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This is a photograph from the Forest Marathon festival 2013 which was held in the beautiful Coillte forest of Portumna in Co. Galway, Ireland on Saturday 15th June 2013. The event includes a 10k, a full marathon, a half marathon and two ultra-running events - a 50k and 100k race. The races started at 08:00 with the 100KM, the 50KM at 10:00, and subsequent races at two hour intervals onwards. All events started and finished within the forest with the exception of the half marathon and marathon which started outside of the forest. All events see participants complete 5KM loops of the forest which start and end at the car-park/amenity end of the forest. There is an official Refreshment/Handling Zones at this point on the loop.
The event was organised by international coach Sebastien Locteau from SportsIreland.ie and his fantastic team of volunteers from Galway and beyond. Congratulations to Seb on organising a very professionally run event and an event which is growing bigger and more prestigious with each passing year. There was an incredible atmosphere amongst the runners, the spectators, and the organisers. Hats off to everyone involved.
The marathon, 50KM, and 100KM events are sanctioned by Athletics Ireland and AIMS (the Association of International Marathons and Distance Races). The event has also achieved IAU (International Association of Ultrarunners) Bronze Label status for 2013.
Electronic timing was provided by RedTagTiming: www.redtagtiming.com/
Energy Bars, Gels, Drinks etc were provided by Fuel4Sport: www.fuel4sport.ie/
This is a set of photographs taken at various points on the 5KM loop in the Forest and contains photographs of competitors from all of the events except the 10KM race.
Viewing this on a smartphone device?
If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Overall Race Summary
Participants: Approximately 600 people took part across all of the events which were staged: 10km, half marathon, marathon, 50km, and 100KM.
Weather: The weather was unfortunately not what a summer's day in June should be like - there was rain, some breeze, but mild temperatures.
Course: This is a fast flat course depending on your event. The course is left handed around the Forest and roughly looks like a figure of 8 in terms of routing.
Location Map: Start/finish area on Google StreetView [goo.gl/maps/WWTgD] are inside the parklands and trails
Refreshments: There are no specific refreshments but the race organizers provide very adequate supplies for all participants.
Some Useful Links
Official Race Event Website: www.forestmarathon.com/
The Boards.ie Athletics Forum Thread for the 2013 Event: www.boards.ie/vbulletin/showthread.php?t=2056874371
A GPS Garmin Trace of the Course Profile (from the 50KM event) connect.garmin.com/activity/189495781
Our Flickr Photographs from the 2012 Events: www.flickr.com/photos/peterm7/sets/72157630146344494/
Our Flickr Photographs from the 2011 Events: www.flickr.com/photos/peterm7/sets/72157626865466587/
Title Sponsors Sports Ireland Website: sites.google.com/a/sportsireland.ie/welcome-sports-irelan...
A VIDEO of the Course: www.youtube.com/watch?feature=player_embedded&v=2FLxE...
Google StreetView of the Entrance to Portuma Forest: goo.gl/maps/MX62O
Wikipedia: Read about Portumna and Portumna Forest Park: en.wikipedia.org/wiki/Portumna#Portumna_Forest_Park
Coilte Ourdoors Website: www.coillteoutdoors.ie/?id=53&rec_site=115
Portumna Forest on EveryTrails: www.everytrail.com/guide/portumna-forest-park-woodland-tr...
More about the IAU Bronze Label: www.iau-ultramarathon.org/index.asp?menucode=h07&tmp=...
How can I get a full resolution copy of these photographs?
All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available offline, free, at no cost, at full image resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.
If you would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets
I stumbled across an unusual scene at Shoreham Airport when I passed on the way home from work looking for my picture of the day. A group of unruly kids shouting "Fat Boy, Fat Boy" at an obviously "slim" chap - how rude :-) - but he seemed to take it well, even allowing a professional looking camera man to film the abuse. Norman, I think was the chap's name :-)
ROCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
Include Youth's annual conference - 'Getting the Right Youth Justice; engaging with the findings of the Review of the Youth Justice System in Northern Ireland' - was held at the La Mon Hotel & Country Club, Belfast, on October 27 2011.
200 delegates attended the event, including senior civil servants, senior decision-makers, elected representatives, policy leads within the sector, community workers and practitioners working with marginalised young people. All were invited to debate the findings and join in the discussions.
For more information about include youth visit www.includeyouth.org
Event Nights include jazz, live piano music and quizzes.
The licensed Museum Café is open from 9.30am 7 days a week and is open until 10.00pm on Wednesday to Sunday with a three course menu . On Monday and Tuesday the Café is open until 5.00pm.
Whether you are enjoying a meal in our tabled area or melting into our leather sofas with a coffee and newspaper we are sure you will find a relaxing atmosphere waiting for you in the Café's listed building setting. During the day, and in the evening if they wish, customers can use the dedicated outdoor seating area to soak up the atmosphere of the historic Royal Arsenal. We frequently refresh our evening menus and we always offer a special of the day.
January 2018
Children's climbing day camp at Durham Climbing Centre!
Every day 8.30am - 5.30pm
Includes full day of climbing activities, breakfast club and afternoon tea!
Peach County, GA
Listed: 04/21/2000
The Fort Valley State College Historic District is significant in architecture because it includes historic college buildings dating from 1908 to 1952 and a c. 1890s historic residence of a school founder (now the Benjamin Anderson House). Several of the academic buildings were built using funds from wealthy supporters of the institution and were named for them including Huntington, and Carnegie Halls, and the Peabody Building. The Georgian Revival style was used starting with those built in the 1920s, as that represented the "collegiate" look found on many campuses of that era. The buildings retain their exterior appearances with some window changes, although interiors have been modified for new uses. The known architects include Gabriel B. Miller, trained at Tuskegee, who worked on the earliest campus building program; Ludlowand Peabody of New York for Carnegie Hall, the Peabody Building, Founders Hall, Ohio Hall, and Bishops Hall, due to the association with the Peabody family support through George Foster Peabody, whose nephew was the architect. Stanislaw Makielski, a professor of architecture at the University of Virginia, designed Patton Hall and the Fort Valley College Center. W. J. J. Chase, of Atlanta, did Davison Hall, and Ivey and Crook, of Atlanta, designed the Bywaters Building (originally the Hunt Library, dedicated 1952).
The district is significant in education and Ethnic Heritage-Black because it was built to be and remains an African-American educational institution. Started in 1895 as the Fort Valley High and Industrial School, in 1932 it became Fort Valley Normal and Industrial School, since it provided education for teachers. It absorbed the college functions of the Forsyth Industrial School of Forsyth, Georgia, a vocational agricultural school that was the State Teachers and Agricultural College when that institution was closed by the state in 1938 and its campus turned into a local high school. After this absorption in 1939, Fort Valley became a senior college as a unit of the University System of Georgia and the State Board of Regents and was renamed Fort Valley State College. In 1996 it became Fort Valley State University. The school is one of only three historically African-American, state-supported colleges in Georgia, the others being Savannah State University and Albany State University. The Fort Valley school retains the largest and most intact historic campus of the three. Hill Hall at Savannah State is on the National Register.
Includes Ground Cover, Falling Leaves, Shadows & Flowers
slurl.com/secondlife/Shiki/145/208/21
Includes head, body, three wigs, face protector, Leeke olive eyes with case, eye putty, two pair boots, one pair sneakers, two pair jeans, tshirt, shorts, two button down shirts, one vest, one sweater, one tank top and one biker jacket - one small chip in faceup just above eyelash, which I couldn't get in a photo
Includes Vernon Ward picture, Tala icing set, chocolate mint creams tin and more. A good car boot day!
via KrakyLand.net Far Cry 4 Gold Edition Download Pc Game Include All DLC and UPDATE www.krakyland.net/2016/01/far-cry-4-gold-edition-download...
Accessories include the adapter ring, lens hood, Kodak Retinar 37mm telephoto lens, Kodak 37mm close-up lenses (+7 and +10 diopters), and Kodak Retinar 37 mm Wide-Angle Lens.
My first digital camera, purchased new in November 2003.
January 2011 - I think this thing is dead, RIP.
Taken for this week's challenge of Home. It's no surprise that Houseboat Verda is home to an artist - Hamish McKenzie. The boat includes a pair of old coaches in its structure.
5 bracketed images combined in Photomatix
A blog post that includes these photos lives here: likeafishinwater.com/2017/05/27/pilgrimage-to-ogaki-and-y...
My company: www.thirdplacemedia.com - Research, content development and communications strategy focused on transit, walkability, placemaking and environment issues
My blog: likeafishinwater.com
Dahlia (UK /deɪliə/ or US /dɑːliə/) is a genus of bushy, tuberous, herbaceous perennial plants native to Mexico. A member of the Asteraceae (or Compositae), dicotyledonous plants, related species include the sunflower, daisy, chrysanthemum, and zinnia. There are 42 species of dahlia, with hybrids commonly grown as garden plants. Flower forms are variable, with one head per stem; these can be as small as 5.1 cm diameter or up to 30 cm ("dinner plate"). This great variety results from dahlias being octoploids—that is, they have eight sets of homologous chromosomes, whereas most plants have only two. In addition, dahlias also contain many transposons - genetic pieces that move from place to place upon an allele - which contributes to their manifesting such great diversity.
