Sign: "MUSLIMS INVENTED COFFEE!"

Forrest Mars, Sr., son of the founder of the Mars Company Frank C. Mars, invented the idea for the candy in the 1930s during the Spanish Civil War when he saw soldiers eating chocolate pellets with a hard shell of tempered chocolate surrounding the inside, preventing the candies from melting. Mars received a patent for his own process on March 3, 1941. Production began in 1941 in a factory located at 285 Badger Avenue in Clinton Hill, Newark, New Jersey. When the company was originally founded it was M&M Limited. The two "M's" represent the names of Forrest E. Mars Sr., the founder of Newark Company and Bruce Murrie (son of Hershey's Chocolate president William F. R. Murrie) who had a 20 percent share in the product. The arrangement allowed the candies to be made with Hershey chocolate which had control of the rationed chocolate at the time.

 

The practicality of the candies during World War II caused an increase in production and its factory moved to bigger quarters at 200 North 12th Street in Newark, New Jersey where they remained until 1958 when it moved to a bigger factory at Hackettstown, New Jersey. During the war, the candies were exclusively sold to the military.

 

In the early 1950s, the Midwest Research Institute in Kansas City, Missouri, working for M&M's, perfected a process whereby 3,300 pounds (1,500 kg) of chocolate centers could be coated every hour. Peanut M&M's were introduced in 1954, but first appeared only in the color tan. When peanut M&M's made their debut, so did the tagline 'Melts in your mouth, not in your hand.' In 1960, M&M's added the yellow, red, and green colors.

 

History 1980-present

 

In 1980, M&M's were introduced internationally to Australia, Canada, Europe, Hong Kong, Japan, Malaysia and the United Kingdom.

 

Although they were marketed and then withdrawn in the 1960s, in 1988, almond-centered M&M's hit stores again in limited release, with appearances only during Christmas and Easter times; they became a standard part of the product line in 1992.

 

Also in 1986, M&M's launched HOLIDAYS Chocolate Candies for Easter and Christmas, with the Easter candies having bunny, chick, and egg symbols on pastel-colored shells, and the Christmas candies having pine tree and candle symbols on red and green shells; with the latter also having a special Mint flavor. By 1993, the holiday symbols were replaced with the trademark "M".

 

In 1991, Peanut Butter M&M's were released. These candies have peanut butter inside the chocolate center and the same color scheme as the other brands.

 

In 1996, Mars introduced "M&M's Minis", smaller candies usually sold in plastic tubes instead of bags.

 

In 1999, Crispy M&M's were released. They were slightly larger than the milk chocolate variety and featured a crispy wafer center. They were discontinued in the United States in 2005. They are still available in Europe, Australia, and Southeast Asia.

 

In July 2001, Dulce de Leche M&M's were introduced in five markets with large Hispanic populations: Los Angeles, CA, San Diego, CA, Miami, FL, Mcallen-Brownsville, TX, and San Antonio, TX. The flavor never became popular with the Hispanic community, who preferred existing M&M's flavors, and it was discontinued in most areas by early 2003.

 

Wikipedia Quotes

I was reading this article "Why Wordle" By Steven W. Anderson this morning and decided to try one out. I thought the "Think Different" monologue from the classic Apple commercial might be a nice choice. View large.

 

You can see my photo of the wall mural of the monologue at the Apple Campus here.

 

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UPDATE 12/16: Welcome all TUAW visitors.

 

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Apple's "Think Different" monologue.

 

"Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not fond of rules. And they have no respect for the status quo. You can praise them, disagree with them, quote them, disbelieve them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things. They invent. They imagine. They heal. They explore. They create. They inspire. They push the human race forward. Maybe they have to be crazy. How else can you stare at an empty canvas and see a work of art? Or sit in silence and hear a song that’s never been written? Or gaze at a red planet and see a laboratory on wheels? We make tools for these kinds of people. While some see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who actually do."

 

Wordle image created by the www.wordle.net/ web application and is licensed under a Creative Commons Attribution 3.0 United States License.

Las fronteras fisicas no existen son inventos fatales. El sol se oculta sobre Colombia y cede su espacio a la Luna sobre Venezuela.

Masonic Broken Column:

 

www.phoenixmasonry.org/broken_column.htm

 

THE BROKEN COLUMN:

 

Short Talk Bulletin - Vol. 34, February 1956,

No. 2 - Author Unknown:

 

The story of the broken column was first illustrated by Amos Doolittle in the "True Masonic Chart" by Jeremy Cross, published in 1819.

 

Many of Freemasonry's symbols are of extreme antiquity and deserve the reverence which we give to that which has had sufficient vitality to live long in the minds of men. For instance, the square, the point within a circle, the apron, circumambulation, the Altar have been used not only in Freemasonry but in systems of ethics, philosophy and religions without number.

 

Other symbols in the Masonic system are more recent. Perhaps they are not the less important for that, even without the sanctity of age which surrounds many others.

 

Among the newer symbols is that usually referred to as the broken column. A marble monument is respectably ancient - the broken column seems a more recent addition. There seems to be no doubt that the first pictured broken column appeared in Jeremy Cross's True Masonic Chart, published in 1819, and that the illustration was the work of Amos Doolittle, an engraver, of Connecticut.

 

That Jeremy Cross "invented" or "designed" the emblem is open to argument. But there is legitimate room for argument over many inventions. Who invented printing from movable type? We give the credit to Gutenberg, but there are other claimants, among them the Chinese at an earlier date. Who invented the airplane? The Wrights first flew a "mechanical bird" but a thousand inventors have added to, altered, changed their original design, until the very principle which first enabled the Wrights to fly, the "warping wing", is now discarded and never used.

 

Therefore, if authorities argue and contend about the marble monument and broken column it is not to make objection or take credit from Jeremy Cross; the thought is that almost any invention or discovery is improved, changed, added to and perfected by many men. Edison is credited with the first incandescent lamp, but there is small kinship between his carbon filament and a modern tungsten filament bulb. Roentgen was first to bring the "x-ray" to public notice-the discoverer would not know what a modern physician's x-ray apparatus was if he saw it!

 

In the library of the Grand Lodge of Iowa in Cedar Rapids, is a book published in 1784; "A BRIEF HISTORY OF FREEMASONRY" by Thomas Johnson, at that time the Tiler of the Grand Lodge of England (the "Moderns"). In this book the author states that he was "taken the liberty to introduce a Design for a Monument in Honor of a Great Artist." He then admits that there is no historical account of any such memorial but cites many precedents of "sumptuous Piles" which perpetuate the memories and preserve the merits of the historic dead, although such may have been buried in lands far from the monument or "perhaps in the depth of the Sea".

 

In this somewhat fanciful and poetic description of this monument, the author mentions an urn, a laurel branch, a sun, a moon, a Bible, square and compasses, letter G. The book was first published in 1782, which seems proof that there was

at that time at least the idea of a monument erected to the Master Builder.

 

There is little historical material upon which to draw to form any accurate conclusions. Men write of what has happened long after the happenings. Even when faithful to their memories, these may be, and often are, inaccurate. It is with this thought in mind that a curious statement in the Masonic newspaper, published in New York seventy-five years ago, must be considered. In the issue of May 10, 1879, a Robert B. Folger purports to give Cross' account of his invention, or discovery, an inclusion, of the broken column into the marble monument emblem.

 

The account is long, rambling and at times not too clear. Abstracted, the salient parts are as follows. Cross found or sensed what he considered a deficiency in the Third Degree which had to be filled in order to effect his purposes. He consulted a former Mayor of New Haven, who at the time was one of his most intimate friends. Even after working together for a week, they did not hit upon any symbol which would be sufficiently simple and yet answer the purpose. Then a Copper-plate engraver, also a brother, was called in. The number of hieroglyphics which had be this time accumulated was immense. Some were too large, some too small, some too complicated, requiring too much explanation and many were not adapted to the subject.

 

Finally, the copper-plate engraver said, "Brother Cross, when great men die, they generally have a monument." "That's right!" cried Cross; "I never thought of that!" He visited the burying-ground in New Haven. At last he got an idea and told his friends that he had the foundation of what he wanted. He said that while in New York City he had seen a monument in the southwest corner of Trinity Church yard erected over Commodore Lawrence, a great man who fell in battle. It was a large marble pillar, broken off. The broken part had been taken away, but the capital was lying at the base. He wanted that pillar for the foundation of his new emblem, but intended to bring in the other part, leaving it resting against the base. This his friends assented to, but more was wanted. They felt that some inscription should be on the column. after a length discussion they decided upon an open book to be placed upon the broken pillar. There should of course be some reader of the book! Hence the emblem of innocence-a beautiful virgin-who should weep over the memory of the deceased while she read of his heroic deeds from the book before her.

 

The monument erected to the memory of Commodore Lawrence was placed in the southwest corner of Trinity Churchyard in 1813, after the fight between the frigates

Chesapeake and Shannon, in which battle Lawrence fell. As described, it was a beautiful marble pillar, broken off, with a part of the capital laid at its base. lt remained until 1844-5 at which time Trinity Church was rebuilt. When finished, the corporation of the Church took away the old and dilapidated Lawrence monument and erected a new one in a different form, placing it in the front of the yard on Broadway, at the lower entrance of the Church. When Cross visited the new monument, he expressed great disappointment at the change, saying "it was not half as good as the one they took away!"

 

These claims of Cross-perhaps made for Cross-to having originated the emblem are disputed. Oliver speaks of a monument but fails to assign an American origin. In the Barney ritual of 1817, formerly in the possession of Samuel Wilson of Vermont, there is the marble column, the beautiful virgin weeping, the open book, the sprig of acacia, the urn, and Time standing behind. What is here lacking is the broken column. Thus it appears that the present emblem, except the broken column, was in use prior to the publication of Cross' work (1819).

 

The emblem in somewhat different form is frequently found in ancient symbolism. Mackey states that with the Jews a column was often used to symbolize princes, rulers or nobles. A broken column denoted that a pillar of the state had fallen. In Egyptian mythology, Isis is sometimes pictured weeping over the broken column which conceals the body of her husband Osiris, while behind her stands Horus or Time pouring ambrosia on her hair. In Hasting's ENCYCLOPEDIA OF RELIGION AND ETHICS, Isis is said sometimes to be represented standing; in her right hand is a sistrum, in her left hand a small ewer and on her forehead is a lotus, emblem of resurrection. In the Dionysaic Mysteries, Dionysius is represented as slain; Rhea goes in search of the body. She finds it and causes it to be buried. She is sometimes represented as standing by a column holding in her hand a sprig of wheat, emblem of immortality; since, though it be placed in the ground and die, it springs up again into newness of life. She was the wife of Kronus or Time, who may fittingly be represented as standing behind her.

 

Whoever invented the emblem or symbol of the marble monument, the broken column, the beautiful virgin, the book, the urn, the acacia, Father Time counting the ringlets of hair, could not have thought through all the implications of this attempt-doubtless made in all reverence-to add to the dignity and impressiveness of the story of the Master Builder.

 

The urn in which "ashes were safely deposited" is pure invention. Cremation was not practiced by the Twelve Tribes; it was not the method of disposing of the dead in the land and at the time of the building of the Temple. rather was the burning of the dead body reserved as a dreadful fate for the corpses of criminals and evil doers. That so great a man as "the widow's son, of the tribe of Naphtali" should have been cremated is unthinkable. The Bible is silent on the subject; it does not mention Hiram the Builder's death, still less the disposal of the body, but the whole tone of the Old Testament in description of funerals and mournings, make it impossible to believe that his body was burned, or that his ashes might have been preserved.

 

The Israelites did not embalm their dead; burial was accomplished on the day of death or, at the longest wait, on the day following. According to the legend, the Master Builder was disinterred from the first or temporary grave and reinterred with honor. That is indeed, a supposable happening; that his body was raised only to be cremated is wholly out of keeping with everything known of deaths, funeral ceremonies, disposal of the dead of the Israelites.

 

In the ritual which describes the broken column monument, before the figure of the virgin is "a book, open before her." Here again invention and knowledge did not go hand in hand. There were no books at the time of the building of the Temple, as moderns understand the word. there were rolls of skins, but a bound book of leaves made of any substance-vellum, papyrus, skins-was an unknown object. Therefore there could have been no such volume in which the virtues of the Master Builder were recorded.

 

No logical reason has been advanced why the woman who mourned and read in the book was a "beautiful virgin." No scriptural account tells of the Master Builder having wife or daughter or any female relative except his mother. The Israelites reverenced womanhood and appreciated virginity, but they were just as reverent over mother and child. Indeed, the bearing of children, the increase of the tribe, the desire for sons, was strong in the Twelve Tribes; why, then, the accent upon the virginity of the woman in the monument? "Time standing behind her, unfolding and counting the ringlets of her hair" is dramatic, but also out of character for the times. "Father Time" with his scythe is probably a descendant of the Greek Chromos, who carried a sickle or reaping hook, but the Israelites had no contact with Greece. It may have been natural for whoever invented the marble monument emblem to conclude that Time was both a world-wide and a time immemorial symbolic figure, but it could not have been so at the era in which Solomon's Temple was built.

 

It evidently did not occur to the originators of this emblem that it was historically impossible. Yet the Israelites did not erect monuments to their dead. In the singular, the word "monument" does not occur in the Bible; as "monuments" it is mentioned once, in Isaiah 65 - "A people...which remain among the graves and lodge in the monuments." In the Revised Version this is translated "who sit in tombs and spend the night in secret places." The emphasis is apparently upon some form of worship of the dead (necromancy). The Standard Bible Dictionary says that the word "monument" in the general sense of a simple memorial does not appear in Biblical usage.

 

Oliver Day Street in "SYMBOLISM OF THE THREE DEGREES" says that the urn was an ancient sign of mourning, carried in funeral processions to catch the tears of those who grieved. But the word "urn" does not occur in the Old Testament nor the New.

 

Freemasonry is old. It came to us as a slow, gradual evolution of the thoughts, ideas, beliefs, teachings, idealism of many men through many years. It tells a simple story-a story profound in its meaning, which therefore must be simple, as all great truths in the last analysis are simple.

 

The marble monument and the broken column have many parts. Many of these have the aroma of age. Their weaving together into one symbol may be-probably is-a modernism, if that term can cover a period of nearly two hundred years. but the importance of a great life, his skill and knowledge; his untimely and pitiful death is not a modernism.

 

Nothing herein set forth is intended as in any way belittling one of Freemasonry's teachings by means of ritual and picture. These few pages are but one of many ways of trying to illuminate the truth behind a symbol, and show that, regardless of the dates of any parts of the emblem, the whole has a place in the Masonic story which has at least romance, if not too much fact, behind it.

 

THE BROKEN COLUMN AND ITS DEEPER MEANING:

by Bro. William Steve Burkle KT, 32°

Scioto Lodge No. 6, Chillicothe, Ohio.

Philo Lodge No. 243, South River, New Jersey

 

The meaning of the Broken Column as explained by the ritual of the Master mason degree is that the column represents both the fall of Master Hiram Abif as well as the unfinished work of the Temple of Solomon[i]. This interesting symbol has appeared in some fascinating places; for example, a Broken Column monument marks the gravesite in Lewis County Tennessee[ii] of Brother Meriwether Lewis (Lewis & Clark), and a similar monument marks the grave of Brother Prince Hall[iii]. In China, there is a “broken column-shaped” home which was built just prior to the French Revolution by the aristocrat François Nicolas Henri Racine de Monville[iv]. Today “The Broken Column” is frequently used in Masonic newsletters as the header for obituary notices and is a popular tomb monument for those whose life was deemed cut short. Note that when I speak of The Broken Column here, I am referring to only the upright but shattered Column Base with its detached Shattered Capital, and not to the more extensive symbolism often associated with the figure such as a book resting on the column base, the Weeping Virgin (Isis), or Father Time (Horus) disentangling the Virgin’s hair. In this version the shattered column itself is often said to allude to Osiris[v]. While these embellishments add to the complexity of the allusion, it is the shattered column alone which I intend to address.

 

The Broken Column is believed to be a fairly recent addition to the symbolism of Freemasonry, and has been attributed to Brother Jeremy L. Cross. Brother Cross[vi] is said to have devised the symbol based upon a broken column grave monument dedicated to a Commodore Lawrence[vii], which was erected in the Trinity Churchyard circa 1813. Lawrence perished in a naval battle that same year between the Frigates Chesapeake and Shannon. The illustration of the broken column was reportedly first published in the “True Masonic Chart” by artist Amos Doolittle in 1819[viii]. There is however little evidence beyond the word of Brother Cross that the symbol was thus created[ix],[x].

 

Whether the Broken Column is a modern invention or passed down from times of antiquity is of little consequence; regardless of its origins the symbol serves well as a powerful allusion in our Craft, and as will be discussed, may have deeper meanings which align with other Masonic symbols which also incorporate images of columns and pillars.

 

Freemasonry makes generous reference to columns and pillars of all sorts in the work of the various degrees including the two pillars which stood at the entrance of Solomon’s Temple, the four columns of architectural significance, and the three Great Columns representing strength, beauty, and wisdom[xi]. The first mention of pillars in a Masonic context[xii] is found in the Cooke Manuscript dated circa 1410 A.D. The three Great Pillars of Masonry are of particular interest in this article even though it is the Broken Column and its deeper meanings which I ultimately intend to explore.

 

Three Great Columns:

 

The basis for the Three Great Columns can be traced to an ancient Kabalistic concept and a unique diagram found in the Zohar which illustrates the emanations of God in forming and sustaining the universe. The diagram also reflects certain states of spiritual attainment in man. This diagram, called the Sephiroth consists of ten spheres or Sephira connected to one another by pathways and which are ordered to reflect the sequence of creation. In accordance with Kabalistic belief Aur Ein Sof (Light Without End) shines down into the Sephiroth and is split like a prism into its ten constituent Sephira[xiii], eventually ending in the material universe. To discuss the Sephiroth in sufficient depth to impart a good understanding is well beyond the scope of this paper; however, a basic understanding of how the structure of the Sephiroth is related to the Great Columns is manageable, and is in fact essential to the subsequent discussion of the Broken Column. Be aware that the explanations I give are vast oversimplifications of a highly complex concept. In an attempt to simplify the concept, it is inevitable that some degree of inaccuracy will be introduced.

I would like to begin my discussion of the Three Great Columns by discussing the Cardinal Virtues. The Cardinal Virtues are believed to have originated with Plato who formed them from a tripartite division[xiv] of the attributes of man (power, wisdom, reason, mercy, strength, beauty, firmness, magnificence, and base kingship) presented in the Sephiroth. These concepts were later adopted by the Christian Church[xv] and were popularized by the treatises of Martin of Braga, Alcuin and Hrabanus Maurus (circa 1100 A.D.) and later promoted by Thomas Aquinas (circa 1224 A.D.). According to Wescott[xvi] the Four Cardinal Virtues are represented by what were originally branches of the Sepheroth:

“Four tassels refer to four cardinal virtues, says the first degree Tracing Board Lecture, these are temperance, fortitude, prudence, and justice; these again were originally branches of the Sephirotic Tree, Chesed first, Netzah fortitude, Binah prudence, and Geburah justice. Virtue, honour, and mercy, another triad, are Chochmah, Hod, and Chesed.”

 

broken-column1:

 

Thus we have a connection between the Cardinal Virtues and the Sephiroth. The Three Pillars of Freemasonry (Wisdom, Beauty, and Strength) are associated with the Cardinal Virtues[xvii] and also therefore with the Kabalistic concept of the Sephiroth[xviii]. I have provided an illustration of the Sepiroth in Figure 1. This particular version of the Sephiroth is based upon that used in the 30th Degree or Knight Kadosh Grade[xix] of the ASSR. The Sephiroth, incidentally is also called “The Tree of Life”. Each of the vertical columns of spheres (Sephira) in the Sephiroth are considered to represent a pillar (column). Each pillar is named according to the central concept which it represents; thus in Figure 1 we have the pillars Justice, Beauty, and Mercy left to right, respectively. The Sephiroth is a very elegant system in which balance is maintained between the Sephira of the two outermost pillars by virtue of the center pillar. Note also that traditionally the Sephiroth is divided into “Triads” of Sephira. In Figure 1 the uppermost triad, consisting of the spheres Wisdom, Intelligence, and Crown represent the intellectual and spiritual characteristics of man. The next triad is represented by the Sephira Justice, Beauty, and Mercy; the final triad is Splendor, Foundation, and Firmness (or Strength).

 

According to S.L. MacGregor Mathers[xx], the word Sephira is best translated to mean (or is best rendered as) “Numerical Emanation”, and each of the ten Sephira corresponds to a specific numerical value. Mathers also asserts that it was through knowledge of the Sephiroth that Pythagoras devised his system of numerical symbolism. While there are additional divisions and subdivisions of the Sephiroth, the concept which is of interest to us here is that God created the Material World or Universe (signified by the lowest Sephira, Kingdom) in a series of ordered actions which proceeded along established pathways (i.e. the connecting lines between the Sephira in our Figure). Each of the Sephira and each pathway are a sort of “buffer” between the majesty and power of God and the material world. Without these buffers, profane man and the material world he inhabits would meet with destruction. On the other hand, enlightened man is able to progress upwards along these pathways to higher level Sephira and to thereby achieve enhanced knowledge of the Divine. Tradition holds that man once was closer to the Divine spirit, but became corrupted by the material world, losing this connection (i.e. The fall of Man from Grace. Note also the reference to the Tree of Knowledge and possible connections to the Tree of Life). God uses the Sephiroth in renewing and sustaining the material universe. Each new soul created is an emanation of God and travels to materiality (physical existence) via the pathways established in the Sephiroth. In a similar fashion, the spirits of the departed return to God via these same pathways, making the Sephiroth the mechanism by which God interacts with the universe.

 

broken-column2 The Broken Column:

 

In Figure 2, I have redrawn the Sephiroth as an overlay of the Three Great Columns; however in this version the Pillar of Beauty is Broken. Note especially that the center pillar, the Pillar of Beauty in the Sephiroth has a gap between Beauty and Crown, in effect making this column a Broken Pillar[xxi]. I believe this “fracture” symbolizes Man’s separation from knowledge of the Divine, and an interruption in the Pathway leading from Beauty directly to the Crown (which symbolizes “The Vast Countenance”[xxii]).

 

I would also like to extrapolate that if the Broken Column indeed represents Hiram Abif as per the explanation given to initiates, then the two remaining columns would then correspond to Solomon and Hiram King of Tyre[xxiii]. Certainly the Sephira (Wisdom, Justice, and Splendor) which comprise the column of Justice align well with the characteristics traditionally associated with King Solomon. Tradition unfortunately does not address Hiram King of Tyre although we can assume that Intelligence, Mercy, and Firmness or Strength would be a likely requirement for a Monarch of such apparent success. The connection between the Three Great Columns and the three principle characters in the drama of the Third Degree does have a certain sense of validity. The “Lost Word” associated with Hiram Abif would then allude to the lost Pathway.

