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The [Adams] family of Michigan City crams into one of the passenger train cars at Hesston Steam Museum on June 3 while the conductor collects tickets. In the car are Drake Adams, 3; Damon Adams, 6; Delaina Adams, 3; and Radcliff Adams, their father. Tribune Photos/ROBIN TOEPP Darwin \"Skeeter\" Enders Jr. oils the side- rods of a small-scale train at Hesston Steam Museum. Hesston Steam Museum has different sizes of train tracks for trains to take passengers on rides through the woods and fields of the property owned by the LaPorte County Historical Steam Society. On the tracks For a schedule of events, ticket prices and a map to the Hesston Steam Museum, visit the Web site www.hesston.org, or call (219) 872- 5055.; Photo: c_hesston060706i2.jpeg

After gaining scholarships to Eton and New College, Oxford, where, in 1935, he took first-class honours in history, [Esher] served during the war in the Royal Artillery and was mentioned in dispatches. In 1945, as Major Esher, he stood unsuccessfully as Liberal candidate for South Oxfordshire. Brooding on what he called his \"over-developed sense of failure\", he turned his attentions to town planning and, in 1949, was appointed architect planner to Hatfield new town, in Hertfordshire. The day his appointment was announced, one tutor asked if someone could list his qualifications for the job. Sir Hugh Casson said that Esher had achieved a fine Oxford degree, but was unable to recall the subject. Sir Misha Black announced that Esher had fathered many children, which no one felt able to comment upon. The appointment was made. Rejecting all these proposals, Esher commissioned some of the more liberal staff members to negotiate with the occupiers. The peace talks rambled far and wide - from Marxism-Leninism to the case of a student who, having arrived as a man from the far east, turned into a woman. A trade union delegate declared that her members would \"down tools\" if the transsexual was allowed to use the women's lavatories. Esher kept his head, and the debacle petered out.

In 1959, when [Jim] was working on the design of his most prominent building, the Royal College of Art on Kensington Gore, next door to the Albert Hall, he gave a presidential address to the Architectural Association (AA) on Ideas of Disorder. A \"post-modernist before my time,\" as he joked in much later years, he argued in favour of \"individual variation and self-expression\" to \"balance the frightening regularity of life\". This was at a time when much new British architecture was of the straight-up-and-down school, as if it had been assembled on a conveyor belt. His father had wanted him to be a naval officer, but as Jim insisted: \"I couldn't tell port from starboard.\" At the AA, he was a contemporary of Ralph Tubbs (who went on to design the Dome of Discovery at the 1951 Festival of Britain), Denis Clarke Hall (the first Modern school, at Richmond, Yorkshire) and Richard Sheppard (Churchill College, Cambridge). Jim then got a job with the Hungarian emigre architect Erno Goldfinger, who lent his name to Ian Fleming's hero and is best known today for his 31-storey Trellick Tower overshadowing Portobello Road, west London. Being one of the few who did not find Goldfinger intimidating, Jim learned a lot about the latest European architectural developments, and, in particular, about the possibilities offered by reinforced concrete. The [Henry Thomas Cadbury-Brown] family, meanwhile, had for many years owned a holiday home in Thorpeness, near Aldeburgh; in the early days of the Aldeburgh Festival, Jim remodelled the Jubilee Hall and converted a barn for Benjamin Britten's use as a studio. Britten had acquired a site opposite Aldeburgh parish church, with the idea of building an opera house, and Jim had discussed the design of such a building with him. However, in the 1960s, the possibilities of the disused Maltings, at Snape, came to Britten's notice, and he came in contact with Arup Associates, a firm of architects and engineers whose star was rising. Jim reacted positively by buying the site in Aldeburgh that had at first been earmarked for the opera house and building a superb house there for himself and [Betty], and another for the musician Imogen Holst.