The stems are leafy, ranging in height from as low as 30 cm to more than 1.8–2.4 m. The majority of species do not produce scented flowers or cultivars. Like most plants that do not attract pollinating insects through scent, they are brightly colored, displaying most hues, with the exception of blue.
The dahlia was declared the national flower of Mexico in 1963. The tubers were grown as a food crop by the Aztecs, but this use largely died out after the Spanish Conquest. Attempts to introduce the tubers as a food crop in Europe were unsuccessful.
DESCRIPTION
Perennial plants, with mostly tuberous roots. While some have herbaceous stems, others have stems which lignify in the absence of secondary tissue and resprout following winter dormancy, allowing further seasons of growth. as a member of the Asteraceae the flower head is actually a composite (hence the older name Compositae) with both central disc florets and surrounding ray florets. Each floret is a flower in its own right, but is often incorrectly described as a petal, particularly by horticulturalists. The modern mame Asteraceae refers to the appearance of a star with surrounding rays.
TAXONOMY
HISTORY
EARLY HISTORY
Spaniards reported finding the plants growing in Mexico in 1525, but the earliest known description is by Francisco Hernández, physician to Philip II, who was ordered to visit Mexico in 1570 to study the "natural products of that country". They were used as a source of food by the indigenous peoples, and were both gathered in the wild and cultivated. The Aztecs used them to treat epilepsy, and employed the long hollow stem of the (Dahlia imperalis) for water pipes. The indigenous peoples variously identified the plants as "Chichipatl" (Toltecs) and "Acocotle" or "Cocoxochitl" (Aztecs). From Hernandez' perception of Aztec, to Spanish, through various other translations, the word is "water cane", "water pipe", "water pipe flower", "hollow stem flower" and "cane flower". All these refer to the hollowness of the plants' stem.Hernandez described two varieties of dahlias (the pinwheel-like Dahlia pinnata and the huge Dahlia imperialis) as well as other medicinal plants of New Spain. Francisco Dominguez, a Hidalgo gentleman who accompanied Hernandez on part of his seven-year study, made a series of drawings to supplement the four volume report. Three of his drawings showed plants with flowers: two resembled the modern bedding dahlia, and one resembled the species Dahlia merki; all displayed a high degree of doubleness. In 1578 the manuscript, entitled Nova Plantarum, Animalium et Mineralium Mexicanorum Historia, was sent back to the Escorial in Madrid; they were not translated into Latin by Francisco Ximenes until 1615. In 1640, Francisco Cesi, President of the Academia Linei of Rome, bought the Ximenes translation, and after annotating it, published it in 1649-1651 in two volumes as Rerum Medicarum Novae Hispaniae Thesaurus Seu Nova Plantarium, Animalium et Mineraliuím Mexicanorum Historia. The original manuscripts were destroyed in a fire in the mid-1600s.
EUROPEAN INTRODUCTION
In 1787, the French botanist Nicolas-Joseph Thiéry de Menonville, sent to Mexico to steal the cochineal insect valued for its scarlet dye, reported the strangely beautiful flowers he had seen growing in a garden in Oaxaca. In 1789, Vicente Cervantes, Director of the Botanical Garden at Mexico City, sent "plant parts" to Abbe Antonio José Cavanilles, Director of the Royal Gardens of Madrid. Cavanilles flowered one plant that same year, then the second one a year later. In 1791 he called the new growths "Dahlia" for Anders Dahl. The first plant was called Dahlia pinnata after its pinnate foliage; the second, Dahlia rosea for its rose-purple color. In 1796 Cavanilles flowered a third plant from the parts sent by Cervantes, which he named Dahlia coccinea for its scarlet color.In 1798, Cavanilles sent D. Pinnata seeds to Parma, Italy. That year, the Marchioness of Bute, wife of The Earl of Bute, the English Ambassador to Spain, obtained a few seeds from Cavanilles and sent them to Kew Gardens, where they flowered but were lost after two to three years. In the following years Madrid sent seeds to Berlin and Dresden in Germany, and to Turin and Thiene in Italy. In 1802, Cavanilles sent tubers of "these three" (D. pinnata, D. rosea, D. coccinea) to Swiss botanist Augustin Pyramus de Candolle at University of Montpelier in France, Andre Thouin at the Jardin des Plantes in Paris and Scottish botanist William Aiton at Kew Gardens. That same year, John Fraser, English nurseryman and later botanical collector to the Czar of Russia, brought D. coccinea seeds from Paris to the Apothecaries Gardens in England, where they flowered in his greenhouse a year later, providing Botanical Magazine with an illustration.In 1804, a new species, Dahlia sambucifolia, was successfully grown at Holland House, Kensington. Whilst in Madrid in 1804, Lady Holland was given either dahlia seeds or tubers by Cavanilles. She sent them back to England, to Lord Holland's librarian Mr Buonaiuti at Holland House, who successfully raised the plants. A year later, Buonaiuti produced two double flowers. The plants raised in 1804 did not survive; new stock was brought from France in 1815. In 1824, Lord Holland sent his wife a note containing the following verse:
"The dahlia you brought to our isle
Your praises for ever shall speak;
Mid gardens as sweet as your smile,
And in colour as bright as your cheek."
In 1805, German naturalist Alexander von Humboldt sent more seeds from Mexico to Aiton in England, Thouin in Paris, and Christoph Friedrich Otto, director of the Berlin Botanical Garden. More significantly, he sent seeds to botanist Carl Ludwig Willdenow in Germany. Willdenow now reclassified the rapidly growing number of species, changing the genus from Dahlia to Georgina; after naturalist Johann Gottlieb Georgi. He combined the Cavanilles species D. pinnata and D. rosea under the name of Georgina variabilis; D. coccinea was still held to be a separate species, which he renamed Georgina coccinea.
CLASSIFICATION
Since 1789 when Cavanilles first flowered the dahlia in Europe, there has been an ongoing effort by many growers, botanists and taxonomists, to determine the development of the dahlia to modern times. At least 85 species have been reported: approximately 25 of these were first reported from the wild, the remainder appeared in gardens in Europe. They were considered hybrids, the results of crossing between previously reported species, or developed from the seeds sent by Humboldt from Mexico in 1805, or perhaps from some other undocumented seeds that had found their way to Europe. Several of these were soon discovered to be identical with earlier reported species, but the greatest number are new varieties. Morphological variation is highly pronounced in the dahlia. William John Cooper Lawrence, who hybridized hundreds of families of dahlias in the 1920s, stated: "I have not yet seen any two plants in the families I have raised which were not to be distinguished one from the other. Constant reclassification of the 85 reported species has resulted in a considerably smaller number of distinct species, as there is a great deal of disagreement today between systematists over classification.
In 1829, all species growing in Europe were reclassified under an all-encompassing name of D. variabilis, Desf., though this is not an accepted name. Through the interspecies cross of the Humboldt seeds and the Cavanilles species, 22 new species were reported by that year, all of which had been classified in different ways by several different taxonomists, creating considerable confusion as to which species was which.
In 1830 William Smith suggested that all dahlia species could be divided into two groups for color, red-tinged and purple-tinged. In investigating this idea Lawrence determined that with the exception of D. variabilis, all dahlia species may be assigned to one of two groups for flower-colour: Group I (ivory-magenta) or Group II (yellow-orange-scarlet).
CIRCUMSCRIPTION
The genus Dahlia is situated in the Asteroideae subfamily of the Asteraceae, in the Coreopsideae tribe. Within that tribe it is the second largest genus, after Coreopsis, and appears as a well defined clade within the Coreopsideae.
SUBDIVISION
INFRAGENERIC SUBDIVISION
Sherff (1955), in the first modern taxonomy described three sections for the 18 species he recognised, Pseudodendron, Epiphytum and Dahlia. By 1969 Sørensen recognised 29 species and four sections by splitting off Entemophyllon from section Dahlia. By contrast Giannasi (1975) using a phytochemical analysis based on flavonoids, reduced the genus to just two sections, Entemophyllon and Dahlia, the latter having three subsections, Pseudodendron, Dahlia, and Merckii. Sørensen then issued a further revision in 1980, incorporating subsection Merckii in his original section Dahlia. When he described two new species in the 1980s (Dahlia tubulata and D. congestifolia), he placed them within his existing sections. A further species, Dahlia sorensenii was added by Hansen and Hjerting in (1996). At the same time they demonstrated that Dahlia pinnata should more properly be designated D. x pinnata. D. x pinnata was shown to actually be a variant of D. sorensenii that had acquired hybrid qualities before it was introduced to Europe in the sixteenth century and formally named by Cavanilles. The original wild D. pinnata is presumed extinct. Further species continue to be described, Saar (2003) describing 35 species. However separation of the sections on morphological, cytologal and biocemical criteria has not been entirely satisfactory.
