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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,England,advert,promotion,PR,cricketing,street,art,mural,murals,cricket mural,UK,sport,players,player,modern,cricket promotion,city,centre,gable-end,gable,end,ECB,cricket initiative,summer,English,Board,street-level,sports,marketing,youth,engagement,Hundred cricket,Manchester Originals,equality in sport,elite athletes,junior players,Compare The Market
Description: Tony Smith image Alamy 3CGCJX9 - large, brightly coloured cricket mural in Manchester city centre, created to promote The Hundred and Manchester Originals, the city's team in the short-format cricket competition. The wall painting uses bold blue branding, the word SIMPLES, Compare the Market meerkat characters, cricket bats, balls and larger-than-life player portraits to turn a city wall into sports advertising and public street art. Parked cars, brick buildings and a patchy blue sky give the picture useful urban context for editorial use around Manchester and cricket promotion.
The mural is especially useful because it visually links men's and women's cricket together rather than treating them as separate stories. The Hundred was launched as a 100-ball competition with men's and women's teams competing under the same city brands, and Manchester Originals are part of that attempt to attract younger, family and more diverse audiences into cricket. Reporting around the 2025 unveiling placed the mural in Shudehill and described Manchester Originals stars Jos Buttler and Deandra Dottin attending alongside young cricketers from Chance to Shine, with Compare the Market's meerkats included. The mixture of elite players, junior participants, commercial branding and playful cartoon characters makes the image suitable for stories about grassroots sport, inclusive cricket, women's sport, children's participation, urban cricket and sports marketing.
For image buyers, the photograph has strong editorial and SEO value as a Manchester street scene, a public sports mural, a cricket culture image and an example of branded city-centre advertising. It could illustrate features on The Hundred, Manchester Originals, Lancashire cricket, equality in sport, family sports entertainment, summer cricket campaigns, sports sponsorship, outdoor media, youth engagement and how modern sport uses murals and public spaces to reach people beyond traditional stadium settings.
Shudehill, Manchester city centre, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Manchester,Greater Manchester,England,mural,Akse_P19,Shout,Fairfield St,murals,art,Mancunian,icon,iconic,bar,bars,on,Star & Garter,pub,Star and Garter,ian,Kevin,Curtis,1980,15 July 1956,18 May 1980,charity,monochrome,singer,vocalist,street,Headstock,85258,gable,end,Piccadilly Station,RIP
Description: Tony Smith image Alamy 3CGCJRA - Ian Kevin Curtis (15 July 1956 “ 18 May 1980) was an English singer, songwriter and musician. He was the lead singer, songwriter, and occasional guitarist of the band Joy Division, with whom he released the albums Unknown Pleasures (1979) and Closer (1980).
Curtis had severe epilepsy and depression and died by suicide on the eve of Joy Division's first North American tour, shortly before the release of Closer
On the evening of 17 May 1980, Curtis asked Deborah to drop her impending divorce proceedings
she replied that it was likely that he would have changed his mind by the following morning and then “ mindful of his previous suicide attempt and also concerned that his state of anxiety and frustration might drive Curtis into an epileptic seizure “ offered to spend the night in his company. Deborah then drove to her parents' home to inform them of her intentions. When she returned to the couple's home at 77 Barton Street in Macclesfield, his demeanour had changed and he informed his wife of his intentions to spend the night alone, first making her promise not to return to the house before he had taken his scheduled 10 a.m. train to Manchester to meet his bandmates.
