have been taken to re-assure tenants and where there was cause for concern measures are being introduced to improve the situation.
On 14 June at about 1am, a fire started on the 4th floor of the Grenfell Tower block in London housing some 600 people. Grenfell Tower had 24 floors with 6 flats per floor, an alarm system that worked and the Fire Brigade in immediate attendance “ yet at least 80 died “ most of them in 23 of the blocks 129 flats
Ward Councillor Brian Smedley immediately called for urgent review of safety measures
On the morning of 14th June, Scrutiny Chair Cllr Smedley visited Sedgemoor's (and Somerset's) only tower block, Westfield House and nearby lo-rise blocks around West Street. Hi Rise blocks are defined as ˜anything above 18 metres'-usually 5 storeys or more. Noting resident's concerns he immediately wrote to Chief Executive Kerry Rickards and SDC Leader Duncan McGinty asking for a swift Council response to re-assure tenants and offered to hold a Scrutiny meeting at which residents and Homes in Sedgemoor officers could participate.
Cllr Smedley said The key question asked was ˜How can a small kitchen fire in one flat lead to this catastrophe? How could it happen there and could it happen here?' Residents raised four areas of concern -The Stay Put Policy, the lack of a central sprinkler system, the lack of a central Fire Alarm and , crucially, the Cladding used which seemed to have contributed to the spread of the fire. We felt a Scrutiny Working Party should look at these issues first and present a full and open report to be put on the table for the public
West St, Bridgwater, Somerset, South West England, UK, TA6 3RL
Description
Keywords: GoTonySmith,@HotpixUK,Hotpixuk,GB,United Kingdom,architecture,Brutal,white,summer,sunshine,60s,1960s,Tithebarn Street,Lancashire,North West England,UK,Bus Station,Brutalist,Lancs,North West,England,Great,British,Britain,building,car park,parking,bus,station,interchange,Brutalist architectural,style,Brutalist architecture,Keith Ingham,Charles Wilson,Building Design Partnership,EH Stazicker,Ove Arup and Partners,Ove Arup,partners
Description: Tony Smith image Alamy PYX9BT - Built in the Brutalist architectural style between 1968 and 1969, designed by Keith Ingham and Charles Wilson of Building Design Partnership with E. H. Stazicker, it had (until 2017) a capacity of 80 double-decker buses, 40 along each side of the building. Some claimed that it was the second largest bus station in Western Europe. Pedestrian access to the bus station was originally through any of three subways, one of which linked directly to the adjacent Guild Hall, while the design also incorporates a multi-storey car park of five floors with space for 1,100 cars. It has been described by the Twentieth Century Society as one of the most significant Brutalist buildings in the UK.
The building's engineers, Ove Arup and Partners, designed the distinctive curve of the car park balconies after acceptable finishes to a vertical wall proved too expensive, contributing to the organic, sculptural nature of the building. The edges are functional, too, in that they protect car bumpers from crashing against a vertical wall. The cover balustrade protects passengers from the weather by allowing buses to penetrate beneath the lower parking floor.
The building was threatened with demolition as part of the City Council's Tithebarn redevelopment project. After the Tithebarn development collapsed, there were still proposals to demolish the bus station and replace it with a small interchange near the railway station.
In 2000, opposition to demolition led to a failed application for listed building status by English Heritage. Preston Borough Council (as it was then known) opposed the application.
Tithebarn street, Preston,Lancashire, England, PR1 1YT
Description
Keywords: GoTonySmith,@HotpixUK,old,motorbike,motocycle,motor bike,motor cycle,green,sea green,BSA bike,bike,motorcycle,history,historic,machine,vehicle,transport,sea,seagreen,1960,1960s,military,Birmingham,England,UK,classic,motor,bikes,on a BSA,with two,bald tyres,I drove a million miles,I rode a million miles,JCC,John Cooper Clark,psycle sluts,Birmingham Small Arms,company
Description: Tony Smith image Alamy PCTA7T - . This descriptive scene sets out the working environment around Birmingham, England, UK, as photographed in 2018. The image record centres upon BSA Motor bike in sea green, Birmingham, England, UK. Other aspects of the setting include heritage asset, townscape identity, urban conservation, architectural character, historic built environment, urban fabric, local landmark, architectural detail, historic townscape, adaptive reuse, period architecture, and historic environment. For present-day editorial use, heritage assets can also illustrate debates about maintenance cost and vacancy, particularly where these affect heritage-led regeneration. Over time, this view of Birmingham, England, UK can support local-history and planning research by preserving details of appearance, occupation, signage, public access and everyday use that written records may omit. The resulting scene connects with historic fabric, conservation interest, conservation architecture, architectural heritage, traditional building, built heritage. Other local associations include BSA Motor bike sea green, Vintage motorbike, vintage, vintage motorcycle, BSA Motorbike, vehicle. A second layer of description includes heritage streetscape, and period property. In the mid-2020s, traditional structures is increasingly discussed through conservation of original fabric and maintenance cost, with attention turning to lower-carbon reuse rather than demolition. Taken together, these details make the photograph a useful record of movement through the area, planning and redevelopment, social change, historic fabric, and everyday services at this precise location. The combination preserved here provides evidence of public access, transport patterns, architecture and streetscape, neighbourhood identity, and ownership or occupation within the surrounding area. The photograph also fixes the character of the setting as part of the area's social history.
Birmingham, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,black white,monochrome,Black and White,vehicle,transport,1960,1960s,blue,XJN534,in the street,parked,Stockton Heath,Warrington,parked in road,parked in street,history,historic,Rootes,group,Singer Rootes Group,1956,1950s,British automobiles,auto,cars,British car manufacturing,car making,four door,saloon,Audax,body,Loewy design organisation,two tone paint,twotone,paint
Description: Tony Smith image Alamy PC9XYG - The Singer Gazelle name has been applied to two generations of motor cars from the British manufacturer Singer. It was positioned between the basic Hillman range and the more sporting Sunbeam versions
The Gazelle was the first Singer to be produced following the take-over of the Singer company by the Rootes Group in 1956 and was a version of the mainstream Hillman Minx differing mainly in retaining the Singer overhead cam engine. Externally the only significant difference was a restyled nose based around a traditional Singer grille. The new car was announced in late September 1956.
The body style followed by the Gazelle between 1956 and 1967 came to be known as the Audax body, with significant input from the US based Loewy design organisation, highly regarded at the time partly on account of Loewy's input to several iconic Studebaker designs.
The Gazelle was initially offered in saloon and convertible body styles. The Gazelle Series II, offered from autumn 1957, was also available as an estate car, and had optional overdrive and larger fuel tank.
The suspension was independent at the front using coil springs while at the rear was a live axle and half elliptic leaf springs. The steering gear used a worm and nut system.
As standard, the car had a bench front seat but individual seats were available as an option. To allow for the bench seat, the handbrake lever was between the seat and the door.
