Visite de courtoisie chez les confrères Keolis Bassin d'Arcachon, sur leur second dépôt.

Modèle : IVECO BUS Crossway Pop

Numéro de parc : 191155

Immatriculation : FJ-767-TP

Mise en service : août 2019

Exploitant : Keolis Bassin d'Arcachon

Lieu : Keolis Bassin d'Arcachon - Dépôt de Biganos

Infos complémentaires : VNE6037N60M040681

They said if I add some cute animals to my pictures I'd get more likes. Lets put this to the test! :D

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Processed with VSCOcam with a6 preset

Exploits River Grand Falls Windsor,NL

Véhicule : MERCEDES-BENZ O560 Intouro L €6

Identification : _ (EZ-907-XS)

Exploitant : OCSEA

Véhicule de location.

Dépôt : Keolis Gironde Bruges

03/05/2019 10:07

Dépôt Keolis Gironde Bruges, Rue de Strasbourg ; Bruges

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/37466

Billboards can be interesting, fun, or artistic. They tend to reflect our popular culture. BUT ... Does this billboard for Calvin Klein Jeans, on Houston Street in New York City, constitute youth exploitation in advertising? This model looks a bit young to me. You be the judge. Post your comments below.

Rosia Poieni

"To pose"

Toucan à carène

(Ramphastos sulfuratus) Sarapiqui - Réserve Selva Verde Rainforest (COSTA RICA 2019)

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.

IRISBUS IVECO Crossway (12m.) - (EL-707-MW) - SkillBus

Autocar de location - SkillBus - Bacqueyrisses.

Véhicule exploité par Médoc Évasion.

29/09/2017 13:42

Cimetière du Père Lachaise

www.esoterika.org/dotclear/index.php?2003/04/19/20-mademo...

LE NORMAND ou LENORMAND MARIE-ANNE (1772-1843)

Marie-Anne Le Normand, plus connue sous le nom de «Mademoiselle Lenormand», est sans doute la voyante la plus célèbre des temps modernes...

Cette popularité, elle la doit à un jeu de cartomancie, pourtant apocryphe, plus qu’à ses écrits – quelque quatorze ouvrages aujourd’hui largement oubliés – dans lesquels elle raconte ses songes et ses visions, et se vante de rencontres prestigieuses, pour la plupart douteuses. Son sens de la publicité, jusque dans la mort, et la prolixité de ses biographes, prompts à broder de nouveaux exploits, ont fait d’elle un personnage assez éloigné de la réalité.

Marie-Anne-Adélaïde Le Normand est née à Alençon le 27 mai 1772, seconde fille de Jean-Louis Le Normand, mort l’année suivante, et d’Anne-Marie Gilbert, qui devait mourir cinq ans plus tard. Devenue orpheline, l’enfant est mise en pension chez les sœurs, d’abord chez les Bénédictines, puis chez les Visitandines, où elle se sent déjà des dons de voyance. À l’âge de 11 ans, elle est placée en apprentissage chez une couturière. En 1786, elle s’installe à Paris où son père adoptif vient d’ouvrir un magasin. Elle fréquente peut-être alors son compatriote Jacques-René Hébert. L’année suivante, elle est arrêtée pour pratique magique, mais n’est pas poursuivie. Une tradition que rien ne permet de confirmer prétend qu’elle se rend ensuite à Londres et qu’elle y pratique l’astrologie, gagnant suffisamment d’argent pour rentrer enrichie (à 18 ans!) à... Alençon l’année suivante (1790). Revenue à Paris, Marie-Anne Le Normand devient lectrice de d’Armeval de La Saussotte, personnage assez trouble et libertin. Attirée par le théâtre, elle connaît ses premiers succès de voyante dans le milieu des acteurs, qu’elle fréquente en tentant d’y placer les pièces qu’elle écrit (mais dont il ne reste rien). Elle s’installe alors rue de Tournon, où elle prétendra plus tard avoir accueilli quelques visiteurs huppés, dont le comte de Provence (futur Louis XVIII), Fouché, encore inconnu, Camille Desmoulins, Robespierre et même Bonaparte! La présence d’un club jacobin au 8, rue de Tournon lui a probablement amené une clientèle de politiques.

En réalité, les activités de Marie-Anne Le Normand paraissent avoir été moins glorieuses. Elle fait à ce moment-là la connaissance d’une tireuse de cartes et de son acolyte, un garçon boulanger; devenue leur associée en 1793, elle rend des oracles déguisée en «Américaine». Mais un client mécontent, conventionnel, la fait arrêter pour charlatanisme, avec ses comparses; incarcérées à Saint-Martin, les deux femmes sont condamnées solidairement à dix livres d’amende comme «diseuses de bonne aventure». Toujours surveillée par la police, qui la soupçonne de s’acoquiner avec des «ennemis du peuple», Marie-Anne Le Normand est à nouveau arrêtée le 17 juin 1794 et enfermée à la prison de la Force. Thermidor la libérera.

En octobre 1797 (vendémiaire an VI), elle fonde un journal, Le Mot à l’oreille, ou le Don Quichotte des dames, dont elle se dit «propriétaire-rédactrice». Rien de divinatoire là-dedans: cette modeste gazette enfile les banalités, nouvelles, rumeurs («on-dit»), scènes de rue sur le vif, décisions du Conseil des Cinq-Cents. Mais Mademoiselle Le Normand était démangée par la passion d’écrire. Son adresse est alors 115, rue de Tournon, faubourg Saint-Germain. Le Mot à l’oreille n’alla pas au-delà de huit numéros. La vraie notoriété vient avec l’Empire. Marie-Anne est-elle alors, comme elle l’a prétendu dans les Mémoires historiques et secrets de l’impératrice Joséphine (Paris, chez l’auteur, 1820), la confidente de Joséphine? On peut en douter quand on sait le jugement sans appel formulé par les historiens sur ce document entièrement apocryphe. Mais les rapports de police le disent: «la demoiselle Le Normand demeurant rue de Tournon fait journellement des dupes»; elle se dit «cousine de Charlotte Corday ... tenant un bureau d’écrivain public pour couvrir ses manœuvres» (rapport de septembre 1804). Nombre de célébrités parisiennes la consultent, tels Talleyrand, Madame de Sta‘l, Talma, et même Metternich qui lui rend visite en mars 1808. Cette célébrité lui vaut des ennemis. D’autant plus que Mademoiselle Le Normand est royaliste et s’en cache à peine. Le 11 décembre 1809, elle est arrêtée, pour être relâchée douze jours plus tard. Douze jours longuement et complaisamment narrés dans Les Souvenirs prophétiques d’une sibylle sur les causes secrètes de son arrestation le 11 décembre 1809 qu’elle publie en 1814. La clientèle continue pourtant d’affluer, sa popularité est au zénith. Depuis 1810, Marie-Anne Le Normand possède aussi une librairie rue du Petit-Lion-Saint-Sulpice (actuelle rue Saint-Sulpice). Elle y vendra essentiellement ses propres livres, tous publiés à compte d’auteur.

Le retour des Bourbons apporte à Mademoiselle Le Normand une nouvelle clientèle. La «sibylle» polémique volontiers dans la presse, qui l’accuse d’être une «sorcière». Les échotiers et les publicistes la brocardent. Elle se justifie, parlant de ses «horoscopes» et de son «génie». Elle se lance dans l’écriture de livres pour y raconter ses souvenirs ou ceux de personnages importants qu’elle dit avoir rencontrés. Ainsi paraissent successivement Les Souvenirs prophétiques d’une sibylle (1814), Anniversaire de la mort de l’impératrice Joséphine (1815), La Sibylle au tombeau de Louis XVI (1816), Les Oracles sibyllins, ou la suite des souvenirs prophétiques (1817).

En octobre 1818, Mademoiselle Le Normand décide de se rendre en grand équipage à Aix-la-Chapelle où les souverains de la Sainte-Alliance (tsar, roi de Prusse, empereur) tiennent congrès. Après quelques péripéties à la frontière, elle arrive à Aix, où elle retrouve les têtes couronnées qui la consultent depuis longtemps. Puis elle se rend à Bruxelles où elle est accueillie avec ferveur. Ces aventures donnent matière à un nouveau livre: La Sibylle au congrès d’Aix-la-Chapelle, suivi d’un coup d’œil sur celui de Carlsbad, ouvrage faisant suite aux Oracles sibyllins, avec des notes politiques, historiques, philosophiques, cabalistiques, etc., etc., qui paraît en 1819. En 1820, la publication contestée des Mémoires historiques et secrets de l’impératrice Joséphine, Marie-Rose Tascher de La Pagerie, première épouse de Napoléon Bonaparte fait scandale. Le livre sera réédité en 1827, traduit en allemand en 1822, en suédois en 1831, puis en anglais aux États-Unis en 1847 assurant sans doute la popularité de l’auteur très largement au-delà de nos frontières. La presse ridiculise pourtant à nouveau Marie-Anne Le Normand. Humiliée, elle décide de partir et choisit de se rendre à Bruxelles où elle s’installe en mars 1821. La police la surveille, elle déménage, puis est arrêtée en avril, accusée d’escroquerie. Finalement, après plusieurs interrogatoires et perquisitions, un procès se tient devant le tribunal correctionnel de Louvain. L’accusée est populaire, la presse s’en mêle, le public est nombreux. L’accusation de sorcellerie est en filigrane. Marie-Anne Le Normand est condamnée aux dépens et invitée à quitter la Belgique. D’août à octobre 1821, elle séjourne dans le Nord de la France où elle consulte. Revenue à Paris, elle se lance dans la préparation d’un torrent de livres, à commencer par le récit de ses aventures en Belgique: Souvenirs de la Belgique: cent jours d’infortunes, ou le procès mémorable, avec des notes historiques et politiques, qui paraît en octobre 1822. Suivent quelque sept ouvrages «historiques» où sont convoquées les mânes de Louis XVIII, qui vient de mourir, d’Alexandre Ier de Russie, ou encore L’Ombre de Henri IV au palais d’Orléans (1831). En 1833, Mademoiselle Le Normand prend un peu vite le parti de la duchesse de Berry, alors discréditée par ses tentatives rocambolesques de restauration légitimiste. La «sibylle» paraît moins inspirée: elle ne publiera plus de livre. Pourtant son nom continue de susciter des vocations: on ne compte plus les voyantes qui se disent – abusivement – ses élèves. Un peu oubliée, elle meurt le 25 juin 1843. Son enterrement à Paris en grande cérémonie baroque (gigantesque catafalque, pleureuses, église toute tendue de blanc) en présence d’une foule nombreuse provoque les sarcasmes des journaux.