 

In so many of our Masonic Lessons we initially receive a plausible but quite shallow explanation of our symbols and allusions. Those who sense an underlying, deeper meaning tend to find it (Seek and you will find, knock and the door shall be opened). Perhaps in our ritual of the Third Degree, that which is symbolically being raised (restored) is the Pillar of which resides within us. If so, the Lost Word has then in fact been received by each of us. It only remains lost if we choose to forget it or choose not to pursue it.

 

[i] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976). ISBN-13: 978-0679506263. pp 157.

 

[ii] “Meriwether Lewis, Master Mason”. The Lewis and Clark Fort Mandan Foundation.

 

[iii] “WHo is Prince Hall ?” (1996). Retrieved December 5, 2008 from www.mindspring.com/~johnsonx/whoisph.htm.

 

[iv] Kenna, Michael. (1988). The Broken Column House at Désert de Retz in Le Desert De Retz, A late 18th Century French Folley Garden. Retrieved December 6, 2008 from Valley Daze. valley-daze.blogspot.com/2007/09/broken-column-house.html

 

[v] Pike, Albert. (1919) Morals and Dogma. Charleston Southern Jurisdiction. pp. 379. ASIN: B000CDT4T8.

 

[vi] “The Broken Column”. The Short Talk Bulletin 2-56. The Masonic Service Association of the United States. VOL. 34 February 1956 NO. 2.

 

[vii] Brown, Robert Hewitt. (1892). Stellar Theology and Masonic Astronomy or the origin and meaning of ancient and modern mysteries explained. New York: D. Appleton and Company, 1, 3, and 5 Bond Street. 1892.. pp. 68.

 

[viii] “Boston Masonic Lithograph”. Retrieved December 5, 2008 from Lodge Pambula Daylight UGL of NSW & ACT No1000. lodgepambuladaylight.org/lithograph.htm.

 

[ix] Folger, Robert B. Fiction of the Weeping Virgin. Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/art/monument / fiction/fiction.html

 

[x] Mackey, Albert Gallatin & Haywood H. L. Encyclopedia of Freemasonry Part 2. pp. 677. Kessinger Publishing, LLC (March 31, 2003).

 

[xi] Claudy, Carl H. Introduction to Masonry. The Temple Publishers. Retrieved December 5, 2008 from Pietre-Stones Review of Freemasonry. www.freemasons-freemasonry.com/claudy4.html.

 

[xii] Dwor, Mark. (1998). Globes, Pillars, Columns, and Candlesticks. Vancouver Lodge of Education and Research . Retrieved December 6, 2008 from the Grand Lodge of British Columbia and Yukon A.F. & A.M. freemasonry.bcy.ca/texts/globes_pillars_columns.html

 

[xiii] Day, Jeff. (2008). Dualism of the Sword and the Trowel. Cryptic Masons of Oregon – Grants Pass. Retrieved December 6, 2008 from rogue.cryptic-masons.org/dualism_of_the_sword_and_trowel

 

[xiv] Bramston, M. Thinkers of the Middle Ages. Monthly Packet. Evening Readings of the Christian Church (1893). Ed. Charlotte Mary Yonge, Christabel Rose Coleridge, Arthur Innes. J. and C. Mozley. University of Michigan (2007).

 

[xv] Regan, Richard. (2005). The Cardinal Virtues: Prudence, Justice, Fortitude, and Temperance. Hackett Publishing.

 

[xvi] Wescott, William ( ). The Religion of Freemasonry. Illuminated by the Kabbalah. Ars Quatuor Coronatorum. vol. i. p. 73-77. Grand Lodge of British Columbia and Yukon. Retrieved September 29, 2008 from www.freemasonry.bcy.ca/aqc/kabbalah.html.

 

[xvii] MacKenzie, Kenneth R. H. (1877). Kabala. Royal Masonic Cyclopedia. Kessinger Publishing (2002).

 

[xviii] Pirtle, Henry. Lost Word of Freemasonry. Kessinger Publishing, 1993.

 

[xix] Knight Kadosh. The Thirtieth Grade of the Ancient and Accepted Scottish Rite, and the First Degree of the Chivalric Series. Hirams Web. University of Bradford.

 

[xx] Mathers, S.L. MacGregor. (1887). Qabalah Unveiled. Reprinted (2006) as The Kabbalah: Essential Texts From The Zohar. Watkins. London. pp. 10.

 

[xxi] Ibid. Dualism of the Sword and the Trowel

 

[xxii] Ibid. Qabalah Unveiled .Plate III. pp. 38-39.

 

[xxiii] Duncan, Malcom C. Duncan's Masonic Ritual and Monitor. Crown; 3 Edition (April 12, 1976).

 

Invented delights. Click here to read at The Delhi Walla.

Invented delights. Click here to read at The Delhi Walla.

Invented delights. Click here to read at The Delhi Walla.

This tragic tale of the Orient was only the second feature film in which a color film process invented by Technicolor was used throughout (and was the first to use their subtractive two-color process). It stars the stunningly beautiful Anna May Wong as Lotus Flower, a Chinese girl who finds an American sailor washed up on the shore. The sailor, Allen Carver (Kenneth Harlan), professes to love her and they marry. He goes back out to the sea and Lotus Flower has a baby. But Carver is a faithless man, and he returns to China with an American wife, Barbara (Beatrice Bentley). Lotus Flower is devastated. She hands the baby over to Barbara and then "pays her debt to the sea" by throwing herself into it and drowning. Barbara adopts the child, as per Lotus Flower's last wishes. If this story seems to bear some similarities to Madame Butterfly, scenarist Frances Marion didn't exactly deny it. In fact, she later said it was "practically the step-daughter of Madame Butterfly." Despite its lack of an original story, Technicolor made it a success. But the process was so complicated -- in those days, the blue-greens were photographed on one strip of film, and orange-reds on another, to be glued together later -- that it took many more years and innovations before color was commonly used.

FIRST ASIAN AMERICAN STAR!

Written by PHILIP LEIBFRIED

 

Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!

Excerpt from : That Old Feeling: Anna May Wong

Part II of Richard Corliss' tribute to the pioneer Chinese-American star.

Daughter of the Dragon. Paramount 1931.

Based on a Fu Manchu novel by Sax Rohmer.

Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."

The Personal Anna May Wong

This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."

The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she

had been Anna May White?

Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.

  

Filmography:

The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.

Shame. Fox 1921. Bits of Life. Assoc. First National 1921.

The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923

The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.

Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924

The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.

Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.

The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.

A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.

Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.

Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.

The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.

Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).

The City Butterfly. German 1929. Across to Singapore. MGM 1928.

The Crimson City. Warner Bros. 1928. Song. German 1928

Chinatown Charlie. First National 1928. Piccadilly, British International 1929.

Elstree Calling. British International 1930. The Flame of Love. British International 1930.

Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.

Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.

A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.

Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.

Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.

Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.

The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924

 

Shanghai Express 1932

Summer holiday 2014

In and around Berlin Germany

  

Berlin

 

From Wikipedia, the free encyclopedia

 

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This article is about the capital of Germany. For other uses, see Berlin (disambiguation).

  

Berlin

 

State of Germany

Clockwise: Charlottenburg Palace, Fernsehturm Berlin, Reichstag building, Berlin Cathedral, Alte Nationalgalerie, Potsdamer Platz and Brandenburg Gate.

Clockwise: Charlottenburg Palace, Fernsehturm Berlin, Reichstag building, Berlin Cathedral, Alte Nationalgalerie, Potsdamer Platz and Brandenburg Gate.

 

Flag of Berlin

Flag Coat of arms of Berlin

Coat of arms

 

Location within European Union and Germany

Location within European Union and Germany

Coordinates: 52°31′N 13°23′ECoordinates: 52°31′N 13°23′E

 

Country

Germany

 

Government

  

• Governing Mayor

Michael Müller (SPD)

 

• Governing parties

SPD / CDU

 

• Votes in Bundesrat

4 (of 69)

 

Area

  

• City

891.85 km2 (344.35 sq mi)

 

Elevation

34 m (112 ft)

 

Population (December 2013)[1]

  

• City

3,517,424

 

• Density

3,900/km2 (10,000/sq mi)

 

Demonym

Berliner

 

Time zone

CET (UTC+1)

 

• Summer (DST)

CEST (UTC+2)

 

Postal code(s)

10115–14199

 

Area code(s)

030

 

ISO 3166 code

DE-BE

 

Vehicle registration

B[2]

 

GDP/ Nominal

€109.2 billion (2013) [3]

 

NUTS Region

DE3

 

Website

berlin.de

 

Berlin (/bərˈlɪn/; German pronunciation: [bɛɐ̯ˈliːn] ( listen)) is the capital of Germany and one of the 16 states of Germany. With a population of 3.5 million people,[4] Berlin is Germany's largest city. It is the second most populous city proper and the seventh most populous urban area in the European Union.[5] Located in northeastern Germany on the River Spree, it is the center of the Berlin-Brandenburg Metropolitan Region, which has about 4.5 million residents from over 180 nations.[6][7][8][9] Due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one third of the city's area is composed of forests, parks, gardens, rivers and lakes.[10]

 

First documented in the 13th century, Berlin became the capital of the Margraviate of Brandenburg (1417), the Kingdom of Prussia (1701–1918), the German Empire (1871–1918), the Weimar Republic (1919–1933) and the Third Reich (1933–1945).[11] Berlin in the 1920s was the third largest municipality in the world.[12] After World War II, the city was divided; East Berlin became the capital of East Germany while West Berlin became a de facto West German exclave, surrounded by the Berlin Wall (1961–1989).[13] Following German reunification in 1990, the city was once more designated as the capital of all Germany, hosting 158 foreign embassies.[14]

 

Berlin is a world city of culture, politics, media, and science.[15][16][17][18] Its economy is based on high-tech firms and the service sector, encompassing a diverse range of creative industries, research facilities, media corporations, and convention venues.[19][20] Berlin serves as a continental hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination.[21] Significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction, and electronics.

 

Modern Berlin is home to renowned universities, orchestras, museums, entertainment venues, and is host to many sporting events.[22] Its urban setting has made it a sought-after location for international film productions.[23] The city is well known for its festivals, diverse architecture, nightlife, contemporary arts, and a high quality of living.[24] Over the last decade Berlin has seen the upcoming of a cosmopolitan entrepreneurial scene.[25]

  

20th to 21st centuries[edit]

     

Street, Berlin (1913) by Ernst Ludwig Kirchner

After 1910 Berlin had become a fertile ground for the German Expressionist movement. In fields such as architecture, painting and cinema new forms of artistic styles were invented. At the end of World War I in 1918, a republic was proclaimed by Philipp Scheidemann at the Reichstag building. In 1920, the Greater Berlin Act incorporated dozens of suburban cities, villages, and estates around Berlin into an expanded city. The act increased the area of Berlin from 66 to 883 km2 (25 to 341 sq mi). The population almost doubled and Berlin had a population of around four million. During the Weimar era, Berlin underwent political unrest due to economic uncertainties, but also became a renowned center of the Roaring Twenties. The metropolis experienced its heyday as a major world capital and was known for its leadership roles in science, the humanities, city planning, film, higher education, government, and industries. Albert Einstein rose to public prominence during his years in Berlin, being awarded the Nobel Prize for Physics in 1921.

     

Berlin in ruins after World War II (Potsdamer Platz, 1945).

In 1933, Adolf Hitler and the Nazi Party came to power. NSDAP rule effectively destroyed Berlin's Jewish community, which had numbered 160,000, representing one-third of all Jews in the country. Berlin's Jewish population fell to about 80,000 as a result of emigration between 1933 and 1939. After Kristallnacht in 1938, thousands of the city's persecuted groups were imprisoned in the nearby Sachsenhausen concentration camp or, starting in early 1943, were shipped to death camps, such as Auschwitz.[39] During World War II, large parts of Berlin were destroyed in the 1943–45 air raids and during the Battle of Berlin. Around 125,000 civilians were killed.[40] After the end of the war in Europe in 1945, Berlin received large numbers of refugees from the Eastern provinces. The victorious powers divided the city into four sectors, analogous to the occupation zones into which Germany was divided. The sectors of the Western Allies (the United States, the United Kingdom and France) formed West Berlin, while the Soviet sector formed East Berlin.[41]

     

The Berlin Wall in 1986, painted on the western side. People crossing the so-called "death strip" on the eastern side were at risk of being shot.

All four Allies shared administrative responsibilities for Berlin. However, in 1948, when the Western Allies extended the currency reform in the Western zones of Germany to the three western sectors of Berlin, the Soviet Union imposed a blockade on the access routes to and from West Berlin, which lay entirely inside Soviet-controlled territory. The Berlin airlift, conducted by the three western Allies, overcame this blockade by supplying food and other supplies to the city from June 1948 to May 1949.[42] In 1949, the Federal Republic of Germany was founded in West Germany and eventually included all of the American, British, and French zones, excluding those three countries' zones in Berlin, while the Marxist-Leninist German Democratic Republic was proclaimed in East Germany. West Berlin officially remained an occupied city, but it politically was aligned with the Federal Republic of Germany despite West Berlin's geographic isolation. Airline service to West Berlin was granted only to American, British, and French airlines.

     

The fall of the Berlin Wall on 9 November 1989. On 3 October 1990, the German reunification process was formally finished.

The founding of the two German states increased Cold War tensions. West Berlin was surrounded by East German territory, and East Germany proclaimed the Eastern part as its capital, a move that was not recognized by the western powers. East Berlin included most of the historic center of the city. The West German government established itself in Bonn.[43] In 1961, East Germany began the building of the Berlin Wall between East and West Berlin, and events escalated to a tank standoff at Checkpoint Charlie. West Berlin was now de facto a part of West Germany with a unique legal status, while East Berlin was de facto a part of East Germany. John F. Kennedy gave his "Ich bin ein Berliner" – speech in 1963 underlining the US support for the Western part of the city. Berlin was completely divided. Although it was possible for Westerners to pass from one to the other side through strictly controlled checkpoints, for most Easterners travel to West Berlin or West Germany prohibited. In 1971, a Four-Power agreement guaranteed access to and from West Berlin by car or train through East Germany.[44]

 

In 1989, with the end of the Cold War and pressure from the East German population, the Berlin Wall fell on 9 November and was subsequently mostly demolished. Today, the East Side Gallery preserves a large portion of the Wall. On 3 October 1990, the two parts of Germany were reunified as the Federal Republic of Germany, and Berlin again became the official German capital. In 1991, the German Parliament, the Bundestag, voted to move the seat of the (West) German capital from Bonn to Berlin, which was completed in 1999. Berlin's 2001 administrative reform merged several districts. The number of boroughs was reduced from 23 to twelve. In 2006 the FIFA World Cup Final was held in Berlin.

  

en.wikipedia.org/wiki/Berlin

  

Museumspark Rüdersdorf

  

Wechseln zu: Navigation, Suche

     

Blick auf den Museumspark Rüdersdorf

    

Touristischer Hinweis (A10)

Der Museumspark Rüdersdorf ist ein großes Freilicht-Industriemuseum in Rüdersdorf bei Berlin. Es dokumentiert die Gewinnung und Verarbeitung von Kalkstein aus dem Rüdersdorfer Kalkberg. Nur an wenigen Stellen tritt in der norddeutschen Tiefebene Kalkstein an die Erdoberfläche. Der Rüdersdorfer Kalkberg ist das größte Kalksteinvorkommen in Norddeutschland. Der Rüdersdorfer Kalkstein, als Werkstein und als Branntkalk oder zu Zement verarbeitet, war neben den Ziegeln aus der Mark Brandenburg der wichtigste Baustoff für die Metropole Berlin.

 

de.wikipedia.org/wiki/Museumspark_R%C3%BCdersdorf

twitter.com/Memoire2cite CULTURE URBAINE @ Banlieue Funky @ Ma playlist içi www.youtube.com/user/sidkeums/playlists… Est ce que ces clichés réducteurs concernant les liens entre la funk et la vie dans les quartiers sont vrais ou non? La funk est elle liée à une population vivant dans les ghettos ou pas? On me dit que la funk est une music de banlieusard, qu'elle a grandi dans les cités et comme elle est ancienne puis dépassée par le rap, elle n'a plus aucune valeur médiatique en France et reste, hélas, underground. Bien sur tout est lié , le Funk n' a pas vraiment marché en France , donc comme il est rester underground il s' adresse aux minorités , aux pauvres aux banlieues . Mais bon , le Funk pour moi c' est aussi un mode de vie , dans laquelle je me reconnais et dans laquelle je me sens bien , c' est un peu ce que j' ai mis dans mes mixs , le Style , la Basse , la facon de chanter , voilà , voilà . débat intéressant , j'ai lu l'article , même les 2 (pas le 3ème) , bien écrit vivant , et qui tombe pas dans les clichés , normal il à l'air d'avoir été par un mec qui à vraiment vécu le truc , et qui aime aussi la musique , c'est tout de suite mieux .Musique de Banlieue , surement , underground aujourdh'ui , encore plus qu'avant . Mais musique de banlieu au sens large , j'ai toujours vécu en banlieu (un peu à Paris même) , et c'est parcque la musique était un échapatoire et qu'elle circulais bien que j'écoute cette musique encore aujourdh'ui , le FUNK était 'le truc' qui te filais la pêche , les nouveautés , les Son US ça faisait rêvé aussi , et puis on se disait forcément qu'on avais un 'truc' à nous , que d'autre n'avais pas , cette musique était à nous et on pouvais pas nous la piquer , ni même nous 'interdire' le plaisir qu'elle nous apportait ..... sa t'amenais à la danse , au plaisir de téclater , d'inventer des pas , et plus la musique était bonne , plus t'avais envie d'inventer des nouveau pas et de te déchirer sur le dance floor (enfin le bittum à l'époque Laughing ) .Barry White , James Brown , c'est vrai que s'était les refs 'sacré' chez un certain public , peu être les 'anciens' , ceux qui avais 10ans de plus que nous en 80 , c'est à dire des 50/60 ans aujourdh'ui .Mais en 80 le FUNK à explosé , et ce qui était exceptionnel s'était ce coté nouveau , ça n'arrêtais pas de sortir , et toujours du SON plus fort , plus nouveau , différent , et pourtant on est passé à coté de tonnes de trucs , mais s'était déjà l'éclate ..... mais donc ça continue , enfin pour moi et pas mal d'autre je pense .... ce qui manque , c'est un peu plus de reconnaissance médiathique , par exemple pour que nouveau artiste puisse marcher et nous sorti quelques bombes encore aujourdh'ui , y'en a mais trop peu , et quel galère commercialement pour y arriver ...

Cette musique à été quand même une musique de minortié ,et l'ai encore , rien à voir avec l'Impact du Rock , de la POP ou même de la chanson Française .....

Musique de Banlieu pour moi ça n'a rien de négatif , toute manière la banlieu elle est partout maintenant , bien plus Grande et Vivante que la Capital ou que les grandes villes qui s'endorme question 'fiesta' ..... Je suis obligé de vous rejoindre, ayant connu ce phénomène.

En effet ayant passé ma jeunesse dans le 9.3 (le côté obscur de la force). A cette époque déjà c'était un brassage de nationalités et c'est ce qui rendait la banlieue si riche culturellement.Le Funk n'avait que peu le droit de citer (jeux de mots Rolling Eyes )dans les médias, en effet le début des radios libres de la bande FM en 81 a fait progresser la diffusion bien proprette en France.En effet des radios comme radio 7 ou Voltage FM ont fait exploser la funk en terme d'audience en région parisienne.

Tous les ghettos blaster et les autoradios diffusaient du shalamar, du EWF , du Kool & the Gand et consors. Je me souviens que celui qui ramenait un disque du rayon import de la Fnac ou d'un disquaire parisien le faisait écouter à tout le monde, en effet les fenêtres s'ouvraient et diffusaient largement le son sur lequel tout le monde dansait et s'extasiait.Mais aussi les autoradios des voitures des grands frères autour desquelles on s'aglutinait comme des mouches, je me souviens avoir écouté en boucle un dimanche après midi le LP de fat larry's band sur le parking devant le batiment.

Les radios nationales diffusaient plutot du disco, Cerrone Hernandez Ottawan... Ce qui faisait que la banlieue a été encore une fois le précurseur du mouvement en France, certes du au fait que cela venait des states. Et rebelote en 84 avec l'arrivée du Rap et du smurf.

La banlieue est très réactive, en effet elle sent et des fois aussi crée les tendances.

Mais elle fait peur aussi, et on lui colle maintenant une connotation péjorative, et du coup on lui laisse des trucs bien à elle comme une marque de reconnaissance à laquelle les biens pensants ne veulent pas être assimilés.

ça a été le cas avec les fringues, exemple le groupe NTM qui s'est approprié les vestes HELLY HANSEN, ensuite les personnes qui achetaient habituellement ces vêtements (les voileux) se sont éloignés de cette dernière pour ne pas être assimilé...La Funk a subi la même chose... Mais peut être que les bobos qui ont le pouvoir vont y trouver un certain engouement et la remettre sur le devant de la scène mais cela sera un dur combat... je suis également de votre avis,ce n'est pas du tout péjoratif de dire qu'il y a plus de gent issus de cités comme moi qui écoute de la funk et du rap que des gars habitants dans le 16 eme Wink

je suis née dans une cité et tout comme vous j'ai trempé dans cette ambiance Mr.Red

et je ne regrette pas du tout.c'est vrai qu'a l'époque les refs etaient plutot barry white,marvin gaye,kool and the gang,earth wind & fire ect...c'etait plus dur à l'époque de trouver des nouveautées,alors quand ça pouvait se faire ,c'etait la teuf et c la ou on usaient nos stan smith sur le bitume n'est ce pas christian Laughing et ca glissait mal dailleur lol Laughing

par contre j'ai des cousins qui on vecus lomgtemps dans des cités et qui écoute du hard rock,on ne prend pas forcément la même voie,et dailleur quand on parle de music affraid What a Face affraid What a Face ça fait des étincelles surtout quand ils me disent que ma music et morte What a Face c'est a ce moment la que j'aimerais bien que vous soyez là avec moi Confusedla music black est en moi et rien ni personne ne pourras m'en faire changer Wink les radios libres y on été pour beaucoup , parcque quand tu avais une radio dans ton salon , s'était toujours les mêmes trucs qui passait , et puis vers 81 , en tournant le bouton (quand t'avais le droit Laughing ) , si tu cherchais bien et que tu avais de la chance , tu tombais sur un truc 'inconnu' , jamais entendu , du FUNK !!!! dwarf Punaise et là ton cerveau faisait un tour , t'es sens aussi !! (pour peu que tu est été receptif , c'est pas le cas de tout le monde ...) , et là tu restait scotché sur le bouton , à le tourner en modissant les parasites créé par les grosses Radio autour !!!ça rajoutait à la puissance du truc , s'était furtif , un morceau de temps en temps par hasard , avec les parasites et l'impression que ça venais d'une autre pays , genre les US , voir d'une autre planète !!!quand j'ai entendu du BRASS Construction par exemple , ou du SOS BAND , vers 83 , ça à été un CHOC Terrible ! surtout qu'il donnais pas toujours les titres , après tu gardais ta K7 bien précieuse , on se les faisait écouter entre pote , déjà avec Nico, pour voir ce que chacun avais choppé , et ça s'était toute les semaines : 'alors ta enregistré quoi ? wouaaaaa la Tuerie !!!! et celle là !!!! wouaaaa Laughing 'en tout cas c'est sympa de voir que beaucoup on des histoires similaires , du vécu qu'on a eu chacun dans sa banlieu (moi s'était 94) , dans son quartier , dans sa cité , moi j'habitait pas une cité , mais le lycée de banlieu jouais bien le mélange , on était entre pote et de même délire , et qu'on soit de cité ou pas , on s'en foutait à l'époque , on kiffais la musique , était dans le même bain , même Bus , même centre commerciaux , direction Creteil Soleil ou Rosny2 Laughing pour trainer la savate , faire des conneries , et kiffer le SON .... En effet Christian, je me rappelle encore avoir passé des heures la nuit le week end et même parfois la semaine à écouter des émissions funk sur la bande FM et à enregistrer des K7 à tire l'arigot. Moi aussi dans ma cité (dans le 95) je rejoignais 1 ou 2 potes pour comparer ce que l'on avait enregistré, c'était terrible !je me rappelle aussi que je notais les noms des interprètes, des titres, des années, sur un petit carnet et ça m'a beaucoup aidé quand j'ai commencé à investir dans les vinyls sur Paris.