The convertible version had a two position hood where it could be either completely lowered or rolled back to just behind the front seats described as the coupé de ville position. All side windows could be completely lowered. To compensate for the loss of body rigidity by the removal of the roof, extra cross bracing was fitted under the car.
A car with overdrive was tested by the British magazine The Motor in 1957. It had a top speed of 78.0 mph (125.5 km/h) and could accelerate from 0-60 mph (97 km/h) in 24.8 seconds. A fuel consumption of 33.5 miles per gallon.
Alexandra Rd, Warrington WA4 2AN, UK
Description
Keywords: GoTonySmith,@HotpixUK,vehicle,transport,1960,1960s,blue,XJN534,in the street,parked,Stockton Heath,Warrington,parked in road,parked in street,history,historic,Rootes,group,Singer Rootes Group,1956,1950s,British automobiles,auto,cars,British car manufacturing,car making,four door,saloon,Audax,body,Loewy design organisation,two tone paint,twotone,paint,old car,old cars
Description: Tony Smith image Alamy PC9Y64 - The Singer Gazelle name has been applied to two generations of motor cars from the British manufacturer Singer. It was positioned between the basic Hillman range and the more sporting Sunbeam versions
The Gazelle was the first Singer to be produced following the take-over of the Singer company by the Rootes Group in 1956 and was a version of the mainstream Hillman Minx differing mainly in retaining the Singer overhead cam engine. Externally the only significant difference was a restyled nose based around a traditional Singer grille. The new car was announced in late September 1956.
The body style followed by the Gazelle between 1956 and 1967 came to be known as the Audax body, with significant input from the US based Loewy design organisation, highly regarded at the time partly on account of Loewy's input to several iconic Studebaker designs.
The Gazelle was initially offered in saloon and convertible body styles. The Gazelle Series II, offered from autumn 1957, was also available as an estate car, and had optional overdrive and larger fuel tank.
The suspension was independent at the front using coil springs while at the rear was a live axle and half elliptic leaf springs. The steering gear used a worm and nut system.
As standard, the car had a bench front seat but individual seats were available as an option. To allow for the bench seat, the handbrake lever was between the seat and the door.
The convertible version had a two position hood where it could be either completely lowered or rolled back to just behind the front seats described as the coupé de ville position. All side windows could be completely lowered. To compensate for the loss of body rigidity by the removal of the roof, extra cross bracing was fitted under the car.
A car with overdrive was tested by the British magazine The Motor in 1957. It had a top speed of 78.0 mph (125.5 km/h) and could accelerate from 0-60 mph (97 km/h) in 24.8 seconds. A fuel consumption of 33.5 miles per gallon.
Alexandra Rd, Warrington WA4 2AN, UK
Description
Keywords: GoTonySmith,@HotpixUK,vehicle,transport,1960,1960s,blue,XJN534,in the street,parked,Stockton Heath,Warrington,parked in road,parked in street,history,historic,Rootes,group,Singer Rootes Group,1956,1950s,British automobiles,auto,cars,British car manufacturing,car making,four door,saloon,Audax,body,Loewy design organisation,two tone paint,twotone,paint,old car,old cars
Description: Tony Smith image Alamy PC9Y65 - The Singer Gazelle name has been applied to two generations of motor cars from the British manufacturer Singer. It was positioned between the basic Hillman range and the more sporting Sunbeam versions
The Gazelle was the first Singer to be produced following the take-over of the Singer company by the Rootes Group in 1956 and was a version of the mainstream Hillman Minx differing mainly in retaining the Singer overhead cam engine. Externally the only significant difference was a restyled nose based around a traditional Singer grille. The new car was announced in late September 1956.
The body style followed by the Gazelle between 1956 and 1967 came to be known as the Audax body, with significant input from the US based Loewy design organisation, highly regarded at the time partly on account of Loewy's input to several iconic Studebaker designs.
The Gazelle was initially offered in saloon and convertible body styles. The Gazelle Series II, offered from autumn 1957, was also available as an estate car, and had optional overdrive and larger fuel tank.
The suspension was independent at the front using coil springs while at the rear was a live axle and half elliptic leaf springs. The steering gear used a worm and nut system.
As standard, the car had a bench front seat but individual seats were available as an option. To allow for the bench seat, the handbrake lever was between the seat and the door.
The convertible version had a two position hood where it could be either completely lowered or rolled back to just behind the front seats described as the coupé de ville position. All side windows could be completely lowered. To compensate for the loss of body rigidity by the removal of the roof, extra cross bracing was fitted under the car.
A car with overdrive was tested by the British magazine The Motor in 1957. It had a top speed of 78.0 mph (125.5 km/h) and could accelerate from 0-60 mph (97 km/h) in 24.8 seconds. A fuel consumption of 33.5 miles per gallon.
Alexandra Rd, Warrington WA4 2AN, UK
Description
Keywords: GoTonySmith,@HotpixUK,black white,monochrome,Black and White,vehicle,transport,1960,1960s,blue,XJN534,in the street,parked,Stockton Heath,Warrington,parked in road,parked in street,history,historic,Rootes,group,Singer Rootes Group,1956,1950s,British automobiles,auto,cars,British car manufacturing,car making,four door,saloon,Audax,body,Loewy design organisation,two tone paint,twotone,paint
Description: Tony Smith image Alamy PC9Y66 - The Singer Gazelle name has been applied to two generations of motor cars from the British manufacturer Singer. It was positioned between the basic Hillman range and the more sporting Sunbeam versions
The Gazelle was the first Singer to be produced following the take-over of the Singer company by the Rootes Group in 1956 and was a version of the mainstream Hillman Minx differing mainly in retaining the Singer overhead cam engine. Externally the only significant difference was a restyled nose based around a traditional Singer grille. The new car was announced in late September 1956.
The body style followed by the Gazelle between 1956 and 1967 came to be known as the Audax body, with significant input from the US based Loewy design organisation, highly regarded at the time partly on account of Loewy's input to several iconic Studebaker designs.
The Gazelle was initially offered in saloon and convertible body styles. The Gazelle Series II, offered from autumn 1957, was also available as an estate car, and had optional overdrive and larger fuel tank.
The suspension was independent at the front using coil springs while at the rear was a live axle and half elliptic leaf springs. The steering gear used a worm and nut system.
As standard, the car had a bench front seat but individual seats were available as an option. To allow for the bench seat, the handbrake lever was between the seat and the door.
The convertible version had a two position hood where it could be either completely lowered or rolled back to just behind the front seats described as the coupé de ville position. All side windows could be completely lowered. To compensate for the loss of body rigidity by the removal of the roof, extra cross bracing was fitted under the car.
A car with overdrive was tested by the British magazine The Motor in 1957. It had a top speed of 78.0 mph (125.5 km/h) and could accelerate from 0-60 mph (97 km/h) in 24.8 seconds. A fuel consumption of 33.5 miles per gallon.