Aussitôt, «biographes» et imitatrices se multiplient: trois récits assez fantaisistes de la vie de Mademoiselle Le Normand paraissent avant la fin de l’année, rapidement suivis par «vérités» et «souvenirs authentiques» dus à des thuriféraires improvisés. Les grands dictionnaires biographiques du moment, tels que la Nouvelle Biographie générale du Dr Hoefer et la Biographie universelle ancienne et moderne de L.-G. Michaud, la font entrer dans leur panthéon sans délai. Dès 1845, paraît en cinq petits volumes un Grand Jeu de société et pratiques secrètes de Mlle Le Normand entièrement apocryphe, préparé par une «Mme la comtesse de ***» qui se dit disciple de la sibylle et qui n’est sans doute que Mme Breteau, femme d’un éditeur peu scrupuleux. Le jeu de 54 cartes qui y est joint, devenu depuis un classique de la cartomancie et parfois présenté comme un «tarot», n’en est pas moins aux antipodes de ce que nous savons des méthodes et des thèmes ressassés par Marie-Anne Le Normand. Cette réputation de cartomancienne a même franchi les frontières, au point qu’un petit jeu de société à 36 cartes né en Allemagne, au style très germanique, est rebaptisé «Petit Lenormand».

Malgré sa passion d’écrire et ses nombreux ouvrages, Mademoiselle Le Normand n’a laissé ni théorie ni méthode pratique. Souvenirs arrangés et «prophéties» rétrospectives constituent l’essentiel de son témoignage; mais son sens très moderne de la communication lui vaut une postérité sans égal.

(vu dans Esotérika)

The USMF's elite pilots (those given the rank of Paladin) are a tough breed whose exploits are well known across the galaxy. Though qualified on a wide array of different craft (including ones not used by the USMF) most Paladins operate solo or in small groups; often great distances from allied bases or capital ships and thus have found great use in one-man fighter craft with FTL capability.

Miniaturizing FTL jump drives is a complex and costly process, but the benefits of a faster-than-light starfighter are numerous. For years, the USMF Paladins utilized the AX-20 "Katana" in this role. While a sturdy and fast ship, the Katana's production foundry was completely destroyed in the beginning stages of the Dimension Wars, and as such, it's service numbers dwindled further from the already small amount (in comparison to non-FTL fighters in the fleet).

Starcom Solution's answered the call for a "faster-than-light jack of all trades" by introducing the "Tekkan" (a name of Japanese origin inspired by its spiritual predecessor "Katana"). Starcom Solutions, living up to it's name, conquered the complex issue of small FTL jump drives with a unique solution; the drive systems were built at the capital ship shipyards on Saturn and then shipped to Neptune where quantum technology was used to shrink the units down to a smaller size.

Impressed by the originality of Starcom Solutions' engineering prowess, the USMF quickly requested a Tekkan for immediate trial runs. The first Tekkan produced (which was painted red with white markings as tribute to the Katana) passed its tests with flying colors (no pun intended) and was assigned to Paladin Kira Janus.

The Tekkan features twin heavy repeating lasers (much like those found on Hyperius Industries' "Scorpion"-class heavy fighter) and twin "Mjölnir"-type lightning cannons, which fire thunderous bolts of energy across great distances. These weapons pack quite the punch and require no ammunition, but require a great amount of charge time. If safety protocols are bypassed, the capacitor banks can overcharge and result in a devastating chain reaction.

Exploits River, NL,Canada

Ranting and raving by society rejected

He stood all alone one of the exploited

A life of public service was once suggested

20 years of education for him had been invested

Standing for election the polls he contested

The electorate in him could not be interested

With his interest in expenses more than vested

A recount at least was what he requested

..................... Copyright (c) Rodney Harrison 2014

Recommended View Large

From yesterday... #2 Taken one evening with my bud Grantthai while sipping a cool one looking for an alluring capture to take place.. along she came hustling to us the perfect shoeshine... Just a kid driven by some greedy individuals.. who thrive on exploiting kids... all is done in a good natured way but you can see and feel their pain.. while on the other side of the street a man is watching... smoking and drinking the fruits of his labor..:-(

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Suite d'hier de la meme serie #2... Prise voici deja un petit bout de temps avec mopn pote Grantthai.. Elle est venue cette gamine avec son approche de vente directe a qui veut bien l'entendre.. Une gentille mais aguerrie petire gamine sous la tutelle d'idiots de premiere qui en profite et exploite leur jeunesse pendant qu'eux se gavent de Mekong avec une cigarette tout en surveillant leur proie..

Du classique en Asie helas.. Celle-ci etait tres lucide et affaires... On sent aussi qu'ils sont surveilles par des connards de la pire espece.. On exploite les gamins ici et en pleine vue du tout venant.. Pas rellement drole :-( Mais une realite tres dure ..

Pont de Bir-Hakeim

La première version de l'ouvrage, une passerelle métallique piétonnière nommée passerelle de Passy, datait de l'exposition universelle de 1878.

Suite à un concours organisé en 1902, il a été reconstruit en 1905, sous la direction de Louis Biette, construit par Daydé & Pillé, et décoré par Camille-Jean Formigé, architecte de la Ville de Paris.

Il a été rebaptisé en 1948, en souvenir de la bataille de Bir Hakeim (livrée par le général Kœnig et les Forces françaises libres (FFL) en Libye en 1942).

Il présente de nombreuses caractéristiques :

une partie centrale de 12 mètres est en porte-à-faux ;

il a 2 étages : un pour les piétons et les voitures et un viaduc au-dessus qui laisse passer la ligne 6 du métro ;

le viaduc ferroviaire est supporté par des colonnades métalliques, sauf au débouché de l’île des Cygnes, où il repose sur une arche en maçonnerie ;

le viaduc ferroviaire est horizontal, alors que la voie routière est en descente de la rive gauche vers la rive droite, ce qui fait que l'écart entre les deux voies n'est pas constant ;

une piste cyclable chemine sous le viaduc ferroviaire, des escaliers au milieu du pont permettent de passer sur l'île des Cygnes, longue promenade qui mène au pont de Grenelle et à la réplique de la statue de la Liberté ;

une plaque commémorative rappelle les exploits de la première brigade des Forces françaises libres lors de la bataille de Bir Hakeim, du 27 mai au 11 juin 1942.

Il est orné de quatre statues monumentales en pierre en bas-relief situées sur l'arche centrale du viaduc au niveau de l’île aux Cygnes :

La Science et Le Travail de Jules Coutan en amont ;

L'Électricité et Le Commerce de Jean-Antoine Injalbert en aval.

Du côté amont, au niveau de la chaussée, la statue La France renaissante, de Holger Wederkinch, fut offerte par la colonie danoise de Paris en 1930.

Les piles sont ornées de deux groupes statuaires de Gustave Michel étroitement imbriqués dans la charpente : les Nautes, équipés d'accessoires maritimes (filet, bouée, voile, etc.), qui attachent un blason de la ville de Paris à la pile, et les forgerons-riveurs, qui fixent un blason RF à la pile. Ces groupes sont reproduits à l'identique sur les deux bras de la Seine, en amont et en aval (soit quatre reproductions de chaque groupe).

_____________________________

The first version of this bridge, a pedestrian metallic footbridge named footbridge of Passy, dated the World Fair of 1878.

Further to a competition organized in 1902, it was reconstructed in 1905, supervised by Louis Biette, built by Daydé and Plundered, and decorated by Camille-Jean Formigé, architect of the City of Paris.

It was renamed in 1948, in memory of the battle of Bir Hakeim (delivered by general Kœnig and Forces françaises libres (FFL) in Libya in 1942).

It presents numerous characteristics:

A central part of 12 meters is in an awkward position;

It has 2 floors: one for the pedestrians and cars and a viaduct above which allows to pass the line 6 of the subway;

The railroad viaduct is supported by metallic colonnades, so as the outlet of the island of Swans, where it bases on an arc in masonry;

The railroad viaduct is horizontal, while the highway is in descent of the left bank towards the right bank, what makes that the distance between both ways is not constant;

A cycle track walks under the railroad viaduct, my view show it very well (lol)

Staircases in the middle of the bridge(deck) allow to pass on the island of Swans, long walk which leads to the bridge(deck) of Grenelle and to the replica of the statue of Liberty;

A commemorative tablet reminds the exploits of the first brigade of Free French Forces during the battle of Bir Hakeim, from May 27th till June 11th, 1942.

It is decorated with four stone monumental statues in bas-relief situated on the central arc of the viaduct at the level of the island in Swans:

The Science and The Work of Jules Coutan upstream

The Electricity and The Business of Jean-Antoine Injalbert downstream.

Of the upstream side, at the level of the road, the statue returning France, of Holger Wederkinch, was offered by the Danish colony(summer camp) of Paris in 1930.

Piles are decorated with two statuary groups of Gustave Michel strictly imbricated in the skeleton: Nautes, equipped with maritime accessories (net, buoy, veil(sail), etc.), which attach a blazon of the city of Paris to the pile, and the smiths - riveurs, which fix a blazon RF to the pile. These groups are reproduced as before on both arms of the Seine, upstream and downstream (that is four reproductions of every group).

Clic ! - See it in large - Clic !

CaméraSony DSLR-A850

HDR - 7 Raw - With 0,5 ev assembled with PS5

Ouverturef/16.0

Longueur focale20 mm

Vitesse ISO100

Détection du degré d'exposition+0.7 EV

Thanks to all for visits and faves

[My GETTY Images @] [My MOST FAVE on Flickriver] [My RECENT on Fluidr] [My STREAM on Darckr]

Exploitant : Transdev Val d'Europe Autocars

Réseau : Magical Shuttle

Lieu : Centre Opérationnel Bus de Bailly-Romainvilliers (Bailly-Romainvilliers, F-77)

Lien TC Infos : tc-infos.fr/id/27300

A charcoal-seller trudges past the secure building of yet another Sri Lankan sapphire dealer.

A general lack of electricity supply to homes drives the demand for charcoal for cooking. charcoal production assists the poor to scrape a living but continues the decline of unprotected woodlands and of course adds to atmospheric pollution and global warming.

From Wikipedia: 'Madagascar's sapphires are highly valued internationally, with many stones being exported, often through unofficial channels, to Sri Lanka and Thailand for cutting and resale.'

A deposit of copper bearing ore 14km southeast of Duchess at Trekelano was exploited by the Hampden Co for use at its Kuridala smelter. The ore body was one of the richer ones in the Cloncurry area, averaging around 13% copper and lesser amount of silver and gold. Trekelano ore was particularly valuable as a smelting aid.

The deposit was first worked in about 1906 in a small way, mostly for development work, and gradually increased its output of economical volumes by 1915. In time, the mine was equipped with a semi-marine type Babcock & Wilcox boiler, a Walker geared winding engine, Fraser & Chambers compressor, electric light from a 40hp Hornsby gas engine and wood producer, a picking plant, and ore bins. Narrow gauge tramways were used to move the ore to the dumps to the loading state and to fart firewood to the boiler house. Associated facilities were a change room, an engine room, a boiler shed, magazines, offices, stores, and staff quarters. At its peak, the mine employed 60 men. A school and post office were provided from 1918 and these remained viable until 1928.