Et puis ensuite, étant le seul à acheter des vinyls dans la cité, les mecs débarquaient chez moi et me disaient "vas-y serge mets moi ça mets moi ci" et puis je leur faisais découvrir des tueries et là les gars ils étaient raides morts tellement ça tapait

Et puis quand tu avais un pote qui avait également une belle collection, c'était sympa d'aller chez l'un ou chez l'autre et du style "écoute celui-là tu ne l'as pas il est terrible"

Ah que de bons souvenirs !!

Après je ne sais pas si on peut dire que le Funk est un musique de banlieue mais je pense que ce n'est pas le plus important Bah comme d'habitude, je m'inscris en faux, absolument pas d'accord avec tout amalgame banlieue-black-Beur etc ...Je l'ai déjà dit à maintes reprises, j'avais 18 ans en 1980 et je n'ai pas vécu l'époque dorée du Funk par procuration !J'ai écumé les boites de nuit de la région parisienne et de France, avec mes potes black, beur, portuguais mais aussi plein de français bien blanc ...

Je n'y ai entendu que du Funk de 80 à 83, il faut arrêter de raconter des conneries ... Tous mes potes étaient à l'affût, je me rappelle encore de l'émotion à la découverte de One way/ al hudson - You can do it, Whispers - And the beat goes on - Prince - I wanna be your lover pour ne citer que des connus. Du matin à l'aube, c'était uniquement du funk et je ne parle pas que des boites branchées de la banlieue, mais ausi de très grosses boites comme le midnight express à La Défense, ou le studio sur les champs, le sands aux sables et des tas de megaboites sur la cote d'azur ou même à Rimini en Italie ...

Une grande majorité de jeunes de tous horizons écoutaient du funk, ne vous faites pas abuser ... C'était la musique à la mode, j'entends pour les jeunes qui sortaient !

Les Born to be alive, Cerrone, Sylvester ou autres Bee geeseries c'était avant, en majorité, de 76 à 79. A partir de 79-80, le son a changé en boite pour le plaisir de mes oreilles !!!

C'est vrai qu'il y a eu un manque de médiatisation au niveau du grand public, dommage qu'il n'y avait pas Internet .... Mais ce que les jeunes écoutaient quand ils sortaient, ils le cherchaient sur les radios, merci à Radio 7, Voltage FM de nous avoir fait fabriquer d'incroyables cassettes !!!

Bref j'en ai marre d'entendre dire que le Funk était une musique mineure, c'est archi faux, tellement les jeunes de ma génération en ont été imprégnés, on n'entendait que ça partout ou on sortait !C'est également faux que les banlieusards ne pouvaient pas rentrer dans les boites huppées ... J'ai trainé au palace juste pour citer LA boite ...

de 79 à 83, les gens se sappaient classe, veste rétro, chemise ou T-Shirt, pantalon à pinces en toile, collège aux pieds ou encore combinaison de couleur avec ceinture en toile de l'armée de couleur assortie qui retombait sur le coté, matez les pochettes de vos skeuds nom de dieu ! C'était avant 83 et le survet et les basket ringardes ... Bref habillé comme ça tu rentrais partout, ce n'était pas écrit sur ton visage que tu venais de la banlieue et du moment que t'avais de la monnaie ... s what you got, comme disent les Reddings ... et oui le funk était associé à la classe, le style, j'espère qu'il y en a qui l'ont vécu comme moi ..Vous allez dire que je focalise sur les boites de nuit ... mais le Funk c'est cà, c'est une musique de dance, de discothèque, une musique festive !!!

Rien à battre si ça ne passait pas sur France Inter ou à la téloche, le funk ça se mérite, il faut aller à sa rencontre !

Imaginez l'avènement du Funk s'il avait lieu aujourd'hui, avec Internet et la reconnaissance universelle de la musique black et de ses artistes ?En attendant, malgré ce manque de vecteur de promotion à l'époque, je note que dans de nombreux films récents, il y a du Funk 80 bien présent dans la bande sonore, donc pas si méconnue que ça ...

Rien à voir avec le Ghetto, c'est juste une musique ancienne, comme moi je ne m'emballe pas sur de la musique des années 60 ... et je pense que contrairement au Jazz, intemporel, c'est le sort de toute musique de dance de tomber un peu dans l'oubli ...Ca n'enlève rien aux qualités de cette musique fantastique qui contribue encore aujourd'hui à me faire aimer la vie et l'amitié !!! une petite nuance,un avis,un éclairage différent sur le sujet et ce que vous en avez dis : ne prenez pas ce que je vais dire pour quelque chose de péjoratif mais j'ai l'impression que vous avez une vision vachement parisiano-parisienne des choses en ce qui concerne le funk et la banlieue,idem pour l'idée de dire que les forces vives,l'avenir,l'energie créatrice viennent ou viendront des banlieues.Nul doute qu'il s'y passe beaucoup de choses et pas seulement des faits divers liés à la violence et autres mais la (les) banlieues ne sont qu'une infime partie ,un petit bout du (d'un) pays.L'essentiel du territoire ne vit pas sur le modèle des banlieues et tout ne vient pas de ces dernières sur le plan culturel,musical,mode etc.Il doit y avoir quelques centaines de grandes banlieues ( quartiers) en france, c'est à dire l'équivalent d'un paté de maison à l'échelle d'une ville.C'est comme les états unis qui se prennent pour le monde,ils faut qu'ils s'aperçoivent qu'ils ne sont qu'un petit point sur la mape-monde.Les "quartiers" ou" l'esprit" des quartiers n'ont pas générés que des supers trucs au niveau zique etc...Des groupes comme NTM ont insuflés des modes,des comportements qui sont pas forcement positifs.Cette tendance par exemple par mimétisme,identification, des jeunes à se la jouer badboys,à se la raconter, découle de l'image que ces rapeurs ont véhiculés.Comme si avoir un survet et une capuche sur la tronche te donnait le pouvoir et la certitude d'être un dur et de susciter la crainte.Cet été j'étais dans un bal (animé par un pote qui fait de la discomobile) et à un moment donné t'as des mecs qui sont arrivés avec survet,capuche sur la tronche, sourcils froncés et tout l'toutim (la panoplie du parfait badboy),et au bout d'un moment ils ont tombés toute la marchandise parce que trop chaud et dessous y'avait des mecs imberbes style 14 ans,qui avait encore du lait au coin des lèvres et qui se la racontaient.Franchement limite risible. Pour moi ils sont déguisés,comme on se déguisait en zorro quand on était môme.Les rapeurs comme NTM ont contribués à façonner,à influençer les jeunes de cette façon,avec cette façon de parler qui est plus de l'éructation qu'autres chose.Pour moi ce rap,c'est à dire celui du "rentre dedans",que beaucoup de mômes singent,c'est le nouvel opium du peuple,en plus branché.Et je ne confond pas avec les autres style de rap ( celui des 80's etc...).Tout ceci pour dire que je suis souvent sur les routes pour mon job et d'autres raison et que la majorité du pays ne vit pas sur le modèle et le tempo des banlieues,c'est qu'un microcosme.Et donc pour en revenir logiquement au funk, dans les grandes villes il a été une musique partagé par tous,par monsieur tout le monde (incluant bien sur les banlieues),diffusé largement sur les radios libres et donc connus de tous.Aux usa par contre c'est evident que c'etait une musique des quartiers populaires à la base,comme l'a été le rap,le smurf etc,mais il s'est démocratisé par la suite.Ici tous les mecs que je connais qui ont été ou qui sont fous de funk sont des gens de tous univers et de tous milieux.C'etait une musique de club,festive, impossible d'y échapper dans les sorties.Par contre c'est vrai que les mecs de quartiers ont une affection particulière pour cette sique.Ceux à qui je fais des cds le plus souvent sont des mecs qui ont connus cette période,qui ont fréquentés les club à l'époque et qui en sont nostalgique.Ca leur rapelle des souvenirs.Mais le raccourci funk-banlieue est peut être valable sur Paris mais sur le reste du territoire surement pas. il y a pas de Vrai ou de Faux , on ajuste tous des vécus différents et c'est intéressant d'avoir des avis différent justement pour voir que tout ne c'est pas passé pareil partout et pour tout le monde .Je me souviendrais toujours d'un mec sur un autre Forum qui disait que les années 80s s'était les pires moment de ça vie , et que le Funk de cette période il le détestait pour ça , s'était d'ailleur pas du FUNK pour lui , se garde se genre de discour en mémoire , même si je n'y adhère pas du tout et que c'est à l'opposé complétement de mon vécu , pour les 80s c'est la liberté , la rue (rien de négatif la dedant , je dis rue dans le sens Liberté et découverte , de ma rue , de mon quartier , de ma banlieu et ensuite de Paris , via les transports , s'était donc la fête de pouvoir allez partout sans retenue et sans crainte à l'époque ) , les années 80s pour moi c'est la fête , les 'booms' , le Funk et le Rap , la danse d'une manière générale puis à partir de 84 le Smurf et le Break , bref je vivait que par ça , le post dans le sac de sport pour allez au lycée .....Donc je pense qu'il faut lire et accepter que chacun à un vécu différent .La banlieue à été très réceptive à cette musique , car c'est une musique 'positive' et qui fais du bien à l'écoute , mais ce n'est pas une musique de Banlieu (fabriqué en banlieu) , c'est la même au US , c'est de la musique faites par des artistes dans des Studio , avec de sproductions , donc de l'Argent derrirèe , on est loin des trucs Rap fais dans un coin de la banlieu aujourdh'ui (d'ailleur moi je suis moin négatif sur le RAP , il joue un rôle , même si j'aimerais que musicalement il soit meilleur , et que le message soit plus positif , mais c'est juste que les mecs on perdu un truc en route , le coté DJ pour la recherche musical , et le coté écriture pour les messages , d'ailleurs quand ta rien à dire faut pas faire du RAP !!)Donc voilà , le FUNK n'est pas non plus une musique de boite de nuit (sujet aussi lancé par Petabass) , bien qu'il à marché quand il était à la mode début 80s , moi les boites ça reste aussi un 'microcosme' de peu de personne , j'y est Jamais mis les pieds pour ma part (enfin en 80s) , par contre j'ai été au Bataclan et en divers soirée et Boom , et ça envoyais du lourd , ça dansait comme j'ai rarement vue , et s'était l'éclate , et pour faire contre poid , j'était en survet/basket comme je l'ai toujours été , mais j'avais pas la bave au lèvre et je cherchais personne , sauf à la danse à la limite , mais ça restait bonne esprit , dans la lignée de 'beat stree' , j'avais ce modèle en tête , claqué à la danse , mais c'est tout ça s'arrête là .... (en fait on était plus démo , et le kiffe d'avoir les gens qui te regarde et t'aplaudisse ça suffisait , on avais un truc , pas besoin de jouer au balèze ....ce que je comprend qu'on soit obligé de faire quand on a rien )

Pour moi le coté boite de nuit , c'st justement le coté 'sappe' , 'thune' et ensuite 'drag' , voir même 'picole' , dans les 80s rien de tout ça ne m'intéressait , à part peu être la 'drag' , mais je le faisait plus par la tchatche et la danse , mais on m'a jamais laissé l'occasion de danser en boite C'est à dire que le funk dans les 80's t'y échappais pas,c'était la musique dominante dans les club,comme le disco avant lui (il a remplacé le disco par le principe de la sélection naturelle,comme dans la nature) mais pas seulement puisqu'il était omniprésent sur les radios.Qui ne connait pas Mel Brooks "it's good to be the king ?" même ceux qui n'aiment pas.Ensuite que ca soit pas dans nos gouts c'est une chose,mais tout le monde a été traversé par cette vague,aucune échapatoire possible,donc aucune catégories ou lieux n'a pu ignorer cette zique."funky town" de Lipps Inc est une melodie qui est connu de toute la planète,même si certains ne savent pas de qui il s'agit.Mais le funk (en france et europe en tout cas) a été connu par apport aux boites et radios,l'un marchait avec l'autre d'ailleurs.T'avais les djs qui faisaient des emissions funk la semaine et ils balancaient leur titres le w-end en club,une espèce d'autopromo.Le funk a donc été connu via les boites,comme musique de danse,sans les boites point de carton d'imagination,d'oliver cheatham etc.Ensuite on s'est apercu que c'etait plus large et qu'il existaient d'autres formes,plus elaborées,mais le funk reste attaché et identifié aux boites comme le musette est identifié aux bals musettes et autres guinguettes.Après l'ambiance des 80's c'est pas que du 100% tout bon,les mentalités à la con existaient déjà (elles se perpétuent de generations en generations),les connards et frimeurs avaient déjà pignon sur rues et les trucs qui daillaient étaient légion.Moi ce que j'ai pas aimé au niveau musical dans les 80's,bien que jeune,c'était la new wave et tout les hits branchouillards à la mode style Désireless,Etienne Daho,Axel Bauer et compagnie,ca ca m'a gonflé un max,une èspèce de musique pour petits bourges,tout ce que j'aime pas.C'est mon avis. je vois qu'un petit débat plutôt délicat vient de ce lancer sur la planète Funkysize bounce

Alors moi je ne vais pas écrire des lignes et des lignes mais j'aimerais juste dire que le Funk au même titre que la Soul et que le hip-hop aujourd'hui, reste tout simplement de par son origine une musique des minorités.

Et qui dit minorités, dit forcément banlieue, ghetto, black, blanc , beur....Si vous y regardez de plus près, les chanteurs de Jazz, de R'n'B(le vrais), de Soul, de Funk...Ce n'était que très rarement des petits blanc des quartiers chic, mais 90% de noirs afro-américain des ghetto pauvre des USA.

Donc, forcément il y à une certaine identification culturelle et j'irais même dire physique pour certains ce sont reconnu en Europe et particulièrment en France.

Après bien entendu , il ne faut pas forcément être Noir pour écouter du Funk, ou venir de quartiers populaires, mais cette étiquette restera à jamais graver dans cette musique, qui est, ne l'oublions pas, de la "BLACK music"! Dans les années 82/83/84/85/86, La FUNK était écoutée par de nombreuses personnes (Quartier ou Non). c'était la musique de l'époque.

En boite dans les années 82/83/84/85/86, la FUNK était naturellement la musique qui tournée, pas de partout mais beaucoup de FUNK quand même.

A partir de 87 environ, la FUNK comme nous l'entendons, passer de moins en moins en boite et seul les passionnés continuer à écouter cette musique (Quartier ou Non).

En 87, un patron de Boite m'a dit qu'il ne passait plus de FUNK car la FUNK était une musique de soi disant "racaille de quartiers" et attirer ces gens là. J'étais évidemment pas d'accord du tout avec lui. J'ai plein d'amis qui n'ont pas grandi dans un quartier et qui depuis toujours écoute de la FUNK.

Je dirai que la FUNK étant de la Black Music, les personnes de Quartier s'identifient plus à celle ci, idem pour le REGGAE.

Ce qui est vrai, c'est que dans les quartiers, la "DANCE MUSIC" au sens large (Pré - 1990) était/est beaucoup plus écouté que le ROCK ou le HARD. la FUNK, c'est la musique de la fête, de la danse, ect.Si on prend les Etats Unis (Patrie de la FUNK), la FUNK était au départ écoutée uniquement par les Blacks et c'est longtemps aprés que les blancs se sont mis à écouter cette musique et à danser dessus.Alors Non, la FUNK n'est pas une musique de banlieusards même si c'est vrai qu'elle est enormement écouter la bas.

A mon avis, il faut remonter aux racines de cette musique (USA), pour comprendre pourquoi les gens des quartiers aiment cette musique.Je pense qu'on est parti sur un amalgame : en effet on a jamais dit que le funk est une musique de banlieusards (Merci au passage de nous rappeler que pour faire des disques il faut de la thune et des studios... ) faite par des banlieusards ou alors de la banlieue de brooklyn, NYC...On a dit que la funk est et a toujours été une musique de prédilection dans les banlieues (parisiennes ou autres d'ailleurs c'est kiff à Lyon, Marseille, Nantes et consors.) Au passage Paris et sa région n'est pas une goutte d'eau mais représente quand même 1/6e de la population nationale.

Loin de moi l'idée de faire de Paris et la RP le centre du monde, pas de nombrilisme dans mes propros. Mais que les producteurs blancs y est trouvé une manne financière je suis d'accord. Mais pour ce faire il faut aussi la diffuser et la vendre et oui les discothèques y ont contribué, mais il faut bien reconnaitre qu'on y entendait souvent les même titres : Oliver Cheatham, Fat larry's bans, Whispers et Indeep. Si les radios libres n'avaient pas pris le relais on aurait stigmatisé la funk à ces quelques titres, heureusement il n'en ai rien et tous autant que nous sommes nous en découvrons tous les jours.

Si on a parlé de la banlieue c'est qu'on y a passé notre enfance et notre jeunesse, c'est un retour d'expérience en live....je tenais à eclaircir ce point.(c'est fait) Smile

Sur ce je vous souhaite à tous un joyeux réveillon en famille ou entre amis ou je pense que notre zik à toute sa place. sunny Je viens d'une famille aisée mais avec un amour inconditionnel pour la Musique avec un grand M, comme j'ai pu l'écrire auparavant, j'ai grandi dans un univers musical entouré de musiciens et de musiciennes.

Très vite, la musique afro-américaine a suscité mon attention et m'a amené à m'initier aux instruments comme le trombone et la guitare basse avant de m'amuser avec une boite à rythme pour créer quelques beats electro.

J'ai également beaucoup lu et regardé pas mal de documents sur ce sujet.Ce courant musical qu'est la funk a varié au cours des décennies depuis sa création jusqu'à sa fusion avec d'autres styles et non sa disparition comme je peux le lire à droite à gauche.Initialement, c'était une musique créée de toute pièce par les minorités noires qui revendiquaient, par leur musicalité, qu'ils étaient noirs et fiers de l'être pour être respectés par les blancs mais aussi pour proclamer leur égalité des droits vis-à-vis des gouvernements d'époque.

La funk servait d'échappatoire à leurs galères des quartiers car ils y vivaient, pour la plupart, dans des ghettos américains et ce style musical visait à les rendre plus joyeux face à l'oppression de la majorité blanche.

D'un discours funk plutôt radical du début 70's, ce courant a voulu séduire la communauté blanche dans les 80's en produisant des sons adaptables aux boîtes de nuit dans l'objectif de brasser les cultures, les influences, les personnalités pour produire de l'unité.

Le paradoxe c'est que nos banlieues françaises sont peuplées de minorités ethniques différentes qui se sont identifiées voire ont fortement emmagasiné ce que vivaient les afro-américains dans leurs quartiers américains mais aussi dans leurs consciences, ceci expliquant cela.

Après, dans cette logique de brassage et de métissage, des tas d'expériences individuelles issues de vécus différents peuvent se distinguer de ce lien avec le "ghetto" mais le fondement historique de ce style musical reste la symbiose entre la tradition africaine et la sensibilité européenne, un bon exemple qu'il serait judicieux de suivre pour restaurer la paix universelle entre les peuples.Revenir en haut Aller en bas C'est u peu ce que je voulais te répondre Moog Surprised normal que les blancs ont contribué à l'évolution de cette musique, car dur d'avoir un studio, des instruments et un ingé du son quand tu t'appel "Williams jackson Jr" que tu est noir et que tu est un chômeur au milieu du Bronx en 1975 avec le groove dans la peau blackeye C'est pas au regard de l'argent que je parlais,mais c'est un fait que les blancs ont mis leur grains de sable dans la démocratisation de la funk.Des grands groupes confirmés et certainement plein aux as passaient aussi par des studios et des maisons de disques tenues par des blancs,c'est ainsi.Mais pas que bien sûr.D'ailleurs pour ceux qui ont suivis l'histoire de la funk ou du disco ou même d'autres musiques les grandes maisons de disques n'étaient au début que de petites structures montées avec 3 bouts de ficèles par des passionés de zique et pas tout sûres du tout de marcher,et pas par des mecs friqués et gavés.Après c'est sûr qu'ils s'en sont mis plein les fouilles,mais l'appat et l'appétit du gain n'a pas de couleur ni d'apparence particulière .Témoins les rapeurs americains (ou autres) sortis du ghetto et revendicatifs au début qui deviennent miliardaires et s'accoquinent bien du système qu'ils dénonçaient au début et deviennent aussi suffisants et hautains que les mecs sur lesquels ils chiaient dans leurs premières années. Sad

Get Up, Get Down. Depuis l'arrivée de ces musiques noires en France, les minorités raciales, les beurs et les blacks en particulier, s'en sont emparés.

Mais tout ceci n'est qu'une partie de l'iceberg. Un iceberg de préjugés qui ont la peau dure.

