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A page from the out-of-print Ticket Examiners Handbook, dating from 2004, that was issued to guards and other staff involved in ticket checking.

From the tour

The Bombings of 1940 forced a reappraisal of deep-shelter policy and at the end of October the Government decided to construct a system of deep shelters linked to existing tube stations. London Transport was consulted about the sites and required to build the tunnels at the public expense with the understanding that they were to have the option of taking them over for railway use after the war. With the latter point in mind, positions were chosen on routes of possible north-south and east-west express tube railways. It was decided that each shelter would comprise two parallel tubes 16 foot 6 inches internal diameter and 1,600 feet long and would be placed below existing station tunnels at Clapham South, Clapham Common, Clapham North, Stockwell, Oval, Goodge Street, Camden Town, Belsize Park, Chancery Lane and St. Pauls...Each tube would have two decks, fully equipped with bunks, medical posts, kitchens and sanitation and each installation would accommodate 9,600 people...All the deep level shelters were sub-divided into sleeping areas. Each tunnel was divided into 4 sections with connecting doors between them. Each section was given a name. At Clapham South they were all naval commanders. The northern entrance sections (i.e. those accessed directly from the northern lift without crossing to the other side) were named: Freemantle, Beatty, Evans, Anson, Nelson, Jellicoe, Madden and Inglefield while those accessed from the southern entrance were: Grenville, Hardy, Drake, Oldham, Keppel, Parry and Ley. Each section had bunks fitted longitudinally along the outer wall, a single at the top, a double in the middle and a single at the bottom. Along the inner wall bunks were fitted across the passage forming bays. There were 7.952 bunks in total and each bunk was allocated to a named person. If they didn't turn up one night the bunk remained unused...Although work on them began in November 1940 there were difficulties in obtaining sufficient labour and materials so the first one was only ready in March 1942 and the other seven were finished later that year. Access to them was by ticket in order to help control numbers and prevent disruption to the underground network. There was considerable pressure to open the shelters to relieve the strain on London’s tube stations from people sheltering from the bombing, but the authorities were concerned about the cost of maintaining the shelters once opened and preferred to keep them in reserve in case the bombing intensified. Clapham South was used as weekend troop accommodation from 1943. The start of the attacks on London by V1 flying bombs (commonly known as ‘doodlebugs’) in June 1944, followed by the V2 rocket campaign in September that year, caused many of the deep shelters to be made fully available to the public; Clapham South opened on 19 July 1944. The south entrance, next door to what was the Odeon cinema, was in a small compound that housed administrative offices and ticket printing presses for all eight deep shelters. The shelters were used for their original purpose for less than a year. The north section closed on 21 October 1944 and the shelter was transferred from the Ministry of Home Security to the Ministry of Works on 1 October 1945. Clapham South closed completely on 7 May 1945 and from June 1945 it found a new use as a military leave hostel and for one month in June 1946 it acted as an armed-forces troop billet. At the end of the war, London had a severe labour shortage and the Colonial Office sought to recruit a labour force from Britain’s colonies. At that time there were no immigration restrictions for citizens from one part of the British Empire moving to another part. An advertisement appeared in Jamaica's Daily Gleaner on 13 April 1948 offering transport to the UK for a fare of £28.10s (£28.50) for anyone who wanted to work in the UK. As a result the ship MV Empire Windrush arrived in Tilbury later in 1948 carrying 492 worker migrants from Jamaica. However, as there was no accommodation for the new arrivals the Colonial Office decided to house them in the deep-level shelter at Clapham South.

The nearest labour exchange to Clapham South was on Coldharbour Lane in Brixton so the men sought jobs there. As a result Brixton became a focus for West Indian settlers from that point onwards with successive arrivals making their way to the developing

community. The actual time the deep-level shelter was occupied by new arrivals was relatively short as the men all quickly found jobs and accommodation, and successfully integrated into many parts of south London.

[Subterranea Britannica]

AMBON, Indonesia (July 27, 2010) Lt. Stacy Dodt, a doctor embarked aboard the Military Sealift Command hospital ship USNS Mercy (T-AH 19), examines an Indonesian child during a Sail Banda medical civic action program event. Mercy is in Ambon participating in Sail Banda 2010, a series of events hosted by the Government of Indonesia to promote the future of small islands. Mercy’s participation features medical and dental care clinics and construction projects in and around Ambon, as well as on Seram Island. (U.S. Army photo by Sgt. Craig Anderson/Released)

examining her Kodak Brownie

photograph taken 1988

SkyDock with Electric Option

2014 - Looking at the hummingbird's beak.

Two women examine a sample dormitory room for women at Memorial Union. C. 1935

UW-Madison Archives Identifier: S05648

Full record: digital.library.wisc.edu/1711.dl/SSRecIDSearch?repl1=UW&a...

Even though it was a rainy messy art day today, Mom came down and we had a great time! Missed having the nieces to paint with us, but I managed a couple of other projects and Mom basically finished 2 of her previously started paintings.

Tommorrow is Mom's birthday - July 9th!! Happy Birthday Mom!!

First Thursday: 9/3/2015

Photos by Jennifer Hughes

Alien She

Sep 3, 2015 â Jan 9, 2016

Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.

Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and â70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the â90s, with many new chapters forming in recent years. Riot Grrrlâs influence on contemporary global culture is increasingly evident â from the Russian collective Pussy Riotâs protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.

Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance â a reflection of the movementâs artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.

Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.

Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.

Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more

Womenâs Studies Professors Have Class Privilege / Iâm With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.

Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.

Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh

"Red Lips" - six color print by John Wesley, at the Axelle Fine Arts Silkscreen Studio

Although he was part of the original group of POP Artists and was included

in the three Pop Art Print Portfolios, Wesley, a native Callifornian, has

been slow to gain the recognition he deserves. In POP ART: A Continuing

History, Marco Livingstone notes that Wesley used a "straightforward linear

technique associated with such non-art sources as cartoons, comics and

coloring books" (82-83) and used "gentle humor . . . framing devices,

symmetry, and tactics of repetition as essential ingrediants in the

production of paintings that appear to be innocent in an obviously childlike

way but are in fact meditative in atmosphere and sophisticated in their

formal construction" (208). Meditative they may be, but if innocence is

present it is often that of those who ought to know better. As a press

release foor the January-February 2001 exhibition of his work at the Harvard

University Art Museums points out, "Wesley has been painting acutely sexual,

intensely observed, narrative paintings for more than 40 years. The

conspicuous characteristics of his work since the early seventies-its

insistent flatness, powdered pastel palette, cartoon/cinematographic

narratives, embrace of the sexually charged encounter, sophisticated

anthropomorphism, and mannered drawing-have enormous appeal for younger

painters inspired by a digital revolution to rethink the medium: Wesley's

painting looks like nothing else out there.

A recent retrospective at the Museum of Modern Art's P.S.1, Wesley's first

in the United States, reflects this new interest in a painter who first came

into prominence in the early sixties. Staged against the backdrop of the

more extensive MoMA/P.S.1 retrospective, John Wesley: Love's Lust is

selective rather than comprehensive, featuring work from the sixties through

to the present in an effort to look more closely at Wesley's allegorical

subject matter and sophisticated formal innovations. 'Wesley's compelling

approach to painting encourages the viewer to question the reasons for his

eccentric creations and in doing so forces us all to ponder his intended

message,' said James Cuno, the Elizabeth and John Moors Cabot Director of

the Harvard University Art Museums. 'Wesley has never lacked for attention,'

said Linda Norden, the curator at the Fogg who organized the show. 'But

critics have been eager to characterize rather than analyze the art for fear

that looking too closely would kill off whatever it is that works. This

exhibition is meant to show that exactly the opposite is true. Wesley's

paintings can be frighteningly funny, poignant, and just plain weird; but

there is a complex pictorial intelligence driving this body of work.' "

The Harvard show "includes a wide selection of acrylic-on-paper paintings,

which Wesley usually enlarges on canvas. Two wall cases contain some of the

traced drawings he uses to compose his paintings. Surprisingly, these

tracings reveal how little is fixed by an apparently mechanical means of

reproduction: Instead, what becomes quickly apparent is Wesley's mastery of

subtle shifts in scale and placement. Over the last ten years, Wesley has

taken another turn in his paintings, opening spaces between figures,

substituting distance for repetition, and conveying character less through

facial expression than by developing a complex mannered line. This seems to

be John Wesley's moment: John Wesley: Love's Lust offers an overdue

opportunity to examine the work of an artist who has long been loved, but

never taken quite seriously enough."

The Curator of John Wesley: Paintings 1961-2000, a retrospective held during

the autmn of 2000 at P.S. 1, a branch of The Museum of Modern Art, has a

slightly different perspective. Alanna Heiss, P.S.1 Director, says"Wesley's

work stands eerily apart. He mixes images of traditional emblems, historical

figures, comic book personalities, animals, sexy women, athletes and

showgirls into surreal daydreams, prompting the viewer to rejoin her own

private dream-world." This exhibition includes works ranging from his

earliest paintings (Stamp, 1961) to his most recent-Showboat, 2000. To

accompany this retrospective, P.S.1 has produced a catalogue including new

essays by Brian O'Doherty and Carolyn Christov-Bakargiev, an interview with

the artist by Alanna Heiss, a chronology by Hannah Green, and an anthology

of other significant texts and color plates. Wesley is known for his

consistency of palette (baby blues, cotton-candy pinks), his use of painted

"frames" within his pictures, his early emblem paintings, his cartoon

Bumstead paintings, and ultimately for his representations of an inner

erotic voyage where we are both the voyager and the voyeur.

After moving from his native Los Angeles to New York in 1960, John Wesley

began showing his work at the Robert Elkon Gallery in 1963. Donald Judd

became an early supporter of Welsey's work at that time. In a review of that

first New York show he wrote "...the forms selected and shapes to which they

are unobtrusively altered, the order used, and the small details are

humorous and goofy." Initially considered in alignment with pop artists of

the early 60s, Wesley consistently produced works of such a subtle and

subversive nature as to put him in a category of his own. He used the early

tools of advertising production (tracing paper and stock photographs).

Influences on his work range from Surrealism to Art Nouveau, from ancient

Greek pottery to Matisse. Wesley's colorful and figurative style also

reflects the "flat" world of comics and posters. His secret life is ours;

the works uncover the private world of a dreamer, where the dreamer is the

protagonist, the artist, and the viewer. They are icons proclaiming the

sanctity of our subconscious wanderings.