In the early hours of the next morning, Curtis took his own life. He was 23 years old. He had used the kitchen's washing line to hang himself after having written a note to Deborah in which he declared his love for her despite his recent affair with Honoré. Deborah found his body soon after. In her 1995 biography, Touching from a Distance, Deborah recalls finding her husband's body and initially thinking that he was still alive before noticing the rope around his neck. According to Tony Wilson, Curtis spent the few hours before his suicide watching Werner Herzog's 1977 film Stroszek and listening to Iggy Pop's 1977 album The Idiot. Stark notes the significance of this album, as Pop's title was inspired by Dostoyevsky's novel The Idiot about the spiritually sensitive epileptic prince who was driven mad
Fairfield St Manchester , England
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,battle,of,Cable Street,Tower Hamlets,mural,brown shirts,fascist,fascists,ReformUK,Restore,Nigel farage,Oswald Moseley,Rupert Lowe,far right,far-right,politics,IMG_7770,London,Tower,Hamlets,East,Cable,Street,Mosley,Shadwell,UK,IMG,7770,Moseley,shall,not,pass,October,1936,gable,end,Oswald Mosley,Oswald,Blackshirts,Brownshirts
Description: Tony Smith image Alamy 3FAFDCK - Detail from the Battle of Cable Street mural in Tower Hamlets, East London, including imagery and wording associated with opposition to Oswald Mosley's fascist movement and the anti-fascist slogan 'They Shall Not Pass'. The mural commemorates the events of 4 October 1936, when residents and political activists resisted a planned British Union of Fascists march through the East End. The confrontation involved barricades, mounted police, street fighting and mass mobilisation by communities determined to prevent the march entering predominantly Jewish neighbourhoods. This close view is particularly useful for editorial stories about British fascism, political extremism, antisemitism, protest, community solidarity, the history of the labour movement, policing and civil liberties. It also documents how political memory is represented through permanent public art in contemporary London. The Battle of Cable Street remains a potent reference point in debates about racism, fascism, immigration, tolerance and collective action in Britain. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,battle,of,Cable Street,Tower Hamlets,mural,brown shirts,fascist,fascists,ReformUK,Restore,Nigel farage,Oswald Moseley,Rupert Lowe,far right,far-right,politics,IMG_7772,London,Tower,Hamlets,East,Cable,Street,Mosley,Shadwell,UK,IMG,7772,October,1936,gable,end,Oswald Mosley,Oswald,Blackshirts,Brownshirts,blackshirts uk,black shirts uk,Black Shorts,Blackshorts
Description: Tony Smith image Alamy 3FAFDCW - View of the Battle of Cable Street mural in Tower Hamlets, East London, a major public artwork commemorating the confrontation of 4 October 1936. The mural depicts the crowded, chaotic resistance to a planned march by Oswald Mosley's British Union of Fascists through the East End, where local people and political activists erected barricades and opposed both the march and police efforts to clear a route. The event became one of Britain's most enduring symbols of popular anti-fascist resistance and is closely associated with the Jewish and working-class communities of the area. The artwork provides strong editorial imagery for subjects including fascism, antisemitism, political extremism, protest, civil disorder, community solidarity, British political history, public art, remembrance and the social history of London's East End. The photograph also records the mural as part of the contemporary Cable Street streetscape, demonstrating how historical memory is maintained within a changing inner-city neighbourhood. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,battle,of,Cable Street,Tower Hamlets,mural,brown shirts,fascist,fascists,ReformUK,Restore,Nigel farage,Oswald Moseley,Rupert Lowe,far right,far-right,politics,IMG_7773,London,Tower,Hamlets,East,Cable,Street,Shadwell,UK,IMG,7773,October,1936,gable,end
Description: Tony Smith image Alamy 3FAFDD2 - Colourful view of the Battle of Cable Street mural in Tower Hamlets, East London, showing the dramatic crowd scene painted across a large gable wall. The mural commemorates 4 October 1936, when thousands of local residents and anti-fascist campaigners resisted a planned march by Oswald Mosley's British Union of Fascists through the East End. Barricades were built in nearby streets and violent clashes took place as police tried to open a route. The confrontation became a defining episode in British anti-fascist history and remains particularly important to the memory of London's Jewish and working-class communities. The mural is now both a heritage landmark and a piece of political public art. This image is suitable for editorial use around fascism and extremism, antisemitism, protest, policing, civil liberties, community resistance, political history, murals, street art, remembrance, social movements, immigration and East End identity. Photographed in the London Borough of Tower Hamlets. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,IMG_7775,London,Tower,Hamlets,East,Cable,Street,mural,battle,fascism,Shadwell,UK,IMG,7775,Space,Above,October,1936,gable,end,Oswald Mosley,Oswald,Blackshirts,Brownshirts
Description: Tony Smith image Alamy 3FAFDD4 - Large Battle of Cable Street mural covering the gable end of a building on Cable Street in Tower Hamlets, East London. The colourful public artwork commemorates the events of 4 October 1936, when local residents, trade unionists, Jewish communities, socialists, communists and other anti-fascist demonstrators opposed a march through the East End by Oswald Mosley's British Union of Fascists. Police attempted to clear a route, but barricades and mass resistance prevented the march proceeding through the area. The mural has become an important visual landmark and a symbol of organised opposition to fascism and antisemitism in twentieth-century Britain. This wider view includes the mural's relationship with the surrounding streetscape and residential buildings, making it suitable for editorial coverage of political history, protest, community identity, public art, anti-fascism, Jewish East End history, social movements, remembrance and London's changing urban landscape. Photographed on Cable Street in the London Borough of Tower Hamlets. The photograph also provides a contemporary documentary record of surviving East London heritage at a time when property values, development.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>redevelopment and changing commercial uses continue to alter the character of inner-city neighbourhoods. Details in the fabric, signage and surrounding streetscape help locate the subject in its real urban setting rather than presenting it as an isolated landmark. It can therefore support features comparing historic London with twenty-first-century development, tourism and conservation policy, as well as archive-style coverage of places whose appearance may change through restoration, conversion or redevelopment.
