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distribute or exploit In any way Thank you
view my photostream here portfotolio.net/heavenxxx23
tree moonglowlilly.deviantart.com/art/PNG-TREE-AB-330801213
cosmos flowers brokenwing3dstock.deviantart.com/gallery/
sunflower brilijah.deviantart.com/art/sunflowers-PNG-170075462
For my beautiful little girl heaven Born sleeping 21/2/ 89 Love you 4 ever and an eternity R.I.P
An Angel in the book of life wrote down My Daughters Birth Then whispered as she shut the book to beautiful for earth
www.youtube.com/watch?v=fMfBKwCBgGI
sorry for not commenting much feeling sad at the moment I hate febuary it dont matter how many years pass it still feels like yesterday please bear with me thanks for your visits comments and faves your support means a great deal to me xxx
Italian postcard by Bromostampa, Milano, no. 380.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first films to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the Sci-Fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theatre. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. She released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Here's another look at the poppies that I'm currently exploiting.
I particularly wanted backlighting with these flowers, so I put a bare YN560-II behind and to the right at about 1 o'clock, a Strobie 130 in a softbox camera left and behind at 11 o'clock and for fill lighting I used a YN560 in a softbox camera right, in front, at 4 o'clock. Strobes were in manual mode and were triggered by a Yongnuo RF-603N.
Other plants, flowers, fruit or thingys that I've photographed using strobes, can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422
PART 3. (Please do start with Part 1, just 2 images back in my photostream)
The media, always eager to exploit the next blockbuster "breaking news" event, hyped the Laquan McDonald video and provided the movement with a stage for Act II, allowing a small group of activists to bring this city to a halt.
Chicago Mayor Rahm Emmanuel was cowed into submission, and allowed demonstrators to run amok along the Magnificent Mile throughout the Christmas shopping season, costing retailers millions in lost revenue, and the City millions more in police overtime.
Since then, the movement's trump card, its contention that the McDonald video is a "template" that can be applied to all police-involved shootings, has taken a big hit. The next video to be released, that of Ronald Johnson, clearly shows that he was armed with a gun when he was shot and killed.
What's more, the in-depth presentation by Cook County State's Attorney Anita Alvarez revealed that Ronald Johnson had been a passenger in a car that was shot at by rival gangbangers. Ronald Johnson then pulled his own gun and told the driver to let him out so he could hunt down that shooter himself.
Instead, Mr. Johnson faced the officers who were responding to the original "shots-fired" call by citizens in the area. If he had acted like a responsible citizen and assisted the officers, instead of taking the law into his own hands, those officers would have focused their attention on the original shooter and not on him. By putting himself - gun in hand - in the area where shots had been fired by a different gangbanger, he became the individual the responding officer focused on. Refusing to drop his weapon, he was eventually shot and killed.
The ultimate irony is that the Ronald Johnson video could be put forward as a "template" for the situation Chicago Police Officers usually face: armed predators who stubbornly refuse to surrender, either because doing so would violate their gang's code of conduct, or because they're so coked out of their mind that they truly believe themselves to be invincible.
The most recently released video, consists of surveillance footage that captured the killing of Cedrick Chapman back in 2013. This video fotage is inconclusive at best, and clearly does not live up to its billing as yet another example of racist White police officers executing yet another unarmed African American young man.
In fact, this particular African American young man had just car-jacked a fellow citizen. The officers in this case - armed with the information that this offender was armed and dangerous - spotted the vehicle in question with Cedrick Chapman behind the wheel, and gave chase.
When the offender bailed out, he first threw the vehicle's transmission into reverse. That's a favorite trick used by experienced auto-thieves, forcing police officers to jump into a moving vehicle and bring it to a halt before it can injure innocent bystanders or cause more property damage.
As soon as the first officer had brought the stolen vehicle to a halt, he joined his partner in the foot-pursuit of the fleeing felon. Too far back to assist his partner, who was about to pounce on the fleeing car-jacker, the first officer noticed that the offender was holding a black object in his right hand, The first officer - "fearing for his partner's life - then fired his own weapon, striking and killing the offender.
Does that sound just a little contrived? Yes, it does, but, in the absence of reliable information that proves otherwise, the anti-police movement has little to offer but the now familiar accusations. Left with nothing but hot air, the movement simply pivots back to its ace in the hole: the Lawuan McDonald video.
TO BE CONTINUED
* * * * * * *
This mural at 57th & Lake Park is but one panel of a large mural devoted to peace vs. militarism, free speech and civil disobedience. This particular panel references the peace movement after the slaughter of the Great War (1914-1918). It shows a woman trying to get both sides to "put the guns down..."
Unfortunately, 40 years after this mural was painted, we can not get gangbangers on the South and West Side to put their guns down, and Chicago is on track to reap 600 homicides in 2016.
Cigarettes with names like Hope, Fortune, Mighty ... sold on the streets of Iligan, Philippines by a child.
Exploitant : Transdev Montesson les Rabaux
Réseau : Résalys
Ligne : R2N
Ligne : Gaudines (Saint-Germain-en-Laye, F-78)
Lien TC Infos : tc-infos.fr/vehicule/27041
A backdoor is a means to access a computer system or encrypted data that bypasses the system's customary security mechanisms.