Selected Bibliography: In addition to discussions of Wesley in such standard

works on the POP Art Movement as Judith Goldman, The Pop Image: Prints &

Multiples (NY: Marlboroush Graphics, 1994), Marco Livingstone, POP ART: A

Continuing History (NY: Abrams, 1990), see R. H. Fuchs, Kasper Konig, et al,

John Wesley : Paintings 1963-1992, Gouaches 1961-1992 (Frankfurt: Oktagon

Verlag, 1993-Catalogue of a travelling retrospective held in Frankfurt,

Amsterdam, Ludwigsburg, and Berlin between July & Oct. 1993); Alanna Heiss,

John Wesley: Paintings 1961-2000 (NY: P. S. 1-MoMA, 2000).

[Source]

Read: A Conversation with John Wesley by Marianne Stockebrand

Fort Casey, Washington. Though the airplane made it obsolete by the time it was build, it remained in service in both world wars.

This was commissioned by William Randolph Hearst for his sixth newspaper, The Los Angeles Examiner. It was designed by architect Julia Morgan, and opened January 1, 1915. I'm reminded of the Santa Fe Depot in San Diego, which opened March 8, 1915. The Herald Examiner was published here until November 2, 1989. This building has since been used for filming since then. It's actually like a small studio, complete with sets such as a bar, jail, industrial, apartments.

NGV Triennal

Kaden examining a strawberry from a local farm. An instant later it was gone.

AIR CDRE (RETD) ISHFAQ ILAHI CHOUDHURY

As we say goodbye to the year 2012, we might take time out to reflect on our achievements and failures in the year gone by, examine our prospects for the future and the challenges that lie ahead. Religious extremism leading to terrorist activities is one such area that needs to be reviewed. While many South Asian countries are deeply embroiled in the fight against terrorism, Bangladesh had generally been free from terrorist attacks since 2005. As we tended to relax, two incidents in 2012 brought our focus back to the terrorism issue. The first was the burning and looting of the houses and temples of the Buddhist communities in Cox’s Bazar area on 29-30 September. The second was the arrest on 17 October of a young Bangladeshi man caught while planning to bomb the Federal Reserve Building in New York, USA. As the year was coming to a close, the violence unleashed across the country by the Jamaat-e-Islami (JI), a right-wing Islamist party, sent us a clear signal of the growing strength of Islamist politics.

s we say goodbye to the year 2012, we might take time out to reflect on our achievements and failures in the year gone by, examine our prospects for the future and the challenges that lie ahead. Religious extremism leading to terrorist activities is one such area that needs to be reviewed. While many South Asian countries are deeply embroiled in the fight against terrorism, Bangladesh had generally been free from terrorist attacks since 2005. As we tended to relax, two incidents in 2012 brought our focus back to the terrorism issue. The first was the burning and looting of the houses and temples of the Buddhist communities in Cox’s Bazar area on 29-30 September. The second was the arrest on 17 October of a young Bangladeshi man caught while planning to bomb the Federal Reserve Building in New York, USA. As the year was coming to a close, the violence unleashed across the country by the Jamaat-e-Islami (JI), a right-wing Islamist party, sent us a clear signal of the growing strength of Islamist politics.

These are happening at a time when an avowed secular party, the Awami League (AL), is in power. AL won the 2008 election with a commitment to amend the constitution to restore its secular character. It also promised stern action against all forms of religious extremism and terrorism. Four years down the line, much of those promises remain unfulfilled. Constitutional reform was half-done; Islam remained a state religion. Religious parties are more organised today than ever before. Their student fronts are active in most educational institutions. While Islamists are active on political fronts, more radical amongst them are organising themselves for terrorist activities as and when opportunities appear.

Rise of Islamic extremism in Bangladesh

On 16 December 1971, we hoped that Bangladesh would emerge as a modern democratic state. The spirit of the nation was epitomised in the Constitution (1972) that adopted secularism as a state principle and prohibited the political use of religion. The Constitution barred the state from declaring any religion as state religion. However, it all changed after the killing of Bangabandhu Sheikh Mujibur Rahman and many top-ranking political leaders in 1975. Those who seized power at the time found the Islamists as their political ally and started islamising the society and the state. Islamist political parties, such as JI, started building their party structures. The power elites established thousands of madrassas that produced religiously indoctrinated youths who would be the front-line activists of the Islamist parties. Poor, jobless students from the madrassas became easy target of the recruiters of militant Islamist organisations. By late 1990s we had militant organisations such as Jamiatul Mujahedin Bangladesh (JMB) and Harkatul Jihad Al-Islami (HUJI) that took roots in Bangladesh.

Starting from 1999 to 2005, the militants bombed temples, churches, political rallies, cultural functions, cinema halls etc. The government and the opposition kept on blaming each other for those attacks. Even when grenades attack was made on the AL rally in Dhaka on 22 August 2004 killing 22 people and injuring the AL Chief Sheikh Hasina, the government blamed it on the opposition. The series bombing on 17 August 2005 finally compelled the government to come out of the denial mode and stand up to the terrorist threat. In 2006-07, we saw a series of arrests, prosecution and handing down of sentences, including death sentences, on some of the terror leaders. Since then there has been no major terror attack in Bangladesh, but that the terrorists are active is evident from the frequent arrests of activists and seizure of large cache of arms and explosives from their hideouts.

