Colorized by me: Australian soldier, Private George "Dick" Whittington, being aided by Papuan orderly Raphael Oimbari near Buna on 25 December 1942. Whittington died in February 1943 from typhus.
Fuzzy Wuzzy Angels was the name given by Australian soldiers to Papua New Guinean war carriers who, during World War II, were recruited to bring supplies up to the front and carry injured Australian troops down the Kokoda trail during the Kokoda Campaign.
📸 George Silk
In June 1942, Australian Major General Basil Morris issued an "Employment of Natives Order", which allowed native Papuans to be recruited as carriers for three years.
Between August and December that year, around 16,000 Papuans were recruited, often with false promises such as a shorter period of service or a less difficult working condition. On some occasions, the Papuans were forced into service.
As one Australian digger has noted: “they carried stretchers over seemingly impassable barriers, with the patient reasonably comfortable. The care they give to the patient is magnificent. If night finds the stretcher still on the track, they will find a level spot...
... and build a shelter over the patient. They will make him as comfortable as possible fetch him water and feed him if food is available, regardless of their own needs.
They sleep four each side of the stretcher and if the patient moves or requires any attention during the night, this is given instantly. These were the deeds of the "Fuzzy Wuzzy Angels" – for us!”
In 2009, the Australian government began awarding the 'Fuzzy Wuzzy Commemorative Medallion' to living Papua New Guineans who assisted the Australian war effort, usually bringing survivors and their families to Port Moresby for ceremonial presentations.
Australian veterans generally complained that the recognition was too little, too late.
"(...) Nonetheless many worked until they dropped. It is said that no living soldier was ever abandoned by the carriers, not even during heavy combat." kokodahistorical.com.au/history/fuzzy-…
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Ida Laherty, age 16, became one of the first women incarcerated at the Idaho State Penitentiary when she began a sentence for Grand Larceny in 1903. She remained one of the youngest women to serve time there.
Born in Washington, Ida lost her father when she was 11 years old, and her mother was left to raise six children alone. Ida left home at fifteen, settling in Moscow, Idaho. There she met and fell in love with a young man from Reardon, Washington named William Loomis.
One day, Loomis hatched a plan for Ida to hire a team of horses for one day from a livery stable in Moscow and ride by herself to Sprague, Washington where William would meet her and the two would sell the horses for a large profit.
Pliny the Younger was invited to dinner in Rome in 97-8 AD. He then wrote a letter to his friend Avitus in which he basically trashed the party:
"It would be a long story, and of no great importance, to tell you by what accident I found myself dining the other day with...
... an individual with whom I am by no means intimate, and who, in his own opinion, does things in good style and economically as well, but according to mine, with meanness and extravagance combined.
Some very elegant dishes were served up to himself and a few more of us, whilst those placed before the rest of the company consisted simply of cheap dishes and scraps.
Maria Coventry, Countess of Coventry was a famous Irish beauty and London society hostess during the reign of King George II.
She died at a young age (27) from lead and mercury poisoning, killed by the toxins used in her makeup.
Throughout the 17th and 18th centuries, it was fashionable for ladies to have pale white skin and red rouged cheeks. To achieve this look, lead-based Venetian ceruse was often used.
The noxious effects of lead caused skin eruptions...
... which then encouraged ladies to apply more ceruse to cover the blemishes, eventually causing blood poisoning.
Maria eventually became known in society circles as a "victim of cosmetics". Her face was eaten away by acid.
There’s a huge gap between colorizing photos, usually presenting them beside the original and preserving all the elements that were there + providing the historical background, and manipulating facial expressions. The latter changes the context and is potentially dangerous.
This whole thing makes me sad. It affects artists who have been working hard for years to make people understand that we are not playing around with crayons. There’s usually a huge sense of responsibility involved.
I've been working on a piece to explain the process. There are serious people working in this field.