Cable Street, Shadwell, London E1, England, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,art,painting,gable,end,mural,ship,boat,storm,the,Birkenhead,drill,CH41,20,Chester Street,Wirral,England,UK,CH41 5DQ,Gallaghers,Traditional,Pub,Paul Curtis,artist,HM Troopship Birkenhead,or,Steam Frigate Birkenhead,HMS Birkenhead,side,of,protocol,when,abandoning,abandon
Description: Tony Smith image Alamy 2RAJ31B - HMS Birkenhead, also referred to as HM Troopship Birkenhead or Steam Frigate Birkenhead, was one of the first iron-hulled ships built for the Royal Navy. She was designed as a steam frigate, but was converted to a troopship before being commissioned. She was wrecked on 26 February 1852, while transporting troops to Algoa Bay at Danger Point near Gansbaai, 87 miles (140 kilometres) from Cape Town in the Cape Colony. There were not enough serviceable lifeboats for all the passengers, and the soldiers famously stood firm on board, thereby allowing the women and children to board the boats safely and escape the sinking. Only 193 of the estimated 643 people on board survived, and the soldiers' chivalry gave rise to the unofficial women and children first protocol when abandoning ship, while the Birkenhead drill of Rudyard Kipling's poem came to describe courage in face of hopeless circumstances. This mural was painted in appalilng weather conditions in January 2020 by Liverpool artist, Paul Curtis. It is located on the side of Gallagher's Traditional Pub, located in Birkenhead, overlooking the River Mersey.
20 Chester St, Birkenhead, Wirral , England, UK, CH41 5DQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,London,NW1,boot,boots,shoes,shoe,building,store,shop,mural,artwork,advert,ad,advertisement,on,a,in,fashion,British,Airwair,DMs,DM,Made In England,English,tough,as you,Jamestown Road,corner,gable,gable-end,end,Wollaston,Camden Town,design,studio
Description: Tony Smith image Alamy 2K16AXJ - Dr. Martens, also commonly known as Doc Martens, Docs or DMs, is a German-founded British footwear and clothing brand, headquartered in Wollaston in the Wellingborough district of Northamptonshire, England. Although famous for its footwear, Dr. Martens also makes a range of accessories “ such as shoe care products, clothing, and bags. The footwear is distinguished by its air-cushioned sole (dubbed Bouncing Soles), upper shape, welted construction and yellow stitching. Dr Martens' design studio is in Camden Town, London
the manufacturing is in the UK, China, Vietnam, Laos and Thailand. The company is listed on the London Stock Exchange and is a constituent of the FTSE 250 Index.
