More suitable than a Salar 40 ??

+++++

Builder: Jachtwerf Anner Wever / Tyler Mouldings UK (romp)

Designer: E.G. van der Stadt

Keel: Other

Hull Shape: Monohull

Dimensions

LOA: 12.31 m

Beam: 3.57 m

LWL: 10.95 m

Maximum Draft: 1.55 m

Displacement: 10500 kgs

Ballast: 4300 kgs

Headroom: 2.0 m

Dry Weight: 10500 kgs

Engines

Total Power: 72 HP

Engine 1:

Engine Brand: Perkins

Year Built: 1979

Engine Model: 4.236M

Engine Type: Inboard

Engine/Fuel Type: Diesel

Engine Hours: 3500

Propeller: 3 blade propeller

Engine Power: 72 HP

Tanks

Fresh Water Tanks: 2 (350 Liters)

Fuel Tanks: 2 (450 Liters)

Holding Tanks: 1 (80 Liters)

Accommodations

Number of single berths: 2

Number of double berths: 2

Number of cabins: 1

Number of heads: 1

Number of bathrooms: 2

Convertible Saloon

Electronics

Plotter

Log-speedometer

Radar

Radio

CD player

Wind speed and direction

Computer

Compass

Navigation center

Radar Detector

Autopilot

VHF

Repeater(s)

Depthsounder

GPS

Sails

Furling mainsail - furling boom 2x

Genoa

Storm jib

Furling genoa

Rigging

Electric winch

Steering wheel

Spinnaker pole

Inside Equipment

Refrigerator

Electric bilge pump

Deep freezer

Battery charger

Microwave oven

Oven

Sea water pump

Bow thruster

Manual bilge pump

Heating

Hot water

Marine head

Electrical Equipment

Shore power inlet

Inverter

Electrical Circuit: 220V

Outside Equipment/Extras

Radar reflector

Teak sidedecks

Solar panel

Teak cockpit

Cockpit shower

Cockpit table

Cockpit cushions

Outboard engine brackets

Swimming ladder

Liferaft

Total Liferaft Capacity: 6

Covers

Spray hood

Mainsail cover

Bimini Top

Cockpit cover

Genoa cover

Manufacturer Provided Description

The Trintella 42 combines luxurious cruising comfort with exciting performance, and can be handled easily by a crew of two on long ocean voyages. In keeping with the Trintella marque, the 42 offers an irresistible attraction to those who appreciate true character and understated elegance. The hallmark of each Trintella Yacht is undoubtedly the quality of craftsmanship that is evident in every detail of design and construction. World-renowned for advanced design and build quality, Trintella has created more than 1,000 fine oceangoing yachts in over 44 years. Steeped in Dutch craftsmanship, Trintella Yachts builds on its heritage to incorporate the very latest construction techniques and technological advances. The 42 is borne from a unique blend of Ron Holland's vast experience in designing the world's most prestigious yachts and Rene van der Velden's flair for interior design. The Trintella 42 is a yacht that meets the highest specifications to satisfy the aspirations and expectations of the most demanding customer. The Trintella 42 truly is a joy to sail, completely capable of handling any seas in superior comfort and safety. A distinguishing feature of all Trintellas is their uncluttered teak decks and the hugely comfortable covered guest cockpit featuring Trintella's hallmark "Doghouse" which is both practical and secure. There is a separate helmsman's cockpit aft, which has been ergonomically designed to be safe and comfortable; it provides clear views while keeping all controls within easy reach. While her comforts and luxurious appearance are her most obvious attributes, her performance is underpinned by the application of the most sophisticated technology. A modern, powerful rig and sail plan is designed with the specific objective of providing ease of handling without compromising performance. A custom mast incorporating triple spreaders angled at 22 degrees means there is no need for running backstays. This mainsail arrangement is further complemented by a self-tacking jib; therefore, the boat can be tacked by the helmsman in a delightfully unfussed manner. Computer aided design dramatically improves hull and keel design providing superior stability and speed, while the use of aramid composites makes for enhanced safety characteristics. A sandwich construction, using the technologically advanced SCRIMP process, ensures great strength and lightweight qualities; as well, osmosis protection is enhanced by the SCRIMP construction process and use of vinylester resin in the laminate. Advanced engineering techniques, complemented by efficient sail management systems, ensure the Trintella 42 is a thoroughly modern yacht that combines the best traditional values of craftsmanship with the sophisticated demands of the modern age. The luxuriously comfortable interior of the Trintella 42 is both spacious and highly functional with generous headroom of 1.90 meters or more throughout. Practical features abound and incorporate ergonomic considerations including the heavily insulated walk-in engine room that will also discretely house options such as a generator, water maker, and hydraulics systems. Thoughtful but less obvious details include cedar lined hanging lockers in each cabin to keep your clothing fresh and moth-free. Above all, Rene van der Velden's particular talent combines careful planning of the interior spaces with the delicate art of selecting woods and fabrics to create an atmosphere that makes extended cruising a constant delight. Finely styled, and elegant without being ostentatious, you can choose a wide selection of upholstery fabrics and materials to create a yacht that is as comfortable as your home and expresses your own individuality to the same degree. Available in two layouts, the Trintella 42 can provide accommodation for up to six people, with a saloon that has comfortable seating for six complemented by a spacious galley designed to be safe and secure in heavy seas. You can choose to have two large cabins fore and aft (each with en- suite head and separate shower compartment) with a comprehensively equipped navigation station carefully positioned on the starboard of the saloon, or you can choose to have the chart table moved to the doghouse, allowing two bunks to be provided there instead. Specification Each Trintella is built to the highest quality in terms of design specification, craftsmanship, and technological development, thereby ensuring quality standards you can trust. For further reassurance, each yacht is 100 percent guaranteed for one year from delivery, with all fixtures, fittings, and equipment installed in the yacht also carrying the manufacturers' warranties and guarantees. There are many variations and options that you can choose to incorporate in the design and construction of your yacht. However you design and fit your boat, it will naturally be dockside tested before delivery, and then will undergo a full technical sail trial after delivery.