A developer may create a backdoor so that an application or operating system can be accessed for troubleshooting or other purposes. However, attackers often use backdoors that they detect or install themselves as part of an exploit. In some cases, a worm or virus is designed to take advantage of a backdoor created by an earlier attack.
Whether installed as an administrative tool, a means of attack or as a mechanism allowing the government to access encrypted data, a backdoor is a security risk because there are always threat actors looking for any vulnerability to exploit.
There have been a number of high-profile backdoor attacks that have occurred over the last few decades. One of the most noteworthy was Back Orifice, created in 1999 by a hacker group that called themselves Cult of the Dead Cow. Back Orifice enabled remote control of Windows computers thanks to operating system vulnerabilities.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2610 (BC-388-WN)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1809
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
18/06/2016 15:55
Rue du Vergne ; F-33 BORDEAUX
Bus : MAN Lion's City 12 G Efficient Hybrid
n°7467 - ligne 281
Exploitant : RATP
Réseau : Ile de France Mobilités, RATP
Lieu : Créteil, Val de Marne, France
A second shot from a previous location, Kuro and I felt that we could have done better. I must say, we did. The first time we shot the wide angle shot, we used Kuro's Canon. This time we used my Nikon, and I must say, Nikon > Canon. All jokes aside, we wanted to be completely parallel with the backing wall, so that the sparks would hit both walls. We also used a new cage to help reduce the chances of a shoot out. Kuro also got hit on the head this time. Now he knows how I felt when a huge chunk landed on my head. The nonsense aside, everyone was fine at the end of the day, and I got a great shot. More to come.
Exploits. Escapades. Experiences.
All of them amazing and they all await just around the corner . . .
. . . on the road to The City by the Bay!
— in San Francisco, California.
#sanfrancisco
"Little cloud"
(COTE D'OR 2018)
<Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
Eglise Saint-Nizier, place Saint-Nizier de Lyon (Rhône-Alpes)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Chemin de fer-musée Blonay-Chamby (BC): after the suppression of the railway service on May 22, 1966, a group of fans began the procedures for the exploitation of the meter gauge line between Blonay and Chamby, a three-kilometer route, as a tourist railway. After forming a cooperative society for the exploitation of the railway, and an association to support it, on July 20, 1968, the tourist operation was inaugurated. The line remains property of MVR (Transports Montreux-Vevey-Riviera, successor company of CEV, Chemins de fer électriques veveysans), except for the depot and museum, as well as the link track, which are property of the BC.
To celebrate the 125th anniversary of the opening of the first section of the Bex-Villars line, and the 80th anniversary of the merger of the Bex–Gryon–Villars–Chesières (BGVC) and Villars–Bretaye (VB) railways, on September 9, 10, 16 and 17, 2023, the BC held several commemorative events. The main one was the temporary transfer of the BCFe 4/4 1 “TransOrmonan” electric railcar and the C 35 trailer to the BC line. These two vehicles are part of the heritage train (together with the C 34 trailer) preserved by the company Transports publics du Chablais (TPC), with the collaboration of the ASD 1914 association.
Here we see both vehicles in Chaulin-Musée. Both are originals of the Chemin de fer Aigle-Sépey-Diablerets (ASD). The BCFe 4/4 1 railcar was built by SWS and AEG in 1913, and was rebuilt in 1941 after a fire. It served on the ASD line between 1913 and 1987. The two-axle trailer C35 was also built in 1913 (number BC 22) and rebuilt in 1941. Transferred in 1988 to the French La Mure railway, it returned to the ASD in 1993.
Silène fleur de coucou, ou oeillet des prés (
Silene flos-cuculi). En bordure de champ, Champ des papilles (agriculture biologique). Bouguenais (44).
German postcard by ISV, Sort V/6.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
an exciting exhibition in the Völklingen ironworks, which is itself an exciting place...
voelklinger-huette.org/en/exhibitions/the-true-size-of-af...
"The Diaspora series references historical portraits of Black individuals who achieved social prominence in their diasporic lives but were largely ignored by traditional histories due to racism. Diop revisits these exceptional life stories, incorporating soccer accessories into the portraits to draw parallels with modern African athletes striving to succeed in Europe."
The Völklingen Ironworks (German: Völklinger Hütte) is a former blast-furnace complex located in the German town of Völklingen, Saarland. Pig iron production occurred at the site from 1882 through 1986. As one of the only intact ironworks surviving from the 19th and early-20th centuries in Europe and North America, it was declared a UNESCO World Heritage Site in 1994 because of its exceptional preservation and its testimony to ferrous metallurgy and the Industrial Revolution.
Translation / Traduction 🇬🇧 UK
● 1st tram with the Ilévia color.
● 2nd day of exploitation to the Ilévia color.
● 3rd Delivered ( Color ).
Bye Bye Transpole, Hello Ilévia ( New brand since February 28th, 2019 )
Translation / Traduction 🇫🇷 Fr.
● 1er tramway avec la couleur Ilévia.