Alexandra Rd, Warrington WA4 2AN, UK
Description
Keywords: GoTonySmith,@HotpixUK,black white,monochrome,Black and White,vehicle,transport,1960,1960s,blue,XJN534,in the street,parked,Stockton Heath,Warrington,parked in road,parked in street,history,historic,Rootes,group,Singer Rootes Group,1956,1950s,British automobiles,auto,cars,British car manufacturing,car making,four door,saloon,Audax,body,Loewy design organisation,two tone paint,twotone,paint
Description: Tony Smith image Alamy PC9Y67 - The Singer Gazelle name has been applied to two generations of motor cars from the British manufacturer Singer. It was positioned between the basic Hillman range and the more sporting Sunbeam versions
The Gazelle was the first Singer to be produced following the take-over of the Singer company by the Rootes Group in 1956 and was a version of the mainstream Hillman Minx differing mainly in retaining the Singer overhead cam engine. Externally the only significant difference was a restyled nose based around a traditional Singer grille. The new car was announced in late September 1956.
The body style followed by the Gazelle between 1956 and 1967 came to be known as the Audax body, with significant input from the US based Loewy design organisation, highly regarded at the time partly on account of Loewy's input to several iconic Studebaker designs.
The Gazelle was initially offered in saloon and convertible body styles. The Gazelle Series II, offered from autumn 1957, was also available as an estate car, and had optional overdrive and larger fuel tank.
The suspension was independent at the front using coil springs while at the rear was a live axle and half elliptic leaf springs. The steering gear used a worm and nut system.
As standard, the car had a bench front seat but individual seats were available as an option. To allow for the bench seat, the handbrake lever was between the seat and the door.
The convertible version had a two position hood where it could be either completely lowered or rolled back to just behind the front seats described as the coupé de ville position. All side windows could be completely lowered. To compensate for the loss of body rigidity by the removal of the roof, extra cross bracing was fitted under the car.
A car with overdrive was tested by the British magazine The Motor in 1957. It had a top speed of 78.0 mph (125.5 km/h) and could accelerate from 0-60 mph (97 km/h) in 24.8 seconds. A fuel consumption of 33.5 miles per gallon.
Alexandra Rd, Warrington WA4 2AN, UK
Description
Keywords: GoTonySmith,@HotpixUK,vehicle,transport,1960,1960s,blue,XJN534,in the street,parked,Stockton Heath,Warrington,parked in road,parked in street,history,historic,Rootes,group,Singer Rootes Group,1956,1950s,British automobiles,auto,cars,British car manufacturing,car making,four door,saloon,Audax,body,Loewy design organisation,two tone paint,twotone,paint,old car,old cars
Description: Tony Smith image Alamy PC9Y68 - The Singer Gazelle name has been applied to two generations of motor cars from the British manufacturer Singer. It was positioned between the basic Hillman range and the more sporting Sunbeam versions
The Gazelle was the first Singer to be produced following the take-over of the Singer company by the Rootes Group in 1956 and was a version of the mainstream Hillman Minx differing mainly in retaining the Singer overhead cam engine. Externally the only significant difference was a restyled nose based around a traditional Singer grille. The new car was announced in late September 1956.
The body style followed by the Gazelle between 1956 and 1967 came to be known as the Audax body, with significant input from the US based Loewy design organisation, highly regarded at the time partly on account of Loewy's input to several iconic Studebaker designs.
The Gazelle was initially offered in saloon and convertible body styles. The Gazelle Series II, offered from autumn 1957, was also available as an estate car, and had optional overdrive and larger fuel tank.
The suspension was independent at the front using coil springs while at the rear was a live axle and half elliptic leaf springs. The steering gear used a worm and nut system.
As standard, the car had a bench front seat but individual seats were available as an option. To allow for the bench seat, the handbrake lever was between the seat and the door.
The convertible version had a two position hood where it could be either completely lowered or rolled back to just behind the front seats described as the coupé de ville position. All side windows could be completely lowered. To compensate for the loss of body rigidity by the removal of the roof, extra cross bracing was fitted under the car.
A car with overdrive was tested by the British magazine The Motor in 1957. It had a top speed of 78.0 mph (125.5 km/h) and could accelerate from 0-60 mph (97 km/h) in 24.8 seconds. A fuel consumption of 33.5 miles per gallon.
Alexandra Rd, Warrington WA4 2AN, UK
Description
Keywords: England,UK,pub,bar,bars,pubs,drink,drinking,booze,boozer,70s,kitsch,wall,circle,copper,brass,metal,metallic,GoTonySmith,Buy Pictures of,Buy Images Of,1970,unique,antique,vintage,classic,classics,collectable,1960,1960s,1970s,ornate,one of a kind,pub lounge,snug,lounge,decor
Description: Tony Smith image Alamy EY5KDJ - . Decoration,mirror, The Sportsman Inn, Huddersfield, West Yorkshire, England, UK. Photographed at 1 St Johns Rd, Huddersfield, West Yorkshire HD1 5AY, England, UK. The photograph was taken on 18 July 2015. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. The scene is closely associated with The Sportsman Inn, Huddersfield, West Yorkshire, decoration, mirror, 1970s, 1970's, circular, style and pub, adding specific subject detail and useful search context without losing the documentary focus on the main subject. Beyond the immediate subject, the scene is relevant to British pub culture, licensed premises, real ale, beer tourism and the continuing social role of the traditional public house. For picture buyers, the photograph can support editorial features about pubs and bars, hospitality, independent and managed venues, drinking culture, local heritage, city and town centres, leisure spending and the changing British high street. Details such as brewery branding, pub signage, entrances, windows, bar fittings, beer pumps or period architecture can provide useful visual evidence of how licensed premises present themselves to customers. The image also works as a record of everyday social history, documenting a familiar type of British hospitality venue at a particular moment in time rather than presenting an idealised studio view. Search themes naturally include British pub heritage, real ale and beer culture, licensed premises, hospitality, public houses, local drinking traditions and the role of pubs within town and city life. Where brewery names, pumps, windows, pub signs or period fittings are present, they add useful detail for features on brewing history, hospitality branding and traditional licensed interiors or exteriors. The view is firmly rooted in a real location rather than a constructed studio setting.