Klaus Märtens was a doctor in the German Army during World War II. After he injured his ankle in 1945, he found that his standard-issue army boots were too uncomfortable on his injured foot. While recuperating, he designed improvements to the boots, with soft leather and air-padded soles made of tyres. When the war ended and some Germans recovered valuables from their own cities, Märtens looted leather from a cobbler's shop. With that leather he made himself a pair of boots with air-cushioned soles
Märtens did not have much success selling his shoes until he met up with an old university friend, Herbert Funck, a Luxembourger, in Munich in 1947. Funck was intrigued by the new shoe design, and the two went into business that year in Seeshaupt, Germany, using discarded rubber shaped by moulds. The comfortable soles were a big hit with housewives, with 80% of sales in the first decade to women over the age of 40
Sales had grown so much by 1952 that they opened a factory in Munich. In 1959, the company had grown large enough that Märtens and Funck looked at marketing the footwear internationally. Almost immediately, British shoe manufacturer R. Griggs Group bought patent rights to manufacture the shoes in the United Kingdom. Griggs anglicised the name to Dr. Martens
Camden High Street, Camden Town, London, England, UK, NW1
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Greater Manchester,England,UK,BL1,BL3,127,Lancashire,The,mural,art,painting,rail,crash,accident,cask ale,juke box,16/03/1918,history,historic,heritage,gable,end,side,of,the,pub,bar,pubs,bars,crashed,crashing,accidents,train,trains,disaster,disasters
Description: Tony Smith image Alamy 2K0WRH6 - Extract for the LNWR railway Accident at Bolton Crook Street on 16th March 1918
In this case a special coal train from Hulton Sidings, when approaching Bolton Terminal Station, got out of control. It was turned into one of the lines in the goods yard (Crook Street), ran through the yard on the metals, forced its way through the boundary wall, crossed the public road diagonally and completely wrecked two small dwelling-houses. The guard jumped from the brake-van
the driver and fireman remained on the footplate. None of the men suffered more than minor injuries. Eight persons living in the houses were injured, though fortunately not seriously. In addition to the damage to the engine and house property, five wagons were demolished and seven others damaged.
Train Operator
London & North Western Railway
Primary Causes
Driver error, inadequate brake power, excessive train load, guard error, site staff error
Secondary Cause
None
Result
Runaway train, derailment, collision with structure
0 fatalities, 11 injured
127 ,Crook St, Bolton, Lancashire, England, UK, BL3 6DD
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the,April,14,1912,BT4,Dee Street,Belfast,Northern Ireland,BT4 1FT,HW,April 14 1912,mural,Est,1861,RMS,gable,end,history,historic,heritage,ECHR
Description: Tony Smith image Alamy 2PM62XD - . HW, RMS Titanic 14 April ,1912 H&W Est 1861 mural, Dee Street, Belfast, Northern Ireland, UK, BT4 1FT. Photographed on 19 August 2017, 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 Dee Street, Belfast, Northern Ireland, UK, BT4 1FT, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, April, BT4, Dee Street, providing natural SEO coverage without losing the specific documentary identity of the photograph. 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. 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. The scene contributes a specific, place-based record rather than a generic illustration.
Dee Street, Belfast, Northern Ireland, UK, BT4 1FT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the,April,14,1912,BT4,Dee Street,Belfast,Northern Ireland,BT4 1FT,HW,April 14 1912,mural,Est,1861,RMS,gable,end,history,historic,heritage
Description: Tony Smith image Alamy 2PM6357 - . HW, RMS Titanic 14 April ,1912 H&W Est 1861 mural, Dee Street, Belfast, Northern Ireland, UK, BT4 1FT. Photographed on 19 August 2017, 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 Dee Street, Belfast, Northern Ireland, UK, BT4 1FT, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, April, BT4, Dee Street, providing natural SEO coverage without losing the specific documentary identity of the photograph. 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. 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. The scene contributes a specific, place-based record rather than a generic illustration.
Dee Street, Belfast, Northern Ireland, UK, BT4 1FT
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,politics,politicians,graffiti,murals,art,street,streetart,the past,future,peace,gable,end,211,Newtownards Rd,Belfast,Northern Ireland,BT4 1EA,mural,traditional,history,historic,end-terrace,gable-end,understanding,futures,Belfast peace
Description: Tony Smith image Alamy 2PM64K4 - . Community mural - Peace cannot be kept by force, it can only be achieved by understanding - Belfast Looking to a better future. Photographed on 19 August 2017, 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 211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Ireland, Ulster, community, politics, politicians, graffiti, murals, art, streetart, the past, future, peace, providing natural SEO coverage without losing the specific documentary identity of the photograph. 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. 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.