To date these sectional divisions have not been fully supported phylogenetically, which demonstrate only section Entemophyllon as a distinct sectional clade. The other major grouping is the Core Dahlia Clade (CDC), which includes most of section Dahlia. The remainder of the species occupy what has been described as the Variable Root Clade (VRC) which includes the small section Pseudodendron but also the monotypic section Epiphytum and a number of species from within section Dahlia. Outside of these three clades lie D. tubulata and D. merckii as a polytomy.
Horticulturally the sections retain some usage, section Pseudodendron being referred to as 'Tree Dahlias', Epiphytum as the 'Vine Dahlia'. The remaining two herbaceous sections being distinguished by their pinnules, opposing (Dahlia) or alternating (Entemophyllon).
SECTIONS
Sections (including chromosome numbers), with geographical distribution;
- Epiphytum Sherff (2n = 32)
10 m tall climber with aerial roots 5 cm thick and up to more than 20 m long; pinnules opposite
1 species, D. macdougallii Sherff
Mexico: Oaxaca
- Entemophyllon P. D. Sorensen (2n = 34)
6 species
Mexico: Hidalgo, Nuevo León, Tamaulipas, Querétaro, Durango, San Luis Potosí
- Pseudodendron P. D. Sorensen (2n = 32)
3 species + D. excelsa of uncertain identity
Mexico: Chiapas, Guerrero, Jalisco, Michoacan, Oaxaca, and
Costa Rica, El Salvador, Guatemala & Colombia
- Dahlia (2n = 32, 36 or 64)
24 species
Mexico: Distrito Federal, Guerrero, Hidalgo, Morelos, Nuevo León, Puebla, San Luis Potosí, Tamaulipas, Veracruz, Oaxaca, Puebla, Chiapas, México, Huehuetenango, Chihuahua, Durango, Michoacan & Guatemala
Only Pseudodendron (D. imperialis) and Dahlia (D. australis, D. coccinea) occur outside Mexico.
SPECIES
There are currently 42 accepted species in the Dahlia genus, but new species continue to be described.
ETYMOLOGY
The naming of the plant itself has long been a subject of some confusion. Many sources state that the name "Dahlia" was bestowed by the pioneering Swedish botanist and taxonomist Carl Linnaeus to honor his late student, Anders Dahl, author of Observationes Botanicae. However, Linnaeus died in 1778, more than eleven years before the plant was introduced into Europe in 1789, so while it is generally agreed that the plant was named in 1791 in honor of Dahl, who had died two years before, Linnaeus could not have been the one who did so. It was probably Abbe Antonio Jose Cavanilles, Director of the Royal Gardens of Madrid, who should be credited with the attempt to scientifically define the genus, since he not only received the first specimens from Mexico in 1789, but named the first three species that flowered from the cuttings.
Regardless of who bestowed it, the name was not so easily established. In 1805, German botanist Carl Ludwig Willdenow, asserting that the genus Dahlia Thunb. (published a year after Cavanilles's genus and now considered a synonym of Trichocladus) was more widely accepted, changed the plants' genus from Dahlia to Georgina; after the German-born naturalist Johann Gottlieb Georgi, a professor at the Imperial Academy of Sciences of St. Petersburg, Russia. He also reclassified and renamed the first three species grown, and identified, by Cavanilles. It was not until 1810, in a published article, that he officially adopted the Cavanilles' original designation of Dahlia. However, the name Georgina still persisted in Germany for the next few decades.
"Dahl" is a homophone of the Swedish word "dal", or "valley"; although it is not a true translation, the plant is sometimes referred to as the "valley flower".
DISTRIBUTION AND HABITAT
Predominantly Mexico, but some species are found ranging as far south as northern South America. D. australis occurs at least as far south as southwestern Guatemala, while D. coccinea and D. imperialis also occur in parts of Central America and northern South America. Dahlia is a genus of the uplands and mountains, being found at elevations between 1,500 and 3,700 meters, in what has been described as a "pine-oak woodland" vegetative zone. Most species have limited ranges scattered throughout many mountain ranges in Mexico.
ECOLOGY
The commonest pollinators are bees and small beetles.
PESTS AND DISEASES
Slugs and snails are serious pests in some parts of the world, particularly in spring when new growth is emerging through the soil. Earwigs can also disfigure the blooms. The other main pests likely to be encountered are aphids (usually on young stems and immature flower buds), red spider mite (causing foliage mottling and discolouration, worse in hot and dry conditions) and capsid bugs (resulting in contortion and holes at growing tips). Diseases affecting dahlias include powdery mildew, grey mould (Botrytis cinerea), verticillium wilt, dahlia smut (Entyloma calendulae f. dahliae), phytophthora and some plant viruses. Dahlias are a source of food for the larvae of some Lepidoptera species including Angle Shades, Common Swift, Ghost Moth and Large Yellow Underwing.
CULTIVATION
Dahlias grow naturally in climates which do not experience frost (the tubers are hardy to USDA Zone 8), consequently they are not adapted to withstand sub-zero temperatures. However, their tuberous nature enables them to survive periods of dormancy, and this characteristic means that gardeners in temperate climates with frosts can grow dahlias successfully, provided the tubers are lifted from the ground and stored in cool yet frost-free conditions during the winter. Planting the tubers quite deep (10 – 15 cm) also provides some protection. When in active growth, modern dahlia hybrids perform most successfully in well-watered yet free-draining soils, in situations receiving plenty of sunlight. Taller cultivars usually require some form of staking as they grow, and all garden dahlias need deadheading regularly, once flowering commences.
HORTICURAL CLASSIFICATION
HISTORY
The inappropriate term D. variabilis is often used to describe the cultivars of Dahlia since the correct parentage remains obscure, but probably involves Dahlia coccinea. In 1846 the Caledonia Horticultural Society of Edinburgh offered a prize of 2,000 pounds to the first person succeeding in producing a blue dahlia. This has to date not been accomplished. While dahlias produce anthocyanin, an element necessary for the production of the blue, to achieve a true blue color in a plant, the anthocyanin delphinidin needs six hydroxyl groups. To date dahlias have only developed five, so the closest that breeders have come to achieving a "blue" specimen are variations of mauve, purples and lilac hues.
By the beginning of the twentieth century a number of different types were recognised. These terms were based on shape or colour, and the National Dahlia Society included cactus, pompon, single, show and fancy in its 1904 guide. Many national societies developed their own classification systems until 1962 when the International Horticultural Congress agreed to develop an internationally recognised system at it Brussels meeting that year, and subsequently in Maryland in 1966. This culminated in the 1969 publication of The International Register of Dahlia Names by the Royal Horticultural Society which became the central registering authority.
This system depended primarily on the visibility of the central disc, whether it was open centred or whether only ray florets were apparent centrally (double bloom). The double bloom cultivars were then subdivided according to the way in which they were folded along their longitudinal axis, flat, involute (curled inwards) or revolute (curling backwards). If the end of the ray floret was split, they were considered fimbriated. Based on these characteristics, nine groups were defined plua a tenth miscellaneous group for any cultivars not fitting the above characteristics. Fimbriated dahlias were added in 2004, and two further groups (Single and Double orchid) in 2007. The last group to be added, Peony, first appeared in 2012.
In many cases the bloom diametre was then used to further label certain groups from miniature through to giant. This practice was abandoned in 2012.
MODERN SYSTEM (RHS)
There are now more than 57,000 registered cultivars, which are officially registered through the Royal Horticultural Society (RHS). The official register is The International Register of Dahlia Names 1969 (1995 reprint) which is updated by annual supplements. The original 1969 registry published about 14,000 cultivars adding a further 1700 by 1986 and in 2003 there were 18,000. Since then about a hundred new cultivars are added annually.
FLOWER TYPE
The official RHS classification lists fourteen groups, grouped by flower type, together with the abbreviations used by the RHS;
Group 1 – Single-flowered dahlias (Sin) — Flower has a central disc with a single outer ring of florets (which may overlap) encircling it, and which may be rounded or pointed.
Group 2 – Anemone-flowered dahlias (Anem) — The centre of the flower consists of dense elongated tubular florets, longer than the disc florets of Single dahlias, while the outer parts have one or more rings of flatter ray florets. Disc absent.
Group 3 – Collerette dahlias (Col) — Large flat florets forming a single outer ring around a central disc and which may overlap a smaller circle of florets closer to the centre, which have the appearance of a collar.
Group 4 – Waterlily dahlias (WL) — Double blooms, broad sparse curved, slightly curved or flat florets and very shallow in depth compared with other dahlias. Depth less than half the diameter of the bloom. Group 5 – Decorative dahlias (D) — Double blooms, ray florets broad, flat, involute no more than seventy five per cent of the longitudinal axis, slightly twisted and usually bluntly pointed. No visible central disc.
Group 6 – Ball dahlias (Ba)— Double blooms that are ball shaped or slightly flattened. Ray florets blunt or rounded at the tips, margins arranged spirally, involute for at least seventy five percent of the length of the florets. Larger than Pompons.
Group 7 – Pompon dahlias (Pom) — Double spherical miniature flowers made up entirely from florets that are curved inwards (involute) for their entire length (longitudinal axis), resembling a pompon.