Euros 99,000

it never fails that I meet some very interesting people during my usual Sunday outings

期待に反して 2014/8/3 4:49

Darioush Winery, Napa Valley, California, USA

Darioush, a winery noted for its Bordeaux style estate wines, implements old world labor-intensive, micro-vineyard management and new world state of the art technology to craft fine wines from its estates located in the appellations of Napa Valley, Mt. Veeder and Oak Knoll. Under the direction of Darioush Khaledi and winemaker Steve Devitt, precision and quality are of the utmost importance at the winery.

The Property

Darioush welcomes guests to its new visitor center and winery beginning August 16, 2004. The new architectural building comes after five years in the making, and combines materials, castings, and furnishings from distant lands and exotic locations. The 22,000 square foot winery, the first in America to combine architecture, design and Persian culture, provides a unique and exhilarating experience in California’s most renowned wine destination. Reminiscent of the great noble architecture that once existed, the imagery of the Darioush building evokes Persepolis, the illustrious capital of ancient Persia.

The Khaledi's Persian heritage is the inspiration and vision for the winery, designed by architects Ardeshir and Roshan Nozari, incorporating clean, contemporary lines with historical references to Persia’s ancient capital city. One of the most important aspects of the Persian culture is hospitality, and the winery is designed to create a welcoming, enjoyable as well as a rich and intriguing environment for guests. Visitors will receive unparalleled service and a sensational experience.

“The juxtaposition of modern clean lines and historical references represent the philosophy of our office,” states Ardeshir Nozari, who incorporated many intriguing architectural elements throughout the building. Among the design features of interest are the 16 monumental 18’ freestanding columns with capital bulls, which act as stone trees at the entrance of the winery, elevating visitor expectations. Richly textured travertine-stone cladding surrounds the entire building. This yellow stone was quarried near the region of Persepolis and exported to Turkey and Italy for cutting and tumbling before it reached the Silverado Trail in Napa. Additional design features include pre-cast moldings, furniture, fireplaces, ironwork, lighting, cellars, and an amphitheatre for performances and events.

The Visitor Center boasts a state of the art facility offering a unique one-on-one experience to taste the complete line of signature wines with options for indoor and outdoor seating. Six outdoor water features with fountains and one indoor rolling wall of water comprise some of the sights and sounds of the guest experience. Lush and varied landscaping creates a sequence of continuous gardens, which lead the visitors to the winery.

Grey military jacket—Forever 21

Old Navy ivory turtleneck—thrifted

Ivory silk scarf—vintage

Silver medallion necklace—Cato

Fragile grey skinny jeans—Ross

Grey/taupe/ivory scarf—thrifted

Sporto boots—Ross

See more at www.styleartisan.com.