When the railway was extended from Malbon to Duchess, the company began sending Trekelano ore to Duchess using a traction engine and wagons. This arrangement was not satisfactory in the long term so as soon as the railway was extended from Duchess to Dajarra, the company immediately took steps to lay a connecting tramway. The link was 12.3km in length.

The line was funded and built by the company under the Tramways Act. Engineering specifications were based on QR standards but were more economical in regard to the road bed and ballasting. The company sourced the rails and sleepers from QR and secured them on time payment based on a rebate from a premium placed on every ton carried. The company also paid the line maintenance fees.

Construction commenced on the 10th of September 1917 some 7.5km from Duchess at 553 miles and 21 chains, later known as Juenburra. Accommodation comprised a loop siding on the left from which was laid the branch proper which consisted of a curve to the southeast where another loop was placed on the right. From here the line continued southeast to the mine, which was 130 rail kilometres from Cloncurry.

A passenger service was offered but it was minimally supported because the Trekelano community had a road coach service to Duchess station. The coach departed Duchess at 7am on Monday and Friday for a same day return. Passenger rail journeys were around 200 per year to 1921 and then tailed off to virtually nothing, ceasing altogether soon after.

From 1941 the train day became a Monday and was worked by the Cloncurry-Dajarra-Cloncurry weekly mixed running on a Sunday-Monday overnight rest schedule. Ore loadings had dropped by half at this time to around 3500 tons due to shortages of labour and machinery spare parts. One train a week sufficed. Loadings diminished even further to less then 2000 tons by 1943. The mine closed that year and the train service ceased at this time. A small community remained until the end, and this included several school aged children who were driven to Duchess each day for their education.

The mine owners retired to the coast and after the war put the mine and tramway on the market. There were no takers for the assets as a going concern so the plant was sold for scrap. The rails were purchased by the North Eton Sugar Mill and were removed by 1947. The telephone pole line was dismantled at the same time. The sleepers had no value and were left in situ. The official closure of the tramway is the 14th of May 1947.

The original Trekelano mine produced 220 000 tons of ore over its lifetime to yield 20 000 tons of copper and 3000 oz of gold. In the 1990s the site was gone over by the drivers of Mineral Commodities NL to locate and estimated 400 000 tonnes of 2.2% copper and 0.6 grams/tonne of gold. The deposit was reopened in 2005 by Osborne Mines and worked as a massive pit, this development swallowing the remains of the original mine and tramway. The Trekelano ore was carted to a concentrating plant at Mount Osborne, south of Selwyn, and the treated ore despatched by rail through to Phosphate Hill.

The mine is no longer in use.

Source: Copper in the Curry by Norman Houghton.

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Here is a couple of images from a shoot I did earlier this week to help a friend with her graded unit which is a campaign against sexual exploitation. The shoot itself as a disaster! Pushed for time with them being late and me having work later in the night we only got about 20 minutes shooting time and right at the beginning a light blew over in the wind luckily only the reflector crumpled in and the light was still working. Glad I managed to pull a few good shots from it though. :)

WE ARE HERE!

Before the G20-summit in Hamburg, where the mightiest heads of government responsible for exploitation, war and flight will talk about their further strategies, we want to show our face. All of us, united on the streets!

We are not to be overlooked! We are loud! We are angry, because again they speak about us instead with us. We want to create spaces for all those that are usually not heard or that are supposed to remain unheard. Like us. We say: Welcome United!

When we take to the streets, we want to be many. Everyone who cares about the common good and solidarity should come out. Everyone who can no longer bear that people are forced to stay in miserable conditions or left to suffer and die at Europe’s borders, should come out. Everyone should come, who cannot endure to see humans isolated in camps for years, who wants to stop the division which is being made between those who were born here and those just arrived, between ‚good’ and ‚bad’ refugees. We fight for our future. Now is the time to act together. We are more than we think! We’ll come united!

We further invite you to participate with us in a national demonstration on the 16th of September in Berlin, one week ahead of the general elections – come and join a large parade struggling for societal participation, equal rights, and solidarity. Because: Our voices count!

Welcome united! We’ll come united!

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

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.

youtu.be/p0kjGOOZZog

Go-Go for a wild ride with the action girls! Russ Meyer, the king of exploitation, directs this lurid thrill-ride starring Tura Satana, Haji, and Lori Williams as a trio of dancers who turn to murder and mayhem on a road trip from hell. Varla is well-endowed, beautiful, physically powerful, savvy and conniving. She lives for kicks, but she's also got a serious mad on for the world, and anyone who crosses her finds out the hard way. Her job as a go-go dancer, supplemented by a part time career in petty crime has afforded her a sleek and fast sports car, which she enjoys riding in the desert with her fellow dancers. One of them, Rosie, has a crush on Varla, which she happily encourages, even if Varla is really more interested in the control it gives her over Rosie than in Rosie herself. The other dancer, Billie, is a little harder for Varla to manage, but Billie isn't bright enough to outmaneuver Varla.

When the little gang run into a square drag racer, he winds up getting into a fight with Varla, losing of course. Varla makes sure he never talks back again, then kidnaps his girlfriend and makes a run for it. BIllie and Rosie tag along, and they soon become involved in intrigue with an old letch in the desert rumored to have a stash of cash hidden away somewhere. When Varla starts to lose control of the situation, things (again) become violent, leading to a revved-up climax! Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own.

synopsis

Exploitation maven Russ Meyer created a cult classic with this turbo-charged action film. Three curvaceous go-go dancers in a cool sports car go on a desert crime spree, led by Varla (the amazing Tura Satana), a busty, nasty woman dressed entirely in black. Varla's lesbian moll, Rosie (Haji) -- who has an extremely overwrought accent -- and reluctant bimbo Billie (Lori Williams) are along for the ride. When they meet a naïve young couple, Tommy and Linda (Ray Barlow and Sue Bernard), Varla challenges the man to a race then kills him by breaking his back. They take Linda hostage and drive to a house owned by a crippled old lecher (Stuart Lancaster) and his muscular but retarded son, Vegetable (Dennis Busch). Varla discovers that the old man has money hidden on the property, so the girls try to find it. Meanwhile, Vegetable's perverted father tries to trick him into assaulting one of the girls as he watches, but his other son (Paul Trinka) finally shows up to save the day. A great deal of bloodshed, campy catfighting, and funny dialogue fills the bulk of this fast-paced comic book of a movie.

Born 1946 Quebec,Canada

Passed on 2013

Birth Name - Barbarella Catton Nickname - Haji

Haji was a Cando-American actress renowned for starring in Russ Meyer's sexploitation classic Faster, Pussycat! Kill! Kill! (1965), in which she made her theatrical film debut. Barbarella Catton was born in Quebec City, Quebec on January 24, 1946, and at the age of 14, began dancing topless. The renamed Haji caught the eye of cinema's "King Leer" while performing as an exotic dancer.

He also cast her as one of three go-go dancers who turn into avenging furies in "Pussycat", which was her theatrical film debut as it was released before Motor Psycho (1965). She also appeared in Meyer's potboiler Good Morning... and Goodbye! (1967), his big budget Hollywood sextravaganza Beyond the Valley of the Dolls (1970), and his cartoonish amalgamation of sex and violence, Supervixens (1975).

Haji died on August 10, 2013 at the age of 67.

Was a fervent supporter of animal rights and environmentalism. Interviewed in the book "Invasion of the B-Girls" by Jewel Shepard. Began as an exotic dancer. Moved to California at the age of fourteen and was discovered by filmmaker Russ Meyer performing in a topless bar. Her only child, a daughter she had at age 15, is named Cerlette. Haji was of British and Filipino descent, and her nickname was bestowed on her by an uncle. Was a friend and co-star of former stripper and long-time Russ Meyer paramour Kitten Natividad.

Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67

By DANIEL E. SLOTNIK

Published: August 17, 2013

Haji, a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.

Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience.Later that year Haji appeared in “Faster, Pussycat! Kill! Kill!,” the tale of three dancers who beat a young man to death, kidnap his girlfriend and flee into the desert. She played the lesbian paramour of the lead character, Varla, played by Tura Satana. The film has acquired a devoted following and has been embraced by the filmmakers John Waters and Quentin Tarantino and even some feminists, including the film critic B. Ruby Rich, who praised it in The Village Voice as a “female fantasy.”“You just didn’t see women taking over and beating up men in those days,” Haji said in an interview posted on Russ Meyer’s Ultravixens, a Web site devoted to Meyer, who died in 2004, and his films. “Russ did something no one else had the imagination to do. And he was smart to use three bodied-up women, so whether the picture’s good or not, you still sort of stare at it.”Haji played a scantily clad bartender in Meyer’s “Supervixens” in 1975 and appeared in “Beyond the Valley of the Dolls,” the story of an all-woman rock band’s descent into debauchery. It was the first of Meyer’s films produced by a mainstream studio. She also acted in John Cassavetes’s gritty drama “The Killing of a Chinese Bookie” in 1976.

Haji was born in Quebec on Jan. 24, 1946. Ms. Natividad said that Haji’s last name at birth was Catton, and that she thought her given name was Cerlette. (The name Haji, she said, was a nickname given to her by an uncle.) Haji left school before finishing the sixth grade and began stripping at 14. She had a daughter, also named Cerlette, at 15. She lived in Oxnard, Calif. Her survivors include her daughter and a granddaughter. Haji’s last screen role was in the 2003 comedy “Killer Drag Queens on Dope.”

www.nytimes.com/2013/08/18/arts/haji-an-actress-featured-...;

installed the new Maxwell screen last night. All i can say is WOW! The difference is like night and day, comparing to the default screen it came with. Love the sharpness and brightness this new part brings.