Guyatt himself coined the phrase \"graphic design\" - \"No one was quite sure what it meant,\" he said, \"but it had a purposeful ring\" - and at one stroke it freed commercial art from its pejorative associations and allowed it to rejoin and in many ways rejuvenate fine art in the mainstream of British culture. He opened new departments for the study of film and television, photography, illustration, typography, printmaking and graphic information, and insisted that all areas of the college should communicate and inform each other. Guyatt's adherence to the original vision of what the RCA should be and achieve was unswerving. He nurtured his staff and his students with real affection and insight, with a velvet hand-albeit in an iron glove. One (then) young teacher says she can never forget how Guyatt looked after her when she joined the college: \"Properly and beautifully, a real gentleman.\" As Sir [Hugh Casson] wrote on Guyatt's retirement from the RCA in 1981, \". . . all his life [Dick Guyatt] has readily accepted and punctiliously dealt with teaching, designing, consulting, illustrating, lecturing, administrating; bringing to each problem, however small, that same quality of the true professional, the ruthless determination to achieve by rational methods aims that have been conceived in passion.\" At 19 he apprenticed himself to Oliver Messel's theatre design studio, attended Bernard Meninsky's life drawing classes and started to pick up a living with advertising commissions. Two of his Shell posters - \"Sham Castle in Bath\" for the Visit Britain's Landmarks series, and \"Racing Motorists\" for These Men Use Shell - are classics.

COLIN HAYES was the last surviving member of the Royal College of Art fine-art staff painted by his friend Rodrigo Moynihan in Portrait Group (1951), now in the Tate Gallery collection. During the early Fifties, this group, under the guidance of Robin Darwin, was to make the Royal College a leading force in English art education, and in changing the fortunes and image of the Royal Academy of Arts. Hayes was a key member, and active in bringing about major changes of attitude in both establishments. He was born in 1919 in London, to Gerald Hayes, a mathematician and musicologist, and his wife Winifred, a painter and sculptor who had studied at the Aberdeen and Edinburgh colleges of art, and at the Royal College of Art in London. Colin Hayes was educated at Westminster School and went on to Christ Church, Oxford, to read Modern History, also attending the Ruskin School of Drawing. Colin Graham Frederick Hayes, painter: born London 17 November 1919; Tutor, Senior Tutor and Reader, Royal College of Art 1949-84, Fellow 1960- 84 (Honorary Fellow 1984); RA 1970; President, Royal Society of Artists 1993-98; married 1949 Jean Law (died 1988; three daughters), 1992 Midge Christensen; died London 1 November 2003.

The eldest son of Nathan, a barber, and Letty, a hairdresser, [Bernard Louis Myers] was educated at Skinner's school in Tunbridge Wells, where a school report commented: \"Could be good if he didn't dream so much.\" With his appetite for knowledge and understanding, far from dreaming, he was thoughtfully considering what was being taught. After leaving school, Myers volunteered for the RAF and trained as a gunner. His boyish looks caused one of his commanding officers to remark: \"Don't ever let the Germans take you prisoner. They'll think we're using children.\" Awaiting demobilisation in Yorkshire, he attended a local art school, where a tutor suggested he pursue a career in drawing and painting. Myers inspired students at the RCA. His enthusiasm, love of life, warmth of personality, insight into other people and sense of fun gained respect across many departments, particularly those of industrial design and general studies as well as in the design education unit. Entrepreneur James Dyson, a former student, recalls Myers' insistence that to design anything, \"you must remember what your design is for\".

Introduction (pg. 383-385). Art (pg. 385-391). Architecture (pg. 391-393). Opera (pg. 393-395). Ballet (pg. 395-396). Theatre (pg. 397-401). Cinema (pg. 401-405). Music (pg. 405-411). Broadcasting (pg. 411-412).

Coates examines the impact of World War II on the Australian home front by discussing Maria Gardner's Blood Stained Wattle and Robin Sheiner's Smile, the War Is Over. While both writers draw heavily upon military and political history to tell their stories, Gardner derives much of her material from a diary her father kept of his experiences during and after the after bombing of Darwin, and Sheiner, who was a child during the war in Perth, supplements her memories of the period with letters from and formal interviews with those who were alive at the time.