1 St Johns Rd, Huddersfield, West Yorkshire HD1 5AY, England, UK
Description
Keywords: England,UK,pub,bar,bars,pubs,drink,drinking,booze,boozer,70s,kitsch,wall,art,interesting,circle,GoTonySmith,Buy Pictures of,Buy Images Of,1970,unique,antique,vintage,classic,classics,collectable,1960,1960s,1970s,ornate,one of a kind,pub lounge,snug,lounge,decor
Description: Tony Smith image Alamy EY5KDK - . The Sportsman Inn, Huddersfield, West Yorkshire, England, UK. Photographed at 1 St Johns Rd, Huddersfield, West Yorkshire HD1 5AY, England, UK. The photograph was taken on 18 July 2015. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. The scene is closely associated with The Sportsman Inn, Huddersfield, West Yorkshire, decoration, mirror, 1970s, 1970's, circular, style and pub, adding specific subject detail and useful search context without losing the documentary focus on the main subject. Beyond the immediate subject, the scene is relevant to British pub culture, licensed premises, real ale, beer tourism and the continuing social role of the traditional public house. For picture buyers, the photograph can support editorial features about pubs and bars, hospitality, independent and managed venues, drinking culture, local heritage, city and town centres, leisure spending and the changing British high street. Details such as brewery branding, pub signage, entrances, windows, bar fittings, beer pumps or period architecture can provide useful visual evidence of how licensed premises present themselves to customers. The image also works as a record of everyday social history, documenting a familiar type of British hospitality venue at a particular moment in time rather than presenting an idealised studio view. Search themes naturally include British pub heritage, real ale and beer culture, licensed premises, hospitality, public houses, local drinking traditions and the role of pubs within town and city life. Where brewery names, pumps, windows, pub signs or period fittings are present, they add useful detail for features on brewing history, hospitality branding and traditional licensed interiors or exteriors. The view is firmly rooted in a real location rather than a constructed studio setting.
1 St Johns Rd, Huddersfield, West Yorkshire HD1 5AY, England, UK
Description
Keywords: Brighter,Wash,washer,day,clothing,peg,washingline,in,blue,yellow,green,basket,with,handle,clip,clips,machine,dry,drying,dryer,white,GoTonySmith,Buy Pictures of,Buy Images Of,plastic,1960s,1970s,colourful,colorful,color,washday,wash day,spring,loaded,pegging,out,washing line,washing line pegs
Description: Tony Smith image Alamy EY5KF0 - . Bright Washday clothes pegs for washing line, in red,blue, yellow,green basket. Photographed in England, UK. The photograph was taken on 16 July 2015. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. The scene is closely associated with Washday, clothes, pegs, washing, line, red, Brighter, Wash, washer and day, adding specific subject detail and useful search context without losing the documentary focus on the main subject. The photograph is a documentary record of an identifiable subject and location, useful for editorial, archive, travel, local-history and social-history picture research. It can support features about everyday life, place, public space, local identity, tourism, consumer behaviour and the changing appearance of towns, cities and communities. Visible objects, signs, buildings and environmental details provide contextual clues that make the image useful beyond its immediate subject. As a dated stock photograph it also offers a reference point for later comparison, especially where businesses, streets, public services or local surroundings subsequently change. Search themes include documentary photography, local history, everyday life, place, public space, travel, community identity, social history and changing surroundings. Its specificity makes it more useful than a generic concept image when an editor needs a recognisable real-world subject and setting. The combination of a named subject, precise location and capture date gives the image particular value to editors who need a real, identifiable place rather than a generic illustrative photograph. It can be used in newspapers, magazines, books, websites, documentaries, heritage projects and retrospective features where geographical accuracy and period detail matter. The view is firmly rooted in a real location rather than a constructed studio setting.
England, UK
Description
Keywords: Brighter,Wash,washer,day,clothing,peg,washingline,in,blue,yellow,green,basket,with,handle,clip,clips,machine,dry,drying,dryer,white,GoTonySmith,Buy Pictures of,Buy Images Of,plastic,1960s,1970s,colourful,colorful,color,washday,wash day,spring,loaded,pegging,out,washing line,washing line pegs
Description: Tony Smith image Alamy EY5KF1 - . Bright Washday clothes pegs for washing line, in red,blue, yellow,green basket. Photographed in England, UK. The photograph was taken on 16 July 2015. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. The scene is closely associated with Washday, clothes, pegs, washing, line, red, Brighter, Wash, washer and day, adding specific subject detail and useful search context without losing the documentary focus on the main subject. The photograph is a documentary record of an identifiable subject and location, useful for editorial, archive, travel, local-history and social-history picture research. It can support features about everyday life, place, public space, local identity, tourism, consumer behaviour and the changing appearance of towns, cities and communities. Visible objects, signs, buildings and environmental details provide contextual clues that make the image useful beyond its immediate subject. As a dated stock photograph it also offers a reference point for later comparison, especially where businesses, streets, public services or local surroundings subsequently change. Search themes include documentary photography, local history, everyday life, place, public space, travel, community identity, social history and changing surroundings. Its specificity makes it more useful than a generic concept image when an editor needs a recognisable real-world subject and setting. The combination of a named subject, precise location and capture date gives the image particular value to editors who need a real, identifiable place rather than a generic illustrative photograph. It can be used in newspapers, magazines, books, websites, documentaries, heritage projects and retrospective features where geographical accuracy and period detail matter. The view is firmly rooted in a real location rather than a constructed studio setting.
England, UK
Description
Keywords: floor,jar,Rank,Hovis,Premier,Mill,or,figure,black,white,plastic,ceramic,shaker,1970,1970s,Home,Pride,green,cream,creme,smiling,figures,GoTonySmith,jars,antique,1960s,ad,campaign,icon,iconic,British,kitchen,baking,baker,GBBO,great,bake,off
Description: Tony Smith image Alamy ED4MNH - . Henry, or Fred, the Homepride Spillers flour man, next to a flour jar. Photographed in England. The photograph was taken on 20 December 2014. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. The scene is closely associated with Henry the Homepride Spillers flour man, next to a, Henry, Homepride, flour, man, Spillers, HomePrideFred, Fred and advertising, adding specific subject detail and useful search context without losing the documentary focus on the main subject. The photograph is relevant to homes, residential streets, domestic architecture and the everyday details that shape the appearance of British housing. It can support editorial features about housing, addresses, front doors, neighbourhood identity, home ownership, renting, property condition, postal delivery, security and suburban or urban streets. Doors, windows, numbers, letterboxes, gardens, walls and other domestic details can provide a recognisable visual shorthand for home and residence without relying on a staged interior. As a dated record, the image can also be useful for local history and later comparison as properties are altered, refurbished or redeveloped. Search themes include housing, homes, front doors, addresses, letterboxes, house numbers, residential streets, property, neighbourhoods, renting and home ownership. Small domestic details can become useful archive evidence when properties are refurbished, altered, renumbered or redeveloped. The combination of a named subject, precise location and capture date gives the image particular value to editors who need a real, identifiable place rather than a generic illustrative photograph. It can be used in newspapers, magazines, books, websites, documentaries, heritage projects and retrospective features where geographical accuracy and period detail matter.
England
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Crewe works,rail,railway,trains,engine,transport,history,BR,British Railways,UK,Great Britain,Cheshire,England,freight,engines,preserved,Brush,British Rail Class 47,D1705,locomotive,locomotives,siding,sidings,track,goods,train,old,antique,green,livery,1960,1960s,37603,Class 37,Class37
Description: Tony Smith image Alamy 2AGMNW0 - The British Rail Class 48 was a diesel locomotive class which consisted of five examples, built at Brush Falcon Works in Loughborough and delivered between September 1965 and July 1966. They were part of the British Rail Class 47 order, but differed from their classmates by being fitted with a Sulzer V12 12LVA24 power unit producing 2,650 bhp (1,976 kW), as opposed to the standard 12LDA28C twin-bank twelve-cylinder unit of the remaining fleet.