Oh, and the message in the screen. i guess you have to Press L and read the words backwards! :)

Olympus E-P2

Nokton Voigtlander 25mm F0.95

Ligne 3 - Arrêt : Gare

Exploitant : STCE

Réseau Imag'in - Calais

Abertafol Halt was the second unstaffed halt on the coastline after leaving Dovey Junction. Opened by the Great Western Railway on the 8th March 1935 it was keen to exploit every possible location to generate traffic. The halt was situated one and a half miles from Gogarth Halt and one mile 59 chains to Penhelig the next stop in the Aberdovey direction. The platform was 75ft long of an all timber construction, a situation which tested a driver's skill and patients when required to halt the guard's compartment level with the platform. It was said that Frank and Evelyn Hemming once decided that walking back to Aberdovey would make them even more tired, so they waited for the train, and took two tenpenny single tickets. The guard commented " That's tenpence the company is out of pocket; it costs half a crown in brake shoes and coal to stop and start a train here'. Passenger amenities were sparse which consisted of a small open-fronted timber-framed shelter without windows the cost to the GWR a princely sum of £135 including the platform. The statutory lamp, railings and name board complete the fittings. Located on the 'up' side the halt came under the control of the Aberdovey Stationmaster, while access was from the main road via steps and a cinder path. One of the defining features of the railway is it follows the coastline almost exactly, weaving in and out of every indentation in the landscape, indeed, there is hardly a straight stretch of line between Dovey Junction and Aberdovey. On warm sunny days, the view across the estuary is one of the finest anywhere. However, for any woebegone traveller in a winter gale with spray blowing off the Irish sea, it was one of the less attractive features of the line and at times a railway engineer's nightmare. The site chosen was east of a public footpath leading down from the A493 then nothing more than an early turnpike The house which would be considered a shack by today's standards was constructed from old timbers salvaged from Barmouth Viaduct. The total cost coming to a princely sum of £50.00 six and a half thousand pounds in today's value. and , for which the ganger paid 2/- per week for the privilege. It wasn't until 1935 that the halt was built,

In this classic Cambrian scene 89A Oswestry allocated 2251 drafted in for the 1959 summer season calls into Abertafol halt with the 1:35 pm service from Dovey Junction on September 3rd, 1959. Photography M. Hale

Haut-le-Pied

Exploitant : Keolis Atlantique

Réseau Aléop - Pays de la Loire

The LORD will march out like a champion, like a warrior he will stir up his zeal; with a shout he will raise the battle cry and will triumph over his enemies.Isaiah 42:13

.It is in this history that one can locate the historical elements of injustice that may explain why people respond when a war cry is sounded.he exploiters of the youth culture would cut young people off from all the experience of the past

Questions about Shout Heal Viability:For reasons that bear little importance on the advice I seek, shouthealing intrigues me. I want to discuss the best way to build around this concept (running 30 pts into tactics picking up lung capacity and vigorous shouts), with a focus on pve. realize that there are already so-called 'invincible' guides out there, with incredibly tanky shouthealers on showcase, that get picked on by hardcore players for being worthless. So, to all those that would bash on said builds, put your creative energies to the test. And to those that would defend them, here is your chance to do so in an objective setting without fear of being flamed. What is the best way to utilize 'shoutheals' in the current meta?

www.guildwars2guru.com/topic/86837-questions-about-shout-...

“I too am not a bit tamed—I too am untranslatable;

I sound my barbaric yawp over the roofs of the world.” –Walt Whitman.Throughout cultures and time, shouting and yelling have typically been categorized as masculine acts. It makes sense. Yelling is inherently aggressive and often the prelude to actual physical violence.Across mammal species, males will frequently engage in posturing that includes roaring, snorting, or screeching. The aim of this pre-fight auditory showdown is actually to avoid having the conflict escalate into a physical altercation. If a male mammal can dominate his opponent into submission with just a roar, he eliminates the risk of getting killed or seriously injured and saves himself precious energy. If the roar doesn’t work to stave off the fight, well, hopefully it was fierce enough to instill some fear into one’s foe, leading him to struggle less fiercely and submit sooner, rather than later.These roars aren’t limited to the animal kingdom, though. In the great epic poems of cultures in both the East and the West, a manly, fierce yell was a desirable trait for a warrior to have.In The Iliad, Homer often describes the story’s heroes in terms of their ability to let out a howl that could weaken the knees of their enemies. Diomedes is called “Diomedes of the loud war cry,” and both Menelaus and Odysseus are described as “utter[ing] a piercing shout.”The mighty warriors that populate the Shahnameh, an epic Persian epic poem from the tenth century, are all described as arming themselves with a virile war cry: Koshan rumbled “in a voice like a drumbeat”; Rahham “roared out and began to boil like the sea”; and the thick-bodied Rostam thundered “like an elephant enraged.”Cú Chulainn, a hero from Celtic mythology, used the “hero’s scream” to scare off devils and goblins.

The Georgian hero Tariel was able to drop opposing warriors using only the force of his mighty war cry.And in Welsh mythology, the hero Culhwch was said to be able to give a battle cry so loud and violent that “all the women in the court that [were] pregnant [would] abort” and those women who were not pregnant would become sterile.Lone heroes weren’t the only ones known to give battle cries, either. Bands of warriors would often cry out in unison to frighten their enemies and fill themselves with thumos.Even today, soldiers and fighters continue to yell and shout when engaging with the enemy. You even see battle cries on football and rugby fields.There’s something very visceral about the aggressive shout that taps into the animal within us. As historian Dean Miller notes in his book The Epic Hero, “If the human voice…carries the proof of intelligence and therefore of a living vitality specific to humanity, the warrior’s shout announces a retrograde act, moving back or down into animality or even into the inanimate (a drumbeat, the sound of the sea).”Moving back into that raw barbarism via a mighty yell may be a way for us humans to tap into our animal strength. In fact, research backs this idea up: one study showed that athletes who scream when exerting themselves show an 11% increase in power output!The battle cry has truly played an integral and just plain fascinating role in the history of masculinity. So today we highlight 20 famous and not-so-famous battle cries through the ages and around the world. Maybe it’ll inspire you to come up with your own manly shout.Sound your barbaric yawp!The Roman Barritus roman barritus battle cry Unlike their Greek forebearers who drilled to music, ancient Roman soldiers typically marched in silence. But once they encountered the enemy, the soldiers would let out a unified war cry to intimidate their foes. Soldiers in the Late Roman army adopted many customs and habits of the Germanic tribes they fought, including a battle cry they called “barritus.” In his work Germania, the historian Tacitus described this martial growl as marked by a “harsh tone and hoarse murmur.” Soldiers would “put their shields before their mouths, in order to make the voice swell fuller and deeper as it echoes back.” According to Tacitus, the goal of the barritus was to kindle courage in the Roman soldiers’ hearts, while striking fear into those of their enemies. In the 1964 film The Fall of the Roman Empire, there’s a great scene with a Roman legion bellowing an intimidating barritus:Oorah!marine corps oorah battly cry“Oorah!” has been the go-to battle cry for the U.S. Marine Corps since about the Vietnam War. It’s not only used as a battle cry, but also as a way for Marines to greet their fellow leathernecks.The exact origins of “Oorah!” are hard to pin down. Several possible sources exist. One story has it introduced by the 1st Amphibious Reconnaissance Company in 1953; a drill instructor is said to have incorporated the simulated sound of a submarine dive horn — “Ahuga!” — into a marching cadence. It caught on and other drill instructors used “Ahuga!” as well. Over time it morphed into “Oorah!”Another likely source of this spirited shout is that it’s simply a derivation of “Hurrah!” — which was in common use by both American and British soldiers centuries before “Oorah!” came on the scene.Rebel Yellconfederate rebel yell

Confederate soldiers in the American Civil War developed a uniquely terrifying battle cry to intimidate their enemy and boost their own morale. Called the Rebel Yell, one Union soldier said it would send “a peculiar corkscrew sensation that went up your spine when you heard it” and that “if you claim you heard it and weren’t scared that means you never heard it.”The Rebel Yell has been described as sounding like a “rabbit’s scream” or “an Indian war cry.” The latter description is probably apt, as many historians believe Southerners were inspired in creating the Rebel Yell by American Indian battle cries they had heard before the war.While there is no recording of the Rebel Yell in an actual battle, the Library of Congress did record a group of Confederate veterans giving the Rebel Yell in 1930. Take a listen:Uukhai! mongolian battle cry The Mongols of the 13th century were reported to have yelled “Uukhai!” as they went into battle. The translation is something like our modern “Hurray!” — but had a more sacred bent and was used like the Christian “Amen.” After petitioning the sky for aid, Mongols would hold both hands out with palms up and move them in a clockwise circle three times saying “hurray, hurray, hurray.” Such prayers were used in official settings and rituals, to scare away evil spirits, and to shore up both supernatural assistance and the warriors’ morale preceding battle. Modern Mongolian archers shout the phrase and raise their hands to the heavens whenever they score a point in competition.Scottish Clan Slogans ;scottish clan battle cry ;Scottish clans were very similar to Greek city-states in the fluidity of their relationships. Clans often fought each other, but sometimes banded together to fight a common foe, usually the English.Each clan had their own distinct battle cry, called a slogan in the Lowlands and a flughorn in the Highlands. According to 19th century historian Rev. George Hill, Highland clans typically chose the name of a place or event that had historical significance for the respective clan. Crying out the name seemed to “operate like a charm” on the soldiers, filling them with thumos to fight for their homeland and ancestors.Scottish slogans also served as a watchword to help identify fellow clansmen in the confusion of battle.The Mackay slogan (the clan that I descended from) is “Bratach Bhan Chlann Aoidh,” meaning “The White Banner of Mackay.” It’s in reference to the white battle flag that Ian Aberach carried when he led the Mackays at the Battle of DrumnaCoub in 1433.And sorry to burst your bubble, but Scottish hero William Wallace didn’t yell “Freeeeeeedommmmm!” before being executed. Thanks Mel Gibson.Deus Vult!dues vult battle cry;During the First Crusade, Christian soldiers would shout “Deus Vult!” — “God Wills It!” — as they fought Muslims for control of the Holy Land.Urrah!urrah russian battle cry; For over 300 years, Russian soldiers have shouted “Urrah!” in battle. Records suggest that soldiers in the Russian Imperial Army were the first to use it. Some historians believe it was inspired by the battle cry “Vur Ha!” used by soldiers in the Ottoman Empire, while others think it was inspired by the Mongolian “hurray!”

“Urrah!” was widely used by soldiers in the Red Army during WWII. It’s still used by the Russian army today, but primarily in military parades and Victory Day celebrations like this one:

Alala! alala greek battle cry Before a battle, the Ancient Greeks would ask for the blessings of Alala — the goddess of the war cry — by shouting out her name as loudly and fiercely as possible. Greek hoplites hoped that Alala would answer their supplication by amplifying their cry and thus scaring the living daylights out of their enemies.Banzai! japanese banzai kamikaze cry To encourage Japanese soldiers to fight to the death rather than surrender to the enemy, the Japanese government romanticized suicide attacks by harkening to the ancient honor code of the samurai — the Bushido. Samurai warriors believed it was better to choose death over the humiliation of defeat.Japanese infantrymen were thus trained to make a last-ditch suicide attack when they were all but beaten. As they ran towards enemy fire, they’d scream “Tenno Heika Banzai!” — “Long live the Emperor!” Kamikaze pilots were said to have yelled the same thing as they flew their planes into enemy warships. The battle cry was often shortened to just “Banzai!” Because the battle cry was shouted in conjunction with these suicidal barrages, Allied forces began calling this quintessentially Japanese battle strategy “Banzai attacks.”