Bulk of the Islamic militants arrested so far had come from poor rural communities. Many were from the Quomi Madrassa background. However, recent years saw a new breed of extremists called the Hizb-ut-Tahrir (HuT). HuT members are drawn from children of urban, upper income parentage, educated in the mainstream or English medium schools and colleges. HuT is targeting the cream of our youth, the nation’s future, and therefore, poses a clear danger. It is feared that HuT has penetrated among schools and universities, professionals – engineers, doctors, government officials and even among the security apparatus. Although the party was banned in 2009, its clandestine activities continue in the country. On the political front, JI continued to grow in strength in Bangladesh. The party is small in size, but highly disciplined, well-organised and has a well-defined hierarchy. Jamaat’s aim is to establish a pure Islamic state based on Sharia. The party had opposed the Liberation War of Bangladesh in 1971 and actively collaborated in the genocide. Some of the top leaderships are now facing war-crime trial. The party, therefore, is on a back foot now, but given the fact that a new election is around the corner, its rank and file might align with the major opposition party to make a bid for power. JI’s student wing, Islami Chattra Shibir (Islamic Students Front), is now a potent student organisation, from schools to universities. The other Islamist party of importance is Islami Oikyo Jote (Islamic Unity Front), a collection of small Islamic parties. Like JI, IOJ also wants to establish an Islamic state in Bangladesh, but there are differences in outlook. IOJ members are exclusively from Quomi madrassa background and more traditional. IOJ has been in the forefront, along with JI, in the movement to declare Ahmedia community as non-Muslims. Present government’s attempt to register Quomi Madrassas and reform their curriculum was thwarted by IOJ’s agitation. None of the Islamist political parties gave open support to the militant activities, however, many of the JMB and HUJI activists had previously been members of Islamist political parties. The Islamist parties have multifarious social, economic and financial investments. Some of the largest banks, insurance, hospitals, diagnostic centres, schools, universities, coaching centres, and travel agencies are operated undercover by the Islamist parties. The Islamist parties have been gaining in strength in Bangladesh at the expense of the two major political parties – BNP and AL. Both parties at one time or other have been courting these parties in order to gain short term advantage over the other.

Countering the extremists

Bangladesh government has taken a number steps to check extremism and militancy. Notable among those are: Anti-Terrorism Act 2009 and Money Laundering Prevention Act 2009 as amended in 2011. The two acts provide for deterrent punishment to offenders in case they engage in acts of terror or launder money to support terrorism. Based on a series of dialogues, workshops and seminars, participated by academics, researchers, politicians, parliamentarians, civil and military officials, a national strategy to combat terrorism in the country has been proposed.Bangladesh has banned a total of six terrorist organizations, including JMB, HUJI and HuT. A number of Islamic NGOs have been banned who had terror links, including Revival of Islamic Heritage Society (Kuwait), Rabita Al Alam Al Islami (Saudi Arabia), and International Islamic relief Organization (Saudi Arabia), Muslim Aid (UK). More than 1,300 militants were arrested; most of them belonging to JMB, HUJI-B or HuT. 29 terrorist kingpins have been sentenced to death and many more sentenced to long imprisonment or are awaiting trial.While our police action has been commendable, we did not do enough on the social front. We need to address urgently the problem of poverty, ignorance, and backwardness. Democratisation of the society is an insurance against extremist ideology. We need to improve governance and provide access to justice for the poor and downtrodden. We need to impart modern education to our youth that prepare them to face the challenges of a fast changing world. A thorough overhaul of madrassa education in our country is long overdue. We need an education system that produce people with high ethical and technical standards, a system that encourages freethinking rather than rote learning. Emergence of HuT points out a lack of pride and a sense of disillusionment among the children of affluent class. This is because English medium schools, where most of the rich parents send their children, follow a curriculum that has no relevance to our culture, history or traditions. Therefore, English medium school syllabus too needs a thorough review.Government must legislate not to allow use of religion to gain political mileage. We need to check creeping ‘Sudiaization’ of Islam. Along with the money from the ME donors, comes the ideological package of Wahhabi Islam which is alien to South Asia. One of the prices we pay for the remittance from our labour force in the ME is the influx of Saudi brand of Islam. How do we de-radicalise these migrant workers is a big challenge for us. Meanwhile, hundreds of extremists who are arrested or under trial must be segregated from other prisoners. At present, these extremists are finding a captive audience 24 hours at their disposal, busy recruiting new ones from among the prisoners. We need to isolate the extremists and start a de-radicalisation program so that when they return to the society they become useful citizen.Our effort to counter religious extremism must be supplemented by regional and global effort. We need to have close cooperation and coordination between the governments of the region. Border monitoring, passport control, anti-money laundering measures, exchange of information on the movement of suspects, arrest and deportation of fugitives are some of the areas where regional countries could cooperate. Checking of arms smuggling across the porous border is another area where regional cooperation is the answer. In short, a total, comprehensive strategy has to be adopted for fighting religious extremism. If Bangladesh is to emerge as a modern, democratic state, the menace of extremism must be eliminated.

Alien She

Photos and Video by Mario Gallucci

Alien She

Sep 3, 2015 – Jan 9, 2016

Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.

Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.

Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.

Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.

Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.

Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more

Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.

Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.

Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh

Alien She is presented in two parts:

Museum of Contemporary Craft

724 NW Davis

Portland, OR 97209

511 Gallery @ PNCA

511 NW Broadway

Portland, OR 97209

Both venues are open Tuesday through Saturday from 11am to 6pm.

Cancer can be treated in a number of ways. Surgery, Chemotherapy, Radiation Therapy, Immunotherapy, and Monoclonal Antibody Therapy are among the most popular. The choice of cancer therapy is made by looking at the stage of the disease and the state of the patient. The goal of cancer treatment is the complete removal of the cancer without significantly damaging the rest of the body. Sometimes a surgeon can remove the cancer easily, other times this is not possible. Chemotherapy and Radiation can be quite affective in killing cancer cells, but they are also toxic to healthy cells.

The Breast Cancer Run

Surgery

Theoretically, non-blood based cancers can be cured if entirely removed by surgery. This is easier said than done. If the cancer spreads to other parts of the body before surgery, it is usually impossible to remove all the cancer through surgery. Two of the most well know surgical procedures for removing cancer are mastectomy (where one or both of the breast are removed in an effort to treat breast cancer) and a prostatectomy (where all or part of the prostate gland are removed). Cancer can recur if a single cell is left behind after surgery. With this in mind a pathologist will carefully examine your surgical specimen to make sure there is a margin of healthy tissue present.

Surgery is also used to determine the stage (extent) of cancer. Staging is very important for determining a prognosis and treatment.

A Radiation Mask

Radiation Therapy

Radiation Therapy is the use of radiation to kill cancer cells and shrink tumors. Radiation can be giving externally through External Beam Radiotherapy (EBRT) or internally through Brachytherapy. The effects of radiation are concentrated on the area being treated. Radiation Therapy damages the DNA of the cancer cells making it impossible for them to grow and divide. Radiation Therapy damages both healthy and cancer cells, but healthy cells are able to recover from the Radiation. Radiation is given over several rounds so the healthy cells have a chance to recover between treatments.

Radiation is used to treat almost every type of cancer. The amount of Radiation that is given depends on the type of cancer and how close it is to major organs. As with every form of cancer treatment, radiation is not without side effects.

Steve after Radiation

Side Effects of Radiation Therapy

The side effects of Radiation Therapy can appear during treatment or years later. The nature of the side effects depend on where the radiation was received and how much. Some of the immediate side effects from radiation are burning on the skin, swelling, infertility, and fatigue. Some of the long term side effects fibrosis (loss of elasticity in the tissue that was treated), hair loss, dryness, and cancer.

Mia in the Hospital

Chemotherapy

Chemotherapy is the treatment of cancer with anticancer drugs. Most chemotherapy targets all rapidly dividing cells, and not just cancer cells. This means that often chemotherapy damages healthy cells as well as cancer cells. However, most healthy cells repair themselves after the chemotherapy has ended. Most patients are given a combination of chemotherapy drugs. It is important that you talk all drugs that are prescribed in combination with your chemotherapy.

Targeted Therapy

Targeted Therapy first became available in the late 1990s and it has proven to be very effective in treating some types of cancer. If you have questions about Targeted Therapy and how it can help you or your loved one, talk to your doctor. Your doctor will know what Targeted Therapies may be right for your cancer.

Josh and his family after surgery

Immunotherapy

Immunotherapy is a set of strategies that will trigger a patient’s immune system to fight the tumor. Immunotherapy has been very affective on Renal Cell Carcinoma, Melanoma, and prostate cancer.

Hormonal Therapy

Hormonal therapy is used to block or provide certain hormones. They have been particularly effective in Breast and Prostate Cancers.

Tom getting chemo

Symptom Control

Some treatments are designed not to kill the cancer cells, but to control the symptoms of the cancer. This is very important for helping maintain a high quality of life for the cancer patient. Symptom Control is used for all stages of cancer, but particularly for end of life care. There is somewhat of a social stigma attached to the use of high power pain killers. Cancer patients should feel free to ask their doctor or Hospice provider about any medicine they take, especially if the patient feels the medicine is doing more harm than good. That being said, do not stop taking any medicines without consulting your health care provider first.

Complementary and Alternative Medicines

Consult your doctor and do lots of research before beginning any alternative treatment. Do not stop your other therapies or medicines in order to take an Alternative Medicine. No Alternative Treatments have been shown to effectively treat any form of cancer, and none are FDA approved.

Roger perparing for surgery

Clinical Trials

Clinical Trials test new treatments on people with cancer. The goal of these studies is to find better ways to treat cancer and help cancer patients. Patients who take part in clinical trails get the best available standard of care for their cancer, however there is no guarantee that the new treatment will work. If the treatment does work, those in the trial are among the first to benefit from the new treatment.

Article From www.cancer.sc/content,treatment/

A worker examines pancreas glands as they arrive at the insulin factory from a slaughterhouse. This image was part of a 1924 Smithsonian exhibition on the manufacture of insulin from animal pancreases.

Credit: Ann Froschauer/USFWS

Dr. Luis Padilla examines Amani's cub, born Dec. 6 at the Smithsonian Conservation Biology institute in Front Royal, Virginia, part of the Smithsonian's National Zoological Park.

Photo Credit: Mehgan Murphy, Smithsonian's National Zoo

61/365 Canon 50D, 17-40mmL, 580EXII snooted with gel fired into the wall behind, 430EXII fired through softbox high, camera right.