From the autumn 2016 trip to Vietnam:

If ever there were a good way to finish up a trip, this particular Sunday in October would be it. Before arriving in Hanoi, I honestly had exceptionally low expectations. A bit like Saigon, if you are to go online and try to look up a list of places to visit – basically a tourist’s stock photography checklist, as it may be – you don’t find much that’s appealing. Well…I didn’t, anyway, and as a result, I had pretty low expectations for Hanoi.

The charm and beauty of Hanoi, however, isn’t in any one particular place. It’s in the experience of the entire city. (I’d say the same for Saigon, but multiply that a few times for Hanoi.) On this day in the Old Quarter in particular, I kept finding myself thinking, “Oh, my God, I shouldn’t be this lucky as a photographer…” Today ended up being mostly about people, with a little food and historical locations mixed in.

As I mentioned in the last set of posting, today would start off a bit sad with Junebug leaving for China a day before I would. So, we were checked out of our room by 6:00 in the morning or so. The breakfast at the Art Trendy was wonderful. Buffet with a mix of made-to-order omelets mixed in. Strong work, Art Trendy, strong work…

When June left, I really had nothing to do since it was still six in the morning and I was temporarily homeless as I had to switch hotels. So…I sat around the lobby for about two hours (possibly slightly awkward for the poor girls working there, but oh, well; I had to sit somewhere).

Around 8:00, I finally dragged my old bones out of the hotel and walked the five to ten minutes down the street to the Aquarius, where I politely asked them to hold my non-camera bag until I come back around 1:00 in the afternoon to check in.

After that, I was finally off with my cameras to enjoy an early Sunday morning in the bustling Old Quarter. On the street where the hotel is situated are a number of restaurants where locals were jammed in to enjoy noodles, steamed buns, and the like. It was wonderful to be among that crowd (though someone tried to scold me ever so slightly for taking pictures of people eating).

Since this was right next to St. Joseph’s Cathedral – and it was Sunday morning – I found my way back into the church where we crashed the wedding the afternoon before and realized that I almost got locked into Sunday mass while walking around taking pictures. So…I stayed. I prayed. And my prayer was answered when I realized the side doors and even the back door were open. (Ok…I didn’t really think I was locked in a church, but it did feel like it a little bit.)

Upon exiting the church, a handful of frames under my belt, I walked along the lovely streets photographing shops and people. At Caphe, I piggybacked on someone else’s photo shoot – it looked like they were doing a promo for the place, or possibly just a personal shoot for five women, though I have a feeling it was the former. At any rate, I was quite pleased with that little set and am presenting quite a few of those here, even if they’re a little redundant.

My ultimate goal with this wandering was to find my way to the Hanoi Hilton. Now, I’m not taking about the hotel chain, of course, but rather the prison that U.S. prisoners of war sarcastically called the Hanoi Hilton during the Vietnam War. (This is the prison where Senator John McCain was interred while a POW, and there are one or two pictures to that effect here.)

This prison has a particularly interesting history (and morbid since…well…it’s a prison). It’s about a hundred years old and was founded by the French colonialists around the turn of the 20th century. During the first 50 years of its history, the French imprisoned Vietnamese insurgents and those who wanted independence. In the eyes of the French…renegades (hence the imprisonment). In the eyes of the Vietnamese – especially the current government – patriots and national heroes. If they were truly freedom fighters, then I would probably side with the current government on that one.

The French even had a guillotine installed here and overcrowding was a major problem. There were plenty of escape attempts, and more were successful than you may think, which is a little peculiar.

After the battle of Bien Dien Phu and the ejection of the French from the north (and before the U.S. got involved in the south), the prison changed hands and was under control of Ho Chi Minh. During the Vietnam War, it became one of the main prisons for U.S. POWs, as I alluded to above.

The propaganda claims that the Vietcong were absolutely humane and decent with U.S. prisoners, allowing them to observe their religious rites (Christmas celebrations, etc.), allowed prisoners to smoke and enjoy leisure (board games, basketball, etc.), and claimed they were well-fed.

This is certainly how it’s presented in the prison/museum currently. If you were to go online, though, and try to find a contrary report, you would find that this was all coerced and staged to make it appear as if things were on the up and up. (For anyone curious, per my Vietnamese friends, the general education in Vietnam today is how terrible the French and U.S. were for colonizing and torturing the country and keeping it from its independence.)