C'est vrai que la Soul avec pour leader James Brown a fait swinguer bon nombre de cités, que le Funk, venu quelques années plus tard, a fait rêver et alimenté des centaines de soirées dans des boites comme le Pass' (Pacific), le Midnight Express, le Moretti ... mais également des boites comme Le Palace, le Rex Club ... dans lesquels les banlieusards n'avaient pas droit de cité.Que Positive Force, Delegation et Barry White chantaient des hymnes qui devenaient nationaux dans les "tiers-quar", des hymnes que personne n'a osé siffler.

Il n'était pas besoin d'habiter en cité ou en banlieue pour les aimer. Pour les écouter, oui, enfin peut-être. Quoi que !!!! C'est sur, le téléphone arabe fonctionnait bien mieux dans nos quartiers qu'ailleurs. Entre le foot et le baby. Il était quasi-indispensable pour faire passer le message. L'entassement a parfois du bon.Et à l'époque, il n'y avait pas beaucoup de médias pour diffuser et donc faire entendre ces musiques venues d'ailleurs.RTL et Europe No1 étaient hégémoniques sur les ondes et il ne fallait pas compter sur la première chaîne, Antenne 2 ou FR3 pour voir le moindre noir nous chanter Ramona à la télé si ce n'est La Compagnie Créole et encore si l'on avait été sage. Servie par la mère Danielle Gilbert, ces noirs là ne ressemblaient pas vraiment à ceux des pochettes de disques américains. Encore un postulat qui tombe. Tous les noirs ne se ressemblent pas. Il y en a de plusieurs sortes. Mazette !!!On croit rêver.De plus, quand on voyait un black, on essayait de nous faire croire qu'il était le seul, l'unique. Mais ce complexe est toujours rémanent dans notre beau pays. C'est une tradition bien française.Souvenez vous: Boney M fut quasiment l'unique groupe Disco visible en France même si l'on a eu droit à la pause Ottawan lancée par Bellolo et Morali (encore!). Qui eux, reconnaissons le, ne sont pas noirs.C'est François Mitterand et ses radios libres qui lancera le Funk en France. Sans le savoir, d'ailleurs. Si il l'avait su, il l'aurait certainement mis sous écoute ... mais avec le nombre important, à l'époque, de sorties hebdomadaires, il lui aurait fallu beaucoup beaucoup d'oreilles ... plus en tout cas que pour écouter Jean Edern ou Carole Bouquet. Mais revenons à nos artistes, aux vrais, à ceux qui nous préoccupent.

RTL, Bernard Shu et Sugarhill Gang

Avant cela, le premier qui nous amena sur un plateau d'argent du Funk à la radio, à la fin des années 70, fut Bernard Shu (RIP). Ce DJ/animateur, animait le Hit des Clubs, le samedi soir sur RTL, pardon, sur WRTL. On voit immédiatement la culture US dans cette appellation radiophonique.Ce monsieur qui habitait sur une péniche sur les quais de la Seine, a été le premier a programmer Rappers Delight de Sugarhill Gang en Europe - un mardi soir à 23h. Excusez du peu et ce quelques jours seulement après WBLS à New-York. Bravo et merci encore Arshu !!! Respect.

Ce type a élagué pour les radios libres un terrain miné de chanson française (légitime et de bien meilleure qualité que l'actuelle, ce qui n'est pas un exploit) et de faux chanteurs lancés sur la vague Disco par des producteurs sourds mais pas aveugles, enfin pas insensibles aux belles couleurs des Pascals (un Pascal, des Pascaux ???) de l'époque (billets de 500 francs soit 80 euros environ).

Bref, il aura tout donné ou presque et il faut se souvenir qu'à l'époque, point de lecteur mp3, pas de walkman, peu de possibilités d'enregistrer quoique cela soit, à moins de s'appeler bien sur Mitterrand ou de disposer d'une chaine hi-fi avec enregistreur de K7 mais c'était plus cher. C'est dire si l'on attendait ce rendez-vous quotidien et hebdomadaire avec impatience. Comme de juste, après les résultats de la dernière journée de foot sur la même antenne.

Mais rendons à Mitterand ce qui appartient à Tonton, c'est à dire la création des radios libres qui libéra beaucoup de talents et qui continue de le faire.

Le Funk et la musique noire importée des Etats-Unis ou d'Angleterre est enfin à portée de radio, à portée d'oreilles. De toutes les oreilles. d'où qu'elles viennent, d'où qu'elles écoutent.L'Etat lui-même donnera l'exemple en créant une radio libre pour jeunes, Radio 7, dans les locaux de Radio France (au premier étage à gauche par l'escalier, à droite c'était comme de coutume, les toilettes).

Et pendant ce temps, les jeunes, français, arabes et africains jouent au foot, se font refouler des boites de nuit ou passent des examens - pas seulement à l'hôpital. Une jeunesse normale qui passe son temps comme elle le peut. Une jeunesse qui écoute bien sur de la musique. Le plus souvent à la radio. Pas le choix. Pas encore.

Radio 7, Sidney, Carbone 14 et les radios libres

Radio 7 nous donnera l'une des émissions de radio les + mythiques de Funk en ce début des années 80.

Issus de Radio France, deux animateurs de talent, Smith et Wessun, nous offriront un véritable récital de Funk avec Destination Planète 7, pendant plusieurs années. Ils reprendront le concept utilisé par Bernard Shu, un petit animateur robot, et une programmation de OUF. Mais à l'époque, c'était hyper facile. Tout était bon !!!! Mais leur sélection n'en était que plus excellente.

Radio 7 a également eu la chance d'avoir Sidney. Enfin !! Et de la radio, la télé n'était pas trop loin.

H I P, H O P !!!!Alors ça vous revient. Un black avec une casquette (à l'époque ce n'était pas courant) qui débarque d'un avion à Roissy et qui nous parle de musiques venues d'ailleurs. De musiques faites par d'autres blacks. Si si, c'est possible, les noirs savent aussi chanter.

Alors, Sidney ? Un noir à la télé !!!! Oui, un noir, enfin pas trop, un peu, un noir à la Obama en moins politique et en tout aussi démocrate.et politiquement correct. Mais avant tout et surtout un fou de Funk, un musicien de talent, membre du génial groupe Black White & Co. Un type qui sait de quoi il cause. Même si il est noir ... bah voyons, c'est possible cela ?

Et quel animateur. Un modèle, vraiment !!! Bien meilleur que le DJ qui sévit désormais dans certaines soirées R&B parisiennes.Un tribun entertainer qui rendit coup pour coup à un ancien marin breton qui grimpait dangereusement dans les sondages. Œil pour œil, dent pour dent, mais Sidney, lui, a encore les siens. Dommage pour l'autre. La musique est plus forte que l'avanie, encore plus quand elle est bonne et distillée comme cela.

A côté de cela, il y eut Phil Barney (et oui, l'ex ancien chanteur), qui a commencé sa carrière comme vendeur dans un magasin de skeuds à Montparnasse, le Mini Club de Nuit ouvert par le créateur de Champs Disques, Alain Markezy. Un talent de fou qui fit les bonheurs de Carbone 14, la radio qui révéla Jean Yves Lafesse. Une radio que les sbires de Mitterand ont tenté à maintes reprises de fermer avec l'appui des CRS commandités par Michelle Cotta. Oui, la même Michele Cotta reconvertie en confidente des people/politiques. Mais encore une fois la musique fut plus forte que le pouvoir qui avait permis son existence. Ubuesque.

Phil animait sur Carbone une émission de Funk en plein après-midi. Une émission qui fit louper les cours à un nombre incalculable de collégiens et de lycéens. J'en fut, je le revendique. Pardon maman.On se souvient encore de ses mélopées et de ses envolées lyriques sur Too Hot de Pure Energy. Un truc de fou !!! Un truc de psychopathe, bien avant le 113. un feuj d'Algérie on da mic, du jamais vu, enfin pas comme cela. Le Manhattan Show, Sidney et Sex Maxhine ... et Dee Nasty Et qui pourrait oublier le Manhattan Show ? Pas moi en tous cas. Et encore moins vous, puisque sur Skeuds, nous avons ressorti cette émission des placards. Et ça marche !!! A l'époque, plusieurs centaines de milliers d'auditeurs en Ile de France écoutaient cette émission, d'abord sur Mercure 104 FM puis sur Canal 89. Merci Jean Michel, Fabrice et Deborah.Ce début des années 80 marque une France dominée par le socialisme revanchard, les bons sentiments à pas cher, par une gauche caviar qui ouvre et ferme des placards. Et enfin et surtout par une reconnaissance des enfants des éboueurs-garagistes-maçons de nos rues, de nos villes, de nos quartiers. Il était temps.

Les beurs et les blacks font la fête sur ces musiques urbaines. Ils dansent, chantent sur le Funk de Slave, Kool & The Gang ou Alicia Myers. Ils commencent à trouver leurs marques dans la société française. Montrent un visage que l'on ne voulait pas regarder. Pas voir.Le milieu des années 80, marque l'arrivée en masse du Rap et du Break, suivis de près par l'Electro. Les beurs restent avec Barry White, moins bon danseurs que les blacks, qui eux se retrouvent à la Défense ou à Stalingrad avec l'ami Dee Nasty, le Dj des pauvres, le Dj de Belleville. Le premier Dj médiatique en France. Un cœur en or.Un blanc, un français, un comble !!!! Que vient faire ce toubab dans cette mélasse ?

Tandis que TF1 fait le choix Sidney, Antenne 2 choisit un scénariste de BD et un amoureux de musique (plutôt blanche) pour animer la première émission de Funk à télé: Sex Machine. Ce sont Jean Pierre Dionnet et Phlippe Manoeuvre accompagnés de la pulpeuse et regrettée Pauline Laffont.

Quelle émission !!!

Un florilège des meilleurs clips de l'époque présenté(s) sur un scénario signé Dionnet. Du jamais vu.

Le Funk rentre en force à le télé, et avec la télé dans les foyers mais sans trop bousculer les clichés. Les tabous sont tenaces.Mais revenons à Dee Nesty, mon ami Daniel.

Ce Dj de légende s'émancipa sur Radio 7, puis fit les beaux jours de Nova avant de se faire virer par quelqu'un à qui il avait fait une fleur. Et pourtant, je l'avais prévenu.

NTM, Yop Yop ... avec Teddy Riley

C'était le belle époque des débuts d'un groupe composé par deux dyonisiens du nom de NTM, de Lionel D, le vigile de supermarché apprenti rappeur ...

Le rap français était né et d'entrée les meilleurs ont profité de cette naissance pour faire carrière. Et à en croire le nombre de spectateurs présents à leurs derniers concerts, ils le méritaient amplement. Et dire que j'ai été au patronage avec Didier. Marrant. Et oui, moi aussi, je suis de Saint-Denis.

Quand je lui ai raconté cela, il y a six ans environ devant Sony Music à Wagram, ça l'a bigrement fait marrer. Spank aussi d'ailleurs.Mais le rap français n'a pas empêché le Funk de perdurer dans les oreilles de nos banlieusards. Et des autres.

La faute aux radios libres, qui plus libres que jamais, malgré le retour d'une droite sursitaire aux affaires (qui causera la fin de Radio 7), s'en donnent à cœur joie et utilisent au mieux le large catalogue de cette vaste musique. Elles font passer le message, partout et pas uniquement dans le Nord, car les ondes radios comme celles de Tchernobill, ne s'arrêtent pas aux frontières, ni des banlieues, ni des pays.

Mais le son change. Les noirs américains veulent plaire au public blanc. Ils mettent des guitares électriques dans leurs chansons.Alors, les beurs, les noirs et les autres font de la résistance et nomment Oliver Cheatam, ministre du Funk et Barry White, ministre du patrimoine International. Aucune soirée digne de ce nom ne peut se passer de Get Down Saturday Night.L'intelligence de ces amoureux de musique a été de perpétuer ce mythe du Funk et de la Soul et de le transmettre aux petits frères, aux petites sœurs. On appelle cela la tradition orale.

On ne peut oublier comme cela les Whispers, Shalamar, Khemistry, Yvette Cason ... non, on ne les oubliera pas comme cela. On ne les a pas oubliés.

Puis arrive, à la fin des années 80, une nouvelle composante dans le paysage musical noir américain. La New Jack.

Pour ma part, je l'ai découverte dans un magasin Tower Records proche de Colombus Circle (on revient au Funk) à New York avec le premier album de Guy. Encore trois noirs me direz-vous. Oui et alors; à New-York, c'est plutôt moi l'étranger. Non ? Tout est relatif sauf en France.

Cette New-Jack est un croisement habile de Rap et de Funk/R&B.A l'initiative de ce nouveau courant musical on trouve un jeune homme de talent du nom de Teddy Riley. En France, les noirs adhèrent immédiatement, les beurs un peu moins, les autres, bah il n'y a pas de statistiques officielles fournies par l'INSEE. Et quand bien même, elles seraient discutables.Mais Make That Move, Let The Music Play ne s'oublient pas décidément pas comme cela ... et les radios jouent bien plus de Funk que de New Jack, malgré l'actualité débordante de cette nouvelle musique.

Le Rap lui, continue de faire des adeptes, cette mixité des genres musicaux renforce la mixité des cultures, la mixité des courants de pensée.

Le Rap se radicalise, devient plus agressif, plus revendicatif, vindicatif, plus pro-black aussi. Les revendications ne sont pas uniquement française et nationales.

Les anciens ne s'y reconnaissent pas trop. Leurs Dieux sont toujours Barry White, Joe Tex, Leon Sylvers ... pas Flavor Flav ni Roxanne même Shante .

RLP, lui, a quitté Radio 7 pour rejoindre Skyrock et jouer les sons électroniques de Chicago mais la résistance s'organise. Sans lui. RIP RLP.La suite, est ICI ...Alors, qu'en pensez-vous ? Vous avez peut-être des anecdotes à nous narrer, des histoires de l'époque.Et que pensez vous des ces raccourcis littéraires qui mettent les beurs, les noirs, les banlieusards, dans le même panier de linge sale ??tous des voleurs, tous des feignants, tous des incapables, tous des sans avenir ... et tous des p'tits gars qui pendant leurs nombreux loisirs, quand ils ne dépouillent pas une petite vieille, écoutent du funk, du rap et du r&b. Interdit pour eux d'écouter de la musique classique, du rock, ou rien du tout.

Et inversement, le rap, le hip hop, le funk, le r&b ne peuvent-être écoutés que par des noirs, des arabes ... si possible habitant en banlieue.Bref, donnez nous votre conception de la mixité sociale et raciale. Sans tabou, ni retenue mais avec courtoisie et politessse.Évitez les "ta mère elle s*ce des ours et ton père c'est John Mc Cain", on ne les laissera pas passer. N'alimentez pas la lie dont se servent nos amis anciens marins qui viennent de vendre leur paquebot.

Don Preston, tecladista do Grande Mothers Re:Invented, durante show da banda em São Paulo. Mais fotos - UOL - musica.uol.com.br/album/thegrandemothers_sp_2010_album.jh...

This invented term is a coining, of the type of constant learning people will need to do caught between the rising new technology which is thought to be outpacing our ability to understand, and the entropy which deprecates all things, obviously even the digital.

I could go on a rant about our differing opinions of utopia or dystopia. Protopia also as described doesn’t sit with me it sounded to me like he was describing an infinite unending staircase of progress held back and measured out in drips and dribbles from a cup filled with possibilities, and then the person I was letting me complain at them pointed out a different interpretation they pointed out that as fast as things are moving progress the sort that helps all is still moving slowly they pointed out covid and how the vaccine has helped masses of people and what’re more the innovations that helped than happen have been used in progress by increments. I prefer that view it sounds much more reasonable.

 

the picture is not mine

art is derived from M.C. Escher

origin: link to source: www.researchgate.net/figure/Drawing-inspired-by-Day-and-N...

Inventer un match Shakespeare vs Cervantès....

 

Hogwarts Bridge

Though it was never in the original novel or script, director Alfonso Cuaron invented the now iconic Hogwarts Bridge for Harry Potter and the Prisoner of Azkaban, to make Harry's and Hermione's journey with the Time-Turner more physical and exciting. This is the only section of the bridge that was ever built, the Visual Effects team created the remaining sections using computer-generated effects.

 

People the world-over have been enchanted by the Harry Potter films for nearly a decade. The wonderful special effects and amazing creatures have made this iconic series beloved to both young and old - and now, for the first time, the doors are going to be opened for everyone at the studio where it first began. You'll have the chance to go behind-the-scenes and see many things the camera never showed. From breathtakingly detailed sets to stunning costumes, props and animatronics, Warner Bros. Studio Tour London provides a unique showcase of the extraordinary British artistry, technology and talent that went into making the most successful film series of all time. Secrets will be revealed.

 

Warner Bros. Studio Tour London provides an amazing new opportunity to explore the magic of the Harry Potter films - the most successful film series of all time. This unique walking tour takes you behind-the-scenes and showcases a huge array of beautiful sets, costumes and props. It also reveals some closely guarded secrets, including facts about the special effects and animatronics that made these films so hugely popular all over the world.

 

Here are just some of the things you can expect to see and do:

- Step inside and discover the actual Great Hall.

- Explore Dumbledore’s office and discover never-before-seen treasures.

- Step onto the famous cobbles of Diagon Alley, featuring the shop fronts of Ollivanders wand shop, Flourish and Blotts, the Weasleys' Wizard Wheezes, Gringotts Wizarding Bank and Eeylops Owl Emporium.

- See iconic props from the films, including Harry’s Nimbus 2000 and Hagrid’s motorcycle.

- Learn how creatures were brought to life with green screen effects, animatronics and life-sized models.

- Rediscover other memorable sets from the film series, including the Gryffindor common room, the boys’ dormitory, Hagrid’s hut, Potion’s classroom and Professor Umbridge’s office at the Ministry of Magic.

 

Located just 20 miles from the heart of London at Warner Bros. Studios Leavesden, the very place where it all began and where all eight of the Harry Potter films were brought to life. The Studio Tour is accessible to everyone and promises to be a truly memorable experience - whether you’re an avid Harry Potter fan, an all-round movie buff or you just want to try something that’s a little bit different.

 

The tour is estimated to take approximately three hours (I was in there for 5 hours!), however, as the tour is mostly self guided, you are free to explore the attraction at your own pace. During this time you will be able to see many of the best-loved sets and exhibits from the films. Unique and precious items from the films will also be on display, alongside some exciting hands-on interactive exhibits that will make you feel like you’re actually there.

 

The magic also continues in the Gift Shop, which is full of exciting souvenirs and official merchandise, designed to create an everlasting memory of your day at Warner Bros. Studio Tour London.

 

Hogwarts Castle Model - Get a 360 degree view of the incredible, hand sculpted 1:24 scale construction that features within the Studio Tour. The Hogwarts castle model is the jewel of the Art Department having been built for the first film, Harry Potter and the Philosopher’s Stone. It took 86 artists and crew members to construct the first version which was then rebuilt and altered many times over for the next seven films. The work was so extensive that if one was to add all the man hours that have gone into building and reworking the model, it would come to over 74 years. The model was used for aerial photography, and was digitally scanned for CGI scenes.

 

The model, which sits at nearly 50 feet in diameter, has over 2,500 fibre optic lights that simulate lanterns and torches and even gave the illusion of students passing through hallways in the films. To show off the lighting to full effect a day-to-night cycle will take place every four minutes so you can experience its full beauty.

 

An amazing amount of detail went into the making of the model: all the doors are hinged, real plants are used for landscaping and miniature birds are housed in the Owlery. To make the model appear even more realistic, artists rebuilt miniature versions of the courtyards from Alnwick Castle and Durham Cathedral, where scenes from Harry Potter and the Philosopher’s Stone were shot.

Con el correr del tiempo Emily logro despojarse de todo lo que pensaba que le hacia mal, la doble culpa, las verdades que se acercaban a ella como hombres mariposas o pajaros negros anunciando un mensaje intraducible. Se sentó y aulló a la luna, no era más que una puta desesperada buscando amor, o tal vez ya no era nada. Busco paz en el sueño, y durmió pensando en faros y pajaros, su sueño no era como su vida. Para nada, adentro del sueño había color y se propuso hacer un inventario....

. . . South Asian sweets are the confectionery and desserts of South Asia. Thousands of dedicated shops in Bangladesh, India, Nepal, Pakistan and Sri Lanka sell nothing but sweets; however, outside of South Asia, South Asian sweet shops are uncommon.

 

Sugarcane has been grown in India for thousands of years, and the art of refining sugar was invented there. The English word sugar comes from a Sanskrit word sakhar, while the word candy comes from Sanskrit word khand (jaggery) - one of the simplest raw forms of sweet. Over its long history, cuisines of the Indian Subcontinent developed a diversified array of sweets. Some claim there is no other region of the world where sweets are so varied, so numerous, or so invested with meaning as the Indian Subcontinent.

 

In India's diverse languages, sweets are called by numerous names, one common name being Mithai (मिठाई). They include sugar, and a vast array of ingredients such as different flours, milk, milk solids, fermented foods, root vegetables, raw and roasted seeds, seasonal fruits, fruit pastes and dry fruits. Some sweets such as kheer are cooked, some like burfi are baked, varieties like Mysore pak are roasted, some like jalebi are fried, others like kulfi are frozen, while still others involve a creative combination of preparation techniques. The composition and recipes of the sweets and other ingredients vary by region. Mithai are sometimes served with a meal, and often included as a form of greeting, celebration, religious offering, gift giving, parties, and hospitality in India. On Indian festivals - such as Holi, Diwali, Eid, or Raksha Bhandan - sweets are homemade or purchased, then shared. Many social gatherings, wedding ceremonies and religious festivals often include a social celebration of food, and the flavors of sweets are an essential element of such a celebration.

 

HISTORY

Ancient Sanskrit literature from India mention feasts and offerings of mithas (sweet). One of the more complete surviving document, with extensive description of sweets and how to prepare them is the Sanskrit document, Mānasollāsa (Sanskrit: मानसोल्लास; literally, the delight of an idea,[or delight of mind and senses); this ancient encyclopedia on food, music and other Indian arts is also known as the Abhilaṣitārtha Cintāmaṇi (the magical stone that fulfils desires). Mānasollāsa was composed about 1130 AD, by the Hindu King Somesvara III. In this document, meals are described to include a rice pudding it calls payasam (Sanskrit: पायसं), which is another word for kheer. The document mentions seven kinds of rice.

 

Mānasollāsa also describes recipes for golamu as a donut from wheat flour and scented with cardamom, gharikas as a fried cake from black gram flour and sugar syrup, chhana as a fresh cheese and rice flour fritter soaked in sugar syrup that the document suggests should be prepared from strained curdled milk mixed with buttermilk, and many others. Mānasollāsa mentions numerous milk-derived sweets, along with describing the 11th century art of producing milk solids, condensed milk and methods for souring milk to produce sweets.