Group 8 – Cactus dahlias (C) — Double blooms, ray florets pointed, with majority revolute (rolled) over more than fifty percent of their longitudinal axis, and straight or incurved. Narrower than Semi cactus.
Group 9 – Semi cactus dahlias (S–c)— Double blooms, very pointed ray florets, revolute for greater than twenty five percent and less than fifty percent of their longitudinal axis. Broad at the base and straight or incurved, almost spiky in appearance.
Group 10 – Miscellaneous dahlias (Misc) — not described in any other group.
Group 11 – Fimbriated dahlias (Fim) — ray florets evenly split or notched into two or more divisions, uniformly throughout the bloom, creating a fimbriated (fringed) effect. The petals may be flat, involute, revolute, straight, incurving or twisted.
Group 12 – Single Orchid (Star) dahlias (SinO) — single outer ring of florets surround a central disc. The ray florets are either involute or revolute.
Group 13 – Double Orchid dahlias (DblO) — Double blooms with triangular centres. The ray florets are narrowly lanceolate and are either involute or revolute. The central disc is absent.
Group 14 – Peony-flowered dahlias (P) — Large flowers with three or four rows of rays that are flattened and expanded and arranged irregularly. The rays surround a golden disc similar to that of Single dahlias.
FLOWER SIZE
Earlier versions of the registry subdivided some groups by flower size. Groups 4, 5, 8 and 9 were divided into five subgroups (A to E) from Giant to Miniature, and Group 6 into two subgroups, Small and Miniature. Dahlias were then described by Group and Subgroup, e.g. 5(d) ‘Ace Summer Sunset’. Some Dahlia Societies have continued this practice, but this is neither official nor standardised. As of 2013 The RHS uses two size descriptors
Dwarf Bedder (Dw.B.) — not usually exceeding 600 mm in height, e.g. 'Preston Park' (Sin/DwB)
Lilliput dahlias (Lil) — not usually exceeding 300 mm in height, with single, semi-double or double florets up to 26 mm in diameter. ("baby" or "top-mix" dahlias), e.g. 'Harvest Tiny Tot' (Misc/Lil)
Sizes can range from tiny micro dahlias with flowers less than 50mm to giants that are over 250mm in diameter. The groupings listed here are from the New Zealand Society.
Giant flowered cultivars have blooms with a diameter of over 250mm.
Large flowered cultivars have blooms with a diameter between 200mm-250mm.
Medium flowered cultivars have blooms with a diameter between 155mm-200mm.
Small flowered cultivars have blooms with a diameter between 115mm-155mm.
Miniature flowered cultivars have blooms with a diameter between 50mm-115mm.
Pompom flowered cultivars have blooms with a diameter less than 50mm.
In addition to the official classification and the terminology used by various dahlia societies, individual horticulturalists use a wide range of other descriptions, such as 'Incurved' and abbreviations in their catalogues, such as CO for Collarette.
BRANDING
Some plant growers include their brand name in the cultivar name. Thus Fides (part of the Dümmen Orange Group) in the Netherlands developed a series of cultivars which they named the Dahlinova Series, for example Dahlinova 'Carolina Burgundy'. These are Group 10 Miscellaneous in the RHS classification scheme.
DOUBLE DAHLIAS
In 1805, several new species were reported with red, purple, lilac, and pale yellow coloring, and the first true double flower was produced in Belgium. One of the more popular concepts of dahlia history, and the basis for many different interpretations and confusion, is that all the original discoveries were single flowered types, which, through hybridization and selective breeding, produced double forms. Many of the species of dahlias then, and now, have single flowered blooms. coccinea, the third dahlia to bloom in Europe, was a single. But two of the three drawings of dahlias by Dominguez, made in Mexico between 1570–77, showed definite characteristics of doubling. In the early days of the dahlia in Europe, the word "double" simply designated flowers with more than one row of petals. The greatest effort was now directed to developing improved types of double dahlias.
During the years 1805 to 1810 several people claimed to have produced a double dahlia. In 1805 Henry C. Andrews made a drawing of such a plant in the collection of Lady Holland, grown from seedlings sent that year from Madrid. Like other doubles of the time it did not resemble the doubles of today. The first modern double, or full double, appeared in Belgium; M. Donckelaar, Director of the Botanic Garden at Louvain, selected plants for that characteristic, and within a few years secured three fully double forms. By 1826 double varieties were being grown almost exclusively, and there was very little interest in the single forms. Up to this time all the so-called double dahlias had been purple, or tinged with purple, and it was doubted if a variety untinged with that color was obtainable.
In 1843, scented single forms of dahlias were first reported in Neu Verbass, Austria. D. crocea, a fragrant variety grown from one of the Humboldt seeds, was probably interbred with the single D. coccinea. A new scented species would not be introduced until the next century when the D. coronata was brought from Mexico to Germany in 1907.
The exact date the dahlia was introduced in the United States is uncertain. One of the first Dahlias in the USA may be the D. coccinea speciosissima grown by Mr William Leathe, of Cambridgeport, near Boston, around 1929. According to Edward Sayers "it attracted much admiration, and at that time was considered a very elegant flower, it was however soon eclipsed by that splendid scarlet, the Countess of Liverpool". However 9 cultivars were already listed in the catalog from Thornburn, 1825. And even earlier reference can be found in a catalogue from the Linnaean Botanical Garden, New York, 1820, that includes one scarlet, one purple, and two double orange Dahlias for sale.
Sayers stated that "No person has done more for the introduction and advancement of the culture of the Dahlia than George C. Thorburn, of New York, who yearly flowers many thousand plants at his place at Hallet's Cove, near Harlaem. The show there in the flowering season is a rich treat for the lovers of floriculture : for almost every variety can be seen growing in two large blocks or masses which lead from the road to the dwelling-house, and form a complete field of the Dahlia as a foreground to the house. Mr T. Hogg, Mr William Read, and many other well known florists, have also contributed much in the vicinity of New York, to the introduction of the Dahlia. Indeed so general has become the taste that almost every garden has its show of the Dahlia in the season." In Boston too there were many collections, a collection from the Messrs Hovey of Cambridgeport was also mentioned.
In 1835 Thomas Bridgeman, published a list of 160 double dahlias in his Florist's Guide. 60 of the choicest were supplied by Mr. G. C. Thornburn of Astoria, N.Y. who got most of them from contacts in the UK. Not a few of them had taken prices "at the English and American exhibitions".
"STARS OF DEVIL"
In 1872 J.T. van der Berg of Utrecht in the Netherlands, received a shipment of seeds and plants from a friend in Mexico. The entire shipment was badly rotted and appeared to be ruined, but van der Berg examined it carefully and found a small piece of root that seemed alive. He planted and carefully tended it; it grew into a plant that he identified as a dahlia. He made cuttings from the plant during the winter of 1872-1873. This was an entirely different type of flower, with a rich, red color and a high degree of doubling. In 1874 van der Berg catalogued it for sale, calling it Dahlia juarezii to honor Mexican President Benito Pablo Juarez, who had died the year before, and described it as "...equal to the beautiful color of the red poppy. Its form is very outstanding and different in every respect of all known dahlia flowers.".
This plant has perhaps had a greater influence on the popularity of the modern dahlia than any other. Called "Les Etoiles de Diable" (Stars of the Devil) in France and "Cactus dahlia" elsewhere, the edges of its petals rolled backwards, rather than forward, and this new form revolutionized the dahlia world. It was thought to be a distinct mutation since no other plant that resembled it could be found in the wild. Today it is assumed that D. juarezii had, at one time, existed in Mexico and subsequently disappeared. Nurserymen in Europe crossbred this plant with dahlias discovered earlier; the results became the progenitors of all modern dahlia hybrids today.
AWARD OF GARDEN MERIT (RHS)
As of 2015, 124 dahlia cultivars have gained the Royal Horticultural Society's Award of Garden Merit:
"Bednall beauty"
"Bishop of Llandaff"
"Clair de lune"
"David Howard"
"Ellen Huston"
"Fascination"
"Gallery art deco"
"Gallery Art Nouveau"
"Glorie van Heemstede"
"Honka"
"Moonfire"
"Twyning's After Eight"
USES
FLORICULTURE
The asterid eudicots contain two economically important geophyte genera, Dahlia and Liatris. Horticulturally the garden dahlia is usually treated as the cultigen D. variabilis Hort., which while being responsible for thousands of cultivars has an obscure taxonomic status.
OTHER
Today the dahlia is still considered one of the native ingredients in Oaxacan cuisine; several cultivars are still grown especially for their large, sweet potato-like tubers. Dacopa, an intense mocha-tasting extract from the roasted tubers, is used to flavor beverages throughout Central America.
In Europe and America, prior to the discovery of insulin in 1923, diabetics - as well as consumptives - were often given a substance called Atlantic starch or diabetic sugar, derived from inulin, a naturally occurring form of fruit sugar, extracted from dahlia tubers. Inulin is still used in clinical tests for kidney functionality.
WIKIPEDIA
4/03/18 #1889. A handful of plastic - one of several collected during a Beach Clean today. A lot of the plastic film material was caught up in the beach vegetation - probably discarded by summer visitors and blown there by the wind. Also a fair amount of nylon twine from fishing activities.