So, what’s the truth of what really happened? Who knows? Outside of firsthand accounts, it’s impossible to know for certain and even then, memory can be a tricky thing. I tend to like to say the truth is always somewhere between two opposing viewpoints, no matter what the topic may be.

From an impartial and purely photographic point of view, the prison, currently a museum/memorial, is an interesting place to spend an hour or two. Some of the exhibits seem a bit cheesy, but some are quite tasteful and well done. There’s also an informational video. You’ll have to see this with a bit of imagination (the prison, that is), as at least half of it has been leveled for high rise buildings. At least there’s some tangible piece of it left to visit, including the main gate (Maison Centrale).

After about two hours here at the Hanoi Hilton, I walked over towards the Opera House to get a few daytime shots but, really, to get lunch at El Gaucho. I was looking forward to a proper steak. The prices were astronomical (though justifiable based on what I ate), though I just opted for a steak salad. It was so good I contemplated going back for dinner, but had other plans.

With a happy stomach, I went back to finally check in at the Aquarius Hotel and got my workout huffing up six flights of stairs each time I went out. I relaxed here for a few hours until 4:00 when a dear friend of mine came to town to see me.

Ngan and I had an ice cream at Baskin Robbins right in front of St. Joe’s before heading over to the Temple of Literature. This is a temple dedicated to education and, bless my soul, it’s a place where university graduates come for graduation pictures.

On this particular day – a warm, sunny, late Sunday afternoon – it was packed with college students. And it was beautiful to see that many people happy, full of hopes and dreams, and dressed in either cap and gown or traditional Vietnamese clothes. In short…I had a field day shooting for an hour here.

Around 5:00, Ngan had to head back to school, and I went back to my hotel. I had one more meeting. Hoa, who traveled around Thailand & Cambodia with me in May, flew back to see me this evening. She picked me up at 6:00 on her scooter and rode me all around Hanoi by evening.

She started by taking me to Ho Chi Minh’s Mausoleum (which I consider a lot more photogenic in its setting than the Great Gangster’s Mausoleum on Tiananmen Square). This one, at least, was in a parklike setting. At evening, it’s well-lit and you can find people relaxing in the grass in front of it. During the day, you can visit and there are quite a few buildings behind the mausoleum that you can also see.

After a few minutes here, Hoa took me by West Lake – the largest lake in Hanoi, as I mentioned yesterday – and just drove me around for over an hour, it seemed. My impressions that Hanoi (even out of the Old Quarter) seemed to be a good place to live – though I’d be concerned about the air pollution – and people here seemed to be happy. Also…Vietnamese really love their coffee.

We finally returned to the Old Quarter for dinner at one of the famous restaurants she recommended and she treated me to a wonderful dinner. I can’t recall what we ate (the Vietnamese names of it, anyway), but it was nice.

After dinner, she drove me over towards the Opera House and then, finally, we stopped by Hoan Kiem Lake in the heart of the Quarter and walked around the lake. It was getting close to 10:00 by this time, and I wanted to get back to the hotel to get a few hours sleep before waking up for my early flight in the morning. Hoa came to the airport with me to see me off.

If ever there were a great way to finish a great trip, this was it. I absolutely loved Vietnam – honestly, a lot more than I imagined I would, even with every single person I know who’d ever come here saying what a fantastic country this is – and would gladly come back. This seems to be one of the kinds of countries that you would never get tired of or, if you did, it would sure take a long time. With that, I’ll bid goodbye to Vietnam for now with the hopes that I’ll someday return to this land of amazing food, landscapes, and people.

As always, thanks for dropping by and viewing these pictures. Please feel free to leave any questions or comments and I’ll answer as I have time.

#Manage the #Expectations

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this snap is caption less help me caption it.. :)

Thank You :- My 1st on Explore

In Mt Cootha botanical gardens

Adapted from Charles Dickens by Lucinda Stroud

Directed by Jane Jones

Art by Mikey Mann

January 16 - February 14, 2016

pcs.org/expectations

Designer: Cheng Guoying (程国英)

1987, July

Expectations

Xiwang (希望)

Call number: BG E15/519 (Landsberger collection)

More Chinese propaganda posters? See: chineseposters.net/themes/future

Download Photo #4266563

www.mlenny.com/new-photos/expectations-woman-portrait

Mlenny Photography :: People : Travel : Lifestyle : Nature : Architecture

Elizabethtown Fair - Elizabethtown, PA

Donald Julian Reaves announced today that he will step down as chancellor of Winston-Salem State University (WSSU) effective December 31, 2014, or thereafter when a successor is in place.