 

The origin of sweets in Indian subcontinent has been traced to at least 500 BC, where records suggest both raw sugar (gur, vellam, jaggery) as well as refined sugar (sarkara) were being produced. By 300 BC, kingdom officials in India were including five kinds of sugar in official documents. By the Gupta dynasty era (300–500 AD), sugar was being made not only from sugar cane, but other plant sources such as palm; sugar-based foods were also included in temple offerings, as bhoga for the deities, which after the prayers became Prasād for devotees, the poor or visitors to the temple.

 

VARIETIES

BARFI

Barfi is a sweet, made of milk solids (khoya) or condensed milk and various other ingredients like ground cashews or pistachios. Some barfi use various flours such as besan (gram flour). Barfi may be flavored with pastes or pieces of fruits such as mango, banana, berries, coconut. They may include aromatic spices such as cardamom and rose water to enhance the sensual impact while they are consumed.

 

Sometimes a thin inert silver or gold layer of edible foil is placed on top face of burfi for an attractive presentation. Gold and silver are approved food foils in the European Union, as E175 and E174 additives respectively. The independent European food-safety certification agency, TÜV Rheinland, has deemed gold leaf safe for consumption. Gold and silver leaf are certified kosher. These inert metal foils are neither considered as toxic to human beings nor broader ecosystem.

 

CHAM-CHAM

Cham Chams are prepared from flattened paneer (a form of curdled milk solids, cheese) sweetened in syrup.

 

CHENA MURKI

Chhena murki, or chenna murki, is a sweet made from an Indian version of cottage cheese, milk and sugar in many states such as Odisha. Milk and sugar are boiled to a thick consistency. Round, cubes, cuboid or other shapes of cottage cheese are soaked in the milky condensate. Other flavors and aromatic spices are typically added. It is also known by Bangladeshi and Guyanese people as pera.

 

CHIKKI

Chikki is a ready-to-eat solid, brittle sweet generally made from casting a mix of dry nuts and hot jaggery syrup. Peanuts and jaggery mix are most common. Other than almonds, cashews, walnuts, sesame and other seeds, varieties of chikki are also prepared from puffed or roasted Bengal gram, puffed rice, beaten rice, puffed seasonal grains, and regional produce such as Khobara (desiccated coconut). Like many Indian sweets, Chikki is typically a high protein delicacy.

 

GAJRELA

Gajrela, also called Gajar halwa, is a seasonal pudding-like sweet made from the root vegetable carrot. It is popular in Punjab regions of India and Pakistan, agricultural belt of North India, now common in many parts of South Asia. It is made by slowly cooking carrot with ghee, concentrated and caramelized milk, mawa (khoya) and sugar; often served with a garnish of aromatic spices, almonds, cashews or pistachios. The recipes vary by region, and Gajrela may be cooked without ghee, then include cheese or other milk solids for sophisticated mix of flavors. It is common in Indian restaurants, and also a seasonal street and cafe food during post-monsoon through spring festive celebrations.

 

GULAB JAMUN

Gulab jamun is a common sweet found in Bangladesh, India, Nepal and Pakistan. It is made out of fried chenna (milk solids and cheese) balls soaked in sweet rose-water flavoured syrup.

 

JALEBI OR IMARTI

Jalebi is made by deep-frying a fermented batter of wheat flour with yoghurt, in a circular (coil-like) shape and then soaking it in sugar syrup. Imarti is a variant of Jalebi, with a different flour mixture and has tighter coils. Typically Jalebi is brown or yellow, while Imarti is reddish in colour. Often taken with milk, tea, yogurt or Lassi. In classical Sanskrit literature, jalebis have been referred to as kundalika or jalavallika.

 

KHAJA

Khaja is a sweet of India. Refined wheat flour, sugar and oils are the chief ingredients of khaja.

 

It is believed that, even 2000 years ago, Khajas were prepared in the southern side of the Gangetic Plains of Bihar. These areas which are home to khaja, once comprised the central part of Maurya and Gupta empires. Presently, Khajas are prepared and sold in the city of Patna, Gaya and several other places across the state of Bihar. Khajas of the Silao and Rajgir are known for their puffiness.

 

Khajas have travelled to some other parts of India, including Andhra Pradesh and Odisha. Khaja of Kakinada is a coastal town of Andhra Pradesh. Where as khaja of Puri is too famous. At first, the batter is of wheat flour, mawa and oil. It is then deep fried until crisp. Then a sugar syrup is made which is known as "pak". The crisp croissants are then soaked in the sugar syrup until they absorb the sugar syrup. In Kakinada, Khaja is dry from outside and full of sugar syrup from inside and is juicy.

 

KULFI

Kulfis are traditional South Asian ice-cream, where flavored milk is first condensed and caramelized by slow cooking in presence of a small quantity of rice or seasonal grain flour; once condensed, dry nut pastes and aromatic spices are added, the mix frozen in small earthen or metal cans. This creates one of the densest known form of frozen sweets; it is typically served between -10 to -15 C when they are easier to spoon and eat. It comes in a variety of flavours such as mango, kesar, pistachios, badam (almond), coconut and plain. It is also a street side urban as well as rural India summer time snack and festive sweet, where food hawkers carry around frozen mounds of kulfi in a big earthen pot and play a particular horn music to attract customers. These vendors are known as "kulfiwalla" (one who sells kulfi).

 

KHEER OR PAYAS

Kheer is a pudding, usually made from milk, sugar and one of these ingredients - vermicelli, rice, Bulgar wheat, semolina, tapioca, dried dates, and shredded white gourd. It is also known as "Payas".

 

As sweet rice pudding, payas has been a cultural dish throughout the history of India, being usually found at ceremonies, feasts and celebrations. In many parts of India, ancient traditions maintain that a wedding is not fully blessed if payas (or payasam as known in South India) is not served at the feast during traditional ceremonies like marriage, child birth, annaprasan (first solid feed to child), and other occasions. Other than sweet yoghurt, some families include kheer in the last meal, as hospitality and auspicious food, before a family member or guest departs on a long journey away from the home.

 

LADDU

Kulfis are traditional South Asian ice-cream, where flavored milk is first condensed and caramelized by slow cooking in presence of a small quantity of rice or seasonal grain flour; once condensed, dry nut pastes and aromatic spices are added, the mix frozen in small earthen or metal cans. This creates one of the densest known form of frozen sweets; it is typically served between -10 to -15 C when they are easier to spoon and eat. It comes in a variety of flavours such as mango, kesar, pistachios, badam (almond), coconut and plain. It is also a street side urban as well as rural India summer time snack and festive sweet, where food hawkers carry around frozen mounds of kulfi in a big earthen pot and play a particular horn music to attract customers. These vendors are known as "kulfiwalla" (one who sells kulfi).

Kheer or payas

 

Kheer is a pudding, usually made from milk, sugar and one of these ingredients - vermicelli, rice, Bulgar wheat, semolina, tapioca, dried dates, and shredded white gourd. It is also known as "Payas".

 

As sweet rice pudding, payas has been a cultural dish throughout the history of India, being usually found at ceremonies, feasts and celebrations. In many parts of India, ancient traditions maintain that a wedding is not fully blessed if payas (or payasam as known in South India) is not served at the feast during traditional ceremonies like marriage, child birth, annaprasan (first solid feed to child), and other occasions. Other than sweet yoghurt, some families include kheer in the last meal, as hospitality and auspicious food, before a family member or guest departs on a long journey away from the home.

 

MALPOA

Malpoa is the most ancient homemade sweets of India. It is a form of pancake (made of wheat or rice flour) deep fried and sugar syrup.

 

NARKEL NARU

Narkel Naru is a dessert from Bengal. They are ball-shaped and made from khoa/condensed milk and coconut, a traditional food during Pujas such as the Lakshmi Puja

 

PARWAL KI MITHAI

Parwal Ki Mithai is a dry sweet made of the vegetable parwal, a kind of gourd. The shell of parwal is filled with milk solids, then cooked. It is rather popular in Bihar, but also found in Uttar Pradesh and West Bengal.

 

PATHISHAPA

Pathishapta is a Bengali dessert. The final dish is a rolled pancake that is stuffed with a filling often made of coconut, milk, cream, and jaggery from the date palm. These desserts are consumed in Thailand as well.

 

RASGULLA

Rasgulla is a popular sweet in South Asia. They come in many forms, such as Kamalabhog (Orange Rasgulla), Rajbhog (Giant Rasgulla), Kadamba often served with kheer, Rasamundi, Raskadamba, and others. Some are white, others cream, brown, gold or orange colored. They are called Rasbari in Nepal. This dish is made by boiling small dumplings of chhenna and semolina mixture in sugar syrup. Once cooked, these are stored in the syrup making them spongy. Increasing the semolina content reduces the sponginess and hardens them, creating variety of textures. Some Rasgulla are stuffed inside with treats, such as dry fruits, raisins, candied peel and other delicacies to create a series of flavors experienced as they are consumed. Some versions, called danedhar, are removed from syrup and sugar coated into shapes of fruits and other creative designs. These are festive foods found year round, in many parts of India.

 

SANDESH

Sandesh is a sweet made from fine cheese made from cow's milk kneaded with fine ground sugar or molasses. This is a sweet from West Bengal and Odisha. Revered for its delicate making, and appreciated by the connoiseur, this represents sweet making at its finest. Sandesh comes in two varieties, "Norom Pak" (the softer version) and "Koda Pak" (the harder version). The softer version although more gentle and considered better, is fragile. The harder version is robust and often easier for storage. Molasses made from dates can be used to make a special variation of Sandesh called "Noleen Gurher Sandesh" (a Sandesh made from "Noleen Gurh" or molases from dates) or simply "Noleen Sandesh".

 

SEL ROTI

Sel roti is a Nepali home-made circular-shaped bread or rice donut, prepared during Tihar, a widely celebrated Hindu festival in Nepal. It is made of rice flour with adding customized flavors. A semi liquid rice flour dough is usually prepared by adding milk, water, sugar, butter, cardamom, cloves and other flavors of personal choice.

 

SHRIKHAND

Shrikhand is a creamy dessert made out of strained yogurt, from which water is drained off completely. Dry fruits, mango puree, saffron or cardamom and sugar are added to the thick yoghurt to get the desired flavour and taste. It is served chilled. It is a West Indian traditional dish.

 

OTHER INDIAN & PAKISTANI SWEETS

Other traditional Indian sweets and desserts famous throughout the history of Indian food include:

 

- Mysore pak (a dessert made out of ghee, sugar and chick pea flour),

- Halwa (or Halva in modern English spelling); made out of flour, butter and sugar

- Jangiri

- Jhajariya

 

WIKIPEDIA

 

Back in WW I, the aeroplane had only been newly invented, and was not yet well understood from an aerodynamic point of view, or lightweight structures, or power-packs. To lift much more than a man with some machine guns you needed some serious power, and some serious wing area. The wing area issue had been addressed earlier by tri-plane designs, but this limited the maximum speed at which planes could travel. A shift to bi-plane design required a longer span or aerofoil section width, both enabled by the LUSAC-11 with a large 415.5 sq.ft wing area. Power was provided by a 425 Packard-developed V12 Liberty engine. Original orders stood at 3,525 units to be assembled by the body-builders at Packard, Brewster and Fisher-Body (later part of General Motors), however WW I ended earlier than the expected production schedule, and in the end, only 30 planes were produced, in total, including prototypes.

 

The link between the aeroplane and the car is the V12 engine.

 

As the USA entered WW I against Germany the Aircraft Production Board summoned representatives from the Auto industry to develop a lightweight, high power engine for aircraft. To cut a long story short, the Liberty V12, designed by the Packard motor company was the outcome. The engine was produced by multiple engine suppliers, including Packard, Marmon and Lincoln motor companies. The engine was or 27 litre swept capacity (1649 CID). Though not used in automobiles, the production technologies, tooling and engineering development expertise allowed these luxury marques, and additionally Cadillac, to produce V12 designs capable for automobile use.

 

The 1922 Packard Twin-Six 3-35 Roadster shown here was a development of the first automobile production V12 produced. First produced in 1916, this first series ran until 1923.

 

In three series between 1916 and 1923, Packard built slightly more than 35,000 Twins, including numerous chassis for custom bodies. The Twin Six was the chief reason why, when the wealthy ordered a custom-bodied car, they tended to choose a Packard chassis.

 

Jesse Vincent, Packard's chief engineer, liked the 12-cylinder layout for three reasons: performance, smoothness, and silence. "A six-cylinder motor is theoretically in absolutely perfect balance," he wrote. "This is because the vibratory forces due to the rise and fall of one piston are neutralized by equal and opposite forces due to another...Now it is only possible to cancel out forces in this way if they are tied together strongly."

 

This meant a heavy crankcase and crankshaft and a rigid flywheel. But a Twelve or "Twin Six," Vincent continued, would provide the same rigidity and smoothness with less piston, crankcase, flywheel, and crankshaft weight -- and provide more horsepower and torque, to boot. He preferred a V-12 to a V-8 because a V-8 would require a wider frame, larger turning radius, and more complicated steering gear.

 

The Twin Six engine duly embodied the above principles, with two banks of L-head cylinders set at a 60-degree angle (versus 90 degrees in Cadillac's V-8). This allowed accessories to be bolted just below the frame, where they were protected from road hazards, while keeping the valves accessible.

 

Delivering 85 horsepower at 3,000 rpm, a bore and stroke at 3.00 × 5.00 inches resulted in a displacement of 424 cubic inches. Rockers were eliminated, with a separate cam for each valve, and all valves were located inboard of the cylinder blocks. A short, light crankshaft ran in three main bearings.

 

The car shown here is a 1922 Series-3 car, bodied as a Roadster.

 

The Packard-Le Père LUSAC-11 (1917) and Packard Twin-Six 3-35 Roadster (1922) have both been modelled in Lego miniland-scale for Flickr LUGNuts 79th Build Challenge, - "LUGNuts goes Wingnuts", - featuring automotive creations inspired by, named after, or with some connection to aviation.

Speech given by Mr. Alain Simard

President and CEO of Équipe Spectra

(as delivered)

   

December 10, 2002

   

LA CULTURE ET LES COMMUNICATIONS COMME AXE DE DÉVELOPPEMENT POUR MONTRÉAL

    

Oui, le monde a changé depuis 25 ans, et il va continuer de changer, pour le meilleur ou pour le pire…

 

Chez Spectra, même si ça peut sembler naïf, nous avons toujours eu comme motivation première, le désir de partager notre passion pour la culture, d'élargir les horizons du monde, de leur faire découvrir de nouveaux artistes venus de partout, en offrant au grand public des contenus culturels novateurs et de grande qualité. Et on croit encore que ça vaut la peine de faire notre petite part pour faire évoluer le monde.

 

Vous savez, il y a 25 ans, quand j'organisais des spectacles «underground» depuis ma «commune hippie», j'étais loin de me douter que je développais de nouvelles approches marketing pour rejoindre une clientèle qui deviendrait bientôt très convoitée : «les babyboomers». Puis quand nous nous sommes diversifiés, un peu instinctivement, dans le disque, la télévision, les produits dérivés et les salles de spectacles, c'était d'abord et avant tout pour contrôler la qualité artistique de nos projets et leur distribution... on n'avait jamais entendu le mot «convergence» ! Mais ce dont je suis le plus fier, c'est d'avoir contribué à bâtir une nouvelle industrie du divertissement et de l'événementiel en développant de nouveaux créneaux inexploités, en inventant souvent de nouvelles formules, plutôt que de concurrencer ce qui existait déjà, et en partageant le fruit de nos succès avec nos partenaires et employés.

 

Il faut savoir que L'Équipe Spectra amène de l'eau au moulin à toute l'industrie culturelle avec qui elle fonctionne en complémentarité avec une éthique irréprochable : nous louons nos salles aux autres producteurs qui seraient normalement nos compétiteurs; nous engageons leurs artistes dans nos festivals ou nos émissions télé, et jamais, en 25 ans nous n'avons été accusés de maraudage, de favoritisme ou de conflit d'intérêt. Nous avons d'ailleurs depuis nos débuts un code d'éthique rigoureux, dont l'application est vérifiée par la SODEC, et qui régit toutes les transactions de l'Équipe Spectra avec les festivals qui sont des organismes à but non lucratif. Et j'aimerais en profiter pour remercier aujourd'hui tous les partenaires qui nous ont appuyés depuis 25 ans car on n'aurait pas pu bâtir ça tout seul : on avait peut être la foi qui transporte les montagnes, mais pas le porte-monnaie…C'est sans doute grâce à cette passion authentique que nous avons pu développer une vision et une crédibilité qui nous ont mérité l'appui des médias, des pouvoirs publics et des commanditaires sans qui nous n'aurions jamais pu réaliser nos rêves les plus fous.

 

Je dois dire qu'on n'était quand même pas les seuls à rêver il y a 25 ans ! Combien d'autres lançaient à cette époque soit une troupe de danse ou une troupe de théâtre, (ou même un cirque !), soit une compagnie de production télévisuelle ou de cinéma, soit un magazine, une nouvelle station FM, une maison de disques ou d'édition, un projet multimédia, un atelier de décors, une galerie d'art, un studio de son, une petite agence de publicité, un cinéma parallèle, un café d'artistes ou un restaurant nouvelle cuisine.

 

Il y a 25 ans, alors que tous ces jeunes profitaient des loyers modiques d'un centre-ville au marché immobilier à tout le moins morose, qui aurait pu imaginer que l'effervescence culturelle qui en découlerait deviendrait un jour un avantage stratégique dans le positionnement international de Montréal et que sa personnalité festive deviendrait le symbole de sa qualité de vie, à tel point que d'autres grandes villes, comme Toronto, deviendraient jalouses de son «indice bohémien» !

 

Depuis trois ans, presque tous les grands magazines internationaux, de National Geographic Traveler à Wallpaper Magazine en passant par Condé Nast et Travel & Leisure, ont classé Montréal dans leur palmarès des villes les plus «trendy» de la planète, à cause de sa qualité de vie, de ses festivals et de son activité culturelle. On compare son dynamisme à celui de Barcelone ou de San Francisco…

 

C'est un fait que le centre-ville de Montréal bouillonne aujourd'hui d'activités diverses, démultipliées grâce à son bilinguisme et son multiculturalisme : nous avons ainsi accès à un choix inouï de productions aussi bien locales qu'américaines ou européennes de même qu'à une foule de lieux et d'activités pour agrémenter nos sorties.

 

Lors d'un récent sondage auprès de ses clients, Destination Centre-Ville, l'association des marchands de l'artère commerciale la plus achalandée au Canada, la rue Sainte-Catherine, découvrait que le divertissement est la motivation première de cet achalandage, et ce, dans 51 % des cas. Ce sont donc les spectacles, les cinémas, les festivals, les restaurants et les bars qui attirent la majorité des gens qui en profitent pour magasiner…

 

Si l'on veut préserver et maintenir cette effervescence propre à l'expérience montréalaise, il faut aujourd'hui prendre des mesures pour protéger et stimuler le milieu de la création culturelle qui est à l'origine de cette personnalité distinctive. Pour ce faire, il faut bien sûr augmenter significativement le budget du Conseil des arts de Montréal, tel que promis par l'administration municipale, ce qui lui permettrait de s'impliquer davantage dans la création d'œuvres originales dans les institutions du centre-ville, notamment dans le cadre des grands festivals qui doivent constamment offrir des contenus culturels crédibles pour conserver leur couverture de presse internationale et ce n'est pas le rôle des subventions de développement économique ou des commandites privées de leur donner la marge de manœuvre pour le faire.

 

Il faudra aussi trouver la façon de compenser pour la «gentrification» croissante de l'arrondissement Ville Marie et la hausse de sa valeur locative, histoire de ne pas évincer les artistes et créateurs qui auront contribué à son succès… Il importe donc de prévoir des mesures incitatives pour favoriser l'accueil ou la relocalisation des petits organismes culturels et des créateurs pour retenir et favoriser leur concentration dans le secteur.

 

C'est pour cette raison que je proposais, lors du récent Sommet de Montréal, de prioriser le domaine de la culture et des communications comme axe de développement pour l'est du centre-ville, en y incluant la «Cité des Ondes» (SRC, TVA, TQ), le quartier Latin et ses institutions du savoir, le futur «quartier des spectacles» et le Vieux Montréal avec sa vocation patrimoniale, muséale et touristique.

 

Voilà une avenue naturelle pour le développement du centre-ville de Montréal où sont déjà concentrés 80 % des emplois du domaine de la culture et des communications au Québec, soit plus de 100 000 personnes qui en façonnent la personnalité, d'autant plus que la plupart des autres grands secteurs économiques comme l'industrie pharmaceutique, les biotechnologies ou le secteur de l'aérospatiale sont généralement localisés en périphérie. En outre, cette stratégie est des plus structurantes pour l'industrie touristique qui crée, ne l'oublions pas, plus de 64 000 emplois principalement concentrés dans le centre-ville. Il faut savoir qu'à Montréal, les hôteliers paient annuellement près de 200 millions de dollars en taxes foncières et 100 millions de dollars en TPS et TVQ. N'oublions pas qu'il s'agit d'argent neuf dans notre économie, parce qu'il provient des touristes venus d'ailleurs….Tout ça pour dire que ces secteurs économiques constituent certainement la base sur laquelle peut se construire l'avenir de l'arrondissement Ville Marie et de Montréal.

 

Pourtant, il y a 25 ans, la culture, le divertissement et le tourisme étaient souvent considérés comme les parents pauvres de la «grande industrie» et du monde de la finance, avec des emplois jugés précaires et sans avenir…Qui aurait cru que ces secteurs deviendraient des locomotives de l'économie de l'an 2000, selon l'Organisation mondiale du commerce.

 

Lors du colloque «Tourisme et divertissement» organisé le mois dernier par la Chaire de tourisme, on apprenait que la tendance touristique en plus forte croissance dans le monde sont les séjours urbains de courte durée et qu'ils sont intimement liés à l'expérience culturelle et à l'ambiance que peut offrir une grande ville. On y démontrait que les festivals et événements de même que les complexes thématiques de divertissement, les casinos et les musées contribuent à positionner une ville sur l'échiquier international, «favorisant la venue d'investisseurs, la tenue de congrès, l'arrivée de nouveaux citoyens et enfin la revitalisation et la prospérité de la cité». Selon Robert Sprazzichino, expert européen en matière d'aménagement urbain, «la culture, le tourisme et les loisirs sont aujourd'hui considérés comme des facteurs essentiels et même comme des moteurs de régénération et de redynamisation urbaine».

 

Montréal n'a peut-être pas de Statue de la Liberté, de tour Eiffel ou de Disneyworld, mais elle jouit maintenant d'une réputation enviable, celle d'être la «Ville des festivals». Et cette «marque de commerce», cette personnalité distinctive exploitée avec succès par Tourisme Montréal depuis quelques années, a permis cet été à Montréal de «surclasser» pour la première fois Toronto et Vancouver, à la fois pour le nombre de touristes étrangers et pour le tarif moyen des chambres d'hôtel. Après les événements du 11 septembre, nous étions la seule ville canadienne à connaître une augmentation du taux d'occupation des hôtels !