Hokahey!hokahey american indian battle cryAmerican Indian warriors were adept practitioners of the war cry (and no, they didn’t “Whoo! Whoo!” by patting their mouth with their hand). Each tribe had a distinct battle shout. Sometimes they’d yell words that referenced tribe principles. But like most cries men give during battle, an Indian warrior would often just holler and wail as fiercely as he could to intimidate his enemy.Perhaps the most famous Indian battle cry comes from the Lakota Sioux. During the Great Sioux War of 1876-1877, Lakota war chief Crazy Horse is said to have exhorted his warriors to fight the U.S. Army by exclaiming “Hokahey! Today is a good day to die!”Many people wrongly translate “Hokahey!” to mean “Today is a good day to die” simply because Crazy Horse said the phrase after shouting “Hokahey!” According to the website Native Languages, however, “Hokahey!” is a Sioux exclamation that translates roughly to “Let’s do it!” or “Let’s roll!” So what Crazy Horse actually said was “Let’s roll, men! Today is a good day to die!”That’s a pretty badass battle cry.Ei! Ei!…Oh!samurai warrior battle cry The samurai were an elite warrior and political class that dominated Japan for hundreds of years. Right before a battle, the daimyo, or warlord, would raise his signaling flag and shout “Ei! Ei!” to which the samurai would respond with “Oh!” Then all hell would be unleashed on the enemy. Usuthu!usuthu zulu battle cry In 1879, the British army fought the Zulus in what is now South Africa. Using nothing but spears and long shields made of cowhide, Zulu warriors were able to repulse the first invasion of the heavily armed British troops. The Usuthu were a faction in the Zulu Kingdom, and they took their name from a type of cattle their warrior ancestors used to pillage during wars. To keep alive their memory, and perhaps to summon the power of their brave forebearers, these men would shout out “Usuthu!” during battle. Other factions within the kingdom used this battle cry as well during the Anglo-Zulu War.Odin Owns You All!norse warriors odin owns you all Before battle, the Vikings would often invoke their warrior gods to give them the strength and power to defeat their enemies. In fact, Odin, the Norse god of wisdom, inspired one of their commonly used battle cries. According to Norse mythology, in the very first war in the world, Odin flung a spear over the entire host gathered for battle. Viking kings and commanders would thus emulate the Allfather by having one warrior throw a spear over their enemies’ heads, while the rest of the troops yelled: “Odin owns you all!” (A thousand years later, Viking metal band Einherjer would use this battle cry for the title of their 1998 album, Odin Owns Ye All. The spirit of Odin lives on.)Another common Viking battle cry was simply yelling out “Tyr!” — the name of the god of war.Hakkaa Päälle!Battle-Cries-4During battle, the Finnish light cavalrymen would cry out “Hakkaa päälle!” meaning, “Cut them down!” right before they would ride roughshod over their enemy with gleaming swords drawn.Because of their famous battle cry, these cavalrymen became known as the Hakkapeliitta.The Sword of the Lord and of Gideon!christian crusade battle cry;The Bible mentions several war cries, with perhaps the most famous example being found in the 7th chapter of the Book of Judges. Gideon (whose name means “Destroyer” or “Mighty Warrior”) was called by Yahweh to free the people of Israel from the Midianites. By God’s command, Gideon took with him just 300 men whom he chose using a simple test: when the troops stopped to drink from a river, he watched to see who stuck their faces in the water and drank directly from the river (taking their eyes off what was going on around them), and who drank by cupping the water with their hand and lifting it to their mouths (leaving their eyes free to scan the environment). He picked the latter to be his warriors. This doesn’t have anything to do with their battle cry, but it’s an awesome example of situational awareness!Anyway, when night fell, Gideon led his 300 men into the Midianite camp carrying horns and torches concealed in a clay jar (these were basically Molotov cocktails). At his command, the men blew their horns, threw down their torches, and shouted “The sword of the Lord and of Gideon!”Bole So Nihal!…Sat Sri Akal!sikh battle cry“Bole So Nihal!…Sat Sri Akal!” is a Sikh slogan, or jaikara (literally shout of victory, triumph, or exultation) popularized by Guru Gobind Singh, the last of the 10 Sikh Gurus. It’s used to express joy and is often used in Sikh liturgy. It was also employed by Sikh warriors as a battle cry.The jaikara is a two-part, call-and-response cry. One man yells “Bole So Nihal!” — “Whoever utters [the phrase following] shall be happy, shall be fulfilled.” The army would yell in response “Sat Sri Akal!” — “Eternal is the Holy/Great Timeless Lord!”Allahu Akbar!allahu akbar muslim battle cry;While the Takbir — the term used for the Arabic phase “Allahu Akbar!” (“God is great!”) — is used by Muslims in a variety of settings including births, deaths, and celebrations, it’s traditionally used as a battle cry. It’s said that the Prophet Muhammad first used the Takbir as a war cry in the Battle of Badr. It was subsequently shouted by Muslim soldiers during the Crusades. Today, of course, the phrase has become infamous in the West for its use in terrorist attacks.Jaya Mahakali, Ayo Gorkhali!gurkha nepalese battle cry;The Gurkha are an elite unit of soldiers from Nepal that have a global reputation for courage and fighting prowess. Stories of a single modern Gurkha warrior stopping a robbery and saving a girl from rape by taking on 40 thieves at the same time have buttressed this reputation; their use of the traditional, badass khukuri knife hasn’t hurt it either.Going into battle the Gurkhas will yell in unison: “Jaya Mahakali, Ayo Gorkhali!” — “Glory to Great Kali, the Gorkhas approach!”Currahee!currahee wwii battle cry ;Leading up to their historic D-Day parachute jump into France, the men of the 101st Airborne Division were whipped into tip-top shape at Camp Toccoa in Georgia. Dominating the camp was 1,740 foot Mount Currahee — a Cherokee word that means “stands alone.” Part of the paratroopers’ conditioning included hikes and runs up and down its slopes. The experience, though exhausting, bonded the men together, and the mountain quickly gained a legendary status amongst the soldiers.When the men started making practice parachute drops, they would yell “Geronimo!” as they jumped from the plane. There are several explanations as to the origins of this cry — it may have come from a movie or a song from that time that bore the name.Colonel Robert Sink, commander of the 506th Parachute Infantry Regiment (within which served Easy Company, aka the Band of Brothers), wanted his unit to stand out from the others in the 101st Division. So instead of shouting “Geronimo!’ as they jumped, he had his paratroopers yell “Currahee!” in homage to the mountain that had helped turn them into men.Desperta Ferro!awake iron christian battle cry;The Almogavars were soldiers from Christian Iberia (what is now Spain and Portugal) who fought the Muslims during the Reconquista.Before and during battle, the Almogavars would shout “Desperta Ferro!” — meaning “Awaken Iron!” — while striking their swords and lances on stones to create a cascade of sparks.The evocative and virile phrase “Awaken Iron!” coupled with the sword-sparking ritual, makes this my favorite battle cry on the list.

www.artofmanliness.com/2015/06/08/battle-cries/

A now thoroughly excited Beth walked up the hill. Her prickling senses becoming more alert with each step. Innocently unaware that she was no longer playing a role in Dare’s game.

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We appreciate the courtesy of Chatwick University Archives for letting us use the journals in our research, and for permission to use parts for the genesis of “Dare’s Game”.

Dare’s Game

Beth, eagerly looking for Dare, walked straight into Seth’s cunning snare…..

Suffix, circa late 1900’s. It was during this time a fanciful young lady, whom we will call Beth, started a journal which she would faithfully keep over the course of almost 50 years. She led quite an adventuresome life for a lady of that time, and her journals were filled with many tales and observations of her exploits. The following story is derived from events that she penned down in the early years in her journal.

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Beth had known Dare since their childhood. Dare was a handsome free spirited youth only two years her senior, who lived for the games his life had to offer. As his cherished nickname inferred, Dare was always trying to find the thrill out of anything he could think up, relishing to go beyond the pale in anything he attempted. Dare always a little different, harboring feelings and ideas way beyond his years, almost as if he had lived a previous life and retained something from it in his being.

Beth would remember times playing dress up with Dare’s sister Diana in some old gowns of their mothers. It was always then that Dare and his friends seemed to appear and talk them into playing hide n seek, tag or cops n robbers. Dare seemed to take pleasure in cajoling the girls into playing with them in this manner. Eyeing them as they played with a far off look that suggested the game they were playing had more meaning to him than he could ever venture to say. It was hard for Beth to explain it, but she did find it pleasurable (almost erotic using a word whose term she would learn much later) to be observed by him in this way.

One warm fall day Diana and Beth headed down to an old shack located near some railroad tracks at the back of a cornfield. Diana was dressed in a long satin play gown with her mother’s jewelry, which Dare had called rhinestones. Beth, herself dressed in a long flowing dress, loved the way Diana’s jewels twinkled and sparkled as she walked. They were going to pretend the shack was a ballroom and they were one their way to a fancy dance, like Beth’s and Diana’s parents had recently attended. Diana wasn’t supposed to be wearing her mother’s jewelry outside the house, but as a result of Dare’s teasing, had done so anyway.

They had reached the shack, an old white brick building with a wooden roof half fallen in, when a man’s voice suddenly said behind them, what are you two ladies up to? Turning they were confronted by a happily sneering drifter. The grubby man looked around, alone is we, and advanced towards them. The two girls stood petrified, he reached out and probed Diana along her side, pretty dress missy, he said, sparsely toothed mouth grinning like a pumpkin. He suddenly reached up and tore the necklace away from Diana’s throat, sending her falling backwards. Beth screamed bloody murder, as the vagrant turned heel, running off towards the tracks. Suddenly Dare appeared, and Beth, meaning to yell for help, exclaimed instead “help honey” to Dare. Dares eyes took on a very different look, almost of a burning yearning. Beth told him what had happened and he took off down towards the tracks in hot pursuit. For Beth, the look he had given her and the way he had dashed off excited her beyond measure. Even for someone that young, Beth now knew what Dare meant to her. From then on, playing games with Dare took on a heightened meaning for Beth.

But, nothing really changed in their relationship until Beth’s sophomore year of high school. Beth was sixteen at the time, a whimsical being, passionate, innocent, not particularly attractive, but radiating with a love of life. A living free spirit, developing into a very sexual being by the time her and Diana decided to attend their schools prom in their sophomore year. Beth dressed in a fuchsia coloured satin dress with dangling rhinestone earrings that had been” borrowed” from Diana’s Mother, the same ones Diana had been wearing when they had run into the drifter at the shack. Diana slipped into the slinky blue spaghetti strap gown and matching cover-all that she had worn as her cousin’s bridesmaid. She was wearing sapphire costume jewels patterned after the hope diamond. Their parents had given them a hard time when they saw their made up girls in their gowns and finery , admonishing them for looking way too mature. They smiled, consoling their parents fears, and went off on their adventure.