Crewe,Cheshire,England,UK
Description
Keywords: Mount Pleasant Pleasent Of Art,England,UK,academy,reflect,Mersey,funnel,paddys,paddies,wigwam,1960s,60s,building,Of,Art,England,UK,Duckinfield,Street,in,LJMU,Mount,Pleasant,Campus,LJMUs,RIBA,award,winning,school,scouse,tourist,tourism,beatles,city,Beatle,Gotonysmith Paul Ringo George John,Buy Pictures of,Buy Images Of,religion,religious
Description: Tony Smith image Alamy DRH8BK - The Art and Design Academy in Liverpool, England houses Liverpool John Moores University's School of Art and Design. It is located at Duckinfield Street in LJMU's Mount Pleasant Campus, immediately adjacent to the Liverpool Metropolitan Cathedral. The iconic six storey building was constructed between 2005 and 2008 at a cost of £27 million. The RIBA award winning Art and Design Academy was designed by Rick Mather Architects, during construction the contractor was Wates Construction and the structural and services engineer was Ramboll UK.
The Art and Design Academy has a gross internal area of 11,608 m2 (124,950 sq ft) and contains 175 m2 (1,880 sq ft) of public exhibition space, alongside a number of lecture theatres, seminar rooms and a large auditorium. ICT facilities, workshops and a café are also located in the building - which is also available for conference venue and facility hire. The building houses a public gallery and a public café.
Mount Pleasant, Liverpool, England UK
Description
Keywords: Mount Pleasant Pleasent Of Art,England,UK,academy,reflect,Mersey,funnel,paddys,paddies,wigwam,1960s,60s,building,Of,Art,England,UK,Duckinfield,Street,in,LJMU,Mount,Pleasant,Campus,LJMUs,RIBA,award,winning,school,scouse,tourist,tourism,beatles,city,Beatle,Gotonysmith Paul Ringo George John,Buy Pictures of,Buy Images Of,religion,religious
Description: Tony Smith image Alamy DRH8BW - The Art and Design Academy in Liverpool, England houses Liverpool John Moores University's School of Art and Design. It is located at Duckinfield Street in LJMU's Mount Pleasant Campus, immediately adjacent to the Liverpool Metropolitan Cathedral. The iconic six storey building was constructed between 2005 and 2008 at a cost of £27 million. The RIBA award winning Art and Design Academy was designed by Rick Mather Architects, during construction the contractor was Wates Construction and the structural and services engineer was Ramboll UK.
The Art and Design Academy has a gross internal area of 11,608 m2 (124,950 sq ft) and contains 175 m2 (1,880 sq ft) of public exhibition space, alongside a number of lecture theatres, seminar rooms and a large auditorium. ICT facilities, workshops and a café are also located in the building - which is also available for conference venue and facility hire. The building houses a public gallery and a public café.
Mount Pleasant, Liverpool, England UK
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,England,UK,Historic,antique,metal sign,metal signs,Wills Cigarettes,cigarettes,Wakefield Motor Oil,Sweet Crop,Smoking Mixture,Players Navy Cut,brand,brands,logo,logos,1950,1950s,1960,1960s,tea,Lyons,Park Drive,cigarette,Huddersfield,West Yorkshire,Yorkshire,BP,spirit,Players,Navy Cut,sold,here
Description: Tony Smith image Alamy 2BPCNM2 - . This scene at Huddersfield, West Yorkshire, England, UK documents an everyday subject with wider connections to local identity, social history and changing patterns of use. The photograph is concerned with Historic metal advertising signs, Huddersfield, West Yorkshire, England, UK,Castrol,Lyons Tea,BP,Park drive,Gold Flake,Park Drive. The frame also records themes of visual archive, conservation interest, urban fabric, conservation architecture, everyday Britain, historical comparison, architectural character, period building, place identity, local character, heritage asset, historic townscape, traditional masonry, and documentary photography. The present-day relevance extends to embodied carbon and planning control, while a wider concern is using existing buildings rather than demolishing them. The archival value lies partly in recording building condition and alterations around Huddersfield, West Yorkshire, England, UK before later redevelopment alters the character of the place. Further associations include local history, regional identity, cityscape history, urban change, public realm, archival record, before-and-after reference, and architectural contrast. References to drive, Huddersfield, signs, Flake, and metal give the picture a strong period identity and tie it closely to the named subject. The surrounding context at Huddersfield, West Yorkshire, England, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The wider significance includes embodied carbon and using existing buildings rather than demolishing them within the real-world context of Huddersfield, West Yorkshire, England, UK. Another strand within the photograph is redevelopment pressure and using existing buildings rather than demolishing them within the specific setting of Huddersfield, West Yorkshire, England, UK. The scene remains tied to Huddersfield, West Yorkshire, England, UK, image reference 2BPCNM2.
Huddersfield, West Yorkshire, England, UK
Description
Keywords: GoTonySmith,Hotpixuk,@Hotpixuk,3d,9d,5d,11d,single Bury bus tickets,from 1960s,Lancashire,England,UK,bus tickets,Bury,Manchester,3pence,9pence,5pence,buses,ticket,fare,price,Preprinted bus Tickets,Preprinted tickets,Preprinted,Bury Corporation Transport,Bury Corporation,Transport,card,paper,heritage,old,olden days,1960s,1970s,return,concession,ticket to ride,to,ride
Description: Tony Smith image Alamy 2BN3883 - . A detailed documentary view from the recorded location, preserving the appearance and character of the subject at a particular point in time. At the heart of the image is 3d,9d,5d,11d,day return,single Bury Corporation bus tickets, from 1960's, Greater Manchester, Lancashire, England, UK - Preprinted bus Tickets. Its broader subject matter includes everyday Britain, railway branding, passenger railway, passenger connectivity, period detail, social history, railway heritage, local history, mass transit, changing streetscape, local character, place identity, historical comparison, and before-and-after reference. Today's wider story includes fares, integrated transport and the practical question of making passenger rail simpler and more dependable. Small period details of transport arrangements and public activity at the recorded location may become more significant with time, especially following closure or conversion. Further associations include contemporary history, urban change, built environment, visual archive, regional rail, rail corridor, public realm, and documentary photography. References to return, tickets, 1960's, Lancashire, and Greater give the picture a strong period identity and tie it closely to the named subject. By fixing the subject within the recorded location, the image preserves more than the headline object or building: it records part of the locality's everyday history. That also gives the frame relevance to fares and making passenger rail simpler and more dependable within the real-world context of the recorded location. Another useful connection is rail reform and reducing congestion and car dependency within the specific setting of the recorded location. The scene further reflects reliability and preserving railway heritage while modernising the network as part of the longer story of the recorded location. The frame therefore remains a dated reference for the recorded location and the changing story of the subject shown.