 

Il y a 25 ans, quand j'écrivais, dans une demande de subvention pour la création du Festival International de Jazz de Montréal «qu'un jour, cet événement attirera des milliers de touristes américains», je peux vous dire que j'ai sérieusement fait rire de moi… et ça a pris 5 ans avant de finalement toucher une première subvention de 10 000 $ !

 

Même moi, je n'aurais jamais cru que ce projet quelque peu utopique puisse devenir un jour l'un des plus importants festivals au monde avec 1,7 million de participants, et même être choisi par Attractions Canada comme l'une des 8 principales attractions touristiques au pays, avec les chutes Niagara et les Rocheuses !

 

Depuis plusieurs années, un participant sur cinq au Festival de Jazz vient de l'extérieur de Montréal, la moitié en provenance des États Unis, soit une personne sur dix. Le plus remarquable, c'est que 86 % des visiteurs du Québec et 80 % des touristes étrangers sont venus à Montréal spécifiquement à cause du Festival de Jazz! Et, selon l'étude effectuée par KPMG en 2001, ces seuls touristes venus au Festival de Jazz ont dépensé à Montréal 44,5 millions de dollars, générant 10 millions de dollars de recettes fiscales pour le gouvernement du Québec et 7,2 millions de dollars au fédéral - toujours de l'argent NEUF dans notre économie et près de 10 fois ce que le Festival a reçu en fonds publics !

 

Même les FrancoFolies, un événement en croissance qui touche principalement les jeunes et les communautés culturelles, à qui nous voulons donner le goût de la musique francophone, rejoignent maintenant 18 % de touristes dont les 2/3 proviennent de l'extérieur du Québec, avec un total de 700 000 visiteurs en dix jours. Quand on y ajoute le Grand Prix de Formule Un qui démarre la saison d'été en lion, La Feria du Vélo, Juste Pour Rire, Le Mondial SAQ, les Internationaux de Tennis du Canada et le Festival des Films du Monde qui vient clôturer «l'été des festivals», on obtient une masse critique d'événements qui assurent un rayonnement international ininterrompu pour Montréal pendant trois mois, avec des télédiffusions multiples dans des dizaines de pays à longueur d'année.

 

Et souvent, les événements montréalais ont ceci d'unique au monde qu'ils ont la capacité d'accueillir des centaines de milliers de spectateurs avec des activités d'animation urbaine gratuites, dans les rues du centre-ville fermées à la circulation automobile, alors qu'ailleurs ils se limitent à des sites fermés et souvent payants.

 

Il faut savoir qu'en conséquence les organisateurs sont souvent seuls à couvrir tous les coûts d'aménagement, de programmation, de sécurité, de nettoyage et de publicité pour des activités qui rapportent à tous sauf à eux. De là le besoin d'un apport indispensable des commandites privées et des aides gouvernementales pour assurer la survie de cette jeune industrie typiquement québécoise, souvent subventionnée à moins de 20 % de son budget alors que ses concurrents internationaux le sont souvent de 40 % à 60 %, grâce à des taxes dédiées à l'hébergement, comme à la Nouvelle Orléans, Chicago ou Edimbourg.

 

Une récente étude de KPMG pour le compte du REMI (Regroupement des Événements Majeurs Internationaux) démontre que ces dix-neuf événements représentent globalement une activité économique de 300 millions de dollars, créant plus de 7000 emplois annualisés au Québec qui génèrent directement plus de 58 millions de dollars de recettes fiscales pour le gouvernement du Québec, et ce, sur les seules dépenses des touristes, en plus des 10 millions de dollars encaissés à même les dépenses des événements eux-mêmes!

 

C'est pourquoi il faut saluer la vision du gouvernement du Québec pour avoir créé, il y a trois ans, un fonds de 10 millions de dollars par année pour soutenir cette industrie et l'aider à développer son produit, un investissement qui a donc profité à toute la société, ayant provoqué une croissance des retombées touristiques de 23 % en seulement deux ans! De plus, chaque dollar investi dans les événements a été multiplié par cinq grâce à l'effet de levier qu'il a donné aux organisateurs pour aller chercher plus de commandites et de revenus du grand public!

 

C'est pourquoi il est indispensable pour les événements que soit renouvelé ce fonds triennal qui échoit cette année, histoire d'en conserver leurs acquis et maintenir leur potentiel de croissance. Il est de plus impératif que le gouvernement fédéral (qui touche lui aussi près de 40 000 000 $ d'argent neuf chaque année) reconnaisse enfin cette activité économique et touristique florissante, même si elle est surtout concentrée au Québec. Les événements souhaitent évidemment qu'Ottawa crée un programme normé pour aider à financer leurs infrastructures temporaires, en remplacement du programme quelque peu controversé des commandites…

 

Il faut se rappeler que si d'aucuns ont questionné les modalités d'attribution de ces programmes gouvernementaux, personne n'a jamais remis en question la pertinence d'investir des fonds publics dans les grands événements populaires et touristiques. Il faudrait donc faire attention de ne pas jeter le bébé avec l'eau du bain…

 

Fort de ce succès, nous avons devant nous un défi pour maximiser l'impact des événements à longueur d'année pour Montréal : la désaisonnalisation. C'est donc pour consolider l'image de la «Ville des festivals» comme destination culturelle et gastronomique, même dans la saison creuse d'hiver, que nous avons créé en collaboration avec Tourisme Montréal et les trois paliers de gouvernement, le Festival MONTRÉAL EN LUMIÈRE.

 

Ce projet, retenu comme une des priorités du Sommet économique de 1996, regroupe au sein de son conseil d'administration les représentants des milieux économique, touristique et culturel, dont la Chambre de commerce, l'Association des Hôteliers et la Place des Arts.

 

Après seulement trois ans, déjà près d'un demi-million de visiteurs, dont 15 % venus de l'extérieur de Montréal, étaient comptés l'hiver dernier aux différentes activités des trois volets de l'événement : la Fête de la lumière Hydro Québec, les Plaisirs de la table SAQ et les Arts La Financière Sun Life.

 

En association avec les Productions l'Entracte (à qui l'on doit le récent défilé du Père Noël), nous nous attaquons maintenant à la saison automnale en collaboration avec les marchands du Vieux Montréal et le Vieux Port : dès octobre prochain, «La Grande Mascarade, la fête de l'Halloween» transformera ces sites historiques en des lieux magiques et mystérieux qui pourront accueillir de grandes foules avec de multiples activités gratuites aussi amusantes qu'épeurantes…

 

Cette nouvelle fête populaire possède un énorme potentiel de croissance et vise à moyen terme à devenir l'un des événements majeurs entourant l'Halloween et la fête des Morts en Amérique du Nord, une autre façon de confirmer la réputation festive et ludique de Montréal à longueur d'année.

 

Dans la foulée de cet objectif qui fait largement consensus, il faut retenir deux grandes tendances qui se sont imposées au colloque Divertissement et tourisme (où je prenais d'ailleurs la parole, en compagnie de Normand Legault, du Grand Prix de Formule Un, et Daniel Lamarre, du Cirque du Soleil) : la création de mégacomplexes culturels et de divertissement, de même que la «thématisation» comme stratégie de «branding» pour consolider le positionnement d'une ville comme destination internationale. Comme ils répondent à ces critères déterminants, j'ai choisi pour terminer mon exposé de vous parler brièvement de projets qui me tiennent particulièrement à cœur : le Complexe Spectrum, la future Place des festivals et le Quartier des spectacles.

 

Il y a 20 ans exactement, quand nous avons lancé le Spectrum dans l'ancien cinéma Alouette (là-même où mon père m'avait amené voir Bambi pour ma première sortie au cinéma), jamais nous n'aurions imaginé que cette salle pourrait devenir ce lieu mythique du spectacle montréalais, encore moins qu'elle serait un jour au cœur de la revitalisation de la rue Sainte Catherine.

 

Après avoir déménagé le Festival International de Jazz de Montréal dans ce secteur pour profiter de ses nombreux terrains vacants et de la proximité d'une dizaine de salles de spectacles, je peux vous dire que je connais ce quadrilatère situé entre Bleury et Jeanne Mance comme le fond de ma poche. Depuis 20 ans, je rêve de voir revitalisé ce no man's land, avec ses quatre stationnements à ciel ouvert et ses deux terrains vagues qui coupent encore la Place des Arts et le Complexe Desjardins du reste du centre-ville. C'est d'ailleurs là que se situe la véritable démarcation entre l'Est et l'Ouest de Montréal : aussi bien les anglophones que les francophones s'y sentent chez eux, que ce soit au Spectrum ou au Festival de Jazz.

 

Construit sur un terrain d'un acre situé angle Bleury et Sainte Catherine, le Complexe Spectrum comprendra l'actuelle salle de spectacles ainsi qu'un club de jazz, quatre nouvelles salles de cinéma Ex Centris et neuf salles de cinéma Alliance Atlantis, des restaurants, une librairie / disquaire ainsi qu'une billetterie centrale, ouverts tous les soirs. Jouxtant la future Place des festivals et en face du nouveau Complexe de 280 millions de dollars annoncé par le gouvernement du Québec (comprenant les Conservatoires de Musique et de Théâtre ainsi que la future salle de l'OSM), nous voulons faire du Complexe Spectrum le vaisseau-amiral du Quartier des spectacles, un haut lieu de la culture populaire montréalaise, toujours dans la mire des caméras de Musique Plus et de Musimax, situés de l'autre côté de la rue Bleury.

 

Incidemment, cet investissement de 40 millions de dollars, réalisé par l'Équipe Spectra en partenariat avec Daniel Langlois d'Ex Centris et la SGF, générera suffisamment de nouvelles taxes foncières pour permettre à la Ville de Montréal de recouvrer son investissement de six millions dans la Place des festivals en seulement quatre ou cinq ans. Ce projet d'agora publique, annoncé par le maire de Montréal et le premier ministre Bernard Landry le printemps dernier viendra compléter cette revitalisation du centre-ville tout en assurant la pérennité du plus beau site d'animation urbaine au monde. Ce nouveau lieu public, qui pourra être utilisé comme patinoire l'hiver, servira à tous les Montréalais à longueur d'année et deviendra une attraction touristique à la façon du Rockfeller Plaza, à New York, ou encore de la Place d'Youville, à Québec.

 

Il faut se réjouir de voir tous ces projets qui vont transfigurer le centre-ville de Montréal d'ici cinq ans, avec des investissements évalués à 350 millions de dollars. Mais on est loin du milliard déjà engagé par Toronto pour en faire la «capitale culturelle du Canada».

 

Pour garder un de nos rares avantages stratégiques de Montréal, je crois qu'il faut se retrousser les manches et se donner en priorité comme objectif commun de concrétiser l'aménagement du Quartier des spectacles, une des pistes d'action principales issues du Sommet de Montréal. La beauté de ce projet de l'ADISQ, c'est qu'il vise d'abord à consolider des acquis et des équipements culturels qui n'ont jamais été mis en valeur comme un tout : il existe dans l'axe de la rue Sainte Catherine, entre Bleury et Saint Denis (et sur Saint Laurent), une masse critique de 25 salles de spectacles et théâtres qui totalisent (avec la nouvelle salle de l'OSM) 28 000 sièges, alors que Broadway en compte 46 000 à New York. Il s'agit donc de structurer, de revitaliser et d'embellir ce quartier aussi connu comme le site des grands festivals, en le «thématisant» officiellement comme «quartier des spectacles» pour maximiser son pouvoir d'attraction au moyen d'une intervention urbanistique prévoyant une signalisation propre, un mobilier urbain et un plan d'éclairage spécifique, ainsi que des services d'entretien et de sécurité accrus.

 

Pour en exploiter tout son potentiel de développement touristique, il faudra relier le Quartier des spectacles par des axes piétonniers invitants avec le Palais des Congrès, le Vieux Montréal, la Cité internationale et le Quartier des affaires. Tourisme Montréal et les organismes culturels travaillent déjà à créer une billetterie centrale accessible aux touristes et congressistes séjournant dans les grands hôtels pour prolonger leur séjour et avoir un impact à long terme dans la forfaitisation de la destination.

 

Le momentum est mûr pour une action collective et concertée, à l'heure où d'autres projets structurants sont à l'horizon, dont l'agrandissement du Musée Pointe à Callières, la revitalisation de La Ronde par Six Flags et surtout l'investissement de 470 000 000 $ dans le Casino pour en faire un équipement de classe internationale afin d'en augmenter la vocation touristique.

 

De la même façon que nous avons réussi la revitalisation du Vieux Montréal et du Vieux Port depuis 10 ans, puis du Quartier international qui s'apprête à voir le jour avec un Palais des congrès agrandi (qui nous permettra de garder notre titre de 4e ville de congrès dans le monde - encore de l'argent neuf !), nous devons concrétiser aujourd'hui nos énergies dans l'aménagement et la mise en valeur de ce Quartier des spectacles, investir encore plus dans la création culturelle pour renforcer la personnalité festive et ludique du centre-ville, locomotive du développement économique, social et culturel de la région métropolitaine.

 

C'est un investissement à la fois pour la qualité de vie de tous les citoyens, et un acte de foi dans l'avenir de Montréal comme métropole culturelle internationale et l'une des grandes destinations de la planète.

      

NIKOLA TESLA-INVENTOR-PINTURA-ARTE-RETRATO-CIENCIA-INVENTOS-PERSONAJES-ELECTRICIDAD-MISTERIOS-PINTURAS-ARTISTA-PINTOR-ERNEST DESCALS-

En el Camino del Pintar y Estudiar previamente a los Personajes de la Ciencia que con sus Inventos e Investigaciones Científicas han entrado de lleno en la profundidad de los Misterios que se acercan a la Mística y a la Metafísica, he estado Pintando los Retratos del Misterioso NIKOLA TESLA, un Sabio del que sabemos poco y cuya extraña muerte aumentó el Misterio sobre su Vida. Pinturas del artista Pintor ERNEST DESCALS con los grandes protagonistas del Mundo Oculto, Pintura de Retrato con Técnicas Mixtas, Cretas y Acuarelas sobre papel de 65 x 50 centímetros.

Dangerous Liaisons

by Choderlos de Laclos

An article by Valerie Mamicheva

 

Choderlos de Laclos, an eighteenth-century French novelist, is best remembered for Les liaisons dangereuses, or Dangerous Liaisons. This epistolary novel tells of the unscrupulous libertinism practiced by the central characters, Valmont and Merteuil. Together they plot for pleasure and power, but their scheme turns against them.

 

Laclos was a reasonably successful army general in his time. Although at one stage he was imprisoned for his work on Les liaisons dangereuses, the novel was an enormous success (and a veritable scandal).

 

And, obviously, the main characters of "Dangerous liaisons" are vicomte de Valmont and madam de Merteuil. Exactly they braid all intrigues together and spoil the lives of so many people. That is what we see on the example of Cecile de Volanges and madam de Tourvel. The famous director Milos Foreman in his filming of "Dangerous Liaisons" remarked, that the main theme and idea of the novel is opening of the image and the goal of of the deeds of unamendabled lover Valmont, his growing up under influence of madam de Tourvel's love? That's why Milos Foreman renamed his film from "Dangerous Liaisons" to simply "Valmont". Exactly, in Valmont Choderlos de Laclos wanted to show vices of his century, Valmont is its reflection. But madam de Merteuil hasn't gone too far from Valmont. In the novel we are watching their correspondence. Why Choderlos de Laclos chose epistolary genre? Because only in a letter we can clearly consider and perceive some thoughts and feelings of a man. Even a style of writing a letter can can tell us much about him. For example, let us take madam de Merteuil – she writes in a exquisite and dainty style, using many epithets and specific words, in her "speech" we see utterances of the famous philosophers of her time, her own dictums. And more, this dainty schemer owns a flexible and sharp wit, sense of humour, and she is well educated and interested in all latest news about theatre and music. She is an interesting person to deal with. Madam de Merteuil can stand for herself, she can get every man she wants, she can be charming and attractive, virtuous and modest (remember her relationships with madam de Volanges). She early understood that a woman can conquer a man, subordinate him, if she wants so. But this woman is ought not only to be able to talk about a fashion and to have good manners – wise marquise consulted with philosophers, writers, moralists. She knows how to behave herself with men and she knows what she wants. She enjoys this "game of love" and a sharp intrigue she twisted between the lovers -- chevalier Danceny and Cecile de Volanges. It gives her pleasure and joy. Cecile is too young and naive to understand a cunning plan of de Merteuil. But Danceny revealed her bad nature at the end. Her accomplice is skilful in love vicomte de Valmont.

 

Valmont is a face of his age. It is worth of thinking, was Valmont the only representative of such "tending to love" in all Paris? Off course, no. But, maybe, Valmont isn't so insidious lecher as it seemed at first. Maybe, the matter is in marquise de Merteuil, who supplies this poisonous source in his soul and culls her vanity in it. That is what Valmont couldn't understand, he was only a toy in the hands of the cunning marquise, who calculated everything. Yet, marquise realized that Valmont's new love (madam de Tourvel) began to ennoble him and change him. And she insisted on his brake with madam de Tourvel because she is afraid to lose him. The intrigue with de Tourvel went too far, she considers. Not realizing – that, Valmont fights for his love he suggests an alternative to marquise, she chooses a war. And he loses, he dies, he has a talk with Danceny, to whom he opened what he understood quite recently – now he knows all essence of this maleficent woman. He died, but morally towered over her. He died free from burden of his sins.

 

And what do Valmont and de Merteil have common and and different? Both of them – mean souls, capable to fraud and treason, connoisseurs of a sharp intrigue and they are interested in its flexible uncoupling. To use surrounding people in your own purposes is the greatest pleasure. An intrigue for them is a whole art, ability to stay alive and to get wishing. Hundreds, or even thousands of people got victims of this art. They are accomplices in their sins, the plans they invent together. That is what united them. But their lives in society ended differently. For madam de berteuil – it was a great disgrace, departure in big hurry from France, she got ravaged and ashamed. Valmont – he dies in a duel with Danceny, but he dies with realization of his terrible way of life, he understands that he spoiled a lot of women's reputations, and he is sorry for that. He apologizes to Madam de Tourvel, his soul is saved from marquise's poison. His did exalted him.

 

One more heroine of "Dangerous liaisons" is Cecile de Volanges. She has just arrived from the monastery, she is young and inexperienced, trustful and lightheaded. She fell in love with Danceny. Having fallen into the trap made by Valmont and marquise de Mereuil she let them use herself how do they like. She is defenseless before their cunning and dainty cruelty. And the love to Danceny made her absolutely simple victim. De Merteuil wants to revenge her last lover and Cecile de Volanges is only one section in a chain of cunningly braided intrigues. They shamed her before the all society, before her own mother. Poor Cecile, at the end, went to a monastery. Her pure and noble soul couldn't solve this riddle. Her mother didn't find out the all truth about what had happened.

 

One more noble heart and virtuous soul is madam de Tourvel. For Valmont to spoil a woman with a high moral principles and pure soul is a real victory. But for madam de Tourvel it was a real pure and beautiful love which happens only once in a life. Valmont's letters she read for hundreds times and knew them by heart. But for him it is only a fine game, light amusement. Madam de Tourvel couldn't betray her moral principles, her husband and a religion. Valmont made her do it. Gradually, Valmont didn't mention himself to fall in love with madam de Tourvel. He didn't notice that his feelings began to change from shameful and dirty into gentle and romantic. He wanted to donate his love in the name of his reputation of the "first reprobate in Paris". The result of his mistake was madam de Tourvel's death. Though he was in time to analyze his mistake and not only this one, but others either. At the end, we can say, that "Dangerous Liaisons's goal was not only the reflection of the atmosphere of dainty libertinism and lie hidden with virtue but to suppress these vices and others on the example of Valmont and madam de Merteuil.

 

"Dangerous liaisons" is very moral, special philosophical-moral-ethical creation.

 

— Valerie Mamicheva

 

St Margaret,

Horsmonden,

Kent.

 

I get to visit all sorts of place in the persuit of orchids and churches, and on occasion, your breath gets taken away by arriving at the most perfect of place.

 

Horsmonden is such a place.

 

Sitting in the shadow of the hill on which Goudhurst sits, but the high road passes far enough away so not to be heard.

 

The church is some distance from the village it serves, and can be found down a dead end lane, ending with a farm and two fine cottages that shre covered in Kentish pantiles..

  

We had been searching for churches based on the symbols on our country A-Z, finding two churches not there.

 

Oh well.

 

Good to report that not only was St Margaret there, it was open.

 

More shots in due course.

 

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What a delightful and fascinating church! West tower, nave with aisles and long chancel make this building sound so commonplace. Yet its atmosphere and furnishings make this stand out as one of the most easily recognisable churches in the county. Set in a farmyard some distance from its village, St Margaret's church holds much of note. The chancel has been stripped of its limewash making it an interesting (though historically incorrect) contrast with the clerestoried nave. Firstly it has two Rood Loft Staircases - an obvious sign that over the course of the late middle ages the screen changed its position, or access. On the south wall is a memorial bust to an extraordinary inventor, John Read. This nineteenth century genius invented the round oast-house, the stomach pump and a tobacco enema! Nearby is an early eighteenth century `spider` chandelier. A huge brass is situated in the centre of the chancel (with a rubbing nearby). This is to Henry Grofhurst and dates from the mid fourteenth century. There are two very colourful windows by Rosemary Everett dating from the 1940s.

 

www.kentchurches.info/church.asp?p=Horsmonden+1

 

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HORSEMONDEN

IS the next parish northward from Lamberhurst, a small part of it is within the borough of Rugmerhill, which lies at the western side of it adjoining to that of Brenchley, and is as such within the antient demesne of the manor of Aylesford, and consequently exempt from the jurisdiction of this hundred.

 

A small part of this parish is said to be within the hundred of Larkfield.

 

THE PARISH OF HORSEMONDEN is situated much like that of Lamberhurst last described. being a surface of continued hill and dale. It is bounded towards the north-east and south by different streams of the river Medway, which flow from hence, and join the main river at Yalding, besides which it is watered by two other smaller rivulets, and several lesser springs interspersed over it, all which join the larger stream on the southern side of the parish. It is full four miles in length from north to south, but its breadth is but small, in some places not more than one, and in its broadest part not more than two miles. The high road from Maidstone through Yalding to Lamberhurst and Sussex, runs through the whole length of the parish; that from Watringbury over Brandt bridge through Brenchley towards Goudhurst crosses this parish and the other road, at a small green called Horsemonden-heath, which is built round with houses, forming the only village in the parish, the rest of the houses being dispersed singly over different parts of it. The soil, near the high road, is in general a sand intermixed with the rock or sand stone, the remainder is a deep stiff clay, exceeding miry in wet weather. It is much interspersed with coppice woods of oak, especially on the west and north sides of it, where the soil abounds with iron ore; the whole is much covered with fine spreading oak trees, which here from the soil being very kindly to their nourishment grow to a large size, and become sometimes nearly equal in value to the freehold of the estates.