Their eyes were dazzled by the display of lights, the cheerfully student filled room, the band. They had stopped and were letting it all sink in, when Beth felt a hand on her shoulder. She turned and came face to face with Dare, who once again had the same yearning fire in his eyes as on that fateful day at the old shack. A veil was lifted from between the two, and Beth spent the whole evening encompassed in Dare’s arms. Soon after that the two had begun seeing much more of one another. Their relationship was still going strong eight years later.

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8 Years Later

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Come on Dare, let’s go to the Riverside, it will be fun she urged. She had been trying to get her fiancé’ to take her to the exclusive five star resorts for some time. And now she had a free overnight room card she had won at work! Dare looked into Beth’s wide, hope filled eyes, knowing her passion for attending these types of affairs. Ever hopeful she would see someone rich. Dare knew how to use this to his advantage. Finally he buckled, all right, only if we play the game afterwards he bargained. She squirmed inwardly with passion, nodding her agreement. Beth found the game exciting, though she would never let on to Dare. And, you must wear the gold bridesmaid gown and jewels you wore to your friend’s wedding last week , he added, a wistful smile lighting up his thin face.. Okay she agreed, trying to sound reluctant, but truthfully feeling multiple tingles of delight.

Dare was handsome, in a scrawny, thin bearded, sort of way ( From an old photo that survives he resembled a young Johnny Depp… the eds), with a witty writers imagination and a playful disposition. He could always make Beth laugh, feeling his excitement as he drew her into his stories and games. She would never admit to it, but found the game delightfully erogenous. She smiled to herself, so Dare had liked the satin gown after all, he had not shown any interest in her wearing it since the wedding. And the jewelry, the small rhinestone pendent and earrings had been pretty, but Beth soon came up with another idea. She would knock his socks off by wearing the glittering diamonds and emeralds that had been inherited from her grandmother. The set had laid collecting dust in a safety deposit box all these years, unworn. She had never told Dare about them, waiting for the perfect occasion. She could just imagine the look in his eyes when he saw her wearing them. Okay then, game on, Beth thought, wickedly sending shivers up and down her spine.

Dare’s Game was based on role playing:

Dare would give Beth money to purchase a new outfit, something rich and shiny, like silk or satin. With the new outfit, Beth would wear the good gold jewelry she had received from Dare on her birthdays. The idea was to acting like a bored rich girl out for a good time, alone and vulnerable.

Dare would be at the hotel bar, waiting for Beth to make her entrance, then make her acquaintance , playing a debonair, suited gentleman with a mysterious past and a hidden agenda. They would make a date later, usually to dance and have drinks.

Then that evening, she would go down to the bar. Dressed in one of the long gowns Dare favored, fitting in with the usual spillover from a wedding reception that had been held in one of the Ballrooms. Sometimes she would wear the rhinestone jewelry they had purchased together at various antique stores. Then Beth would wait for Dare to make his entrance, signaling the time for Dare’s game. He would assume one of several roles, or possibly a new one that Beth had never seen. In the past Dare had played:

A spy who would dance with Beth, then disappear. Sending a note to Beth via a third person that would have her meet him clandestinely in a remote location…

A highwayman who would come across Beth on the castle grounds , usually the resorts empty gardens at night….

A rich millionaire looking for romance…

A kidnapper hired by an evil uncle, who after tying up Beth and removing her valuables would have a change of heart….

A Jewel thief who would be cunningly after her valuables…

A handsome prince rescuing Beth’s damsel in distress ….

Or Dare’s favorite, centered on their old childhood game of cops and robbers. Dare would play the thief, and steal something from Beth, usually while dancing. He would then leave preset clues around the grounds that she would have to follow to catch him.

All of the games usually led to some playful groping and then escalating into the upper echelons of erotic pleasure. Sometimes they never made out of the woods, or barely out of the ballroom. Beth shivered at these thoughts, wishing she didn’t have to wait….

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Three weeks later at the Riverside Resort.

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In the Bar:

At the bar, Dare smiled to himself, pleased. He had dropped Beth off to check in by herself. She would change into her new outfit and wear it down to the bar for lunch. She would come in acting like a complete stranger to the area. Dare would make her acquaintance, invite her to lunch, and make plans to see her that evening at the resorts dance room. There were two wedding receptions going on, and that dance room should be filled with well-dressed patrons. Beth would fit right in; clad that pretty gown she had promised to wear.

Dare had been sitting at the bar, thinking about ways to play out the game that evening, when the answer came to him, in the form of a stranger who had come with his drink and sat next to him. The stranger introduced himself as Seth, and shaking Dare’s hand sat on the stool next to him. After they had had couple of drinks, they had become quite chummy. Seth explaining he had come up for one of the weddings, and assumed Dare was doing the same. Seth did not fail to observe Dare’s secretive smile, but did not question it. Their conversation was distracted only when a newcomer appeared at the entrance. Beth walked in, a long flowing silky skirt swishing down to her leather sandals. A shiny, long sleeved satin top fitting tightly along her perky figure, with bright gold jewelry complementing the ensemble. Real gold, Seth observed silently to himself.

Beth went to a table, both men going silent as they watched her move through the room. Good-looking one, that, Seth commented, looking at Dare who was deep in thought as his eyes were fixed on the sexy newcomer. Seth teasingly offered Dare a penny for his thoughts. Dare smiled mischievously, letting lose his plans. Seth listened to the young man, smiling as a light went on in his steal grey eyes. When Dare finished he offered up a suggestion as to how Dare could make it really interesting for Beth. The two co-conspirators worked it out: Seth told Dare about a stone hut and wall that was located on the back nine of the resorts golf course. He suggested that he, Seth, would meet Beth that evening and pass a note onto her from Dare saying that he was in trouble and needed her help, with directions to the spot. Dare liked the idea, and wrote the note on a cocktail napkin, cementing the plan by handing it to Seth.

Off you go old chap, let Uncle Seth take care of his end, he said grinning, giving Dare a sporting clap on the back. With a wink, Dare left his fellow collaborator, and went over to Beth, who had since been seated by a male waiter, now standing drooling over her shoulder as she looked at the menu.

Later that same evening, inside the crowded club:

Seth had stopped by the bar for a last drink. His business venture had been concluded earlier than he had expected. With the change in his plans, he had checked out early, his kit packed, boot loaded and the car ready. He now sat at the bar Causley watching young lass of about seventeen who had literally ran into him at one of the receptions. He watched her flirting about the club, weaving in and out of the guests. With a long swishing gown flowing provocatively along her lithe figure, abundant, solid white gold chains swinging out in an alluringly eye catching manner as she scurried about. A diminutive gold ring its half caret diamond flickered playfully from the petite pinky it loosely surrounded once again welcomed his contemplation. The lass presented quite an intriguing gold feathered fledgling, just begging to be plucked. He looked around, spying her parents on the dance floor. The father/husband, despite being an excellent dancer, gave him no interest. It was his partner, the wife/ mother, decked out in a iridescent suit and long swishing satin skirt upon which he now was reexamining. He again studied under the bright dance floor lights her fine pearls dangling from her ears, throat, and wrists. But it was the Ladies’ two rings that stole the show for him; an engagement ring with a rock of at least 2 carets surrounded by numerous shimmering half caret stones and a pinky ring similar to her daughters, that proudly displayed a single white solitaire diamond of at least one caret that had garnered his consideration. He also reconsidered the facts that he had been able to garnish about the lady who wore them, and her husband. The wife/mother was a heavy drinker who would not be expected to make any kind of appearance before noon. Hubby was a golfer, who would be out for breakfast at five am before being on the links at 6 am the next morning . At 5 :15 Seth was planning to pay a visit to his suite, and relieve his two ladies of their expensive trinkets. It should be an easy straight forward caper, that had Seth bristling with anticipation at the prospect.

As he was tossing down the last of his drink he remembered about Dare and the note he still had in his pocket. Setting down the empty glass, he pulled the note out and looked at it, kids he smirked, and was preparing to crinkle toss it on the bar and leave, when his eyes caught sight of Beth. He had felt his breath taken away when he saw her. Not at all what he had expected, he would say to Beth much later in the evening. He looked over the note, stirrings of a plan began formulating. All thoughts of the dancing couple and his plans fled his mind, as He rose, throwing a fiver on the bar and went off to intercept Beth.

Seth held Beth in his arms, she was a vivacious little thing he thought, while smiling charmingly into her eyes. She seemed a little apprehensive at first, but had settled right in when he had told her this had been set up by Dare, remember me at the bar with him this afternoon he had consoled her, she had smile brightly into his eyes in answer. He relished in the feel of her warm satin gown, and allowed himself to be mesmerized by the shimmer of her diamonds.

It reminded him of the diamonds that had been worn by one of his dance partners earlier that evening at a reception. He had forgotten her name, but not her diamonds, one of which now resided in a hidden compartment of his roadsters boot, along with the diamond pin he had slipped off the satin cape he had cordially help a well-dressed lady put on. He had also shelved his plans for his 5:15 am “meeting” at the golf playing husbands hotel room, Beth’s jewels were a much more lucrative prospect.

When the dance had ended he took her to the bar and sat her down, ordering her a drink. She seemed a little perplexed, Seth kissed her gloved hand; wait for it he told her mysteriously, winking into her eyes. Beth had winked back, the fire in her heart reflecting deep in her eyes. Seth left, smiling cleverly to himself as he took in his surroundings. He looked around as he walked away, now where had the little imp gotten off too?

He had decided that the seventeen year old in the long flirting gown would play a very different role in his plans. He approached her, with Dares note and a twenty. Thought for a moment about the pair of thick platinum gold chains dangling from her throat down the open neckline of the girl’s glossy gown, then banished the though, he had bigger fish to filet. The twenty caught her attention and she eagerly listened as he explained to her what to do, pointing out Beth sitting, waiting in earnest at the bar. Wait until she finishes her drink, Seth told her as she listened eagerly. She took the twenty into her hand, the half caret diamond on her pinky ring flashing, and her gold chain bracelets jangled as she grasped it. Seth left, figuring he had about twenty minutes to stop at his car, get a few items from the boot, and put his plan in motion.

Beth had curiously received the note from the attractively shy young lady, clad a slinky gown that made her appear years older. Reading it she folded it and was just getting up when a man wearing a suit came up to her and offered to let her dance with him. It took her some time, before she was finally able to ward him off and leave the brilliantly lit clubroom for the dark, forbidding grounds outside.

Now, a thoroughly excited Beth walked up the hill. Her senses becoming more prickling alert with each step. Innocently unaware that she was no longer playing a role in Dare’s game!