Accompanied by his wife Deborah, Chancellor Reaves made the announcement to a gathering of university faculty, students and staff after having informed the WSSU Board of Trustees at its meeting earlier in the day.

“At the end of December I will be in the middle of the eighth year of my five-year commitment,” Reaves said jokingly. “Seriously though, I am truly thankful to have had the opportunity to serve the University and the community and I want to thank UNC Presidents Tom Ross and Erskine Bowles for giving me the opportunity to lead this institution. I also want to thank the members of the board of trustees with whom I have worked for their strong support, especially Board Chair Debby Miller. I also want to salute the wonderful faculty and committed staffs who serve this institution. For me, it has been an exceptional experience.”

Chancellor Reaves said that he struggled with the decision, but beginning in late 2012 has had conversations with UNC President Ross about his desire to step down as chancellor and return to the classroom, where he began his career in higher education 37 years ago. He will join the WSSU political science faculty as a full professor with tenure.

“Deciding to leave a job that you love is not easy,” Reaves explained. “Deborah and I have given this decision considerable thought and I have consulted widely about it. I also went back and read the speech that I gave at my installation to determine whether I had fulfilled the promises I made then. Though there is always work to be done, I feel that we have accomplished everything that I said and much more. So, having built a much firmer foundation for WSSU, it seems that now is a good time to move on.”

Chancellor Reaves said that his initial goals were incorporated into the University’s strategic plan and that he continues to be excited about the implementation of those efforts and the results. He is particularly proud of the improved outcomes for students, including significantly better retention and graduation results.

“Providing our undergraduate students with a quality education and preparing them for success in their careers and their communities is our primary mission,” Reaves said. “Graduating students is the business that we are in and I’m proud to say that business at WSSU is booming. Current statistics speak directly to what we have been able to accomplish.”

By raising admission standards three times beginning in 2007, the University has attracted better prepared students and that has impacted retention and graduation rates. The retention rate for first-year students climbed from 68 percent in 2006 to more than 80 percent in the 2011-2012 academic year. The graduation rate which stood at 36.5 at the end of the 2007-2008 year has improved to 45.5 percent for the most recent reporting period, and the number of students graduating has risen from 824 in the 2006-07 year to 1,556 for the most recent year, 2012-13, an increase of almost 89 percent.

“It is also important to note that progress was achieved despite major reductions in our state allocations,” Reaves added. “We did that by targeting our scarce resources on a single key objective and that was improved student outcomes.”

The fact that more has been done with less is reflected in data released from the UNC General Administration that shows that over the five-year period, from 2007 through 2012, per student spending at WSSU declined by almost 30 percent while degree production increased by more than 47 percent. Among the 16 UNC campuses, WSSU ranks number one on both of those percentage change measures.

Chancellor Reaves stated his strong belief that the University has benefited tremendously from its strict adherence to the goals and objective set forth in the strategic plan, Achieving Academic Distinction: The Plan for Student Success – 2010-2015, which include academic excellence and student success as the highest priorities. “Virtually every decision we make and every dollar we spend benefits from the guidance provided by the plan” Reaves noted.

Other derivatives of the strategic plan include:

•Reforming and implementing an undergraduate curriculum grounded in the liberal arts tradition and designed to prepare students to compete in the market-based global economy. At the core of the new curriculum is an emphasis on the development of the students’ ability to think critically, participate in rigorous analysis and creative problem solving, communicate effectively, and collaborate to effect results.

•Reducing the size of the student body to improve student preparedness and to align its size with available resources, including the capacity of the physical plant.

•The consolidation of the schools of business and economics, and education with the college of arts and sciences to generate savings, and to align projected spending with expectations about the resources that are likely to be available in an era of flat or declining enrollments.

•Expanding graduate education with the addition of doctoral programs in physical therapy and nursing.

•Raising the standards for tenure and promotion to improve the quality of the faculty.

•Developing a partnership with Forsyth Technical Community College which has led to the creation of the Dual Admission Program that provides students who were not admitted to WSSU with an opportunity to prepare themselves academically prior to matriculating directly to WSSU.