211 Newtownards Rd, Belfast , Northern Ireland, UK, BT4 1EA
Description
Keywords: Red hand,Ulster,memorial,UFF,Unionist,mural,off,Shankill,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,60 years,Queen Elizabeth II,Royal subjects,royal,subjects,Queen,Elizabeth,reign,over,QE2,QEII,gable,end,gable end,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDWT1B - Elizabeth II (Elizabeth Alexandra Mary
born 21 April 1926 has been Queen of the United Kingdom, Canada, Australia, and New Zealand since 6 February 1952. She is also Head of the Commonwealth and the queen of 12 countries that have become independent since her accession: Jamaica, Barbados, the Bahamas, Grenada, Papua New Guinea, Solomon Islands, Tuvalu, Saint Lucia, Saint Vincent and the Grenadines, Belize, Antigua and Barbuda, and Saint Kitts and Nevis.[b]
Elizabeth was born in London as the first child of the Duke and Duchess of York, later King George VI and Queen Elizabeth. She was educated privately at home. Her father acceded to the throne on the abdication of his brother Edward VIII in 1936, from which time she was the heir presumptive. She began to undertake public duties during the Second World War, serving in the Auxiliary Territorial Service. In 1947, she married Philip, Duke of Edinburgh, a former prince of Greece and Denmark, with whom she has four children: Charles, Prince of Wales
Anne, Princess Royal
Prince Andrew, Duke of York
and Prince Edward, Earl of Wessex.
Elizabeth's many historic visits and meetings include a state visit to the Republic of Ireland and visits to or from five popes. She has seen major constitutional changes, such as devolution in the United Kingdom, Canadian patriation, and the decolonisation of Africa. She has also reigned through various wars and conflicts involving many of her realms. She is the world's oldest reigning monarch as well as Britain's longest-lived. In 2015, she surpassed the reign of her great-great-grandmother, Queen Victoria, to become the longest-reigning British monarch and the longest-reigning queen regnant and female head of state in world history. In October 2016, she became the longest currently reigning monarch and head of state following the death of King Bhumibol Adulyadej of Thailand.
Shankill Road, West Belfast, NI, UK
Description
Keywords: UFF,Unionist,mural,off,Shankill,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,gable,end,Longkesh,USSF,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDWT2E - SHANKILL PROTESTANT BOYS FLUTE BAND
The Shankill Protestant Boys Flute Band”or as they are more famously known now”The SPB”were formed in the Shankill area in 1980. The reasons for forming the band were much more than simply establishing another flute band”the Shankill had many at that time. The men behind the formation had other ideas. They wanted to promote and express their Protestant culture and also remember the brave Volunteers and Servicemen who had fought and died during two World Wars”in particular during the Somme offensive”and to remember those in more recent times who perished during the conflict in the war against violent Republicanism.
Sadly many of those who served the band since their beginnings 33 years ago are no longer with us”either passed away or in many instances murdered. However of the original founders around ten remain. Some, remarkably are still marching while others retain honorary membership. Gary Lenaghan”The Hunters”Harold Reynolds-The Young's”The Freel's”John McQuade”Derek Mawhinney”The Finlay's were all there at the start and remain heavily involved today.
The SPB were the first flute band to receive and carry the colours of the 1st Battalion of the Ulster Volunteer Force”in 1982”and to this day carry those colours with pride and dignity. It is a commonly known fact that these colours are carried on ALL occasions”at no time are they excluded”and in the past this has caused some difficulties”with both the Police and indeed with certain sections of the Loyal Orders. At one stage during the Eighties the band came into conflict with the Scottish Orange Institution which forced the band off the road because of their refusal to parade without their beloved colours. Since then the SPB have not walked in Scotland with the Orange.
Around the same time and with the concept of the Supergrass system being implemented the band became heavily involved with Families For Legal Rights. For ma
Shankill Road, West Belfast, NI, UK
Description
Keywords: Red hand,UFF,Unionist,mural,off,rd,Road,West Belfast,Northern Ireland,UK,Ireland,fighter,fighting,St,A,Company,battalion,ACompany,gable,end,sunset,gable-end,A Company,gable end,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army
Description: Tony Smith image Alamy HDWT54 - . Made at Shankill Road, West Belfast, NI, UK in 2016, 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 location is represented through UFF Unionist mural, off Glenwood St/Shankill Road West Belfast,Northern Ireland,UK - A Company battalion. Other connected aspects include historical comparison, social history, local history, street-side transport, local bus network, changing streetscape, public art, contemporary social history, local mobility, regional identity, urban graphics, documentary photography, bus route infrastructure, and creative placemaking. Current relevance extends to regeneration and creative districts, particularly through how temporary street art can become an important record of neighbourhood culture. In present-day coverage, the subject reaches into rural transport and passenger information, not least because of the importance of bus stops as the physical interface between passengers and public transport. Future viewers can use this scene from Shankill Road, West Belfast, NI, UK to compare equipment and working practice with whatever follows after altered transport patterns. The wider setting retains connections with community identity, transport accessibility, visual archive, urban artwork, roadside transit, archival record, mural culture, and place identity. The combination of Unionist, Shankill, Ireland, Northern, and battalion anchors the frame to a recognisable activity, place or moment. For Shankill Road, West Belfast, NI, UK, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The setting also helps illustrate regeneration and how temporary street art can become an important record of neighbourhood culture within the specific setting of Shankill Road, West Belfast, NI, UK.