The Parade festival where IICD is present through a donation campaign also includes a variety of small shops where visitors can buy all kinds of unique memorabilia.
a bpNichol reader.
by bpNichol; edited by Lori Emerson & Darren Wershler-Henry.
2nd edition. Toronto, Coach House Books, march 2oo9.
ISBN 478-1-55245-187-8.
5-9/16 x 8-3/4, 168 sheets ivory zephyr antique laid perfectbound into glossy white card wrappers, all except inside covers & 7 pp printed black offset with navy addition to covers.
cover photo of Nichol by John Ligoure/design by Justin Stephenson.
other contributors:
Stan Bevington, Barbara Caruso, Lori Emerson, John Ligoure, Jerry Ofo, Libby Oughton, Michael Ondaatje, Andy Phillips, Darren Wershler-Henry.
includes:
i) THE COMPLETE WORKS (pp.11-12; concrete poem in 2 parts:
–1. "H" (p.11; original cover graphic)
–2. THE COMPLETE WORKS (p.12; concrete poem))
ii) NOT WHAT THE SIREN SANG BUT WHAT THE FRAG MENT 9p.14; concete poem)
iii) Poem for Kenneth Patchen (p.15; concrete poem)
iv) Blues (p.16; concrete poem, newly typeset & severely reduced)
v) Easter Pome (p.17; concrete poem)
vi) Early Morning: June 23 (p.18; concrete poem)
vii) Dada Lama (pp.19-24; sound poem in 6 parts:
–1. "hweeeee" (p.19)
–2. "eeeeeeeeeeeeeeeeeeeeeeeeee" (p.2o)
–3. "oudoo doan doanna" (p.21)
–4. "AAAAAAAAAAAAAAAAAAAAA" (p.22)
–5. "tlic" (p.23)
–6. "wwwwwwwwwwwwwwwwwwwwwwwwwww" (p.24))
viii) "nnnnnn" (p.25; visual poem)
ix) "2 leaves touch" (p.26; poem, 2 lines)
x) "st*r" (p.27; concrete poem)
xi) "moon" (p.28; concrete poem)
xii) "em ty" (p.29; concrete poem)
xiii) "cl(( ) ))ds" (p.3o; concrete poem)
xiv) "groww" (p.31; concrete poem)
xv) "blob" (p.32; concrete poem/translation of Matsuo Basho)
xvi) "closedpen" (p.33; concrete poem)
xvii) "POETRY BEING AT A DEAD END POETRY IS" [ie GROUND ZERO] (p.34; prose, here untitled as it appeared in ABC The Aleph Beth Book)
xviii) POETRY BEING AT A DEAD END POETRY (p.35; visual poem)
xix) HAVING ACCEPTED THIS FACT WE ARE (p.36; visual poem)
xx) REE TO LIVE THE POEM. HAVING FREE (p.37; visual poem)
xxi) THE NECESSITY TO BE THE (p.38; visual poem)
xxii) "EE" (p.39; visual poem)
xxiii) IN OUR LIVES (p.4o; visual poem)
xxiv) NOW HAVE BEEN THE (p.41; visual poem)
xxv) Aleph Unit Closed, as redrawn by Barbara Caruso (p.42; visual poem)
xxvi) Aleph Unit Opened, as redrawn by Barbara Caruso (p.43; visual poem)
xxvii) Aleph Unit Surface, as redrawn by Barbara Caruso (p.44; graphic)
xxviii) Aleph Unit Observed, as redrawn by Barbara Caruso (p.45; graphic)
xxix) Aleph Unit Not, as redrawn by Barbara Caruso (p.46; graphic)
xxx) Afterword (p.47; prose notes on Aleph Unit)
xxxi) H (an alphabet), as redrawn by Barbara Caruso (p.48; visual poem, elsewise titled ALPHHABET)
xxxii) from The Chronicle of Knarn (pp.5o-52; pem in 3 parts:
–1. "i've looked across the stars to find your eyes (p.5o; 14 lines)
–2. "the city gleams in afternoon suns. the aluminum walls" (p.51; 17 lines)
–3. "we have moved beyond belief" (p.52; 12 lines))
xxxiii) "drift then as dreams" (p.54; poem, 3o lines)
xxxiv) "as there are words i haven't written" (p.56; poem, 21 lines)
xxxv) "ah reason there is only feeling" (p.57; poem, 24 lines)
xxxvi) "i wanted an image or a metaphor" (pp.58-59; poem, 39 lines)
xxxvii) "ellie & me" (pp.6o-63; 97 lines)
xxxviii) "hot night" (pp.64-7; poem, 95 lines)
ixl) "there is a sign comes" (pp.68-69; poem, 58 lines)
xl) "now that it's over" (pp.7o-72; poem, 5o lines)
xli) "from the lake's edge ontario" (pp.73-74; poem, 35 lines)
xlii) "last take" (pp.75-76; poem, 6o lines)
xliii) CODA: Mid-Initial Sequence (p.77; poem, 11 lines (in fact, only part 1, "faint edge of sleep", of an 11-part sequence))
xliv) THE MARTYROLOGY: BOOK 4 (pp.78-9o; excerpts from a long poem in 3 fragments:
–1. "the wind outside rises" (pp.78-86; lines 2o3-527)
–2. "here" (pp.87-89; lines 729-7830
–3. "'you are dead saints'" (p.9o; lines 892-9o9))
xlv) THE MARTYROLOGY BOOK 5 CHAIN 1 (pp.91-99; lines 1-344 (of 12o2) of the martyrology book 5: chain 1)
xlvi) THE MARTYROLOGY BOOK 5 CHAIN 2 (pp.1oo-1o6; poem, 22o lines)
xlvii) THE MARTYROLOGY BOOK 5 CHAIN 12 (pp.1o7-1o9; poem, 86 lines)
xlviii) A Note On Reading The Martyrology Book V (p.11o; prose)
il) CONTINENTAL TRANCE (pp.111-127; poem in 33 parts (dropping its dedication "For Ellie and Sarah" & epigraph by Gertrude Stein):
–1. "minus the ALL ABOARD" (p.111; 13 lines)
–2. "what i wanted to write:" (p.111; 2o lines)
–3. "crossing the Fraser River" (p.112; 8 lines)
–4. "the old guy who spoke to the porter just now said:" (p.112; 16 lines)
–5. "upper berth swaying in the darkness" (pp.112-113; 11 lines)
–6. "insistent instances" (pp.113-114; 22 lines)
–7. "beginnings & endings" (p.114; 18 lines)
–8. "'because i was raised on trains'" (pp.114-115; 24 lines)
–9. "the conductor takes our luncheon reservations" (p.115; 8 lines)
–1o. "ten minutes outside of Jasper" (p.116; 11 lines)
–11. "'too much like a rock song'" (p.116; 1o lines)
–12. "okay we'll start there" (p.117; 13 lines)
–13. "so there it is" (p.117; 5 lines)
–14. "i don't like the 'symbol'" (pp.117-118; 12 lines)
–15. "whistle" (p.118; 1o lines)
–16. "two hours from Saskatoon" (pp.118-119; 17 lines)
–17. "mist of rain across the far horizon" (p.119; 11 lines)
–18. "later" (pp.119-12o; 22 lines)
–19. "vanishing" (pp.12o-121; 21 lines)
–2o. "the field of sunflowers stretches to the horizon" (p.121; 13 lines)
–21. "two hour delay in the Winnipeg station" (pp.121-122; 9 lines)
–22. "okay saints" (p.122; 16 lines)
–23. "beside the track" (p.122; 6 lines)
–24. "'where is this poem going?'" (p.123; 1o lines)
–25. "this next bit doesn't quite cohere" (p.123; 16 lines)
–26. "in Hornpayne" (p.124; 16 lines)
–27. "blueberry bushes, fruit shrunken, dried," (p.124; 14 lines)
–28. "mile what?" (p.125; 11 lines)
–29. "as night falls" (p.125; 14 lines)
–3o. "is this the poem i wanted to write?" (pp.125-126; 6 lines)
–31. "that's the tone" (p.126; 15 lines)
–32. "who to, Nicky?" (pp.126-127; 12 lines)
–33. "mist again at dawn" (p.127; 14 lines))
l) Part 1: Blues on Green (from JOURNEYING & THE RETURNS, pp.13o-132; poem in 3 numbered parts:
–1. "up on the mountain" (p.13o; 26 lines)