I feel upside down most Mondays.

www.instagram.com/hunterkerhart/

Hotel Wilshire, Los Angeles

U.S. Customs and Border Protection, Office of Field Operations, Acting Assistant Commissioner John Wagner testifies at a hearing held in the Rayburn House Office Building "Examining the U.S. Public Health Response to the Ebola Outbreak".

Photo by James Tourtellotte

Consolate Kaswera Kyamakya a PHD student examines a Four-Toed Elephant-Shrew (Petrodromus Tetradactylus) at the Yoko station laboratory,Yoko forest reserve, Democratic Republic of Congo.

Photo by Ollivier Girard/CIFOR

cifor.org

blog.cifor.org

If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org

Dr. Heather Spalding examines an algal specimen at the University of Hawaiʻi at Mānoa. Photo by: Daniel Wagner/NOAA, 2014

For more information, visit www.papahanaumokuakea.gov/news/new_species_algae.html

Follow us on Twitter: twitter.com/hawaiireef

Like us on Facebook: www.facebook.com/Papahanaumokuakea

Contact us by email: hawaiireef@noaa.gov

CIMMYT pathologist George Mahuku and MLN technician Janet Kimunye examine tassels for pollen production on an infected plant. MLN causes a symptom called ‘tassel blast’ where the tassels of infected plants do not shed or produce pollen.

Photo: George Mahuku/CIMMYT

www.cimmyt.org

Title: [Physicians examining a group of Jewish immigrants]

Creator(s): Underwood & Underwood, copyright claimant

Date Created/Published: c1907.

Medium: 1 photographic print : stereograph, unmounted.

Summary: Photograph shows immigrants gathered in small room, two with shirts off being examined by physicians; eye chart written in Hebrew hangs on wall.

Reproduction Number: LC-USZ62-22339 (b&w film copy neg.)

Rights Advisory: No known restrictions on publication.

Call Number: SSF - Emigration and Immigration -- Ellis Island, N.Y. --1907 [item] [P&P]

Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print

Notes:

No. 97332.

Devised title on verso: Physicians examining a group of Jews, possibly at Ellis Island.

Title from item.

Subjects:

Ellis Island Immigration Station (N.Y. and N.J.)--1900-1910.

Immigrants--Ellis Island (N.J. and N.Y.)--1900-1910.

Immigration stations--Ellis Island (N.J. and N.Y.)--1900-1910.

Emigration & immigration--Ellis Island (N.J. and N.Y.)--1900-1910.

Medical examinations--Ellis Island (N.J. and N.Y.)--1900-1910.

Format:

Photographic prints--1900-1910.

Stereographs--1910-1910.

Collections:

Miscellaneous Items in High Demand

Bookmark This Record:

www.loc.gov/pictures/item/2012646350/

View the MARC Record for this item.

Rights assessment is your responsibility.

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Please attribute copyright © Rolls-Royce PLC

Alien She

Photos and Video by Mario Gallucci

Alien She

Sep 3, 2015 – Jan 9, 2016

Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.

Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.

Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.

Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.

Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.

Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more

Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.

Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.

Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh

Alien She is presented in two parts:

Museum of Contemporary Craft

724 NW Davis

Portland, OR 97209

511 Gallery @ PNCA

511 NW Broadway

Portland, OR 97209

Both venues are open Tuesday through Saturday from 11am to 6pm.

Right now, it's just a piece of cloth, but Leslie Anne is already figuring out how she can turn her new dress into a thing of beauty. The most important thing is for her to simply put it on. Then she will add jewelry, shoes, and other accessories to give it her personal style.

My girl ordered two dresses from Metrostyle before she left for West Africa. Since she didn't want the package sitting on her doorstep, she had them delivered to me, and I brought them over Saturday evening. The next day she tried them on and washed them. I look forward to seeing her bring this piece of cloth alive and give me a personal fashion show.

Together with a friend of mine, I visited the Sibelco MineralsPlus (formerly Ankerpoort) Winterswijk rock quarry where limestone is excavated.

My friend was looking for fossils in the Mesozoic/Triassic period Muschelkalk soil, while I was taking pictures of the site and its visitors.

It was an overcast day (which is good for photography and outdoor lighting) but it was also quite misty and humid.

If you're interested in visiting, go here for more information, or here to register.

Walter J. Buckhorn examines field cage on ponderosa pine Dendroctonus brevicomis Lec. brood trees. Prineville, Oregon.

Photo by: F.P. Keen

Date: May 1932

Credit: USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection.

Collection: Bureau of Entomology, Portland Station Collection; La Grande, Oregon.

Image: PS-125

To learn more about this photo collection see:

Wickman, B.E., Torgersen, T.R. and Furniss, M.M. 2002. Photographic images and history of forest insect investigations on the Pacific Slope, 1903-1953. Part 2. Oregon and Washington. American Entomologist, 48(3), p. 178-185.

For more about W.J. Buckhorn see:

Furniss, M.M., 2000. Walter Julius Buckhorn (1899–1968)—Legendary Forest Entomologist, Not of the Classroom Kind. American Entomologist, 46(3), pp.133-140.

For additional historical forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources

For related historical program documentation see:

archive.org/details/AerialForestInsectAndDiseaseDetection...