************************************************************************************

Epilogue:

As Seth walked away admiring the shimmery necklace, his thoughts travelled back to the gold burdened impish youngster in the swirling gown, and her pearl and diamond laden mother. Revisiting his original plans he decided that he liked the odds, especially since they would be against him. With the father leaving early to meet his cronies for breakfast the Mother should be still sleeping off her drink induced stupor, the hyperactive girl should still be out cold, but presented no risk if she awoke, he had more rope. The ladies jewels should be lying about in the apartment, or handedly on their persons( the pairs of diamond pinky rings, as well as the multi-diamond engagement ring flashed once again across his memory with all their brilliant glory),as he caught fire with the vision. There could be a safe he reasoned, but with a tied up daughter and a knife in his hand, the mother should have no issue opening it for him, or disclosing anywhere else her jewels may have been hidden . But if there was no safe, and the rings, pearls and solid white gold chains were somewhere in the room, he knew he would be able to noiselessly break in, find and slip the jewels from wherever they were perched, and be safely on his way without even causing the slightest stir from the sleeping woman and her daughter. It was a road Seth had travelled down many times. He prickled at the thought, as he foresightedly tallied up the potential haul while making his way to the car. The Mother/wife’s diamond rings, would easily fetch him at least three grand, probably close five with her pearls and the whelp’s jewelry added in. About a quarter of what he probably would get for the jewels now in his procession, so he mused inquisitively to himself, so ,was it worth the risk of his 20,000 bird in hand? Yes he answered himself, as all too familiar and welcome tingling sensation overwhelmed Seths muscular body. Like Dare, Seth like to play risky games, especially those which promised to be somewhat profitable. It would be a tantalizingly chancy gamble of his own; to wait a safe distance away while things cooled down and then return to break into the un protected sleeping ladies chamber.. He knew just the place to hide , and it would be a perfect spot to watch events unfold around Beth and Dare, while making his plans! It also afforded a nicely secret hiding nook for the ill-gotten gains collected so far that evening in case something went wrong, which it wouldn’t..

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Courtesy of Chatwick University Archives

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DISCLAIMER

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

********************************************************************************

All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents

The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.

No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.

These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.

As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.

We accept no responsibility for any events occurring outside this website.

***************************

A sneaky little woodland plant. Unusual in that it blooms in the summer in the woods, its flowers are small and there must be some complex relationship with the sun for this species to eke out a living in the shade, exploiting gaps, disturbance, treefall and that sort of thing, It has flowers, but they are quite modest. Bees visit, but the literature makes it seem that this is infrequent and that there is self-pollination going on too. More study. Specimen and picture by Helen Lowe Metzman.

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All photographs are public domain, feel free to download and use as you wish.

Photography Information:

Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200

We Are Made One with What We Touch and See

We are resolved into the supreme air,

We are made one with what we touch and see,

With our heart's blood each crimson sun is fair,

With our young lives each spring impassioned tree

Flames into green, the wildest beasts that range

The moor our kinsmen are, all life is one, and all is change.

- Oscar Wilde

You can also follow us on Instagram - account = USGSBIML

Want some Useful Links to the Techniques We Use? Well now here you go Citizen:

Best over all technical resource for photo stacking:

www.extreme-macro.co.uk/

Free Field Guide to Bee Genera of Maryland:

bio2.elmira.edu/fieldbio/beesofmarylandbookversion1.pdf

Basic USGSBIML set up:

www.youtube.com/watch?v=S-_yvIsucOY

USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.

www.youtube.com/watch?v=Bdmx_8zqvN4

Bees of Maryland Organized by Taxa with information on each Genus

www.flickr.com/photos/usgsbiml/collections

PDF of Basic USGSBIML Photography Set Up:

ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf

Google Hangout Demonstration of Techniques:

plus.google.com/events/c5569losvskrv2nu606ltof8odo

or

www.youtube.com/watch?v=4c15neFttoU

Excellent Technical Form on Stacking:

www.photomacrography.net/

Contact information:

Sam Droege

sdroege@usgs.gov

301 497 5840

Longueur : 24,7 m

Capacité : 154 voyageurs

Constructeur : Carrosserie Hess AG

Exploitant : Réseau Stan

Pays : France🇫🇷

Ville : Nancy (54000)

Nombre de trolley : 25

Exploitant : RATP

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien H

Lieu : Gare d'Ermont – Eaubonne (Ermont, F-95)

Lien TC Infos : tc-infos.fr/id/3929

Exploitant : Podiocom

Pelliculé pour la victoire de la Coupe de France 2022 du FC Nantes.

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 18:35

Rue du Vergne ; F-33 BORDEAUX

1er JOUR EXPLOITATION LIGNE 10

Véhicule : Irisbus Iveco Arès ;

Numéro de parc : 686 ;

Immatriculation : DJ-067-NC (71) ;

Numéro de châssis : VNESFR11800000062 ;

Mise en circulation : 24 juin 2004 ;

Réseau : Mobigo ;

Exploitant : Transdev BFC Sud.

Stationné à Mâcon, le 22 septembre 2021.

Officially, Rolls Royce Silver Shadows were never offered in an estate version, but it has become a popular trait to convert them to such, largely to exploit the advantages of extra boot space and a rear hatch.

I give you the car that took Rolls Royce out of the hands of the aristocracy and placed it into the hands of the people, a tradition that has continued ever since. Once rock-stars, pop-stars, TV presenters and alike were seen driving around in a car that was once the exclusive pride and joy of the established gentry, it was then and there that the Class System had truly disintegrated. The Victorian-era divisions of society were well and truly dead.

In 1965 it was apparent that the nearly 10 year old Silver Cloud was starting to look its age, and as time continued to crawl on the aristocratic look of the Rolls Royce was no longer its biggest selling point. Prior to the 1960's society was clearly defined, with what was known as the 'Glass Ceiling' through which none of the lower classes could rise up through the ranks. It was very easy for the Upper Class and Aristocracy to lose their titles and come down, but even if you were a Lower Class person who'd made it rich, you'd still be socially unacceptable due to your background. However, after World War I the emergence of the new Middle Class was starting to bend the rules, and as time went on the ways in which money could be obtained started to become easier thanks to stage and screen. After World War II the influence of the new generation distorted the lines of society even more with the appearance of the Beatles and Elvis Presley, people from low backgrounds who had managed to get a free ticket to the top due to their fame in the music industry. Of course when someone gets money, the first thing they want to do is spend it on luxury items, and nothing back then was more luxury than owning a Rolls Royce.

However, when the Cloud was designed society was still very much in the same Victorian ideal as before, and so its aristocratic look was about as hip and with-it as a China Cabinet in a Discotheque. In order to survive, Rolls Royce was going to have to adapt, so in 1965 they launched the Silver Shadow, a car that was designed for the new money, and the first Roller to be brought to the masses. What made it so appealing was a case of many things.

For starters, it was the first Rolls Royce to be a 'Driver's' car. Previous models had always been built with chauffeur driven passengers in mind, but the Shadow with upgraded suspension, an updated Rolls Royce V8 engine and the same general driving feel of a regular car (if not better with innovative power steering), made it ideal for the 'posers' of the upmarket realm. Secondly, the car was the first to be built with a monocoque, where the body and chassis are part of the same structure. Previously, Rolls Royce would provide the owner with a chassis, and then it was up to the owner what body would be put on it, with a variety of coachbuilders available to do the job including H.J Muliner Park Ward, Hoopers of London and James Young. The advent of the monocoque meant that potential buyers didn't have to go through the rigmarole of buying a chassis and then having a body constructed for it at extra cost.

As mentioned though, reception was something of a mixed bag, whilst motoring press and many people gave it critical acclaim for its revolutionary design, the usual Rolls Royce customer base saw it as something of a mongrel, appealing to the lowest common denominator rather than holding up the traditional standard that the Double R was famed for. But just because it was built for the masses didn't make it any less a car, each individual Shadow cost £7,000 new, weighed 2.2 tonnes and took 3 months to build. The interior was compiled of 12 square feet of wood, and three cows had to sacrifice themselves to create the leather hides that line the seats. Soft and springy Wilton Carpets made up the floor and power from Rolls Royce's astounding V8 engine could whisk the car to about 100mph, but why would you want a sporty Rolls Royce anyway? *Cough* Rolls Royce Wraith *Cough*

After launch the Silver Shadow was whipped up by pretty much anyone and everyone who wanted to show off their wealth, with a total of 25,000 examples being built during its 15 year production life, making it the most numerous Rolls Royce ever built. The Silver Shadow also formed the basis of several other designs, including the convertible Rolls Royce Silver Shadow 2-Door Saloon which later became the Corniche in 1971, the Bentley T-Series which was exactly the same only with Bentley badge and grille, and the controversial Rolls Royce Camargue of 1975 which was designed by Pininfarina.

For a time the Shadow was on top of the world, but things started to crumble fast in the 1970's. New American legislation meant that the car had to conform at the cost of its class, with the chrome bumpers being replaced by composite or rubber, and the ditch lights being slumped underneath on a rather unsightly chin-spoiler. In 1977 this revised car was launched as the Silver Shadow II, which I consider to be but a shadow of its former self due to the fact that this was when Rolls Royce started to become downplayed and underwhelming. Indeed the best intentions were in mind with safety, but without the chrome to adorn its lovely body, the Shadow was merely a husk.

This was added to by the fuel crisis of the mid-1970's, which made motoring a very expensive practice, especially if you ran a Shadow. Shadow's are incredible gas guzzlers at less than 20MPG, and refilling one will set you back in today's money about £80. At the same time it was considered socially unacceptable to be seen driving around in one of these after such a blow, almost as if you were driving a giant middle-finger down the street to everyone else who couldn't afford to drive. Because of this, owners turned to more subtle cars such as Mercedes so as not to fall victim to vindictive passers by. With sales starting to drop, Rolls Royce had to see off the Silver Shadow as soon as possible. After nearly 10 years of development, 1980 saw the launch of the much more angular and somewhat mundane Silver Spirit/Spur range, and with that now on the go the shadows grew long for the Silver Shadow, which was killed off the same year. Spiritually however, the design of the 60's lived on in the Corniche, which was to be built for another 15 years before that too was ended in 1995.

In some ways the Shadow became a failure of its own success, with Rolls Royce building far too many cars for the market that intended to buy them, with the result that the 2nd hand market became saturated with nearly new cars that fell into some disreputable company. Throughout the 1980's the Shadow was noted for being the ride of sleazy salesmen, gang lords and Members of Parliament (pure evil!). Additionally, many Shadows were bought cheap simply for the way they made the owner look.

If you were intending to use your cheapy Shadow to plunder yourself some girls and didn't have the attraction of money to back you up, you'd be out of luck and soon out of cash, because the bills required to run a hand-built luxury car would very quickly be walking through the door, both in terms of fuel and maintenance. Critical failures are rare and these cars are very reliable (although Jeremy Clarkson would have you think otherwise), but when they do happen, it would probably be cheaper to buy yourself another car. The worst problem you could face is a failure of the hydraulics that controlled the rear suspension, the steering and the brakes, which would render the car inoperable if something were to go awry.