•Maintaining the athletic program at the NCAA Division II level, reducing significantly the resources that were allocated previously to athletics, and making them available to support academic priorities. An added bonus, the program has subsequently won 14 conference championships.

•Managing a $34 million reduction in state funding over five years without reducing fulltime faculty or course offerings.

•Improving the student experience through the development of a campus master plan that included the construction of the new Donald Julian Reaves Student Activities Center, the Martin-Schexnider Residence Halls, the renovation of Hill Hall for use as a Student Success Center, and the nearly complete acquisition of Bowman Gray Stadium and the surrounding 94-acre Civitan Park.

Reaves noted that while the list of accomplishments is impressive, his greatest satisfaction derives from the more subtle, less-quantifiable changes that have taken place, with an emphasis on what has occurred with regard to expectations.

“When I arrived in 2007, I encountered a culture of low expectations that was characterized by a belief that WSSU students could not succeed,” Reaves explained. “That belief prevailed among the faculty, the staff, and the various communities and even among our students and their parents. WSSU was viewed as an institution of last resort. All of that has changed. Today, there is a new spirit on the campus among the students and the faculty, as well as throughout the community. There is once again a genuine belief that a WSSU education can prepare students to compete and be successful in the marketplace. The success that we have enjoyed since changing the culture of the institution is by far the most rewarding aspect of my work and will undoubtedly have the greatest impact on the future of the students and of the institution.”

WSSU Board of Trustees Chair Debra Miller also spoke of Reaves’ leadership and said that because of the work he and his team had completed, the board accepted his decision with great regret.

“As a member of the Board of Trustees and as an alumna of WSSU, I am extremely proud to have had the opportunity to work with Chancellor Reaves,” said Miller. “Through his vision, his leadership, his commitment to academic excellence, his willingness to make difficult decisions such as establishing priorities among competing interests, his commitment to improve student outcomes, his hard work and that of the team that he assembled, this university has been transformed in virtually every respect. It is exciting to see the impact that the past seven years have had on our students and on the campus.”

Donald Reaves assumed his duties as chancellor in August 2007. Chancellor Reaves had previously served five years as Vice President for Administration and Chief Financial Officer at the University of Chicago, and he spent 14 years at Brown University where he held a number of senior positions including Executive Vice President for Finance and Administration and Chief Financial Officer. Prior to joining Brown University in 1988, Chancellor Reaves worked in Massachusetts state government where he held several positions including deputy assistant commissioner for budget and cost control at the Massachusetts Department of Public Welfare. Chancellor Reaves also spent 16 years in the classroom, 13 of which were at Northeastern University as a tenure-track and adjunct member of the political science department

A native of Cleveland, Ohio Chancellor Reaves earned his undergraduate degree from Cleveland State University and his Master’s and Doctoral degrees in political science and public administration from Kent State University.

While in Winston-Salem, Chancellor Reaves has served on numerous boards including the Novant Hospital Health Triad Region, Forsyth Futures, the Piedmont Triad Leadership Council, the Winston-Salem Alliance and the Josh and Marie Reynolds Hospital Guest House Board of Advocates. He also served on the advisory boards of the North Carolina Humanities Council and Wells Fargo Bank.

“Life is made of so many partings welded together”

~Charles Dickens, Great Expectations

My rose bush revealed today along with all its thorns a tiny touch of green ...

No one knows how and when he arrived at this forgotten junction of Polish countryside. The dog is a stray, that's for sure. The newsagent kiosk lady, who gives him food, calls the dog Negro. He has that suicidal habit of waiting for the oncoming traffic. So far, the cars swerve around him but one day a careless, or unaware, driver will kill Negro and end this misery of waiting for the long gone car...

Photograph taken at an altitude of Four metres, during the first vestiges of ambient light prior to the magic of the Golden Hour around sunrise (which was at precisely 04:51am), at 03:30am on Monday 7th July 2014, off Botany Road and the Viking Coastal Trail on the shoreline of Botany Bay, the Northern most of seven bays in Broadstairs, Kent, England.

The seven bays are (from south to north) Dumpton Gap, Louisa Bay, Viking Bay, Stone Bay, Joss Bay, Kingsgate Bay and Botany Bay.

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Nikon D800 24mm 1/100s f/2.8 iso100 RAW (14 bit) Mirror up. AF-S Auto focus. Manual exposure. Matrix metering. Auto white balance.

Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

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LATITUDE: N 51d 23m 19.71s

LONGITUDE: E 1d 26m 13.96s

ALTITUDE: 4.0m

RAW (TIFF) FILE: 103.00MB

PROCESSED FILE: 17.46MB

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Processing power:

HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.90 64bit. Adobe photoshop Elements 8 Version 8.0 64bit

Iguazu River. Some argentinian children play in front of the waterfalls. Happiness runs wild. Does it?

“The universe is full of magical things, patiently waiting for our wits to grow sharper.”

~ Eden Phillpotts

'expectations' On Black

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.

The Weavers are shown in a postcard circa 1949.

The Weavers were a progressive folk singing group formed in November 1948 by Ronnie Gilbert, Lee Hays, Fred Hellerman, and Pete Seeger.

In 1940 and 1941, Hays and Seeger had co-founded a previous group, the Almanac Singers, which had promoted peace and isolationism during the Second World War, working with the American Peace Mobilization.

At Hellerman's suggestion,[2] the Weavers took its name from a play by Gerhart Hauptmann, Die Weber (The Weavers 1892), a powerful work depicting the uprising of the Silesian weavers in 1844 which contains the lines, "I'll stand it no more, come what may".

The group had a big hit in 1950 with Lead Belly's "Goodnight, Irene", backed with the 1941 song "Tzena, Tzena, Tzena", which in turn became a best seller.[1] The recording stayed at number one on the charts for a lengthy 13 weeks. In keeping with the audience expectations of the time, these and other early Weavers' releases had violins and orchestration added behind the group's own string-band instruments.

The successful concerts and hit recordings of the Weavers helped introduce to new audiences such folk revival standards as "On Top of Old Smoky"[1] (with guest vocalist Terry Gilkyson), "Follow the Drinking Gourd", "Kisses Sweeter than Wine", "The Wreck of the John B" (aka "Sloop John B"), "Rock Island Line", "The Midnight Special", "Pay Me My Money Down", "Darling Corey" and "Wimoweh".

The Weavers encouraged sing-alongs in their concerts, and sometimes Seeger would shout out the lyrics in advance of each line in lining out style.

During the Red Scare, Pete Seeger and Lee Hays were identified as Communist Party members by FBI informant Harvey Matusow (who later recanted) and ended up being called up to testify to the House Committee on Un-American Activities in 1955.

Hays took the Fifth Amendment. Seeger refused to answer, however, claiming First Amendment grounds, the first to do so after the conviction of the Hollywood Ten in 1950. Seeger was found guilty of contempt and placed under restrictions by the court pending appeal, but in 1961 his conviction was overturned on technical grounds.

Because Seeger was among those listed in the entertainment industry blacklist publication, Red Channels, all of the Weavers were placed under FBI surveillance and not allowed to perform on television or radio during the McCarthy era.

Decca Records terminated their recording contract and deleted their records from its catalog in 1953. Their recordings were denied airplay, which curtailed their income from royalties.

Right-wing and anti-Communist groups protested at their performances and harassed promoters. As a result, the group's economic viability diminished rapidly and in 1952 it disbanded. After this, Pete Seeger continued his solo career, although as with all of them, he continued to suffer from the effects of blacklisting.

In December 1955, the group reunited to play a sold-out concert at Carnegie Hall. The concert was a huge success. A recording of the concert was issued by the independent Vanguard Records, and this led to their signing by that record label.

By the late 1950s, folk music was surging in popularity and McCarthyism was fading. Yet the media industry of the time was so timid and conventional that it wasn't until the height of the revolutionary '60s that Seeger was able to end his blacklisting by appearing on a nationally distributed U.S. television show, The Smothers Brothers Comedy Hour, in 1968.

After the April 1957 LP release of the Carnegie Hall concert, the Weavers launched a month-long concert tour. That August the group reassembled for a series of recording sessions for Vanguard.

In 1958 Gilbert, Hays, and Hellerman overruled Seeger about a recording a cigarette ad for a tobacco company. Seeger, opposed to the dangers of tobacco and discouraged by the group's apparent sell-out to commercial interests, decided to resign. Honoring his commitment to record the jingle, he left the group on March 3, 1958.