 

The church stands, with the parsonage, about a quarter of a mile distant from it, very near the southeast boundary of the parish. In the upper part of itnear the river is a seat called Baynden, late belonging to Sir Charles Booth, of Stede-hill, deceased.

 

A fair is held here on St. Swithin's day, now by the alteration of the style on July 26, for cattle, pedlery and toys.

 

THE MANOR of Horsemonden was part of the antient possessions of the archbishopric of Canterbury, the archbishop holding it of the king in capite as one knight's fee, of whom it was again held by the noble family of Clare, earls of Gloucester and Hertford.

 

It appears by the inquisitions returned into the exchequer in the 13th and 14th years of king John, of the knights fees and other services held in capite, that this place was then in the possession of the family of Albrincis, (fn. 1) one of whom, William de Albrincis, or Averenches, dying s. p. Maud, his sister, at length became her brother's heir, and entitled her husband, Hamo de Crevequer, to the possession of it. He died in the 47th year of king Henry the IIId.'s reign, before which however, this manor seems to have passed in marriage with one of his daughters, Elene, to Bertram de Criol.

 

In the 42d year of king Henry III. there was a composition entered into between archbishop Boniface and Richard de Clare, earl of Gloucester, in relation to the customs and services which the archbishop claimed on account of the lands, which the earl held of him in Tunbridge, Horsemonden, and other places in this county, by which it was agreed that the earl should do homage, and the service of one knight's see for the manor of Horsemonden, and suit at the court of the archbishop and his successors at Canterbury.

 

In the 8th year of king Edward II. this manor was part of the possessions of the family of Rokesle, the heirs of Roger de Rokesle then holding it of the honor of Clare; one of these was Sir Richard de Rokesle, who died without male issue, leaving by his wife Joane, sister and heir of John de Criol, son of Bertram above-mentioned, two daughters his coheirs; of whom Agnes, the eldest, married Thomas de Poynings; and Joane, the youngest, first Hugh de Pateshull, and secondly Sir William le Baud, each of whom in her right became possessed of this manor, and the latter of them died possessed of it in the 4th year of king Edward III. His widow, in the 20th year of that reign, paid aid for it, being then held of the earl of Gloucester.

 

After which, although their son, Sir William Baud, seems to have had some interest in this estate, at his death in the 50th year of that reign, yet on hers, the manor itself came to her nephew Michael, son of Thomas de Poynings above mentioned, by Joane de Rokesle her sister, in whose descendants it continued down to his grandson Robert de Poynings, who died in the 25th year of king Henry VI. leaving Alianore, the wife of Sir Henry Percy, lord Percy, eldest son of Henry, earl of Northumberland, daughter of Richard de Poynings, his eldest son, who died in his life-time, his next heir; upon which the lord Percy, in her right, became entitled to this manor, and from him it continued down to Henry, earl of Northumberland, who died without issue in the 29th year of Henry the VIIIth.'s reign. The year before which, he by deed, granted to the king, all his manors, castles and estates, (fn. 2) although the year before this, an act had passed for assuming to the king all his lands and possessions, in case of failure of heirs of his body.

 

This manor thus coming to the crown, stayed not many years there, for the king in his 36th year, granted it to Stephen Darell, esq. and Agnes his wife, to hold in capite. He died in the 2d year of queen Elizabeth, after which his two sons, Henry and George successively, possessed it, the latter of whom in the 10th year of that reign, alienated this manor to Richard Payne, who anno 17 queen Elizabeth, levied a fine of it, and some time afterwards alienated it to William Beswicke, esq. of Spelmonden, in this parish, sheriff in the year 1616. He was son of William Beswicke, alias Berwicke, alderman and lord-mayor of London, the son of Roger Beswicke, of Cheshire. They bore for their arms, Gules, three bezants, a chief or. His son, Arthur Beswicke, was of Spelmonden, and married Martha, daughter of Laurence Washington, esq. of Maidstone, by whom he left an only daughter Mary his heir, who in her life-time settled this manor on Mr. Haughton, descended from those of Haughton Tower, in Lancashire. He left two daughters his coheirs, the eldest of whom Anne, carried it in marriage to James Marriott, esq. of Hampton, in Middlesex, who bore for his arms, Barry of six, or, and sable. His son, of the same name, died s p. in 1741, and gave it by will to his sister Anne, for her life, and then to his second cousin, Hugh Marriott, esq. who died in 1753, leaving by Lydia, his wife, widow of Dr. Hutton, two sons, James; and Thomas, slain at the siege of Madras in 1765, and one daughter Anne. James the eldest son is in holy orders, and LL. D. He married in 1767, Miss Bosworth, and is the present possessor of this manor, and other estates in this parish.

 

There is no court held for this manor.

 

SPELMONDEN is an antient seat at the southern boundary of this parish, which was once possessed by a family which took its surname from it. John de Spelmonden, one of the proprietors of it, is frequently mentioned in the deeds and evidences belonging to this estate; after they were become extinct here, this seat became part of the possessions of the eminent family of Poynings, one of whom Michael, son of Thomas de Poynings, by Joane de Rokesle, possessed it at his death in the 43d year of king Edward III.

 

He left two sons, Thomas, who died s. p. and Richard, who became his brother's heir, and died possessed of this estate in the 11th year of Richard II. He was succeeded in it by Robert de Poynings his only son, at whose death in the 25th year of king Henry VI. Robert, his younger son, seems to have inherited Spelmonden, and died in the 9th year of king Edward IV. His son and heir, Sir Edward Poynings, in the 14th year of that reign, alienated it to John Sampson, whose son, Christopher Sampson, in the 37th year of king Henry VIII. passed it away by sale to Stephen Davell, who afterwards resided here, and his son, George Darell, in the 10th year of queen Elizabeth, conveyed it to Richard Payne, of Twyford, in Middlesex, who in the 28th year of it sold this estate to William Nutbrown, and he next year alienated it to George Cure, esq. of Surry, from whom it immediately after was sold to Arthur Langworth, and from him again as quickly to William Beswicke, esq. who afterwards resided here, and was sheriff in 1616. Since which this seat has passed in like man ner as the manor of Horsemonden down to the Rev. Dr. Marriott, who is the present possessor of it.

 

LEWIS-HEATH is a manor situated in the centre of this parish, which was antiently part of the possessions of the family of Groveherst, or Grotherst, one of whom, John de Grotherst, rector of this church, as his epitaph still remaining in it informs us, gave this manor of Leueshothe to the abbot and convent of Begeham, to find one perpetual chaplain to celebrate in the church of Horsemonden and chapel of Leueshothe; and it continued part of the possessions of that abbey till the dissolution of it in the 17th year of king Henry VIII. who that year granted it with all its possessions, among which was this manor, to cardinal Wolsey, for the better endowment of Cardinal's college, in Oxford; but on his being cast in a præmunire, about four years afterwards, all the estates of that college, which, for want of time, had not been firmly settled on it, came into the king's hands, where this manor lay till queen Elizabeth, in the beginning of her reign, granted it to Anthony Brown, viscount Montague, who, as appears by the inquisition taken after his death, died possessed of it in 1593. He was succeeded in it by his eldest son and heir, who not long afterwards alienated it to William Beswicke, esq. of Spelmonden, in this parish, since which it has passed in like manner as that seat, and the rest of his estates in this parish, to the Rev. Dr. Marriott, the present possessor of it.

 

SPRIVERS is a manor situated on the western side of this parish, which had antiently owners of that surname, one of whom, Robert Sprivers, died possessed of it in 1447, anno 26 Henry VI. and by his will devised it to his son of the same name. After this family was become extinct here, the Vanes became proprietors of it, from whom it passed into the name of Bathurst.

 

Robert Bathurst possessed this manor and resided here in the reign of queen Elizabeth. He was second son of Laurence Bathurst, of Staplehurst, whole eldest son Edward was ancestor of the Bathursts, of Franks, in this county, under which more may be seen of them. Robert Bathurst, above-mentioned, was ancestor by his first wife to those of Letchlade, in Gloucestershire, and of Finchcocks and Wilmington, in this county, and by his second wife of those of Richmond, in Yorkshire; soon after this it was alienated to Malbert, and from thence again, after no long intermission, to Morgan, in which name it remained till it was sold to Holman, whose descendant Anne Holman, in 1704, passed it away by sale to Mr. Courthope, who bore for his arms, Or, a fess azure between three estoils sable. Some account of the different branches of whose family has already been given before under Brenchley. That branch of it, from which the Courthopes of Danny, in Sussex, and those of Horsemonden were descended, was seated at Goddards-green, in Cranbrook, in the reign of king Henry VIII. one of whom, Alexander Courthope, of Cranbrook, possessed lands there, in Biddenden, and Maidstone, as appears by his will in the Prerogativeoffice, Canterbury, as early as the year 1525.

 

Mr. Courthope, the purchaser of this estate, left by his wife, one of the sisters of Edward Maplesden, of Cheveney, in Marden, a son, Alexander, and five daughters, who all died unmarried, except Barbara, who married Mr. Cole, of Marden, and died in 1783, by whom she had two surviving sons, Peter and John. Alexander Courthope, esq. the son, rebuilt the mantion house of Sprivers at some distance from the antient one, and afterwards resided in it with true old English hospitality, and with a reputation of the highest integrity. He died unmarried in 1779, and by his will gave this manor, with the estate belonging to it, to his nephew, John Cole, esq. the present possessor, who resides in it.

 

A court baron is regularly holden for this manor.

 

Grovehurst is a manor which lies on the eastern side of this parish, and was in very early times part of the possessions of a family who took their surname from it. William Grovhurst died possessed of it, with Puleyns in this parish, (now the property of the Rev. Richard Bathurst, late of Finchcocks in Goudhurst) in the 7th year of king Edward III; his descendant Richard Groveherst left three daughters his coheirs, one of whom, Anne, carried this manor in marriage, about the latter end of the reign of king Richard II. to Richard Hextall, of Hextalls-court in East Peckham. His eldest son William, in the beginning of king Henry VI.'s reign, increased his property in this parish by the purchase of four estates here, called Hothe, Smeeths, Capell, and Augustpitts. He left Margaret his sole daughter and heir, who carried them in marriage to William Whetenhall, esq commonly called Whetnall, whose descendant of the same name, was sheriff in the 18th year of king. Henry VIII.'s reign, and in the 31st year of it procured his lands to be disgavelled by the act passed that year.

 

His descendant, Henry Whetenhall, in the reign of king James I. passed away the manors of Grovehurst, Hoathe, Smeethe, and Capell, (for that of Augustpitts had been before sold off, being now the property of Mr. John Osborne, who resides at it,) together with a seat in this parish, called Broadford, situated near the bridge of that name over the river here, to Francis Austen, the fifth son of Mr. John Austen, of this parish, who dying in 1620, was buried in this church, where his arms still remain, viz. Or, on a chevron sable three plates, between three lions paws erect and erased, sable. He afterwards resided at Grovehurst, of which he died possessed in 1687, and was buried here. He left a son, John Austen, who was likewise of Grovehurst, where he died in 1705, and was buried here. His son; John Austen, esq. resided at Broadford, and died the year before him, leaving six sons and one daughter, of whom John, the eldest, became his grandfather's heir to his estates in this parish, and Francis, the second son, was father of Francis Motley Austen, esq. now of Sevenoke in this county.

 

John Austen, esq. the eldest son, was of Broadford, and married Mary, daughter and coheir of Stephen Stringer, esq. of Goudhurst, by whom he had John Austen, esq. now of Broadford, who married Miss Joanna Weekes, of Sevenoke, by whom he has one daughter Mary, and he is the present possessor of these manors and estates.

 

There is a court baron regularly held for the manors of Grovehurst, Hoathe, and Smeethe.

 

BADMONDEN is a reputed manor in this parish, in which there was formerly a cell, but not conventual, belonging to the priory of Beaulieu, in Normandy; in which situation it continued till the general suppression of the alien priories throughout England, in the 2d year of king Henry V. anno 1414, when their houses and possessions were in parliament given to the king and his heirs, who the next year gave it to the priory of St. Andrew, in Rochester, where it remained till the dissolution of that society in 1540; when all the rents and revenues of it were surrendered into the king's hands, who by his dotation charter in his 33d year, settled it on his new-founded dean and chapter of Rochester, with whom the inheritance of it remains at this time.

 

The manor of East Farleigh and East Peckham claims over this part of Horsemonden; the freeholders in Badmonden holding their lands of it in free socage tenure.

 

BRAMBLES is a small manor in this parish, which was heretofore the property of Mr. John Barnes, and now belongs to Mr. Usherwood.

 

A court baron is held for this manor.

 

The manor of Gillingham claims over the tithing or hamlet of Baveden, in this parish, being one of the four denns in the Weald holden of that manor, the freeholders holding their lands of it in free socage tenure.

 

Charities.

WILLIAM WYKES gave by will in 1682, for the maintenance of the poor in land, vested in trustees, the yearly produce of 14l. 6s. 6½d.

 

LADY ABERGAVENNY gave by will for the like purpose, in money and jewels, which were recovered by a decree in chancery in 1618, and laid out in the purchase of two farms, one in Tunbridge, of the clear annual produce of 19l. 16s. 5d. the other in Ticehurst, of 7l. 8s.

 

The number of poor constantly relieved here is yearly about fifty, those casually twenty.

 

HORSEMONDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.

 

The church is dedicated to St. Margaret; it is a handsome building; in it are memorials of Groshurst, Browne, Austen, Courthope and Campion, and in the chancel, on the south side, a fair altar tomb, without the appearance of having ever had any inscription on it. Over the west door are the arms of Poynings and Fitzpaine; one of the former might very probably be the builder, or at least a considerable benefactor to the building of it.

 

It is valued in the king's books at 26l. 3s. 9d. and the yearly tenths at 2l. 12s. 4½d.

 

The patronage of this church was, from the earliest time, an appendage to the manor of Horsemonden, and consequently has had the same proprietors. There are two small manors annexed to it, called the manors of Hasellets alias Radmanden, and Cossington alias Heyden, for which there are court barons held—These, with the rectory, are now part of the possessions of the Rev. Dr. Marriot, lord of the manor of Horsemonden.

 

¶Robert de Grosshurst, of Horsemonden, in 1338, founded a perpetual chantry in this church, in the chapel of the Blessed Virgin Mary, built in honor of her annunciation in the north part of it, to the praise of God, and for the souls of himself, his wife, &c. And he ordained, that after the first vacancy, the parishioners should nominate the priest of it, to be presented to the bishop of Rochester, to be instituted and inducted into the said chantry. The priest to reside constantly, and to celebrate daily in it, according to the rules therein mentioned. And he ordained, that Sir William Langford, the first priest, and his successors, perpetual chaplains of it, should receive yearly for their maintenance, and the burthens incumbent on it, from the abbot and convent of Boxley, six marcs sterling yearly rent, which he had purchased of them for the endowment of it. Anno 1445, the bishop directed his official, &c. to enquire by inquisition, among other matters, concerning the dotation and endowment of this chantry, when it was returned that it consisted in six marcs annual rent from the abbot of Boxlay, of forty shillings annual rent from lands in the parish of Merden, granted to the chaplain for a term of years, and in one messuage and gardens of the value of twelve-pence, and in rent in Horsemonden of six shillings per annum; and that the house of the chantry was so much out of repair, that six marcs would scarce be sufficient to put it in good repair; and that thus the true value of this chantry, the burthens belonging to the chaplain of it being borne by him, amounted according to their estimation to eight marcs per annum.

 

Sir Edward Poynings gave twenty-four acres of land to the maintenance of lights in this church; from whence they obtained their present name of Torchfield. (fn. 3)

 

In the year 1701, this church was repaired by the aid of a brief collected for that purpose.

 

www.british-history.ac.uk/survey-kent/vol5/pp311-322

Back in WW I, the aeroplane had only been newly invented, and was not yet well understood from an aerodynamic point of view, or lightweight structures, or power-packs. To lift much more than a man with some machine guns you needed some serious power, and some serious wing area. The wing area issue had been addressed earlier by tri-plane designs, but this limited the maximum speed at which planes could travel. A shift to bi-plane design required a longer span or aerofoil section width, both enabled by the LUSAC-11 with a large 415.5 sq.ft wing area. Power was provided by a 425 Packard-developed V12 Liberty engine. Original orders stood at 3,525 units to be assembled by the body-builders at Packard, Brewster and Fisher-Body (later part of General Motors), however WW I ended earlier than the expected production schedule, and in the end, only 30 planes were produced, in total, including prototypes.

 

The link between the aeroplane and the car is the V12 engine.

 

As the USA entered WW I against Germany the Aircraft Production Board summoned representatives from the Auto industry to develop a lightweight, high power engine for aircraft. To cut a long story short, the Liberty V12, designed by the Packard motor company was the outcome. The engine was produced by multiple engine suppliers, including Packard, Marmon and Lincoln motor companies. The engine was or 27 litre swept capacity (1649 CID). Though not used in automobiles, the production technologies, tooling and engineering development expertise allowed these luxury marques, and additionally Cadillac, to produce V12 designs capable for automobile use.

 

The 1922 Packard Twin-Six 3-35 Roadster shown here was a development of the first automobile production V12 produced. First produced in 1916, this first series ran until 1923.

 

In three series between 1916 and 1923, Packard built slightly more than 35,000 Twins, including numerous chassis for custom bodies. The Twin Six was the chief reason why, when the wealthy ordered a custom-bodied car, they tended to choose a Packard chassis.

 

Jesse Vincent, Packard's chief engineer, liked the 12-cylinder layout for three reasons: performance, smoothness, and silence. "A six-cylinder motor is theoretically in absolutely perfect balance," he wrote. "This is because the vibratory forces due to the rise and fall of one piston are neutralized by equal and opposite forces due to another...Now it is only possible to cancel out forces in this way if they are tied together strongly."

 

This meant a heavy crankcase and crankshaft and a rigid flywheel. But a Twelve or "Twin Six," Vincent continued, would provide the same rigidity and smoothness with less piston, crankcase, flywheel, and crankshaft weight -- and provide more horsepower and torque, to boot. He preferred a V-12 to a V-8 because a V-8 would require a wider frame, larger turning radius, and more complicated steering gear.

 

The Twin Six engine duly embodied the above principles, with two banks of L-head cylinders set at a 60-degree angle (versus 90 degrees in Cadillac's V-8). This allowed accessories to be bolted just below the frame, where they were protected from road hazards, while keeping the valves accessible.

 

Delivering 85 horsepower at 3,000 rpm, a bore and stroke at 3.00 × 5.00 inches resulted in a displacement of 424 cubic inches. Rockers were eliminated, with a separate cam for each valve, and all valves were located inboard of the cylinder blocks. A short, light crankshaft ran in three main bearings.

 

The car shown here is a 1922 Series-3 car, bodied as a Roadster.

 

The Packard-Le Père LUSAC-11 (1917) and Packard Twin-Six 3-35 Roadster (1922) have both been modelled in Lego miniland-scale for Flickr LUGNuts 79th Build Challenge, - "LUGNuts goes Wingnuts", - featuring automotive creations inspired by, named after, or with some connection to aviation.

Need to invent a time machine!

A pulled rickshaw (or ricksha) is a mode of human-powered transport by which a runner draws a two-wheeled cart which seats one or two people.

 

In recent times the use of human-powered rickshaws has been discouraged or outlawed in many countries due to concern for the welfare of rickshaw workers.

Pulled rickshaws have been replaced mainly by cycle rickshaw and auto rickshaws.

 

OVERVIEW

Rickshaws are commonly believed to have been invented in Japan in the 1860s, at the beginning of a rapid period of technical advancement.

 

In the 19th century, rickshaw pulling became an inexpensive, popular mode of transportation across Asia.

 

Peasants who migrated to large Asian cities often worked first as a rickshaw runner.

 

It was "the deadliest occupation in the East, [and] the most degrading for human beings to pursue."The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. In China, the rickshaw's popularity began to decline in the 1920s. In Singapore, the rickshaw's popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930.

 

DESCRIPTION

The initial rickshaws rode on iron-shod wooden wheels and the passenger sat on hard, flat seats. In the late 19th century and early 20th century. Rubber or pneumatic rubber tires, spring cushions, and backrests improved the passenger's comfort. Other features, such as lights were also added.

 

In the city of Shanghai, public rickshaws were painted yellow to differentiate from the private vehicles of the wealthy citizens, which were described as:

 

... always shiny, were carefully maintained, and sported 'a spotless white upholstered double seat, a clean plaid for one's lap, and a wide protective tarpaulin to protect the passenger (or passengers, since sometimes up to three people rode together) against the rain.'

 

The rickshaws were a convenient means of travel, able to traverse winding, narrow city streets. During monsoon season, passengers might be carried out of the carriage, above the flooded streets, to the door of their arrival. They offered door-to-door travel, unlike scheduled public bus and tram service.

 

COUNTRY OVERVIEW

AFRICA

EAST AFRIKA

In the 1920s, it was used in Bagamoyo, Tanga, Tanzania and other areas of East Africa for short distances.

 

MADAGASCAR

Rickshaws, known as pousse-pousse, were introduced by British missionaries. The intention was to eliminate the slavery-associated palanquin. Its name pousse-pousse, meaning push-push, is reportedly gained from the need to have a second person to push the back of the rickshaw on Madagascar's hilly roads. They are a common form of transport in a number of Malagasy cities, especially Antsirabe, but are not found in the towns or cities with very hilly roads. They are similar to Chinese rickshaws and are often brightly decorated.

 

NAIROBI

Rickshaws operated in Nairobi in the beginning of the 20th century; pullers went on strike there in 1908.

South Africa

Durban is famous for its iconic Zulu rickshaw pullers navigating throughout the city. These colorful characters are famous for their giant, vibrant hats and costumes. There were about 2,000 registered men who pulled rickshaws in Durban in 1904; Since displaced by motorised transport, there are approximately 25 rickshaws left whom mostly cater to tourists today.

 

ASIA

CHINA

In China, from the ancient times and until the 19th century, rich and important people, when traveling overland, were commonly transported in sedan chairs carried by bearers, rather than in wheeled vehicles. This was at least partly explained by road conditions. It is thought that it was from China (or East Asia in general) that sedan chair (a.k.a. "palanquin") designs were introduced into Western Europe in the 17th century. However, wheeled carts for one or two passengers, pushed (rather than pulled, like a proper rikshaw) by human servant, were attested as well.The proper rickshaw (pronounced renliche in Chinese) was first seen in China in 1886, and was used for public transportation in 1898. It was commonly called dongyangche for Japanese vehicle or "east- foreign-vehicle."