Frequent maintenance of a Shadow however (every 4 to 6 months) will probably even out at about £100, which when you consider the £10,000 or more you'd be paying to replace the hydraulic system, is a small sacrifice. Rust is another problem, especially for early Shadows. The Chrome sills and guttering on the roof are especially prone, although the most critical problem is rust on the chassis, which if left can compromise the whole car and essentially write it off. A bit of a buying tip, if the car's body looks good, be sure to check underneath because you may see some costly rust gremlins down there that could ruin your investment.

Another place the Shadow has found itself is in the world of movies. Of course any film that has an upper-crust theme or feel to it would have to include a Rolls, but since 2nd hand Shadows could be picked up for a song you could easily put them in your movie. Sadly, most movies that feature Shadows are ones which feature them being destroyed.

So why do I love Shadows so much? Basically because it's a mixture of all things you'd want in a car. It has a spacious, luxury interior, it has a world beating design dripping with chrome and adorned with the finest hood ornament, and because it's dimensions aren't that far off a normal car, it can easily be used as an everyday machine unlike the Silver Cloud which is simply too big for everyday use. The Shadow is also a very personable sort of machine, if I was to own one I would treat it like a pet, and probably name it Sally (old girlfriend of mine).

Today, Shadows are by no means rare and the ones you'll find on the road are probably the best. Most of the poorer 2nd Hand ones rusted away and died back in the 1980's and 90's (or were blown up in movies, or put in swimming pools), which means that the survivors are largely under the ownership of avid enthusiasts who cherish their cars. You can find Shadows for next to nothing, with some examples going for as little as £4,000, but you'd have to be very desperate to get one of those as they'd probably be in very bad condition. Minters however can go for about £15,000 to £20,000, which when compared to some of the other cars of comparative size and quality such as the BMW's and Mercs of this world, is not a bad deal.

L'esclavage est un système juridique et social qui applique le droit de propriété aux individus, dits esclaves. Par opposition un individu ne faisant pas l'objet d'un tel droit de propriété est dit libre. Le propriétaire d'un esclave est quant à lui appelé maître. Défini comme un « outil animé » par Aristote, l’esclave se distingue du serf, du captif ou du forçat (conditions voisines dans l'exploitation) par l'absence d'une personnalité juridique propre. Des règles (coutumes, lois…) variables selon le pays et l’époque considérés, fixent les conditions par lesquelles on devient esclave ou on cesse de l'être, quelles limitations s'imposent au maître, quelles marges de liberté et protection légale l'esclave conserve, quelle humanité (quelle âme, sur le plan religieux) on lui reconnaît, etc. L'affranchissement d'un esclave (par son maître ou par l'autorité d'un haut placé) fait de lui un affranchi, ce qui lui donne un statut proche de celui de l'individu ordinaire. Un esclave en fuite qui a échappé à son propriétaire est appelé marron.

Esclaves sur le pont d'un navire, vers 1900.

Au fil des siècles, trois commerces à grande échelle, les traites négrières, ont prospéré en s'approvisionnant spécifiquement sur le continent africain : la traite orientale (17 millions de déportés, sur 13 siècles), dont la traite dite arabe était la composante principale, la traite intra-africaine (14 millions de déportés, sur plusieurs siècles, et qui a lieu majoritairement au XIXe siècle), et la traite atlantique (11 millions de déportés, dont 90 % sur 110 ans). On notera que les estimations sont parfois contestées, surtout pour le nombre de victimes de la traite intra-africaine. En tout cas l'impact sociologique, culturel et économique, tant dans les régions esclavagistes qu'en Afrique, où se trouvaient les trois grandes villes du trafic d'esclaves : Tombouctou, Zanzibar et Gao, est particulièrement important, et les trois traites restent fortement gravées dans les mémoires.

L'abolition de l'esclavage devient une cause moderne avec la controverse de Valladolid, à partir de 1550, mais ne progresse vraiment qu'à partir de la protestation de Germantown en 1688. La Révolution française abolit l'esclavage le 4 février 1794, mais Napoléon le rétablit en 1802-1803. Cependant, quelques années plus tard, Napoléon abolira officiellement la traite des Noirs en 1815. La Deuxième République abolira l'esclavage sur tous les territoires français, par le décret du 27 avril 1848.

Les abolitions dans le reste du monde se feront à la fin du XIXe siècle, et au XXe siècle. L'esclavage est officiellement interdit par les différentes déclarations des droits de l'homme, et notamment par le Pacte international relatif aux droits civils et politiques de 1966.

La Mauritanie a été le dernier pays du monde à interdire officiellement l'esclavage, en 1981, avec des poursuites pénales contre les propriétaires d'esclaves établies en 2007. Cependant, en 2019, environ 40 millions de personnes, dont 26% d'enfants, étaient encore réduits en esclavage dans le monde malgré l'illégalité de cette pratique. Plus de 50% des esclaves servent de main-d'œuvre forcée, généralement dans les usines et les ateliers clandestins du secteur privé de l'économie d'un pays. Dans les pays industrialisés, la traite des êtres humains est une forme moderne d'esclavage ; dans les pays non industrialisés, la servitude pour dettes est une forme courante d'asservissement, tels que les domestiques captifs, les personnes dans des mariages forcés et les enfants soldats.

Exploitant : Keolis CIF

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien H

Lieu : Gare d'Enghien-les-Bains (Enghien-les-Bains, F-95)

Lien TC Infos : tc-infos.fr/id/40667

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 8

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/34903

By Tove Jansson.

First published in English by Ernest Benn, 1952.

Puffin edition 1969, this reprint 1972.

youtu.be/p0kjGOOZZog

Go-Go for a wild ride with the action girls! Russ Meyer, the king of exploitation, directs this lurid thrill-ride starring Tura Satana, Haji, and Lori Williams as a trio of dancers who turn to murder and mayhem on a road trip from hell. Varla is well-endowed, beautiful, physically powerful, savvy and conniving. She lives for kicks, but she's also got a serious mad on for the world, and anyone who crosses her finds out the hard way. Her job as a go-go dancer, supplemented by a part time career in petty crime has afforded her a sleek and fast sports car, which she enjoys riding in the desert with her fellow dancers. One of them, Rosie, has a crush on Varla, which she happily encourages, even if Varla is really more interested in the control it gives her over Rosie than in Rosie herself. The other dancer, Billie, is a little harder for Varla to manage, but Billie isn't bright enough to outmaneuver Varla.

When the little gang run into a square drag racer, he winds up getting into a fight with Varla, losing of course. Varla makes sure he never talks back again, then kidnaps his girlfriend and makes a run for it. BIllie and Rosie tag along, and they soon become involved in intrigue with an old letch in the desert rumored to have a stash of cash hidden away somewhere. When Varla starts to lose control of the situation, things (again) become violent, leading to a revved-up climax! Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own.

synopsis

Exploitation maven Russ Meyer created a cult classic with this turbo-charged action film. Three curvaceous go-go dancers in a cool sports car go on a desert crime spree, led by Varla (the amazing Tura Satana), a busty, nasty woman dressed entirely in black. Varla's lesbian moll, Rosie (Haji) -- who has an extremely overwrought accent -- and reluctant bimbo Billie (Lori Williams) are along for the ride. When they meet a naïve young couple, Tommy and Linda (Ray Barlow and Sue Bernard), Varla challenges the man to a race then kills him by breaking his back. They take Linda hostage and drive to a house owned by a crippled old lecher (Stuart Lancaster) and his muscular but retarded son, Vegetable (Dennis Busch). Varla discovers that the old man has money hidden on the property, so the girls try to find it. Meanwhile, Vegetable's perverted father tries to trick him into assaulting one of the girls as he watches, but his other son (Paul Trinka) finally shows up to save the day. A great deal of bloodshed, campy catfighting, and funny dialogue fills the bulk of this fast-paced comic book of a movie.

Born 1946 Quebec,Canada

Passed on 2013

Birth Name - Barbarella Catton Nickname - Haji

Haji was a Cando-American actress renowned for starring in Russ Meyer's sexploitation classic Faster, Pussycat! Kill! Kill! (1965), in which she made her theatrical film debut. Barbarella Catton was born in Quebec City, Quebec on January 24, 1946, and at the age of 14, began dancing topless. The renamed Haji caught the eye of cinema's "King Leer" while performing as an exotic dancer.

He also cast her as one of three go-go dancers who turn into avenging furies in "Pussycat", which was her theatrical film debut as it was released before Motor Psycho (1965). She also appeared in Meyer's potboiler Good Morning... and Goodbye! (1967), his big budget Hollywood sextravaganza Beyond the Valley of the Dolls (1970), and his cartoonish amalgamation of sex and violence, Supervixens (1975).

Haji died on August 10, 2013 at the age of 67.

Was a fervent supporter of animal rights and environmentalism. Interviewed in the book "Invasion of the B-Girls" by Jewel Shepard. Began as an exotic dancer. Moved to California at the age of fourteen and was discovered by filmmaker Russ Meyer performing in a topless bar. Her only child, a daughter she had at age 15, is named Cerlette. Haji was of British and Filipino descent, and her nickname was bestowed on her by an uncle. Was a friend and co-star of former stripper and long-time Russ Meyer paramour Kitten Natividad.

Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67

By DANIEL E. SLOTNIK

Published: August 17, 2013

Haji, a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.

Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience.Later that year Haji appeared in “Faster, Pussycat! Kill! Kill!,” the tale of three dancers who beat a young man to death, kidnap his girlfriend and flee into the desert. She played the lesbian paramour of the lead character, Varla, played by Tura Satana. The film has acquired a devoted following and has been embraced by the filmmakers John Waters and Quentin Tarantino and even some feminists, including the film critic B. Ruby Rich, who praised it in The Village Voice as a “female fantasy.”“You just didn’t see women taking over and beating up men in those days,” Haji said in an interview posted on Russ Meyer’s Ultravixens, a Web site devoted to Meyer, who died in 2004, and his films. “Russ did something no one else had the imagination to do. And he was smart to use three bodied-up women, so whether the picture’s good or not, you still sort of stare at it.”Haji played a scantily clad bartender in Meyer’s “Supervixens” in 1975 and appeared in “Beyond the Valley of the Dolls,” the story of an all-woman rock band’s descent into debauchery. It was the first of Meyer’s films produced by a mainstream studio. She also acted in John Cassavetes’s gritty drama “The Killing of a Chinese Bookie” in 1976.

Haji was born in Quebec on Jan. 24, 1946. Ms. Natividad said that Haji’s last name at birth was Catton, and that she thought her given name was Cerlette. (The name Haji, she said, was a nickname given to her by an uncle.) Haji left school before finishing the sixth grade and began stripping at 14. She had a daughter, also named Cerlette, at 15. She lived in Oxnard, Calif. Her survivors include her daughter and a granddaughter. Haji’s last screen role was in the 2003 comedy “Killer Drag Queens on Dope.”

www.nytimes.com/2013/08/18/arts/haji-an-actress-featured-...;