● 2ème jour d'exploitation Tram n° 01 au nouvelle couleur Ilévia.
● 3ème livrée ( couleur ).
Bye Bye Transpole, Hello Ilévia ( Nouvelle marque depuis le 28 février 2019 )
Tramway de Lille Roubaix Tourcoing.
Parc : 24 Tramways
Fiche technique :
- Longueur : 29.6 mètres
- Largeur : 2,4 mètres
- Hauteur : 3,425 mètres
- Masse à vide : 40 tonnes
- Capacité avant ◄ 2015 : 200 personnes
( 50 assises et 150 debout )
- Capacité évolué après rénovation ( voir ci-dessous )
- Capacité après ► 2016 : 245 personnes
( 40 assises et 205 debout )
- Vitesse maxi : 80 km/h
- Captage : pantographe unijambiste Faiveley
- Ecartement : voie métrique ( 1 mètre )
- Constructeur : Breda Costruzioni Ferroviaire
Source : Trans'Lille
www.translille.com/spip.php?article4
Exploitant ►Ilévia ( Site officiel )
www.ilevia.fr/fr/?gclid=EAIaIQobChMIsK7duc3k4AIViZ3VCh3HD...
Ilévia ( Wikipédia )
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20040216DU Urban Idylls #117 Palm Jumeirah Dubai Pakistani workers rest in the shade of their truck during the construction #jumeirah #urbanidylls #pakistanis #exploitation #photography #truck #instagram @michaelcameronhughes www.hughes-photography.eu www.flickr.com/photos/michael_hughes www.monochrome.photos www.hughes.berlin
Exploiting family members for pictures is perfectly normal right? I liked this even though it didn't focus on her eyes.
Camera info:
Canon T1i, Canon EF 85mm f/1.8, f/2.0, 1/200s, ISO 100
Strobist info:
Lumopro 160 Camera left 45 degrees to subject 6 feet high and about 5 feet from subject through a white umbrella. Full power. 24mm zoom.
What do you think?
Véhicule : HEULIEZ BUS GX 427 EEV
Identification : 1067 (BL-448-SY)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Dépôt de Lescure
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1811
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
14/06/2016 18:37
Rue du Vergne ; F-33 BORDEAUX
The term circus freak is a tough one to discern. Deemed barbaric and exploitive by modern terms, it was actually the preferred expression…by the “freaks” themselves during the long 100 year heyday of the American traveling circuses and sideshows. These were individuals who made a living (in most cases) the only way they could…by exhibiting their unusual attributes…even playing up their abnormalities to fearful crowds. By most accounts I’ve read, many of the intelligent ones were treated well. In fact some were revered in the highest regard; they were well paid, lived as extravagantly as Hollywood celebrities of their day, traveled the world and made acquaintances with royalty and the social elite. They found love, often with other freaks from the traveling shows, but it wasn’t uncommon to marry normal patrons who frequented the shows. Freaks with limited mental capabilities, however, didn’t fare as well as their smarter counterparts. Some had compassionate handlers but most were deemed less than human and were subject to physical, sexual, and psychological abuse.
In the heyday of the traveling circus there were several kinds of freaks and most of which I tried to portray in this painting…your biological freaks…were born with (or later acquired) physical abnormalities they couldn’t do anything about. These were your giants, dwarfs, fully or partially conjoined twins, your lobster boys and bearded ladies.
Another category are your self made freaks…often with an unwavering desire to be a part of the circus life, folks would cover themselves in tattoos or piercing and play up an exotic or monstrous persona. Often ticket sales dictated something more compelling than a clever name and tattooed flesh so frequently these folks also gained “acquired” skills like sword swallowing, acrobatics or fire juggling.
Another category are your exotic freaks. An individual would qualify into this theme simply by being of a faraway land or culture different from what was deemed as modern or civilized. Tribesmen from Africa, South America, Haiti, Papua New Guinea, The Philippines and the Polynesian islands were often exhibited as head hunters, cannibals, witch doctors, voodoo priests, and savages whether or not they actually engaged in these practices in their homelands. The most extreme and controversial case of this was an African Pygmy tribesman named Ota Benga who was exhibited in a cage in the monkey house at the Bronx Zoo from 1903-1906. He was dressed in animal print loincloths, had apes as companions and was encouraged to act wild whenever patrons drew near. He was played up as “The Missing Link”, bridging the gap between apes and man.
A type of freak I chose not to portray in this painting but are still important to note were the carnival geeks. The term geek nowadays describes a nerdy type or someone extremely interested in a particular brainy subject but in the original meaning, these were considered the lowest of the low; they were not permitted to socialize with other carnival folk. These were vagrant drunks or drug addicts, often picked up when the carnival came to town and left there as the show departed. Its known that addicts of the worst order will usually do anything for their next fix…even act like a maniac in a cage, sling their own urine and excrement around, fight each other and most notably…bite the heads off chickens. This was undoubtedly the most exploitive facet of the traveling freak show but it was well proven that people would pay good money to see people in such a depraved state.