Description
Keywords: GoTonySmith,Hotpixuk,@Hotpixuk,3d,9d,5d,11d,single Bury bus tickets,from 1960s,Lancashire,England,UK,bus tickets,Bury,Manchester,3pence,9pence,5pence,buses,ticket,fare,price,Preprinted bus Tickets,Preprinted tickets,Preprinted,Bury Corporation Transport,Bury Corporation,Transport,card,paper,heritage,old,olden days,1960s,1970s,return,concession,ticket to ride,to,ride
Description: Tony Smith image Alamy 2BN3887 - . Photographed at the recorded location, the scene provides a dated reference to the subject and the surrounding social, commercial or physical environment. The scene records 3d,9d,5d,11d,day return,single Bury Corporation bus tickets, from 1960's, Greater Manchester, Lancashire, England, UK - Preprinted bus Tickets. The frame also records themes of public transport network, local character, trackside infrastructure, railway branding, before-and-after reference, historical comparison, changing streetscape, station environment, rail corridor, rail mobility, period detail, commuter travel, local history, and everyday Britain. For contemporary context, accessibility and rail reform are closely related themes, especially where the issue becomes reducing congestion and car dependency. The archival value lies partly in recording materials and construction around the recorded location before new ownership alters the character of the place. The wider local story also touches on social landscape, urban change, transport interchange, visual archive, archival record, public realm, rail modernisation, and contemporary history. Elements such as Corporation, 1960's, return, tickets, and Lancashire add documentary specificity and may become useful when the scene is compared with later records. For the recorded location, the photograph contributes to a cumulative visual history in which small changes in use, signs, access and appearance can be traced over time. The scene retains a connection with accessibility and making passenger rail simpler and more dependable within the specific setting of the recorded location. That also gives the frame relevance to integrated transport and reducing congestion and car dependency as part of the longer story of the recorded location. Another useful connection is reliability and making passenger rail simpler and more dependable when considered against later change at the recorded location.
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Liverpool,Merseyside,North West England,England,City Centre,UK,Great Britain,Speke,aerodrome,airport,historic,1960s,Hotel,hotel building,renovated,airside,Speke Aerodrome Heritage,Group,Liverpool Airport Speke Aerodrome,Liverpool L24 8QD,Bristol Britannia 308F G-ANCF,Percival Prince G-AMLZ,L24,brick,building,plane,aircraft,artdeco,L24 8QD,history,buildings,airfields,airfield
Description: Tony Smith image Alamy 2BFBCDB - The Crowne Plaza Liverpool John Lennon Airport Hotel, formerly the Marriott Liverpool South Hotel, is an airport hotel near to Liverpool John Lennon Airport, serving the English city of Liverpool. Today a member of the Crowne Plaza chain owned by the InterContinental Hotels Group, the Grade II* listed Art Deco hotel building has an unusual history.
The building was constructed in the 1930s, as the terminal building for the airport, then known as Speke Aerodrome. It is still sometimes seen on early television news footage, with its terraces packed with fans waiting to greet the Beatles on their return from tour. The airport terminal was moved to a more modern building at Liverpool John Lennon Airport in 1986, and the original building was left derelict for over a decade. During this time, the building was featured on the cover art of the single Don't Go Away, by Oasis. However it has since been renovated and adapted to become a hotel, opening for business in 2001. The adaption involved adding two new bedroom wings on the frontage of the hotel, but the airside aspect has been preserved intact.
The former apron of the terminal is also listed and retained in its original condition, although it is no longer connected to the airport or subject to airside access control. It is the home of several aircraft, including BAe Jetstream 41 prototype G-JMAC, Hawker Siddeley HS 748 G-BEJD, Bristol Britannia 308F G-ANCF and Percival Prince G-AMLZ, preserved by the Speke Aerodrome Heritage Group. Additionally, the group looks after a replica de Havilland Dragon Rapide that is displayed in front of the hotel entrance
Liverpool Airport Speke Aerodrome, Liverpool,Merseyside, England, UK, L24 8QD
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Liverpool,Merseyside,North West England,England,City Centre,UK,Great Britain,Speke,aerodrome,airport,historic,1960s,Hotel,hotel building,renovated,airside,Speke Aerodrome Heritage,Group,Liverpool Airport Speke Aerodrome,Liverpool L24 8QD,Bristol Britannia 308F G-ANCF,Percival Prince G-AMLZ,L24,brick,building,plane,aircraft,artdeco,history,heritage airlines,airline,travel air travel,control tower,towers
Description: Tony Smith image Alamy 2BFBCDE - The Crowne Plaza Liverpool John Lennon Airport Hotel, formerly the Marriott Liverpool South Hotel, is an airport hotel near to Liverpool John Lennon Airport, serving the English city of Liverpool. Today a member of the Crowne Plaza chain owned by the InterContinental Hotels Group, the Grade II* listed Art Deco hotel building has an unusual history.
The building was constructed in the 1930s, as the terminal building for the airport, then known as Speke Aerodrome. It is still sometimes seen on early television news footage, with its terraces packed with fans waiting to greet the Beatles on their return from tour. The airport terminal was moved to a more modern building at Liverpool John Lennon Airport in 1986, and the original building was left derelict for over a decade. During this time, the building was featured on the cover art of the single Don't Go Away, by Oasis. However it has since been renovated and adapted to become a hotel, opening for business in 2001. The adaption involved adding two new bedroom wings on the frontage of the hotel, but the airside aspect has been preserved intact.
The former apron of the terminal is also listed and retained in its original condition, although it is no longer connected to the airport or subject to airside access control. It is the home of several aircraft, including BAe Jetstream 41 prototype G-JMAC, Hawker Siddeley HS 748 G-BEJD, Bristol Britannia 308F G-ANCF and Percival Prince G-AMLZ, preserved by the Speke Aerodrome Heritage Group. Additionally, the group looks after a replica de Havilland Dragon Rapide that is displayed in front of the hotel entrance
Liverpool Airport Speke Aerodrome, Liverpool,Merseyside, England, UK, L24 8QD
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Liverpool,Merseyside,North West England,England,City Centre,UK,Great Britain,Speke,aerodrome,airport,historic,1960s,Hotel,hotel building,renovated,airside,Speke Aerodrome Heritage,Group,Liverpool Airport Speke Aerodrome,Liverpool L24 8QD,Bristol Britannia 308F G-ANCF,Percival Prince G-AMLZ,L24,brick,building,plane,aircraft,artdeco,history,heritage airlines,airline,travel air travel,control tower,towers
Description: Tony Smith image Alamy 2BFBCDP - The Crowne Plaza Liverpool John Lennon Airport Hotel, formerly the Marriott Liverpool South Hotel, is an airport hotel near to Liverpool John Lennon Airport, serving the English city of Liverpool. Today a member of the Crowne Plaza chain owned by the InterContinental Hotels Group, the Grade II* listed Art Deco hotel building has an unusual history.