Shankill Road, West Belfast, NI, UK
Description
Keywords: GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Scotish,Scotch,British,Scotland,problem,with,Tony Smith,United Kingdom,Great Britain,British Isles,urban,city,centre,city centre,mural,art,culture,gable,end,gableend,Scots,gotonysmith,Badminton,Glasgow,two,activity,cultural,2014,street
Description: Tony Smith image Alamy HGC817 - . This scene at Glasgow, United Kingdom, G1 1EJ in 2016 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 principal subject is Glasgow commonwealth games 2014, Badminton mural, city centre, Scotland, UK, G1 1EJ. The subject also carries associations with social history, contemporary social history, stencil art, temporary artwork, place identity, changing land use, graffiti heritage, visual street culture, public-realm art, everyday life, local history, changing streetscape, local character, and creative placemaking. In present-day coverage, the subject reaches into temporary works and gentrification, not least because of how regeneration can both promote and displace informal urban art. Future viewers can use this scene from Glasgow, United Kingdom, G1 1EJ to compare transport arrangements and footfall with whatever follows after replacement signage. The photograph additionally reflects community art, period detail, urban artwork, street-level design, archival record, community identity, contemporary mural, and urban graphics. The combination of Badminton, Glasgow, mural, games, and commonwealth anchors the frame to a recognisable activity, place or moment. Around Glasgow, United Kingdom, G1 1EJ, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The wider significance includes temporary works and how regeneration can both promote and displace informal urban art when considered against later change at Glasgow, United Kingdom, G1 1EJ. Another strand within the photograph is public art and the role of murals and stencils in giving creative districts a distinctive identity without losing the local specificity of Glasgow, United Kingdom, G1 1EJ. The scene captures details of everyday use before later change alters the scene.
Glasgow, United Kingdom, G1 1EJ
Description
Keywords: GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Scotish,Scotch,British,Scotland,problem,with,Tony Smith,United Kingdom,Great Britain,British Isles,commonwealth,games,activity,Scots,art,mural,culture,gable,end,gableend,cultural,G1,2014,two,men,Badminton,painted,gable end,sport
Description: Tony Smith image Alamy HGC81B - . An identifiable period record of Glasgow, United Kingdom, G1 1EJ in 2016, retaining the practical detail and local context that distinguish a documentary photograph from a generic illustration. The principal subject is Glasgow commonwealth games 2014, Badminton mural, city centre, Scotland, UK, G1 1EJ. The subject also carries associations with stencil art, creative placemaking, graffiti heritage, period detail, local character, historical comparison, social history, visual archive, community art, community identity, place identity, local history, documentary photography, and urban graphics. The wider contemporary story combines temporary works, tourism and how temporary street art can become an important record of neighbourhood culture. As a dated visual record of Glasgow, United Kingdom, G1 1EJ, the frame retains commercial use and occupation, making it especially useful if redevelopment subsequently changes the scene. The location also brings in visual street culture, changing streetscape, street-level design, before-and-after reference, contemporary mural, archival record, public realm, and public-realm art. Details involving Glasgow, mural, commonwealth, games, and Badminton make the image more specific than a generic view and strengthen its local or historical value. A later view of Glasgow, United Kingdom, G1 1EJ may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. The wider significance includes temporary works and how temporary street art can become an important record of neighbourhood culture without losing the local specificity of Glasgow, United Kingdom, G1 1EJ. Another strand within the photograph is creative districts and the role of murals and stencils in giving creative districts a distinctive identity in a form that can be compared with future views of Glasgow, United Kingdom, G1 1EJ. The image fixes period character as a date-specific reference.