Not really freaks but an equally important part of the traveling show was the pickled punks and other curios. These were often malformed fetuses and animals preserved in jars. Usually they were fakes created to instill awe…most notably the fearsome Fiji Mermaid.
I did this painting with no intent to exploit but only to learn more about our strange world and history. Purposefully I wanted an eerie, yet whimsical representation of the traveling freak show but with a respectful, uplifting, celebratory message. Here we have a freak show owned and operated by Dr. Z…a freak himself (see if you can spot him in the detail pics). In spite of my good intentions, I did meet with what I figured to be weird karma as I was doing the research for this piece. I approached a lady at the town library with an extensive list of books…all of them with “freak show” and “circus freaks” in their titles. As I handed her the list, she looked up from her computer and I saw that she had a severely disfigured face and malformed hands. My gut instinct was to retract the list and maybe approach someone else (or leave and nix this project altogether!) but she seemed unfazed with my list of questionable reading material. She called her associate on another floor, read off the list of books (much to my embarrassment), smiled happily and told me her co-worker was gathering the books now and I should take the stairs or the elevator to find him. I thanked her, then followed her instructions to retrieve my books. It turns out her associate was a severe hunchback, nearly bent in half with his affliction but he happily located and gathered my books for me. Both did an excellent job at their work but had me leaving there with an uneasy feeling of guilt.
In 1984 an “uppity Madison Avenue woman with lofty connections and who has never been to a freak show”…(every book I read made it a point to mention that)…lobbied her connections in congress to pass a law that would deem it illegal to exploit, exhibit or make money off of any type of physical abnormality. Already waning out of popularity, the freak show was deemed illegal with both freaks and patrons alike subject to arrest. Freaks were suddenly at a loss. Even “self-made” heavily tattooed or pierced individuals were at a loss for work. Some had lost considerable incomes, large homes, all of their possessions and the sense of belonging, love and community that the circus life once provided. In some cases, without the means to purchase the expensive medications they required, some have even died or endured the loss of spouses or children. Currently some folks with severe abnormalities are institutionalized, living a solitary life or at best eking a living on welfare or disability.
Whether deemed exploitive or a place for the different among us to find fame, love and a sense of community and belonging, the traveling freak show was an undeniable part of American…and world history. Incidentally, I’ve logged more hours on this painting (about 66) than any other. I hope you enjoy it and if you’ve made it this far…thanks for reading.
This is one of my montage portraits that I shot for Brighton source magazine, you can see more in this Flickr set. I've also just posted a few montage portraits to my blog that might of previously posted to Flickr. If Tumblr is your thing you might want check out my fragmented portraits Tumblr blog.
I also have a Tumblr blog called lomokev's tit bits where I post my work and the work of others that I find interesting.
And while I am pimping my online exploits you can check me out on Facebook, Twitter and Google+.
Kavala (Greek: Καβάλα) is a city in northern Greece, the principal seaport of eastern Macedonia and the capital of Kavala regional unit. It is situated on the Bay of Kavala, across from the island of Thasos. Kavala is located on the Egnatia motorway and is a one and a half-hour drive to Thessaloniki (160 kilometres (99 miles) west) and a forty-minute drive to Drama (37 km (23 miles) north) and Xanthi (56 km (35 miles) east). Its nickname is The cyan city (Η γαλάζια πόλη).
History
Antiquity
The city was founded at about the end of the 7th century BC by settlers from Thassos, who called it Neapolis (Νεάπολις; "new city" in Greek). It was one of the colonies that the Thassians founded along the coastline in order to take advantage of the rich gold and silver mines of the territory, especially those located in the nearby Pangaion mountain (which were eventually exploited by Phillip the Second of Macedonia).
The worship of "Parthenos", a female deity of Greek–Ionian origin, is archaeologically attested in the archaic period. At the end of the 6th century BC Neapolis claimed its independence from Thassos and cut its own silver coins with the head of Gorgo (γοργὀνειο) on the one side. At the beginning of the 5th century BC a large Ionic temple made from thassian marble replaced the archaic one. Parts of it can now be seen in the archaeological museum of Kavala.
In 411 BC, during the Peloponnesian War, Neapolis was besieged by the allied armies of the Spartans and the Thassians but remained faithful to Athens. Two Athenian honorary decrees in 410 and 407 BC rewarded Neapolis for its loyalty.
Neapolis was a town of Macedonia, located 14 km (9 mi) from the harbor of Philippi. Neapolis was a member of the Athenian League; a pillar found in Athens mentions the contribution of Neapolis to the alliance.
Roman Era
The military Roman road Via Egnatia passed through the city helped commerce to flourish. It became a Roman civitas in 168 BC, and was a base for Brutus and Cassius in 42 BC, before their defeat in the Battle of Philippi. (Appian, B.C. iv. 106; Dion Cass. xlvii. 35.). The Apostle Paul landed at Kavala on his first voyage to Europe (Acts, xvi. 11).