The building was constructed in the 1930s, as the terminal building for the airport, then known as Speke Aerodrome. It is still sometimes seen on early television news footage, with its terraces packed with fans waiting to greet the Beatles on their return from tour. The airport terminal was moved to a more modern building at Liverpool John Lennon Airport in 1986, and the original building was left derelict for over a decade. During this time, the building was featured on the cover art of the single Don't Go Away, by Oasis. However it has since been renovated and adapted to become a hotel, opening for business in 2001. The adaption involved adding two new bedroom wings on the frontage of the hotel, but the airside aspect has been preserved intact.
The former apron of the terminal is also listed and retained in its original condition, although it is no longer connected to the airport or subject to airside access control. It is the home of several aircraft, including BAe Jetstream 41 prototype G-JMAC, Hawker Siddeley HS 748 G-BEJD, Bristol Britannia 308F G-ANCF and Percival Prince G-AMLZ, preserved by the Speke Aerodrome Heritage Group. Additionally, the group looks after a replica de Havilland Dragon Rapide that is displayed in front of the hotel entrance
Liverpool Airport Speke Aerodrome, Liverpool,Merseyside, England, UK, L24 8QD
Description
Keywords: winsford,market,hall,egg,stall,john,man,walrus,beatles,civic,cheshire,merseyside,estate,council,housing,rsl,uk,britain,gb,B/W,black,white,mono,monochrome,sepia,liverpool,mersey,over,spill,1960,1960s,paul,ringo,george,fab,four,4,lennon,mccartney,this photo rocks,van,men,hat,hotpix!,tony smith photography,tdktony,tdk,tony,tdktonysmith
Description: Tony Smith image Flickr 4320700068 - 'John is the egg man on Winsford town market. Mondays, Thursdays &
Saturday. Believe me, his eggs are the best!
A friemd called Jane, now resident on the Wirral who I know through photography, although shamefully I have not seen for ages, used to live in \\Winsford (overspill estate for scousers as it was) and she swore she saw the Beatles at the civic hall in her youth. I wish she did as I will never now have the chance.
Did she hear these lyrics sung by the fab four?........
I am he as you are he as you are me and we are all together.
See how they run like pigs from a gun, see how they fly.
I'm crying.
Sitting on a cornflake, waiting for the van to come.
Corporation tee-shirt, stupid bloody Tuesday.
Man, you been a naughty boy, you let your face grow long.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob.
Mister City Policeman sitting
Pretty little policemen in a row.
See how they fly like Lucy in the Sky, see how they run.
I'm crying, I'm crying.
I'm crying, I'm crying.
Yellow matter custard, dripping from a dead dog's eye.
Crabalocker fishwife, pornographic priestess,
Boy, you been a naughty girl you let your knickers down.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob.
Sitting in an English garden waiting for the sun.
If the sun don't come, you get a tan
From standing in the English rain.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob g'goo goo g'joob.
Expert textpert choking smokers,
Don't you thing the joker laughs at you?
See how they smile like pigs in a sty,
See how they snied.
I'm crying.
Semolina pilchard, climbing up the Eiffel Tower.
Elementary penguin singing Hari Krishna.
Man, you should have seen them kicking Edgar Allan Poe.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob g'goo goo g'joob.
Goo goo g'joob g'goo goo g'joob g'goo.
(c) Hotpix / HotpixUK Tony Smith - Hotpix.freeserve.co.uk WDCC ',
Description
Keywords: Cheshire,England,UK,donation,sepia,brown,mono,monochrome,old,1960,1960s,60s,70s,1970,St,Mary,and,All,Saints',saints,old,historic,history,High,Street,st,Great,CW9,6HF,grade,I,II,gradeII,selective,colour,color,olde,english,churches,Gotonysmith,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy D8FBBH - St Mary and All Saints Church, Great Budworth, is in the centre of the village of Great Budworth, Cheshire, England. It is designated by English Heritage as a Grade I listed building.
It is an active Anglican parish church in the diocese of Chester, the archdeaconry of Chester and the deanery of Great Budworth. Clifton-Taylor includes it in his list of 'best' English parish churches. Richards describes it as one of the finest examples of ecclesiastical architecture remaining in Cheshire.
The authors of the Buildings of England series express the opinion that it is one of the most satisfactory Perpendicular churches of Cheshire and its setting brings its qualities out to perfection
High Street, Great Budworth, Cheshire, England CW9 6HF
Description
Keywords: NCB,British,Rail,BR,coal,truck,National,Coal,Board,internal,use,only,No,L22,tare,560,mine,pit,head,pithead,mining,museum,red,railroad,british,UK,united,kingdom,transport,gotonysmith,National,Mining,Museum,Scotland,Lady,Victoria,Colliery,National,Union,Of,Mineworkers,England,Scottish,Newtongrange,The,Scottish,Mining,Museum,Trust,railyard,rail,yard,1950s,1960s,truck,rail,road,railroad,historic,history,old,antique,gotonysmith,Buy Pictures of,Buy Images Of,Scotlands History,Scotlands History,Coal History,Coal Mining History,Coal Industry
Description: Tony Smith image Alamy CEY9C3 - . NCB British Rail BR coal truck National Coal Board railyard rail yard. Photographed on 11 August 2009. The recorded location is National Mining Museum Scotland, Lady Victoria Colliery, Newtongrange, Midlothian, EH22 4QN. NCB Coal wagon for internal use only at the . The Scottish Mining Museum Trust is registered in Scotland. Looking at the subject's development, older buildings and artefacts provide tangible evidence that written records cannot fully replace
Their wear, construction, signage and setting help researchers understand local story.htm Target=_Blank>history, design, industry and social life across different periods. In the longer view, workplace portraits and occupational scenes record skills, uniforms, tools and customer service that can disappear as industries modernise
They are useful social-history evidence because they place individual workers within the everyday economy rather than presenting a building or product in isolation. For the 2026 context, heritage remains economically and culturally significant through tourism, education and place-making, while the cost of maintaining historical fabric creates continuing debate about conservation and reuse. Current 2026 relevance comes from the fact that service work remains central to the British economy while recruitment, pay, automation and evolving customer expectations continue to reshape many occupations
Historic and contemporary workplace photographs therefore have relevance to labour, skills and employment as well as the immediate subject. The wider historical story is that historic objects and places gain meaning through survival
Materials, craftsmanship, inscriptions and later alterations can reveal how a building, machine or everyday item was made, used and valued, while preservation decisions show which parts of the past communities choose to retain. Other strongly related concepts include historic environment, period detail, historic fabric, heritage asset, and social history.
National Mining Museum Scotland, Lady Victoria Colliery, Newtongrange, Midlothian, EH22 4QN
Description
Keywords: Blue,Plymouth,American,Classic,Blue,Plymouth,American,Classic,automobile,car,dramatic,sky,wide,angle,Blue,Plymouth,American,Classic,PUD,103F,PUD103F,car,Automobile,gotonysmith,1950s,1960s,1950,s,UK,England,United,Kingdom,grass,GB,Great,Britain,British,circuit,headlight,radiator,grill,Chrysler Corporation DaimlerChrysler,gotonysmith,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy CEYA67 - Blue Plymouth American Classic PUD 103F car (Automobile)
Plymouth was a marque of automobiles based in the United States, produced by the Chrysler Corporation and its successor DaimlerChrysler. Production was discontinued on June 29, 2001 in the United States.