Johnson, J. 2016. Aerial forest insect and disease detection surveys in Oregon and Washington 1947-2016: The survey. Gen. Tech. Rep. R6-FHP-GTR-0302. Portland, OR: USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection. 280 p.

Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth

Greg Whitesell/Examiner

Kimberly Wilson spends time with Lois, her 1 1/2-year-old Pug, in her apartments in NW Washington, DC on Friday, June 30, 2006. Kimberly, creative director and yoga instructor at Tranquil Space Yoga and TranuiliT Boutique says that Louis participates in Doga, which is an annual event, Yoga in the Park, where people bring their dogs once a year in May which benefits the Washington Humane Society.

The judges for the "Arrowhead Patrol Camping Trophy" at Charlton Farm, Wraxall, Somerset. 18th September 1933. From left to right are "Wiggy", "Mr Prior" and "Charlie".

This picture was taken by my grandfather who was involved in the staffing of the camp as a "Rover Squire" (a trainee Rover Scout, or Venture Scout as we called it in my day).

All this information comes from a camping & hiking log that my grandfather had written up in an exercise book. It contains many pictures but I just rather like this one.

Janardana Swami Temple is a 2000-year-old temple situated in Varkala, Thiruvananthapuram. It is also known as Varkala Temple. Janardana Swami is a form of Lord Vishnu. It is a very well known temple in Kerala about 10.9 km west of Kallambalam on NH 66 near sea, 25 km north of Thiruvananthapuram city, 13 km south of famous backwater destination Paravur and 2 km from Varkala Sivagiri railway station, 14 km north west of biggest town Attingal. It is situated near the Arabian sea shore.It is referred to as Dakshin Kashi (Benares of the south).

The temple is located close to the Papanasam beach, which is considered to have medicinal properties since the waters wash the nearby medicinal plants. It is also an important Ayurveda treatment centre. The temple has an ancient bell removed from a shipwreck, donated by the captain of the Dutch vessel which sank near Varkala without causing any casualties.

Varkala, a sea side town, also known as Janardanapuram, is a sacred pilgrim centre situated in Thiruvananthapruam district(Kerala) and is famous for its ancient temple of vishnu , who is popularly called as Janardana. In Sri Maha Bhavatham, mention is made that balarama, the elder brother of Sri Krishna, visited this shrine during this pilgrimage to Kanya kumari temple and also a few other temple in the south. Also, it is as ‘the Gaya of the South'. Varkala has many attractions peculiar to the place and draws hundreds of pilgrims and visitors all the year round.

Sage Narada, after paying his respects to Sri.Narayana, left Vaikuntam to see Brahma. Enraptured by the sweet music of Narada, Narayana followed him unobserved. When Narada reached Brahmaloka, Brahma saw Narayana following his son Narada reached Brahmaloka, Brahma saw Narayana following his son Narada, and offered salutations to Him, at which Vishnu, realising the awkward situation, suddenly disappeared. Brahma found that the person whom he had revered was his own son, Narada. The prajeapathis who were laughing at this incident were cursed by Brahma that they would be born on earth and suffer the miseries of human beings. Narada advised them to perform penance at the place he himself would select for them. Narada threw his ‘Valkalam' (bark upper garment) into the air and at the place where it fell down, they consecrated a temple for Janardanaswamy (a name of Vishnu).

Hence the name Varkala is a corruption of ‘Valkala', but the name came into prominent usage. The temple of Sri Janardana is situated on the summit of a table-land adjoining the sea. It is located on one of the hill-tops, which is reached by a long and wearisome flight of steps and one feels tired on arriving at the feet of the Lord. At the entrance to the inner shrine are the idols of Hanuman and Garuda on either side and in the main shrine is the idol of Sri. Janardana with Sri Devi and Bhoo Devi. The temple of Janardana is a fine ex maple of Kerala art and architecture. The circular ‘Sanctum sanctorum” surmounted by a conical dome of copper sheets, the square ‘mandapa' with beautiful wooden carvings of Navagrahas on the ceiling and copper-plated roof over it, the quadrangular enclosures (prakara) around them, a hall containing a ‘bali peetha' in front of the inner temple are the characteristic features of Kerala style of architecture. The construction period of this temple saw the rise of highly embellished temple. One of the inscriptions indicates that the temple was improved during the reign of Umayamma Rani, who ruled this region during 1677-84 A.D. The main idol has a striking appearance with four arms having all the attributes of Vishnu. It is the only shrine dedicated to Vishnu in the name of Janardana in this part of the country.

Normally all such temples are known only as Krishna temples. In the south-western corner and on the north-eastern side of the outer enclosure are the shrines of Sasta and Shiva with Nandi. To the scientist, Varkala is well known from its geological formation and has been inspected and examined carefully by hordes or geologists and volumes of interesting literature are carefully preserved in the archives of the Government of India . Besides the enchanging sea-view, there is the backwater journey by canal hewn out of the tremendous heights of hills on either side of it. The vegetation on either side of the canal, rising in height is a magnificent sight, has given rise to a series of springs form which gushes out sparkling water throughout the year. The water in supported to have medicinal properties which cure certain ailments. Even a single bath is a tonic which no traveller or visitor should miss .