–2. "the woods" (p.131; 17 lines)
–3. "looking out" (p.132; 24 lines))
li) Part 3: Ancient Maps of the Real World (from JOURNEYING & THE RETURNS, pp.133-141; poem in prologue & 8 numbered parts:
–o. "prairie, lakes, trees," (p.133; 14 lines)
–1. "eyes open on colour," (p.134; 2o lines)
–2. "fingers unfolded" (p.135; 6 lines)
–3. "sun overhead" (p.136; 7 lines)
–4. "rolling into night" (p.137; 18 lines)
–5. "eyes close" (p.138; 16 lines)
–6. "train going" (p.139; 1o lines)
–7. "everything gone" (p.14o; 13 lines)
–8. "the sea" (p.141; 1o lines))
lii) Statement (p.142; prose)
liii) circus days (pp.143-144; poem in 3 parts:
–1. "gathering" (p.143; 11 lines)
–2. "remember" (pp.143-144; 17 lines)
–3. "lying on the beach at" (p.144; 14 lines))
liv) stasis (p.145; poem in 2 parts:
–1. "always" (12 lines)
–2. "open" (8 lines))
lv) TTA 4: original version (p.146; ie the poem Translating Apollinaire, 2o lines)
lvi) TTA 7: re-arranging letters alphabetically (p.147; visual poem)
lvii) TTA 13: sound translation (p.148; poem, 2o lines)
lviii) TTA 17: acrostic translation (pp.149-152; poem, 1o3 lines)
lix) TTA 18: 10 views: view 1: walking east along the northern boundary looking south (p.153; concrete poem)
lx) TTA 30: poem as a machine for generating line drawings (p.154; graphic)
lxi) TTA 53: typewriter translation after the style of Earle Birney (pp.155-157; concrete poem)
lxii) Extreme Positions 4 (pp.158-167; poetry/concrete poetry sequence in 1o parts:
–1. "running or sitting or" (p.158; poem, 15 lines)
–2. "sitting laughing" (p.159; poem, 11 lines)
–3. "will shout" (p.16o; poem, 9 lines)
–4. "wave" (p.161; concrete poem)
–5. "happy & sad laughing" (p.162; poem, 11 lines)
–6. "sitting or standing" (p.163; poem, 12 lines)
–7. "the bright boat in" (p.164; poem, 1o lines)
–8. "table fork table plate table knife table" (p.165; concrete poem)
–9. "shadowy shadow" (p.166; poem, 8 lines)
–1o. "road" (p.167; concrete poem))
lxiii) Andy (pp.17o-179; illustrated prose in 8 parts (of 3o) including correspondences by Andy Phillips as indicated:
–1. Dec 4 '64 (pp.17o-172; includes Phillips' () below)
–2. January 21/65 (p.172; includes Phillips' () below)
–3. July 16th, 1944 (pp.173-175; includes 6 graphics:
––a. "ALKABETH TAMIN!!" (p.173)
––b. [untitled landishscape] (p.173)
––c. [untitled portraitscape] (p.174)
––d. "OLD?! NO!" (p.174)
––e. "BUT DEAD!! (p.174)
––f. "SPEECH" (p.174))
–4. Feb.1/65 (p.175; includes Phillips' () below)
–5. july ? 44 (p.175; includes graphic
––a. [untitled roadscape])
–6. Feb. 10 '65 (pp.176-177; includes Phillips' () below)
–7. July ?, 1944 (pp.177-179; includes 2 graphics:
––a. "PO" (p.177, in 5 panels)
––b. "(space)" (p.178, in 4 panels))
–8. Korenski Mountains July 18th, 1944 (p.179))
lxiv) For Jesus Lunatick (pp.18o-185; prose in 4 parts (of 22):
–1. "the river flowed from the door past his bed every morning he waded thru it" (pp.18o-181)
--2. "lean back and listen house awake in the next room below him hurrying past his" (p.182)
--3. "before the heavy green leaves that covered its face existed blurred details in the" (p.183)
--4. "the river flowed from the" (p.185))
lxv) Gorg: a detective story (p.186; prose)
lxvi) The True Eventual Story of Billy the Kid (pp.187-19o; prose in introduction & 4 numbered parts:
–o. "this is the true eventual story of billy the kid. it is not the story as" (p.187)
–1. THE KID (p.188)
–2. HISTORY (p.188)
–3. THE TOWN (p.189)
–4. WHY (pp.189-19o))
lxvii) The Long Weekend of Louis Riel (pp.191-194; prose in 4 parts:
–1. FRIDAY (p.191)
–2. SATURDAY (p.192)
–3. SUNDAY (p.193)
–4. MONDAY (p.194))
lxviii) TWO HEROES (pp.195-199; in 11 numbered parts:
–1. "In the back garden two men sit. They are talking with one another" (p.195)
–2. "Once a long time ago they talked more easily. Once a long time" (p.195)
–3. "When the fight was over & Riel was dead & Dumont had fled into" (pp.195-196)
–4. "Time passed. No one heard much from either of them. In GRIP" (p.196)
–5. "There are some say Billy the Kid never died the story began." (p.196)
–6. "Billy was in love with machines. He loved the smooth click of the" (p.197)
–7. "It was a good story as stories go. Most of their friends when" (p.197)
–8. "The problem with Africa was it was kind of damp & there was no" (pp.197-198)
–9. "When Billy the Kid awoke the clockwork man was very still." (p.198)
–1o. "There are strange tales told of Billy the Kid, of what happened" (p.199)
–11. "One year the two men returned. They were both grayer & quiet." (p.199))
lxix) Journal (pp.2oo-218; prose in 2 numbered parts (of 4):
–1. "as these things are they are only dreams as i have told" (pp.2oo-216)
–3. "i have said everything i can say having started out so" (pp.217-218))
lxx) Two Words: A Wedding (p.219; prose)
lxxi) Still (pp.22o-225; prose; the 39th, final section only, "From the banks of the river, the spray from the rapids making the grass &")
lxxii) The Vagina (pp.226-227; prose in 7 numbered parts:
-–1. "I never had one." (p.226)
-–2. "I lived inside a woman for nine months & inside this male shell all of" (p.226)
-–3. "I thot they all were hairless even tho I bathed with my mother I thot" (p.226)
–4. "I always wanted one. I grew up wanting one. I thot cocks were okay" (p.226)
–5. "When I was eleven this kid I knew took me to the drugstore where" (p.226)
–6. "When sex happened I realized it was all a matter of muscles. I liked" (p.226)
–7. "Doorway. Frame. Mouth. Opening. Passage. The trick is to get from" (p.227))
lxxiii) The Mouth (pp.228-229; prose in 6 numbered parts:
–1. "You were never supposed to talk when it was full. It was better to" (p.228)
–2. "Probably there are all sorts of stories. Probably my mouth figures in" (p.228)
–3. "I must have been nine. I'm pretty sure I was nine because I remember" (p.228)
–4. "The first dentist called me the Cavity Kid & put 35 fillings into me." (pp.228-229)
–5. "It all begins with the mouth. I shouted waaa when I was born," (p.229)
–6. "I always said I was part of the oral tradition. I always said poetry" (p.229))
lxxiv) The Tonsils (p.23o; prose in 7 numbered parts:
–1. "They said 'you don't need them' but they were keen to cut them out."