Glasgow, United Kingdom, G1 1EJ
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,football,Supporters,Club,Orange,SandyRow,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEF9E - Sandy Row is a street in south Belfast, Northern Ireland. It lends its name to the surrounding residential community, which is predominantly Protestant working-class. The Sandy Row area had a population of 2,153 in 2001. It is a staunchly loyalist area of Belfast, being a traditional heartland for affiliation with the paramilitary Ulster Defence Association (UDA) and the Orange Order.
Sandy Row is situated in south Belfast, beginning at the edge of the city centre, close to the Europa Hotel. The road runs south from the Boyne Bridge (formerly the Saltwater Bridge) over the old Dublin railway line beside Great Victoria Street station, then crosses the Donegall Road and ends at the bottom of the Lisburn Road. At the north end of the road was the famous Murray's tobacco factory, which was first opened in 1810, while at the other is a large Orange hall.
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,politics,political,road,elections,DUP,PUP,with,union,flags,election,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFE7 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,September,1912,Cherished,position,of,equal,citizenship,in,the,town,union,flag,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFED - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,Donaghadee,April,24th,1914,gunrunning,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFEJ - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,road,Spiers,pl,place,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFF2 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,well,I,can,stand,alone,rifle,CYV,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFJ9 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,YCV,UVF,Ulster,36th Ulster,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4C - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,36th,field,marshal,Sir,Henry,Wilson,Schwaben,Redoubt,Somme,battle,of,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4D - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,1913,wall,red,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4E - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,mosaic mural,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4F - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,West,Four,Step,Ulster Volunteer Force,in proud and loving memory,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4G - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,C-Company,1st Battalion Wadsworth,McIntyre,McGregor,Chapman,Hannah,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4H - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,c,C-Company,1st,Battalion,Wadsworth,McIntyre,McGregor,Chapman,Hannah,blue,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,hidden,faces,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4J - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,royalist,union flag,flag,royal,wedding,celebration,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4K - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,Ave,CocaCola,Lawnbrook,Avenue,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG5H - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,London,NW1,boot,boots,shoes,shoe,building,store,shop,mural,artwork,advert,ad,advertisement,on,a,in,fashion,British,Airwair,DMs,DM,Made In England,English,tough,as you,Jamestown Road,corner,gable,gable-end,end,Wollaston,Camden Town,design,studio
Description: Tony Smith image Alamy 2K16AXK - Dr. Martens, also commonly known as Doc Martens, Docs or DMs, is a German-founded British footwear and clothing brand, headquartered in Wollaston in the Wellingborough district of Northamptonshire, England. Although famous for its footwear, Dr. Martens also makes a range of accessories “ such as shoe care products, clothing, and bags. The footwear is distinguished by its air-cushioned sole (dubbed Bouncing Soles), upper shape, welted construction and yellow stitching. Dr Martens' design studio is in Camden Town, London
the manufacturing is in the UK, China, Vietnam, Laos and Thailand. The company is listed on the London Stock Exchange and is a constituent of the FTSE 250 Index.
Klaus Märtens was a doctor in the German Army during World War II. After he injured his ankle in 1945, he found that his standard-issue army boots were too uncomfortable on his injured foot. While recuperating, he designed improvements to the boots, with soft leather and air-padded soles made of tyres. When the war ended and some Germans recovered valuables from their own cities, Märtens looted leather from a cobbler's shop. With that leather he made himself a pair of boots with air-cushioned soles
Märtens did not have much success selling his shoes until he met up with an old university friend, Herbert Funck, a Luxembourger, in Munich in 1947. Funck was intrigued by the new shoe design, and the two went into business that year in Seeshaupt, Germany, using discarded rubber shaped by moulds. The comfortable soles were a big hit with housewives, with 80% of sales in the first decade to women over the age of 40
Sales had grown so much by 1952 that they opened a factory in Munich. In 1959, the company had grown large enough that Märtens and Funck looked at marketing the footwear internationally. Almost immediately, British shoe manufacturer R. Griggs Group bought patent rights to manufacture the shoes in the United Kingdom. Griggs anglicised the name to Dr. Martens
Camden High Street, Camden Town, London, England, UK, NW1