TEMPLE HISTORY

In times of yore, Lord Brahma came to the earth to perform a Yaga (fire Sacrifice). He did it in the present Varkala. He was so much immersed in doing Yaga that he forgot his job of creation. Lord Vishnu came to Varkala to remind Lord Brahma about it in the form of a very old man. The Brahmins assisting Lord Brahma, received the old man and gave him food.But whatever he ate, his hunger was not satiated. Lord Brahma’s assistants went and told him about it. Then Lord Brahma could understand that the guest was Lord Vishnu himself. He immediately came near Lord Vishnu. And found him trying to eat AAbhojanam. Lord Brahma then prevented Lord Vishnu from eating it and told him, “Lord, if you eat it, then the final deluge will swallow this world. “ Lord Vishnu then re quested Lord Brahma to stop the Yaga and recommence his job of creation. He also showed him his Viswa roopa.

After this one day Sage Narada followed by Lord Vishnu was walking in the sky over Varkala. Lord Brahma who came there saluted Lord Vishnu. The nine prajapathis to whom only sage Narada was visible laughed at Lord Brahma. Because they thought that Lord Brahma was saluting his own son Sage Narada. Then Lord Brahma corrected them. They felt sad at having committed a sinful deed.Lord Brahma told them that the proper place to pray for their redemption would be shown to them by sage Narada. Sage Narada threw the Valkala (deer’s skin) that he was wearing towards the earth. It fell in the present Varkala. The Prajapathis wanted a pond to do the atonement. Sage Narada requested lord Vishnu, who made a pond there; using his Chakra (wheel) The Prajapathis did thapas there and were pardoned for their sins. It is believed that the devas constructed a temple of Lord Vishnu there and were worshipping the Lord Janardhana.

But this temple got dilapidated. At this time the Pandya king was affected by a ghost. He went on a pilgrimage but no where he was cured. When he came to the present day Varkala, he saw the remnants of a dilapidated temple by the side the sea. He prayed God saying that he would rebuild the temple there. Next day he had a dream. It told him that the next day he should go to the sea and stand near the dilapidated temple. Nearby he would see huge amount of flowers floating in the sea, if he searches there he would get the idol. That idol will not have left hand. He was instructed to make a golden hand and attach it to the idol and build a temple round it. The present Janardhana idol was recovered from the sea by him. He built the temple and laid down the rules for maintenance of the temple. The idol of Janardhana has Aabhojana in its right hand.

People believe that over years this hand is raising slowly. The day that the idol is able to eat the aabhojana from his right hand; the world will face the great deluge. There are small temples of Lord Shiva, Ganapathi, Sastha and Naga Devatha in this temple.The idol is always dressed in sandal and flowers either in the form of Janardhana, Narasimha, Venugopala or Mohini. The rohini star as well as Ashtami thithi of the month of Chingam (August–September) is celebrated as a festival here. On the southern side of the temple two bells are tied. There is a story about it. It seems one dutch ship was passing this way and suddenly the ship refused to move in spite of all efforts. The people told the captain of the ship to tie a bell in the Janardhana temple. It seems the captain and his assistant came ashore and tied the bells.As soon as they tied the bells, the ship it seems started moving. The names inscribed in the bell are Peter von Belson and Michelle evarald. People believe that if worship of ancestors is done in this temple, then they would be pleased.Possibly because of this the Janardhana is also called Pithru Mokshakan. Festival Every year, in the month of Meenam (March–April), a ten day Arattu festival is celebrated at the Janardhana Swamy Temple in Kerala's beach town of Varkala. The festival starts with a Kodiyettam flag hoisting ceremony, and ends with a procession of five decorated elephants through the streets. During the forth and fifth days of the festival, the celebrations include all night long performances such as traditional Kathakali dancing.

THE DEITY

The presiding deity of this temple is Sri Janarthana Swami. The deity is found in standing position facing towards the east. His right hand is position as if he is performing "Aachamanam". His right hand is raised towards his mouth and legends say that if his hand goes nearer to his mouth, the world will come to an end. It is believed to happen at the end of the Kali Yuga.

LEGENDS

According to the legend, attracted by the music from Narada’s Veena, Lord Vishnu started following him and reached Satyaloka. Seeing Lord Vishnu, Brahma prostrated before him. Lord Vishnu soon realized that he has reached Satyaloka but did not realize that Lord Brahma is prostrating before him and left back to Vaikunta. It seemed as if Lord Brahma is falling towards the feet of Narada and all the devas laughed. This made Brahma angry and he cursed devas to be born as humans in the earth. Devas repented their folly and begged to be forgiven. Brahma replied that the curse would be withdrawn when they do a penance to please Lord Janardana. Devas asked where that place is where they should do the penance. Brahma told them that the place where Sage Narada’s ‘Vastra’ falls will be the sacred place. It is Varkala where his ‘Vastra’ fell and Devas did the penance accordingly to get relieved of the curse.

According to Mahabharata, Balabhadran has visited the place for pilgrimage.

RITUALS

Offering obeisances to the departed souls and forefathers is a very important ritual. Four poojas are conducted in a day by the priest. The chief priest should compulsorily be from another place, and should not be a native of the place where the temple exists. Sub-deities are Ganapathi, Shastha, Ananthan (Nagam) Shiva, Chandikesha, and Hanuman. A ten day festival with Arattu is conducted on the Malayalam month of Meenam on the day of Uthram.

WIKIPEDIA

Open source images developed for Dimagi