Byzantine Era
In the 6th century, Byzantine emperor Justinian I fortified the city in an effort to protect it from barbaric raids. In later Byzantine times the city was called Christoupolis (Χριστούπολις, "city of Christ") and belonged to the theme of Macedonia. The first mention of the new name is recorded in a taktikon of the early 9th century. The city is also mentioned in the "Life of St. Gregory of Dekapolis". In the 8th and 9th century, Bulgarian attacks forced the Byzantines to reorganize the defense of the area, giving great care to Christoupolis with fortifications and a notable garrison. In 926 the Byzantine general (strategos) Basil Klaudon reconstructed the fallen walls of the city, ("τα πριν φθαρέντα και πεπτωκότα τείχη") according to an inscription that is now in the archaeological museum of Kavala. Due to the location of Christoupolis, the city experienced an economic resurgence, securing the contact between Constantinople and Thessaloniki. During the Norman raid of Macedonia in 1185, the city was captured and burned. In 1302, the Catalans failed to capture the city. In order to prevent them from coming back, the Byzantine emperor Andronikos III Palaiologos built a new long defensive wall ("το παρά την Χριστούπολιν τείχισμα"). In the 13th century the Byzantine Greek historian George Akropolites writes that the city and the area around the city is highly populated with Bulgarians and this makes it more difficult to keep the city as a part of Bizantium.[2] In 1357 it is mentioned that the Byzantine officers and brothers Alexios and John controlled the city and its territory. Recent excavations have revealed the ruins of an early Byzantine basilica under an old Ottoman mosque in the old part of the city (Panagia peninsula). This Christian temple was used until the late Byzantine era, as the also recently revealed small cemetery around it shows. The Ottoman Turks first captured the city in 1387 and completely destroyed it in 1391, as a Mount Athos chronicle testifies.
Ottoman Era
Kavala was part of the Ottoman Empire from 1387 to 1912. In the middle of the 16th century, Ibrahim Pasha, Grand Vizier of Suleiman the Magnificent, contributed to the prosperity and growth of Kavala by the construction of an aqueduct.[3] The Ottomans also extended the Byzantine fortress on the hill of Panagia. Both landmarks are among the most recognizable symbols of the city today.
Mehmet Ali, the founder of a dynasty that ruled Egypt, was born in Kavala in 1769. His house has been preserved as a museum.
Modern Kavala
Kavala was briefly occupied by the Bulgarians during the first Balkan War in 1912, but was finally captured by Greece in 1913 during a successful landing operation by the Greek Navy that was commanded by the famous admiral Pavlos Kountouriotis. During World War I Kavala suffered from the Bulgarian military occupation with many victims among its Greek population.[citation needed] After the Greco-Turkish War of 1919–1922, the city entered a new era of prosperity because of the labour offered by the thousands of refugees that moved to the area from Asia Minor. The development was both industrial and agricultural. Kavala became greatly involved in the processing and trading of tobacco. Many buildings related to the storage and processing of tobacco from that era are preserved in the city.
During World War II and after the fall of Athens, the Nazis awarded Kavala to their Bulgarian allies in 1941, causing the city to suffer once again, but finally was liberated in 1944.
In the late 1950s Kavala expanded towards the sea by reclaiming land from the area west of the port.
In 1967, King Constantine II left Athens for Kavala in an unsuccessful attempt to launch a counter-coup against the military junta.
Etymology
In antiquity the name of the city was Neapolis. During the Middle Ages it was Christoupolis. The etymology of the modern name of the city is disputed. There are some explanations, either from the Italian cavallo (=horse), or from the Hebrew Kabbalah due to the large Jewish population of the city.
Climate
Kavala has a humid subtropical climate (Köppen climate classification "Cfa") that borders on an semi-arid climate (Köppen climate classification "BSk" or "BSh" depending on the system used) with annual average precipitation of 460 mm (18.1 in). Snowfalls are sporadic, but happen more or less every year. The humidity is always very high
The absolute maximum temperature ever recorded was 38.0 °C (100 °F), while the absolute minimum ever recorded was −5.8 °C (22 °F).
Education/Research
The Technological Educational Institute (panoramic view).TEI of Kavala: The Technological Educational Institute of Kavala (Greek: ΤΕΙ Καβάλας) is a public institute providing education at university level in the region of Eastern Macedonia and Thrace. The main campus of the institute located in St. Lukas, Kavala and is approximately 132,000 m2 with buildings covering an area of 36,000 m2.The campus is home for 2 faculties (Faculty of Engineering Sciences and Faculty of Business and Economics) with totally 9 departments.
Fisheries Research Institute:[5] Fisheries Research Institute (F.R.I) is one of the five specialized research institutes of N.AG.RE.F, being responsible to conduct research and to promote technological development in the fishery sector. The Institute is located 17 km (11 mi) away from Kavala, in Nea Peramos, at the centre of a marine area with rich fishery grounds and high biodiversity in the surrounding lagoons, lakes and rivers.
Institute of Mohamed Ali for the Research of the Eastern Tradition (I.M.A.R.E.T.):[6] I.M.A.R.E.T. is a registered NGO with the Hellenic Ministry of Foreign Affairs, which was established several months ago by concerned citizens in Kavala, Greece. Its aims include the study of the Egyptian influence in Greece and vice versa. The intra-cultural exchange and dialogue, as well as the promotion of art as a means of intra-cultural understanding. The first major co-operation partner is Cultnat of Bibliotheca Alaxandrina with the aim of documenting and digitizing the architectural heritage of the Mohamed Ali era in Egypt and Greece. Most important event that take place every year at the institute is the International Roman Law Moot Court Competition.