–2. "I didn't have them long enough to grow attached to them but they"
–3. "Almost everyone I knew had their tonsils out. Almost everyone I"
–4. "I miss my tonsils. I think my throat used to feel fuller. Now my"
–5. "I was told I didn't need my tonsils. Maybe this is the way it is. Maybe"
–6. "What cutting remarks! What rapier wit! What telling thrusts! Ah cut"
–7. "There are two of them & the hang there in your throat. There are")
lxxv) The Lungs: A Draft (pp.231-233; prose in 5 numbered parts:
–1. "This is a breath line. I said. This is a breathline. Line up, he said.Suck" (p.231)
–2. "I was staying at Bob & Smaro's place in Winnipeg. I was sleeping" (p.231)
–3. "We were maybe five, Al Watts Jr and me, no more than five, and we" (pp.231-232)
–4. "When do you first think of your lungs? When you're yound and tiny" (pp.232-233)
–5. "A draft he calls it. Like it blew in through a crack in the mind. Just a" (p.233))
lxxvi) Sum of the Parts (pp.234-235; prose in 5 numbered parts:
–1. "So many things inside me I am not in touch with. So many things I" (p.234)
–2. "If you're unlucky you get to meet them. If you're lucky you never" (p.234)
–3. "It's the old problem of writing about something you know nothing" (p.234)
–4. "I almost got to meet my thyroid. I had been to see the Doctor and" (pp.234-235)
--5. "After I threw my back out I had more X-Rays, X-Rays of of the lumbaar" [sic](p.235))
lxxvii) Frame 2 (p.238; graphic)
lxxviii) Frame 3 (p.239; concrete poem)
lxxix) Frame 4 (p.24o; graphic)
lxxx) Frame 5 (p.241; graphic)
lxxxi) Frame 6 (p.242; concrete poem)
lxxxii) Trans-Continental (pp.243-271; poem in 49 numbered parts:
–1) "an h moves past an m" (p.243; 8 lines)
–2) "x d" (p.243; 7 lines)
–3) "z" (p.244; 7 lines)
–4) "a d in a cloudbank" (p.244; 8 lines)
–5) "a drainage ditch" (p.245; 11 lines)
–6) "this many miles from home" (p.245; 12 lines)
–7) "ness" (p.246; 8 lines)
–8) "crump cring" (p.246; 16 lines)
–9) "snow" (p.247; 13 lines)
–1o) "j" (p.247; 6 lines)
–11) "up & down" (p.248; 17 lines)
–12) "37-3" (p.249; 13 lines)
–13) "snow at the window" (p.25o; 19 lines)
–14) "hornepayne to armstrong" (p.251; 1o lines)
–15) "a lake in a snowstorm" (p.251; 7 lines)
–16) "there is too much white" (p.252; 1o lines)
–17) "a y by a road" (p.252; 1o lines)
–18) "a right a left" (p.253; 8 lines)
–19) "d b f g e" (p.253; 12 lines)
–2o) "empty eyes" (p.254; 14 lines)
–21) "three deer" (p.254; 11 lines)
–22) "trees that are white not brown" (p.255; 12 lines)
–23) "now there is a mountain" (p.255; 12 lines)
–24) "4" (p.256; 17 lines)
–25) "m m m" (p.257; 13 lines)
–26) "if there is lack of light is there no light" (p.258; 14 lines)
–27) "o dreaming" (p.259; 15 lines)
–28) "g in a station" (p.259; 8 lines)
–29) "more music" (p.26o; 11 lines)
–3o) "just another just another" (p.26o; 4 lines)
–31) "ing" (p.261; 14 lines)
–32) "e's in a cloud" (p.262; 11 lines)
–33) "eyes in the dark" (p.262; 6 lines)
–34) "m" (p.263; 15 lines)
–35) "a fantasy that fails to erupt" (p.263; 12 lines)
–36) "a longing for flesh" (p.264; 16 lines)
–37) "dark where there should be light" (p.265; 1o lines)
–38) "a trance state" (p.265; 11 lines)
–39) "a face above a mountain" (p.266; 1o lines)
–4o) "a saint" (p.266; 1o lines)
–41) "a new beginning" (p.267; 11 lines)
–42) "a needle" (p.267; 13 lines)
–43) "hair that is blonde is long" (p.268; 9 lines)
–44) "an ending a beginning" (p.268; 13 lines)
–45) "is this the end" (p.269; 15 lines)
–46) "a b c d" (p.269; 11 lines)
–47) "green & red" (p.27o; 8 lines)
–48) "a sand bar" (p.27o; 13 lines)
–49) "final finale" (p.271; 12 lines))
lxxxiii) Allegory # 1 (p.272; visual poem)
lxxxiv) Allegory # 4 (p.273; visual poem)
lxxxv) Allegory # 6 (p.274; concrete poem)
lxxxvi) Allegory # 8 (p.275; visual poem)
lxxxvii) Allegory # 11 (p.276; visual poem)
lxxxviii) Allegory # 22 (p.277; visual poem)
ixc) Allegory # 29 (p.278; visual poem)
xc) Allegory # 30 (p.279; visual poem)
xci) song for saint ein (p.28o; poem in 2 parts:
–1. "i look at you this way" (4 lines)
–2. "no separation no" (8 lines))
xcii) Self-contradiction (p.281; concrete poem)
xciii) probable systems 8 (pp.282-283; theory in 2 parts:
–1. "given" (p.282; mathematics)
–2. commentary (p.283; prose))
xciv) Pastoral (p.284; concrete poem)
xcv) love song (p.285; prose)
xcvi) love song 3 (p.286; poem, 19 lines)
xcvii) three small songs for gladys hindmarch (pp.287-288; in 3 parts:
–1. "language is or was or has been has been said before i did say" (p.287; prose)
–2. "up is down" (pp.287-288; poem, 15 lines)
–3. "images imagine packages this is the way it is yesterday the" (p.288; prose))
xcviii) probable systems thot probes for rob(p.289; concrete poetry in 5 parts:
–1. "AR"
–2. "ER"
–3. "IR"
–4. "OR"
–5. "UR")
ic) probable systems 15 division of the signified (p.29o; mathematics)
c) THE FROG VARIATIONS (pp.291-292; poetry in 9 numbered parts:
–1) (p.291; untitled poem in 3 titled parts:
––a) Dawn (3 lines)
––b) Noon (3 lines)
––c) Dusk (3 lines))
–2) "fog fog fog frog fog" (p.291; 1 line)
–3) "moonfrog" (p.291; 3 lines)
–4) (definition of a lily-pad) (p.291; 2 lines)
–5) (the frog's obsession with the fly) (p.291; 1 line)
–6) "frog's tongue: fly catcher" (p.291; 5 lines)
–7) "o moon" (p.292; 12 lines)
–8) "splash" (p.292; 8 lines)
–9) "into the sky at night" (p.292; 4 lines))
ci) Three Months in New Yok City (pp.293-3o6; poem, 71 lines)
cii) Sixteen Lilypads (p.3o7; concrete poem)
ciii) "asea ease ease" (p.3o8; concrete poem)
civ) Catching Frogs (p.3o9; concrete poem)
cv) "fr-o-glop" (p.31o; concrete poem)
cvi) Water Poem 5 (p.311; concrete poem)
cvii) probable systems 24 physical contexts of human words (p.312; prose essay)
cviii) Before Closure (p.313; poem, 7 lines)
also includes:
cix) "The Alphabet Game a bpNichol reader", by Justin Stephenson (front cover; graphic; incorporates
–1. [untitled photograph], by John Ligoure (portrait of Nichol from rear))
cx) [Knarn 2], by Jerry Ofo (p.51; graphic)
cxi) [Knarn 3], by Jerry Ofo (p.53; graphic)
cxii) ["1970 - 71"], by Jerry Ofo (p.55; graphic)
cxiii) ["cloud 6"], by Libby Oughton (p.54; graphic)
cxiv) ["ascension sequence 1"], by Jerry Ofo (p.58; graphic)
cxv) ["cloud 3"], by Libby Oughton (p.58; graphic)
cxvi) ["cloud 4"], by Libby Oughton (p.59; graphic)
cxvii) ["resurrection sequence 2"], by Jerry Ofo (p.61; graphic)
cxviii) ["cloud 19"], by Libby Oughton (p.64; graphic)
cxix) ["resurrection sequence 2"], by Jerry Ofo (p.65; graphic)
cxx) ["cloud 2o"], by Libby Oughton (p.67; graphic)
cxxi) ["cloud 23"], by Libby Oughton (p.68; graphic)
cxxii) ["cloud 28"], by Libby Oughton (p.7o; graphic)
cxxiii) ["cloud 34"], by Libby Oughton (p.73; graphic)
cxxiv) ["cloud 44"], by Libby Oughton (p.75; graphic)
cxxv) ["cloud 45"], by Libby Oughton (p.77; graphic)
cxxvi) ["hat sequence 3"], by Jerry Ofo (p.78; graphic)
cxxvii) "Dear Barrie", by Andy Phillips (p.17o; prose correspondence as part of (lxiii1) above)
cxxviii) "Dear Barry:", by Andy Phillips (p.172; prose correspondence as part of (lxiii2) above)
cxxix) "Dear Barrie:", by Andy Phillips (p.175; prose correspondence as part of (lxiii4) above)
cxxx) "Dear Barrie:", by Andy Phillips (p.176; prose correspondence as part of (lxiii6) above)
cxxxi) afterword, by Lori Emerson & Darren Wershler-Henry (pp.317-334; prose in - parts:
–1. This book is a frame. (pp.316-317)
–2. Notes on the Poems (pp.318-321; in 2 parts:
––a. "Nichol's print work demonstrates a particular and exacting commitment" (p.318)
––b. "The version of 'The Complete Works' that begins this volume is a" (pp.318-321)
–3. Select Bibliography (pp.322-325; in 4 parts:
––a. "This is a chronological list of works by bpNichol, including those we have (p.322; prose introduction)
––b. Print Works (pp.322-325; list of 49 titles)
––c. Recordings (p.325; list of 3 titles)
––d. Films (p.325; list of 2 titles))
–4. Permissions (pp.326-327; list)
–5. Index of Poem and Book Titles (pp.328-33o)
–6. Acknowledgements (p.331)
–7. "bpNichol (Barrie Phillip Nichol) was born September 3o, 1944, in Van-" (pp.332-334; with quote by Nichol "This text has not closed" from --?--, 1987))
cxxxii) [untitled photograph], by Stan Bevington (p.332; portrait of Nichol in straw hat)
cxxxiii) bpNichol, by [Lori Emerson & Darren Wershler-Henry] (rear cover; prose with quotes by
–1. Michael Ondaatje, "His wit, along with the seriousness, was there to..." (misquoted from the Afterword to An H in the Heart)
–2. Paul Dutton, "Read him! Read him! Read him!" (from interview by Brian Nash in bp (pushing the boundaries)))
___________________________
• 1st edition, 2oo7
Includes MSS Height Adjustable Spring Kit, Future Classic 5x120 Wheel Spacer Set, IND Painted Front Reflector Set, Acexxon Rear Reflector Insert Set
Daucus carota (common names include wild carrot, (UK) bird's nest, bishop's lace, and (US) Queen Anne's lace) is a flowering plant in the family Apiaceae, native to temperate regions of Europe, southwest Asia and naturalised to northeast North America and Australia; domesticated carrots are cultivars of a subspecies, Daucus carota subsp. sativus.