Seeger recommended Erik Darling of The Tarriers as his replacement. Darling remained with the group until June 1962, leaving to pursue a solo career and eventually to form the folk-jazz trio The Rooftop Singers.

Frank Hamilton, who replaced Darling, stayed with the group nine months, giving his notice just before the Weavers celebrated the group's fifteenth anniversary with two nights of concerts at Carnegie Hall in March 1963.

Folksinger Bernie Krause, later a pioneer in bringing the Moog synthesizer to popular music, was the last performer to occupy "the Seeger chair." The group disbanded in 1964, but Gilbert, Hellerman, and Hays occasionally reunited with Seeger during the next 16 years.

In 1980, Lee Hays, ill and using a wheelchair, wistfully approached the original Weavers for one last get-together. Hays' informal picnic prompted a professional reunion, and a triumphant return to Carnegie Hall on November 28, 1980, which was to be the band's last full performance. They appeared one final time in June 1981 at the Clearwater Festival, in an informal "rehearsal."

The Weavers provided a light to those cast into darkness during the McCarthy era and helped to inspire the folk revival of the early 1960s.

--Partially excerpted from Wikipedia

For other random radicals, see flic.kr/s/aHske413N1

The photographer is unknown. The image is from a postcard obtained via the Internet.

Nikon F100, AF Nikkor 50mm f1.8D, Neopan 100 Acros, Epson GT-X830

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Francois Langur baby and parent.

My son had a basketball match the other day - messing around with a couple of pics I took there I cam up with this

Copenhagen, Thorvaldsen Museum

My expectations include properly constructed sentences on the signs, and proper usage of the comma.

Tolovana Inn, Cannon Beach, Oregon.

Holliday Grainger at the premiere of Great Expectations, Toronto Film Festival 2012

Happy Easter!

This poem blogged on Talking Story today with more photos: I love Easter:

Easter is unrestrained, enthusiastic abundance.

It’s a basket of treats which never gets empty if you look hard enough.

Look by closing your eyes and feeling what’s there.

I love all of it, and that there’s a lot to love.

I love the lead up of Lent and Good Friday (good Catholic girl that I am), and

I love the glory of the day when Easter arrives.

I love that we expect that glory, and that wonder.

I love the pastel colors, and even the fake Easter grass.

I love seeing the Peeps in the market, and

I love getting that craving for marshmallow, and for

Cadbury malt.

I love the Easter Eggs, and everything we do about them, and with them.

I love the decorating with homemade dyes, and

I love making bunny footprints with flour.

I love our creativity, and even our indulgence.

I love all the chocolate and all the sugar.

I love that I will eat Easter’s treats without a shred of hesitation or guilt.

Oh! How I love the blooming.

I love the flowers — there are so many to love!

I love the greenery too, both lush and still tender,

The leafing (is that a word?) that is everywhere.

I love the art.

I love the playfulness that Easter critters inspire.

I love the chicks and bunnies, birds and butterflies.

I love them all showing us their softer sides,

All willing to become characters which are cartoons of themselves.

Even frogs wear Easter well.

I remember how we made Easter bonnets in kindergarten.

Do you?

I wish we all still wore Easter bonnets now.

Crepe paper, feathers, ribbons and all.

And no matter how old we have become.

We could still wear them well… silly grin included.

(Those red hat ladies are on to something.)

I love that Easter happens in the Spring.

(especially when it happens in April, and not in March).

I love that Easter day means Easter Sunday.

Sunday is elemental peacefulness.

Sunday is thankfulness and gratitude.

Sunday is Mālama time.

I love our reverence on Sunday, and our humility.

Our awe.

Our respect.

And Ha‘aha‘a as a value that looks like laughing no matter how you pronounce it.

I love the Palena ‘ole exuberance of Easter.

I love the joy of its Ka lā hiki ola flavored promises.

Easter renews us.

It’s vibrant.

It’s hopeful.

It’s a beauty which is very, very good for us.

It’s even beauty in that plastic, yet amazing Easter cellophane;

Purple, yellow, pink, and a

Green that isn’t really green at all,

But some kind of cool bluing. Prisms.

I love that Easter is about Faith.

I love that Easter is about Believing.

It’s amazing resilience, and Resurrection, I know, but you know what else?

Easter is a day to love your life, just as it is.

And yet,

Easter is also a day to think about flourishing in new ways.

So do that. Flourish.

Love Easter with me, and feel it love you back.

Tucson, AZ