Historical & Literary Archives of Kavala:[7] It is purely a non-profiteering, public utility foundation. The foundation of the Historical & Literary Archives of Kavala is not subsidized by the Greek State, neither by any other enterprise of the private sector. Its operational cost is covered only by its founders and by infrequent aids of the local self-government.
Egnatia Aviation:[8] It is a private training college for pilots that started training in Greece in July 2006. The facilities of Egnatia Aviation mostly located in the former passenger’s terminal of the Kavala International Airport "Alexander the Great".
Culture
Festivals and events
Kavala hosts a wide array of cultural events, which mostly take place during the summer months. The top festival is the Festival of Philippi,[9] which lasts from July to September and includes theatrical performances and music concerts. Since 1957, it has been the city's most important cultural event and one of the most important of Greece.
Cosmopolis is an International Festival held in the Old Town of Kavala that offers an acquaintance with cultures around the world through dancing and musical groups, traditional national cuisines, cinema, and exhibits at the kiosks of the participant countries.
Giannis Papaioannou’s Festival includes concerts and music seminars.[10]
Ilios ke Petra (Sun and Stone)(July): a Festival held in “Akontisma” of Nea Karvali. The event is of folkloric character, with the participation of traditional dancing groups from all over the world.
Wood Water Wild Festival:[11] Wood Water Wild is an outdoor activities festival, inspired by nature. It includes live bands & DJ sets, body&mind activities, a book fair, outdoor theatre, ecology, camping, and debates.
Kavala AirSea Show:[12] An annual air show, which takes place during the last days of June
Besides, various cultural events are held in all municipalities of Kavala during the summer months.
Cuisine
Fish and sea food, as well as the products of the local livestock breeding and agricultural sectors are the prevailing elements of Kavala courses. In Kavala, the traditional local recipes have been influenced by the cuisine of the refugees from Pontos, Asia Minor and Kappadokia. Fresh fish and sea food, salted food, mackerel "gouna" (sun dried mackerel on the grill), sardine pantremeni, mussels with rice, herring saganaki, anchovies wrapped in grape leaves, Stuffed eggplant: these are some very renowned recipes in Kavala and the coastal settlements of the region. The grapes, wine and tsipouro produced in the area, as well as the kourabiedes (sugar-coated almond biscuits) from Nea Karvali are particularly famous.
Municipality
The municipality of Kavala was formed at the 2011 local government reform by the merger of the following 2 former municipalities, that became municipal units:[13]
Municipal units (former municipalities):
Kavala
Filippoi
Municipal unit
Kavala 58,790
Filippoi 11,711
The population of the new municipality is 70,501 and the area is 350,61 km2. The seat of the municipality is in Kavala. Some of the most important communities inside new municipality are:
Population
Kavala 56,371
Krinides 3,365
Amigdaleonas 2,724
Nea Karvali 2,225
Zygos 2,057
Subdivisions
Kavala is built amphitheatrically, with most residents enjoying superb views of the coast and sea. Some of the regions inside Kavala are:
Agia Varvara Agios Athanasios Agios Ioannis Agios Loukas Chilia
Dexameni Kalamitsa Kentro Neapolis Panagia
Perigiali Potamoudia Profitis Ilias Timios Stavros Vyronas
Province
The province of Kavala (Greek: Επαρχία Καβάλας) was one of the provinces of the Kavala Prefecture. Its territory corresponded with that of the current municipality Kavala, and part of the municipal unit Eleftheroupoli.[14] It was abolished in 2006.
Transport
Highway Network
European route E90 runs through the city and connects Kavala with the other cities. The Egnatia Motorway (A2) lies north of the city. One can enter the city from one of two Junctions; 'Kavala West' and 'Kavala East'.Kavala has regular connection with Interregional Bus Lines (KTEL) from and to Thessaloniki and Athens.
Airport
The Kavala International Airport "Alexander the Great" (27 km (17 mi) from Kavala) is connected with Athens by regularly scheduled flights and with many European cities by scheduled and charter flights.
Port
Kavala is connected with all the islands of the Northern Aegean Sea with frequent itineraries of various ferry lines.
Bus
The city is connected with all of the large Greek cities such as Thessaloniki and Athens. All of the local villages are also connected via bus lines. The cost of tickets is very cheap. There is also a shuttle bus in Kavala with these lines : 1. Vironas - Kallithea 2. Dexameni 3. Cemetery 4. Kipoupoli - Technological Institute 5. Agios Loukas 6. Profitis Ilias 7. Stadium 8. Kalamitsa - Batis ( only in summer ) 9. Agios Konstantinos 10. Neapoli 11. Hospital - Perigiali
Sports
Kavala F.C.: AO Kavala (Greek: Athlitikos Omilos Kavala, Αθλητικός Όμιλος Καβάλα), the Athletic Club Kavala, is a professional association football club based in the city of Kavala, Greece.The club plays in the Municipal Kavala Stadium "Anthi Karagianni".[15]
Kavala B.C.: Enosi Kalathosfairisis Kavalas (Greek: Ένωση Καλαθοσφαίρισης Καβάλας - Basketball Union of Kavala) is a Greek professional basketball club that is located in Kavala, Greece. The club is also known as E.K. Kavalas. The club's full Greek name is Ένωση Καλαθοσφαίρισης Καβάλας. Which means, Kavala Basketball Union or Kavala Basketball Association in English. The club competes in the Greek League.