Daucus carota is a variable biennial plant, usually growing up to 1 m tall and flowering from June to August. The umbels are claret-coloured or pale pink before they open, then bright white and rounded when in full flower, measuring 3–7 cm wide with a festoon of bracts beneath; finally, as they turn to seed, they contract and become concave like a bird's nest. The dried umbels detach from the plant, becoming tumbleweeds.[1]
Very similar in appearance to the deadly poison hemlock, Daucus carota is distinguished by a mix of bi-pinnate and tri-pinnate leaves, fine hairs on its stems and leaves, a root that smells like carrots, and occasionally a single dark red flower in its centre....Wikipedia
This guy was using an old school film camera to photograph one of the WW2 pill-boxes by the Adur at lunchtime. He appears to be waving, but was just trying to shield the screen from the sun.
Making up new rear brake pipes for the Alfa. Having cut the pipe to length and slid on the fittings, the next step is to flare the ends using a special tool borrowed from Chris.
This Video include 20 tracks of Various Artists. Every day a new compilation of Christmas songs! Subscribe for free to stay connected to our channel and easily access our video updates! goo.gl/CLdGjC Tip: click on the time and listen your favorite song Track list: Twelve Days of Christmas music [Nine Ladies Dancing] --------------------------------- 1 | 00:00 | Lionel Hampton - Gin for Christmas 2 | 02:29 | Lawrence Welk - Adeste Fideles 3 | 04:35 | Fran Allison - Christmas in My Heart 4 | 07:28 | Nelson Eddy - God Rest Ye Merry, Gentlemen 5 | 09:11 | Peggy Lee - Santa Claus Is Coming To Town 6 | 11:31 | The Mormon Tabernacle Choir - Break Forth, O Beauteous Heavenly Light 7 | 13:13 | Claus Reindex Team - Let It Snow, Let It Snow, Let It Snow 8 | 17:28 | Spirit Of Gospel - (what A) Wonderful World 9 | 19:31 | Dick Emery - (All I Want for Christmas Is) My Two Front Teeth 10 | 22:13 | Percy Faith - I Saw Three Ships 11 | 24:14 | The Temple Church Choir - Christ Was Born on Christmas Day 12 | 26:29 | The Mormon Tabernacle Choir - It Came Upon a Midnight Clear 13 | 28:36 | Lester Lanin - Here Comes Santa Claus - Frosty the Snowman 14 | 31:08 | Dalida - Noel Blanc 15 | 33:49 | Nat King Cole - Deck The Halls 16 | 34:58 | Marian Anderson - Ave Maria 17 | 42:21 | Augie Rios - Ol' Fatso 18 | 44:38 | The Mormon Tabernacle Choir - Hark! the Herald Angels Sing 19 | 46:13 | Jo Ann Campbell - Happy New Year Baby 20 | 48:53 | Patti Page - Jingle Bells --------------------------------- Playlist Santa's Countdown to Christmas: goo.gl/cxNuUf --------------------------------- Subscribe Channel We cant wait for Christmas, and so we have made this the biggest and best Christmas Music Advent calendar used to count the days of Advent in anticipation of Christmas Channel for the sharing of best Christmas songs in the world. Ride your playlist and get touched with these beautiful songs about the best and blessed time of year. Happy Christmas! Subscribe for free to stay connected to our channel and easily access our video updates! Facebook: goo.gl/4cTAQs Twitter: twitter.com/Santa_ClausXmas Instagram: goo.gl/MqnnxT Tumblr: goo.gl/BgVQhr Pinterest: goo.gl/9KzAgQ Flickr: goo.gl/V4QCMr Wordpress Blog: goo.gl/6Zvoxk Blogger: goo.gl/8Uh53Z --------------------------------- ® 2018 Santa Claus Xmas Songs youtu.be/sHLNvFrt1Qo
Necropolis in Orlyonok Park.
Includes a mass grave (1919-1942) and three separate burials (1941-1942). The mass grave was created on the cadet parade ground in September 1919, where 50 Red Army soldiers who died in battles with the White Guard formations of the Volunteer Army from September 8 to 13, 1919, were buried.
The Great Patriotic War (Russian: Вели́кая Оте́чественная война́, romanized: Velikaja Otečestvennaja vojna) is a term used in Russia and some other former republics of the Soviet Union to describe the conflict fought during the period from 22 June 1941 to 9 May 1945 along the many fronts of the Eastern Front of World War II, primarily between the Soviet Union and Nazi Germany. For some legal purposes, this period may be extended to 11 May 1945 to include the end of the Prague offensive.
History
The term Patriotic War refers to the Russian resistance to the French invasion of Russia under Napoleon I, which became known as the Patriotic War of 1812. In Russian, the term отечественная война originally referred to a war on one's own territory (otechestvo means "the fatherland"), as opposed to a campaign abroad (заграничная война), and later was reinterpreted as a war for the fatherland, i.e. a defensive war for one's homeland. Sometimes the Patriotic War of 1812 was also referred to as the Great Patriotic War (Великая отечественная война); the phrase first appeared in 1844 and became popular on the eve of the centenary of the Patriotic War of 1812.
After 1914, the phrase was applied to World War I. It was the name of a special war-time appendix to the magazine Theater and Life (Театр и жизнь) in Saint Petersburg, and referred to the Eastern Front of World War I, where Russia fought against the German Empire and the Austro-Hungarian Empire. The phrases Second Patriotic War (Вторая отечественная война) and Great World Patriotic War (Великая всемирная отечественная война) were also used during World War I in Russia.
The term Great Patriotic War re-appeared in the official newspaper of the CPSU, Pravda, on 23 June 1941, just a day after Germany invaded the Soviet Union. It was found in the title of "The Great Patriotic War of the Soviet People" (Velikaya Otechestvennaya Voyna Sovetskogo Naroda), a long article by Yemelyan Yaroslavsky, a member of Pravda editors' collegium. The phrase was intended to motivate the population to defend the Soviet fatherland and to expel the invader, and a reference to the Patriotic War of 1812 was seen as a great morale booster. During the Soviet period, historians engaged in huge distortions to make history fit with Communist ideology, with Marshal Mikhail Kutuzov and Prince Pyotr Bagration transformed into peasant generals, Alexander I alternatively ignored or vilified, and the war becoming a massive "People's War" fought by the ordinary people of Russia with almost no involvement on the part of the government. The invasion by Germany was called the Great Patriotic War by the Soviet government to evoke comparisons with the victory by Tsar Alexander I over Napoleon's invading army.
The term Отечественная война (Patriotic War or Fatherland War) was officially recognized by establishment of the Order of the Patriotic War on 20 May 1942, awarded for heroic deeds.
The term is not generally used outside the former Soviet Union, and the closest term is the Eastern Front of World War II (1941–1945). Neither term covers the initial phase of World War II in Eastern Europe, during which the USSR, then still in a non-aggression pact with Germany, invaded eastern Poland (1939), the Baltic states (1940), Bessarabia and Northern Bukovina (1940) and Finland (1939–1940). The term also does not cover the Soviet–Japanese War (1945) nor the Battles of Khalkhin Gol (1939).
In Russia and some other post-Soviet countries, the term is given great significance; it is accepted as a representation of the most important part of World War II. Until 2014, Uzbekistan was the only nation in the Commonwealth of Independent States that had not recognized the term, referring to it as World War II on the state holiday - the Day of Remembrance and Honour.
Photos of sunset over the Carquinez Strait east of San Francisco Bay and includes 3 ships coming and going under the Martinez-Benicia Bridge. Sorry for bad photo quality on some of the pics, I had the unfortunate combination of high winds which caused the waves to rock the dock I was on, and the growing darkness, all which made taking the photos difficult. It was however a stroke of luck to have been there to catch the inbound oil tanker vessel 'Overseas Martinez' being escorted by two tugboats as I stood on the dock at the marina in the city of Martinez. At the same time, another oil tanker (red in color) was passing westbound under the bridge. This set of images were taken with a Canon EOS Rebel T3i, there is another album of the same scene using a Canon Powershot camera that includes a few video clips. As always, all of your views are very much appreciated, Thank You.
Eva and Kieran from Sunflower Cottage handing over a cheque for £4037 to Shauna and Chloe
The dogs include Layla and Coda.
In 2024 at Sunflower Cottage we raised over £19k for the 4 charities:
Our 3 fundraising events were
1) The Corner Stone Fest on August 10th, organised by Conal Montgomery. This was a one day music festival (9 bands in 10 hours). It raised money for the local charity “Life Change Changes Lives”, LCCLwhich supports people affected by mental ill health and addiction with the aim of improving physical, mental and social wellbeing lifechangechangeslives.com/
2) The Sunflower Cottage festival over 5 weekends during August and September. Live music organised by Eva Rowan (44 bands/artists over the course of the 5 weekends) to raise money for 2 medical charities; Northern Ireland Chest Heart & Stroke (NICHS) nichs.org.uk/about-us/what-we-do and Cancer Fund For Children cancerfundforchildren.com/
3) The Pumpkin event at Halloween – Pumpkin picking and carving. To raise money for K9 Search and Rescue NI www.k9searchandrescueni.org/ who provide dog search teams to find lost/missing persons and to recover dead bodies. The are completely volunteer staffed.