For much of its life, Plymouth was one of the top-selling American automobile brands
it together with Chevrolet and Ford were commonly referred to as the low-priced three marques in the American market. Plymouth almost surpassed Ford in 1940 and 1941 as the second most popular make of automobiles in the U.S. Through 1956, Plymouth vehicles were known for their durability, affordability, and engineering.
In 1957, Virgil Exner's new Forward Look design theme, advertised by Plymouth with the tagline Suddenly, it's 1960, produced cars with much more advanced styling than Chevrolet or Ford. 1957 total production soared to 726,009, about 200,000 more than 1956, and the largest output yet for Plymouth. However, the 1957“1958 Forward Look models suffered from poor materials, spotty build quality and inadequate corrosion protection
they were rust-prone and greatly damaged Chrysler's reputation.
In 1954 Chrysler started its decade long unsuccessful attempt to develop and market a viable car powered by turbine engine when it installed an experimental turbine they had developed specifically for vehicles in a Plymouth.
Tatton Park, Knutsford, Cheshire, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,London,city,centre,central,historic,contraceptive,contraceptives,durex,neon,sign,red,lit,lighted,light,ad,an,illuminated,barbers,1960,1960s,barber,shop,salon,anything for the weekend,something for the weekend,orange,advertisement,male,rubber,company,LRC,brand,antique,birth-control,Fetherlite,condoms
Description: Tony Smith image Alamy 2R3Y98K - Durex is a brand of condoms and personal lubricants owned by the British company Reckitt Benckiser. It was initially developed in London under the purview of the London Rubber Company and British Latex Products Ltd, where it was manufactured between 1932 and 1994. The London Rubber Company was formed in 1915, and the Durex brand name (Durability, reliability, and excellence) was launched in 1929, although London Rubber did not begin manufacturing own-brand condoms until 1932, in collaboration with a rubber technology student from Poland named Lucian Lundau. The first book on The London Rubber Company and the history of Durex condoms, written by Jessica Borge, was published in September 2020 by McGill-Queen's University Press.
The London Rubber Company later merged with SSL International, since 2010 which has been owned by the Anglo-Dutch company Reckitt Benckiser. It is one of the best-selling condom brands around the world, with 30% of the global market. In 2006, Durex condoms were the second-best-selling brand of condoms in the United States, with Trojan condoms being the first. It is supplied by, among others, the company Karex.
In 2007 the last factory making Durex condoms in the UK stopped manufacturing and production has since moved to China, India and Thailand. The modern range includes a wide variety of latex condom, including the Sheik and Ramses brands in North America, and the Avanti condom. Durex also provides a range of lubricants and sex toys.
Although Durex was not an official sponsor of the Olympic Games, Durex provided 150,000 free condoms to more than 10,000 athletes that competed in the 2012 Summer Olympics in London
England, Great Britain , UK
Description
Keywords: LFC,EFC,Everton,FC,towels,scarf,scarves,red,blue,stall,Square,market,markets,selling,retail,vibrant,tourist,tourism,travel,landmark,concrete,1960s,sunny,summer,city,centre,attraction,Liverpool FC,Everton FC,The Toffees,TheReds,Radio City Tower,Williamson Square,City Centre,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,English,British,England,L1,1RL,Houghton,You,Will,Never,Walk,Alone,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,1 Houghton St,L1 1RL,You Will Never Walk Alone,Youll Never Walk Alone
Description: Tony Smith image Alamy H4HKRD - . An identifiable period record of Williamson Square/1 Houghton St, Liverpool L1 1RL, England, UK in 2016, retaining the practical detail and local context that distinguish a documentary photograph from a generic illustration. The principal subject is Williamson Square,Liverpool and Radio City Tower. A broader reading of the photograph includes town-centre economy, place identity, local enterprise, documentary photography, street-level business, retail property, commercial streetscape, contemporary social history, visual archive, bricks-and-mortar retail, local character, archival record, social history, and independent retail. Current relevance extends to business rates and store closures, particularly through the resilience of independent shops in an online retail economy. Small period details of local activity and public use at Williamson Square/1 Houghton St, Liverpool L1 1RL, England, UK may become more significant with time, particularly following refurbishment. A second descriptive layer includes specialist retailer, customer footfall, local history, public realm, commercial frontage, everyday life, changing streetscape, and high-street commerce. The combination of Radio, Liverpool, Square, Williamson, and Tower anchors the frame to a recognisable activity, place or moment. The wider setting at Williamson Square/1 Houghton St, Liverpool L1 1RL, England, UK matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. Its period value extends to business rates and the resilience of independent shops in an online retail economy in a form that can be compared with future views of Williamson Square/1 Houghton St, Liverpool L1 1RL, England, UK. The location additionally provides evidence of store closures and the role of small retailers in maintaining active town centres within the real-world context of Williamson Square/1 Houghton St, Liverpool L1 1RL, England, UK.
Williamson Square/1 Houghton St, Liverpool L1 1RL, England, UK
Description
Keywords: England,UK,post,DrWho,policebox,British,telephone,or,callbox,BBC,miniature,police,station,small,old,victorian,science,fiction,television,programme,Doctor,Who,in,which,the,protagonists,time,machine,a,TARDIS,is,in,the,shape,of,a,1960s,British,police,box,program,westminster,SOHO,Gotonysmith Whitehall,Buy Pictures of,Buy Images Of
Description: Tony Smith image Alamy D8HDB6 - A police box is a British phone.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>telephone kiosk or callbox located in a public place for the use of members of the police, or for members of the public to contact the police. Unlike an ordinary callbox, its telephone is located behind a hinged door so it can be used from the outside, and the interior of the box is, in effect, a miniature police station for use by police officers.
Police boxes predate the era of mobile telecommunications
now British police officers carry two-way radios and/or mobile phones rather than relying on fixed kiosks. Most boxes are now disused or have been withdrawn from service.
The typical police box contained a telephone linked directly to the local police station, allowing patrolling officers to keep in contact with the station, reporting anything unusual or requesting help if necessary. A light on top of the box would flash to alert an officer that he/she was requested to contact the station.[2]:2 Members of the public could also use the phone to contact a police station in an emergency.
British police boxes were usually blue, except in Glasgow, where they were red until the late 1960s.:13 In addition to a telephone, they contained equipment such as an incident book and a first aid kit.:14 Today the image of the blue police box is widely associated with the science fiction television programme Doctor Who, in which the protagonist's time machine, a TARDIS, is in the shape of a 1960s British police box. In the context of a TARDIS, the image of the blue police box is a trademark of the BBC.
Piccadilly, London, England UK