Kavala '86: A women football club, founded in 1986, with panhellenic titles in Greek women football.
Kavala Chess Club:[16] Chess is very popular in Kavala and the local chess club ranks top in Greece, enjoying plenty of success both domestically and internationally. The highlight has to be the club's annual International Open, that takes place every August in Kavala and attracts the biggest names in chess from all over the globe
Nautical Club of Kavala (1945, Ναυτικός Ομιλος Καβάλας, ΝΟΚ). Sports of sea (swimming, yachting,water-polo,diving e.t.c.)
Kavala Titans (2009, Τιτάνες Καβάλας). Rugby Union
International relations
Twin towns – Sister cities
Kavala is twinned with:
Bulgaria Gabrovo, Bulgaria (1975)
Bosnia and Herzegovina Gradiška, Bosnia and Herzegovina (1994)
Germany Nuremberg, Germany (1998)
Partnerships
Morocco Agadir, Morocco (2001)
Armenia Martuni, Armenia (2001)
Turkey Tekirdağ, Turkey (2003)
Bulgaria Gotse Delchev, Bulgaria (2003)
Serbia Vranje, Serbia (2009)
Postage stamps
Austria opened a post office in Kavala before 1864.[18] Between 1893 and 1903, the French post office in the city issued its own postage stamps; at first stamps of France overprinted with "Cavalle" and a value in piasters, then in 1902 the French designs inscribed "CAVALLE".
Historical population
1961 44,517 44,978 -
1971 46,234 46,887 -
1981 56,375 56,705 -
1991 56,571 58,025 -
2001 58,663 63,293 -
2011 54,027 58,790 70,501
Notable figures
Muhammad Ali Pasha of Kavala, the Albanian Wali (governor) of Egypt between 1805–1848 and founder of the modern state of Egypt
Theodore Kavalliotis, Greek Orthodox priest, teacher and a figure of the Greek Enlightenment
Vassilis Vassilikos, Greek writer and diplomat
George Georgiadis, Greek footballer
Giorgos Heimonas (1938–2000), writer and translator
Nikos Karageorgiou, (born December 9, 1962) Manager of Greek football team Ergotelis, based in Heraklion, Crete
Anthi Karagianni, silver medalist in the Athens 2004 and Beijing 2008 Paralympic Games; the city's Municipal stadium is named after her
Vasilis Karas, Greek singer
Nikos Kourkoulis, Greek singer
Mitsos Partsalidis, first elected "red" (communist) mere in modern Greek history, back in 1.4.1934
Antigone Valakou, actress
Despina Vandi, a Top Greek singer
Thanasis Euthimiadis, a Greek actor
Anna Verouli, 1982 Gold Medalist, European Championship, javelin thrower
Zisis Vryzas (born November 9, 1973), former footballer, currently vicepresident of PAOK FC
Theodoros Zagorakis (born October 27, 1971), former footballer, captain of national team of Greece-European champion 2004, currently president of PAOK FC
Anna Gerasimou, a Greek tennis player
Kleon Krantonellis, Αrchitect
sur la ligne 421 à destination de Torcy – Gare RER, terminus Émeraiville – Pontault-Combault – Gare RER, Émerainville (Seine-et-Marne (77), Île-de-France, France, FR)
God on the Other Side of a Shipwreck
by Jonathon Martin, from How to Survive a Shipwreck
Meet Jonathon Martin
Your faith will not fail you
You’re Still Here
The first things overboard when your ship wrecked were all the reasons you ever had for sailing. And when the life you knew is a life you know no longer, and the ship that took you on a thousand adventures before can no longer even keep you afloat, you are right to wonder if there is anything left worth having.
There used to be so many things that we could not live without! How could you live without this person? How could you live without this job? How could you live without this relationship? How could you live without this house? How could you live without your dignity? How could you live without your good reputation? And then death came to someone you loved, or you lost the job, or you sabotaged the relationship or felt your love sabotaged you, or you suffered public humiliation, or you lost your all-important sense of honor. And you thought you really would die.
There was a part of you, maybe even a really large part of you, that really did. There are some losses that in their way mark you forever, and some things you never get over. And because you loved this person or this life and career you built, or valued your dignity, when the bow broke, everything in you screamed. While the sails were ripping and the boards splitting, you heard the sound of your spirit dying. The life you had was over. But to your own shame, you were not over, as much as you may have wanted to be.
Maybe like a proud samurai, it seemed the best thing you could do on the other side of the shipwreck was to fall on your own sword and stage a protest against anything you once found beautiful. Because you were so sad. Because you were so guilty. Because you were so scared that in the loss of something outside yourself, you lost your own heart to the sea’s black rage.
And then came what might be the worst discovery: You didn’t die — not really. You walked away from the accident, whether or not you think you or God or the devil or the fates are somehow responsible for it. You just knew you would die, and at times it felt like something in you did.
But not you. Not all of you, anyway.
The ship may have gone down, but miracle of miracles, you’re still here.
Can you remember the first time after the funeral, after you could not bear to eat or drink, that the pangs of hunger overwhelmed you? Did you feel incredulous at yourself, at the animal part of you that still wanted food after such a thing? What about when there was a particular taste you wanted, because it was a taste that on some level you actually desired? However much fog, however much sorrow, however much grief — the experience of loss may have altered your taste buds forever. But it hardly killed them.
You watched dreams you cradled in your arms with the strength of all your tenderness descend into the sea. All that animated you, all that moved you before, could move you forward in the world no longer. The water filled your mouth and your nostrils, and you choked at the taste of it. But when the grief or the guilt or the loss recedes into the night and your soul sets sail again, you still dream — despite yourself. There is still a kind of music you will hear that stirs within you an unspeakable longing. There is still an ache, not just for all you lost, but to see and know and be seen and known still, to explore and imagine and create.
However much the longing for the past may assault your senses, it is not the only longing that remains. There is still a part of you that wants to make love, to feel yourself somehow connected. There is still a part of you that yearns for something outside yourself. You felt yourself out to sea, and yet some kind of desire, for something or another, bears you along, and you find yourself still somehow here — almost against your own wishes. And even in the moments when anything that felt like conscious desire went out with the tide, there is still some kind of near-morbid curiosity of how your life and story are going to turn out — even if you are lost enough to only behold what’s left of your life as a kind of bystander.
Somewhere between your body’s animal refusal to go down quietly, your mind’s refusal to stop imagining, and your heart’s refusal to stop dreaming, in the tangled mess of synapses and memories and impulses, there lies God.
In whatever remains in you that wants to create, to make, to birth something new, in whatever corner that longs for some kind of resurrection on the other side of death, something divine quietly snaps, fires, clicks, flickers. This is the Spirit of God, lurking in your own broken spirit.
You may find that your grief and sense of loss over the world you once knew seem endless. And yet there are possibilities and potentialities within you that are more endless still.
What is this unseen force that carries you forward despite yourself? Why can you not seem to choke, always and forever, your own irrational yearning, this buried but still breathing hope for more?
This ache is God’s fingerprint.
The stirring to create, to love, to live, to give of yourself when there is no self left to give — this comes from the Spirit.
You were created in the image of God. Before you knew anyone or did anything, everything was in you necessary to live at home in divine love. However buried that image of God is within you, that part of you that knows what it is to be perfectly loved, held, and known — it is still very much there. There is a part of you that does not need anything else, or anyone else in particular, to be alive. There is a part of you that knows this — part of you that has always known this — but has long since forgotten.
The God who sustains all created things with love sustains you. The God who created the world not to be exploited, dominated, or needed, but to love and to enjoy without clinging, is awake in your belly. And so in you is the capacity to love and to live without needing the world to work out a certain way in order for you to be okay. Your life, your existence, is contingent on that Spirit. But it is not contingent on anyone else, or anything else.
This is the liberating, terrifying discovery of life on the other side of the shipwreck. That while you are a creature — humble, dependent, small, in need of love and food and Shelter — you didn’t need anything else as much as you thought you did. That the things you knew would kill you don’t actually kill you. That the fire in you the sea should have drowned out, burns within you yet, if you do not let yourself smother it (and maybe even if you do). So much of the world you have known is no more. But if there is any truth in any of this at all, the shipwreck that threatened to destroy you utterly may be the thing that saves you yet. It may not drown you; it may transfigure you.
And if there is something truthful, something larger, about this irrational lust for life that is forged in the fires of death, it says something too about the people you lost. For if there is a God who not only creates but sustains and resurrects, then there can yet be life on the other side of death for all things. Then there is hope, not only for the yearning in you to drive you into union with God, but to be realized in union with those others. If death is not the final word, and chaos produces creation rather than destroys it, then many of the stories of the life you thought were long over are far from over yet.
Believing this won’t mean you won’t still feel the weight of deep, sharp, piercing grief, or that you should feel guilty when you do. On the contrary, people who don’t experience deep pain have not experienced deep love and are not to be envied. That doesn’t mean they are shallow — all of our souls surely have something of the same depths — they just may not be aware of their own yet. That day will come for them. But when you feel your own deep capacity for passion, compassion, mourning, even rage, you are glimpsing something of your soul’s own infinite capacity to know, to feel, and to become. Within the depths of all you feel the most deeply, something of the Spirit’s own immortal depths is reflected in you.
We have a capacity for love and hope and beauty seemingly too big for our heads and hearts, because we are created in the image of God.
Excerpted from How to Survive a Shipwreck by Jonathan Martin, copyright Jonathan Martin.
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 2330. Photo: Keystone.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.