 

Rickshaw transportation was an important element in urban development in 20th century China, as a mode of transportation, source of employment and facilitation of migration for workers. According to author David Strand:

 

Sixty thousand men took as many as a half million fares a day in a city of slightly more than one million. Sociologist Li Jinghan estimated that one out of six males in the city between the ages of sixteen and fifty was a puller. Rickshaw men and their dependents made up almost 20 percent of Beijing's population.

 

Shanghai's rickshaw industry began in 1874 with 1,000 rickshaws imported from Japan. By 1914 there were 9,718 vehicles. The pullers were a large group of the city's working poor: 100,000 men pulled rickshaws by the early 1940s, up from 62,000 in the mid-1920s.Most manual rickshaws, a symbol of oppression of the working class, were eliminated in China after the founding of the People's Republic of China in 1949.

 

HOG KONG

Rickshaws were first imported to Hong Kong from Japan in 1880. They were a popular form of transport for many years, peaking at more than 3,000 in the 1920s. However, their popularity waned after World War II. No new licenses for rickshaws have been issued since 1975, and only a few old men—four as of 2009—still bear a license. It is reported that only one of them still offer rickshaw rides on The Peak, mainly for tourists.

 

INDIA

Around 1880, rickshaws appeared in India, first in Simla. At the turn of the century it was introduced in Kolkata (Calcutta), India and in 1914 was a conveyance for hire.

 

SERVICE AVAILIBILITY

Though most cities offer auto rickshaw service, hand-pulled rickshaws do exist in some areas, such as Kolkata, "the last bastion of human powered tana rickshaws". According to Trillin, most Kolkata rickshaws serve people "just a notch above poor" who tend to travel short distances. However, in a recent article by Hyrapiet and Greiner, the authors found that rickshaws also transport middle-class residents who use their services out of convenience and for short distance trips to the local marketplace. Rickshaws are used to transport goods, shoppers, and school children. It is also used as a "24 hour ambulance service."

 

Also according to Hyrapiet and Greiner, rickshaw pullers have acted as peer-educators for the Calcutta Samaritans prodving critical information on HIV/AIDS because of their access to marginalized groups within Kolkata's red light districts.

 

Rickshaws are the most effective means of transportation through the flooded streets of the monsoon season.

When Kolkata floods rickshaw business increases and prices rise.

 

The pullers live a life of poverty and many sleep under rickshaws.Rudrangshu Mukerjee, an academic, stated many people's ambivalent feelings about riding a rickshaw: he does not like about being carried in a rickshaw but does not like the idea of "taking away their livelihood."Motor vehicles are banned in the eco-sensitive zone area of Matheran, India, a tourist hill station near Mumbai so man-pulled rickshaws are still one of the major forms of transport there.

 

LEGISLATION

In August 2005, the Communist government of West Bengal announced plans to completely ban pulled rickshaws, resulting in protests and strikes of the pullers. In 2006, the chief minister of West Bengal, Buddhadeb Bhattacharya, announced that pulled rickshaws would be banned and that rickshaw pullers would be rehabilitated.

 

JAPAN

There are several theories about the invention of the rickshaw. Japan historian Seidensticker wrote of the theories:

 

Though the origins of the rickshaw are not entirely clear, they seem to be Japanese, and of Tokyo specifically. The most widely accepted theory offers the name of three inventors, and gives 1869 as the date of invention.

 

Starting in 1870, the Tokyo government issued a permission for Izumi Yosuke, Takayama Kosuke, and Suzuki Tokujiro to build and sell rickshaws. By 1872, they became the main mode of transportation in Japan, with about 40,000 rickshaws in service. The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. After the World War II, when gasoline and automobiles were scarce, they made a temporary come-back. The rickshaw tradition has stayed alive in Kyoto and Tokyo's geisha districts only for tourists as well as in other tourist places. The tradition completely disappeared once, but a few people revived jinrikisha (human-powered rickshaws) for tourists in the 1970s-1980s and the rickshaws became popular as a tourism resource in the 2000s. The modern rickshaw men are a kind of tourist guide, who take their clients to some tourist spots and explain about them. Many of them are part-time working students and athletes who like running or exchanging cultures.

 

MALAYSIA

Rickshaws were a common mode of transport in urban areas of Malaysia in the 19th and early 20th centuries until gradually replaced by cycle rickshaws.

 

PAKISTAN

Pulled and Cycle rickshaw (qinqi) have been banned in Pakistan since November 1949. Prior to the introduction of auto rickshaws in cities, horse-drawn carriages (tongas) were a main source of public transportation.

 

SINGAPORE

Singapore had received its first rickshaws in 1880 and soon after they were prolific, making a "noticeable change in the traffic on Singapore's streets." Bullock carts and gharries were used prior to the introduction of rickshaws.Many of the poorest individuals in Singapore in the late nineteenth century were poor, unskilled people of Chinese ancestry. Sometimes called coolies, the hardworking men found pulling rickshaws was a new means of employment. Rickshaw pullers experienced "very poor" living conditions, poverty and long hours of hard work. Income remained unchanged from 1876 to 1926, about $.60 per day.Rickshaws popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930. In or after the 1920s a union was formed, called the Rickshaw Association, protect the welfare of rickshaw workers.

 

NORTH AMERIKA

UNITED STATES OF AMERIKA

From A History of the Los Angeles City Market (1930-1950), pulled rickshaws were operated in Los Angeles by high school teenagers during that time period.

 

CANADA

Foot-driven rickshaws have enjoyed several decades of popularity in Halifax, Nova Scotia; in addition to providing tours of the historic Waterfront, rickshaws are also occasionally used for transportation by local residents. The city is home to the oldest rickshaw company in Canada.Rickshaws are a popular mode of transportation in downtown Ottawa, Ontario, providing tours of historical Byward Market, in the summer. Ottawa's rickshaws stay true to the traditional foot-driven rickshaw model, but feature modern sound-systems.

 

WIKIPEDIA

Surface detail of the beer planet.----------------------------------

 

Detall de la superficie.

Students mix and match ingredients to invent a new flavor of popcorn. Students then had to market their invention to other students.

 

Photo by Bill Drake of photodrake.com

Samuel VAILE

Born in London

15th August 1828

Arrived in Auckland

23rd December 1843

Died 16th April 1913.

In 1882 he invented the

Stage or zone system of

Railway Administration

“Justus et tenax propositi vir” **

And

Annie VAILE

His wife

Died 11th January 1917

Aged 74 years

And to

Annie Blanche VAILE

Their daughter

Died 22nd June 1930

“Kind, kind and gentle was she”

And to

Hubert E. VAILE

Their son

Born at Auckland 9th July 1876

Died 17th May 1936

A GREAT CITIZEN

And a prominent supporter

Of the Auckland War Memorial Museum

 

**”Just and firm of purpose”

 

Samuel

 

The Cyclopedia of New Zealand [Auckland Provincial District] published 1902

Mr. Samuel Vaile, the present President of the Auckland Chamber of Commerce, is the second son of the late Mr. George Vaile, who, with his family, arrived in Auckland on the 23rd of December, 1843, in the barque “Bangalore,” the vessel that brought the second Governor, Captain Robert Fitzroy, R.N., to the colony. Like all the early settlers, Mr. Vaile in his boyhood, and early manhood, shared the hardships of life in a new settlement. In his youth he studied architecture under his father, but, in 1850, not seeing any opening in that profession, he decided to go to California, and accordingly left Auckland in the barque “Noble,” in February of that year. On the 23rd of March they made Pitcairn Island, and with the captain, supercargo and four fellow passengers, Mr. Vaile went ashore. The captain gave the five passengers leave to remain ashore for the night, and, with the supercargo, he returned to the ship. In the night he sailed away, leaving the five passengers ashore, with just the clothes they stood in. Eight weeks later Mr. Vaile landed in Honolulu with a threepenny piece (which he still retains) in his pocket, and not a whole suit of clothes. That was his start in life. He remained in Honolulu for nearly two years, made some money, and returned to Auckland, where he and a younger brother, the late Mr J. R. Vaile, established the well-known business carried on under the style of S. and J. R. Vaile. This business rapidly prospered, and in 1861 Mr. Vaile left Auckland to buy in the English and Continental markets for his firm. He remained in England till the end of 1869, when he returned to Auckland. While in the Old Country, Mr Vaile was elected a member of some of the leading scientific societies, and devoted a good deal of time to working among the poor, and studying the poverty problem. In 1876 the partnership was dissolved, and Mr. Vaile started the land and estate agency business, which is now carried on by the widely-known firm of Samuel Vaile and Sons. Mr. Vaile is well-known as a writer on such topics as co-operation, federation, finance, general politics, and especially railway management, and on single tax, which he denounces as “the propaganda of deception, fraud, and robbery.” In 1882 he invented the stage system of railway administration, an adaptation of which, under the name of the zone system, was put in force in Hungary in 1889, with marked success; and in 1894, Russia followed. In 1886 a Parliamentary Committee was set up to investigate this matter. Mr. Vaile attended, and conducted his own case. This enquiry lasted for ten weeks, when the Committee reported that the stage system ought to be tried. (Parliamentary paper 1—9 1886.) Mr. Vaile has worked at it ever since, but the Government still refuse a trial. In 1887 Mr. Vaile contested the seat for Auckland North, Mr. Thomas Thompson being his opponent. Mr. Vaile was declared to have lost the election by thirty-five votes, thirty-six having been thrown out as informal. In 1893 Mr. Vaile again offered himself for one of the city seats, but owing to Sir George Grey afterwards coming out also for the city, he did not seriously enter into the contest. In 1896, at fourteen days' notice, Mr. Vaile, under considerable pressure, undertook to contest the Parnell seat, against the sitting member, Mr. F. Lawry, and Mr. Arthur Withy, the Prohibition candidate, but Mr. Vaile was again defeated. At the earnest request of a number of citizens, Mr. Vaile, much against his will, was again induced to contest one of the city seats in 1899. A committee undertook to do all the work, and pay all the expense, but again he had only fourteen days to work in, and, as he expected, lost the seat. In 1893 the citizens of New Zealand presented Mr. Vaile with a very handsome silver salver and tea and coffee service, and also a fire-proof safe to keep the records of his public work in. Sir George Grey made the presentation, and, with the other speakers, very warmly eulogised Mr. Vaile for the energy, ability, and patriotism he had displayed in carrying on his public work under many difficulties and much discouragement.

 

A photo 1908 by Hubert Vaile of Vaile & Son’s business premises

www.digitalnz.org/records/29953697?search%5Bpage%5D=2&...

 

A photo dated 1914 showing the business premises of S VAILE & SONS:

www.reinz.co.nz/shadomx/apps/fms/fmsdownload.cfm?file_uui...

 

Photo of “The Avenue” home of the Vailes – 1905

www.digitalnz.org/records/29955612?search%5Bpage%5D=5&...

 

Photo of drawing room interior of Vaile home “The Avenue” 1904-5

www.digitalnz.org/records/30071460?search%5Bpage%5D=2&...

A photo of an elderly man mending a chair..quite possibly Samuel Vaile…

www.digitalnz.org/records/29953730?search%5Bi%5D%5Btag%5D...

also

www.digitalnz.org/records/29953731?search%5Btext%5D=vaile

Photos taken by Hubert Earle Vaile

  

Annie

New Zealand Herald, Volume LIV, Issue 16436, 12 January 1917, Page 7

MRS. SAMUEL VAILE. The death occurred yesterday, at her late residence, Arney Road, Remuera, of Mrs. Annie Vaile, widow of the late Mr. Samuel Vaile. The deceased lady, who was in her 75th year, was born in London, where she married her late husband in 1866. She arrived at Auckland in 1869, and had lived in the city since that date. The late Mr. Vaile died about four years ago. Mr. E. E. Vaile, of Broadlands, Waiotapu, and Mr. H. E. Vaile, of Auckland, are sons of the late Mrs. Vaile, and there are two unmarried daughters. [2]

  

Hubert

 

New Zealand Herald, Volume XL, Issue 12274, 19 May 1903, Page 1

VAILE-MAHON On April 22 1903, at St Mark’s Church, Remuera, by Rev. W. Beatty, Hubert Earle, son of Samuel VAILE, Auckland, to Ethel Rose, daughter of Owen Mahon.[1]

 

New Zealand Herald, Volume LII, Issue 15810, 6 January 1915, Page 7

COLONIAL INSTITUTE

Aucklanders Honoured

Colonel Hazard and Mr. Hubert Vaile both of Auckland have ben elected Fellows of the royal Colonial Institute.[3]

 

MISSING AUCKLANDER

Mr. Hubert E. Vaile

Anxiety is felt by the relatives and friends of Mr. Hubert E. Vaile, of Gillies Avenue, as to his whereabouts. Mr. Vaile left his home on Sunday afternoon and has not since returned. Fullest inquiries are being made and any person able to give any helpful information is requested to communicate with his residence, 33 Gillies Avenue (telephone 20-397). [4]

 

Evening Post , Issue 118, 20 May 1936, Page 10

BODY IN HARBOUR

MR, HUBERT E. VAILE

WELL-KNOWN AUCKLAND MAN

(By Telegraph—Press Association.) AUCKLAND, This Day. The body of Mr. Hubert E. Vaile, one of Auckland's most progressive business men, was found in the harbour near the Orakei Wharf shortly before midday today. Mr. Vaile left home on Sunday, afternoon and his relatives became concerned. A boy aged fifteen was fishing for sprats from the Orakei Wharf on Monday forenoon when he hauled up a silver wristlet watch. The watch was still going, and he took it home. When the family read in yesterday's "Star" that Mr. Vaile was missing they noticed that the watch was engraved with Mr. Vaile's initials, and reported to the police, who dragged the vicinity of the wharf this morning. Within a few minutes they brought the body to the surface. Mr. Vaile was managing director of Samuel Vaile and Sons, leading real estate agents. He was born at Auckland and educated at the Grammar School. He was always active in social and civic affairs and took a large part in the establishment of the Auckland War Memorial Museum and the scenic reserve in the Waitakere Ranges. Mr. Vaile was formerly a member of the Epsom Road Board and was president of the Society of Arts for four years. He was associated with the Jubilee Institute for the Blind and the Auckland Savings Bank, president of the Auckland Institute and Museum for five years, and a member of the institute council till his death. In 1929 he unsuccessfully contested the Mayoral election against Mr. George Baildon, then the sitting Mayor. [6]

  

Auckland Star, Volume LXVII, Issue 119, 21 May 1936, Page 8

DEATH OF MR. H. E. VAILE.

VERDICT AT THE INQUEST.

A verdict of suicide by drowning was returned by the coroner, Mr. Wyvern Wilson, S.M., this afternoon at the inquest concerning the death of Hubert F. Vaile, whose body was recovered from the harbour near the wharf at Orakei yesterday forenoon. Detective-Sergeant Meiklejohn conducted the inquest, and Mr. J. B. Johnston represented the relatives. Evidence was given by Detective- Sergeant Meiklejohn, Herbert Benjamin Harper, secretary and a director of the firm of Samuel Vaile and Sons, Ltd., and Dr. W. Gilmour, pathologist at the Auckland Hospital. After returning his verdict, the coroner read the messages written on paper on the inside of a cigarette tin which was found on the body. One message was: "10.30 p.m. Good-bye, Jock. Fill my place better than I did." Another message stated that Mr. Harper should be managing director of the firm of Samuel Vaile and Sons, Ltd. [5]

 

New Zealand Herald, Volume LXXIII, Issue 22425, 22 May 1936, Page 12

EVIDENCE AT INQUEST VERDICT OF SUICIDE A verdict of suicide by drowning was returned by Mr. Wyvern Wilson, S.M., coroner, after hearing evidence yesterday concerning the death of Mr. Hubert Earle Vaile, estate agent, whose body was recovered from the harbour, near Orakei Wharf, by the police on Wednesday morning. Detective-Sergeant Meiklejohn represented tho police at tho inquest and Mr. J. B. Johnston attended on behalf of relatives. Evidence of identification was given by Herbert Benjamin Harper, secretary and a director of Samuel Vaile and Sons, Limited. He said he last saw deceased alive between 11 and 11.30 o'clock last Saturday morning. Witness said deceased wrote him a letter on May 17, which he received on the afternoon of May 18. This letter was handed by witness to the coroner. Witness then identified certain handwriting as being that of the deceased.

 

The Coroner: Did he ever express any intention he was about to take his own life? —None whatever. And you know of no reason whatever why he should have done so? No, I do not.

 

Mr. Meiklejohn described the recovery of the body from the water near Orakei Wharf on Wednesday morning. It was fully clothed, except for no hat. The pockets of the overcoat and the side pockets of the trousers were filled with stones. The legs were bound at the ankles with clothes-line rope, and the wrists were bound loosely with binder-twine. A cigarette tin which was found contained a tram-ticket with writing on it, and there was also writing on paper inside the tin. Dr. Walter Gilmour gave evidence that in his opinion death was due to drowning, and a verdict of suicide by drowning was returned. Questioned regarding the contents of the letter referred to by Mr. Harper, and the writing on other exhibits produced, the coroner said they were messages to deceased's wife and grandchildren and members of his staff. There were nothing but personal messages and the statement that his body would be found at the Orakei Wharf. One note read: "10.30 p.m. Good-bye, Jock; fill my place better than 1 did. —H.E.V." Another directed that Mr. Harper should be managing director of the firm.

RESOLUTIONS OF SYMPATHY CHAMBER OF COMMERCE

Reference to the death of Mr. H. E. Vaile was made, by the president of the Auckland Chamber of Commerce, Mr. A. A. Ross, at a meeting of the council of the chamber yesterday. Mr. Ross referred to Mr. Vaile’s association with public bodies, and said there was no doubt that by the death of Mr. Vaile the city had lost a valuable citizen. The following resolution was passed, members standing in silence as a mark of respect —"That this council places on record its high appreciation of the many and valuable public services rendered by the late Mr. Vaile. It deplores his untimely death, and extends its deepest sympathy to his bereaved family." Reference to the death of Mr. Vaile was made by the chairman, Mr. George Graham, at the annual meeting of tho Anthropological and Maori, Race Section, of the Auckland institute and Museum on Wednesday night. Mr. Graham said Mr. Vaile, when chairman of the Museum Council, had done much to bring about the erection of tho present museum building. [7]

 

Photographs by Hubert Vaile

Vaile[?] family group 1910

www.digitalnz.org/records/29956339?search%5Btext%5D=huber...

Dolly Vaile

www.digitalnz.org/records/29956336?search%5Btext%5D=vaile

Possibly Hubert and his daughter

www.digitalnz.org/records/29953811?search%5Bpage%5D=2&...

Photo of 2 girls 1914 possibly Hubert’s daughters.

www.digitalnz.org/records/29953815?search%5Btext%5D=vaile

Photos of 4 girls 1914

www.digitalnz.org/records/29953816?search%5Btext%5D=vaile

Other searches under Vaile on that site return more family photos

  

Annie Blanche

 

Auckland Star, Volume LXI, Issue 146, 23 June 1930, Page 1

…at her late residence, 9, Arney Road, Remuera, Annie Blanche, dearly beloved sister of E.E., H.E., and E.C. Vaile, and daughter of the late Samuel Vaile. Interred this day at Purewa Cemetery. [8]

  

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

 

A son of Samuel and brother of Hubert, Edward Earle VAILE was a great benefactor of the Auckland Institute and Museum also

www.teara.govt.nz/en/1966/vaile-edward-earle

  

SOURCES:

[1]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[2]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[3]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[4]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[5]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[6]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[7]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[8]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

  

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even Indian was not given me UN jobs it self ?? pl my UN JOBS , IDS=rchisty90 , ,even I am Indian minority +OBCS=other backward class scientist. we are facing harassment in our birth nation =Hindu democratic nation ,then ME=GULF countries also !! to get progress , career , prospects in USA ,EUROPE , from India and me… please if I can not got job in USA ,EUROPE ,from India ,ME=GULF , then who !!???????? from past 8 years !!???? while sir you check how many Indian have publications against Al-Quida and Taliban !!?? even its from DRDO , BPRO , IITs ,IISC ,IAS ,IPS ,Indian foreign service !!!?? while my first publication against al-Quida was in 2003 at IUPAC =www.iupac.org !!

while Indian government providing Z-Security =Commando ,to Hindu terror ,people =Like Ashok Singhal , Praveen Togadia, LK Advani , RamVellas Vadantii these all are from VHP =Vishav Hindu Parisad ,and for each of these Hindu terror ,Indian government is consuming 1.2 Million $ per annum !!?? these all have proven record of provoke to murder ,kill ,riots , genocide ,gang rape with Nuns !!??

Note 3 : Please , I got , recommendation from UN Officials(@Dec 2003 it self ) ,=Alexander.Schmid@undoc.org= Tel:+43-1-26060-4278,+ Fax: +43-1-26060-5968 (sir he is Sr Crime prevention & criminal Justice officer ,to UN ) &MS Haiyan Qian= qianh@un.org & ribeiroa@un.org=recommendation ,at , Sun, 9 May 2004 Tel: 212-963-3393+ Fax: 212-963-9681 (Sir she is UNPAN -Chief manager to department of economic and social affair to UN ) ,& ngls@un.org = Tel: ++ 1 212 963 3125, URL: www.un-ngls.org ,to apply for UN Jobs ,

 

Ruhel 26-01-2009 , Note ,Please these Z-Security =Commando provider Indian government is India’s so called secular party =Congress party ,from past 5 years of there rule , while BJP =RSS provide them security from past 1990 to 2003 !!=13 years !!?? While BJP=RSS Given MP =Member of parliament ticket to , Manoj Pradhan =Prime accused of 2008 Kandhmal anti christen riots those killed 60 Indian christen ,he is in jail But he given BJP Ticket for 2009 Indian elections from G Udayagiri assembly ,India ,

ADDRESS :-(1st address=Home ): Ruhel Chisty ( MRACI-C.Chem) .23 AA Kishan pole Udaipur –Raj ,India , My Cell =Mobile =0091-9636919708 ,& Tel: +91-294-2488521 (Home )

Fax :,+91294-2411992 ( attn Ruhel Chistry) My Cell =Mobile =0091-9636919708

Email: Rchisty84@yahoo.com, Rchisty94@gmail.com,RChisty94@yahoo.com,Rchisty84@gmail.com,rchisty20082@gmail.com,rchisty20081@gmail.com,rchisty84@yahoo.com,

[ Please list of Publications ] :-

(1) New dimension against terrorism (Bio Terrorism &Environmental (A

New Concept)),A new sensor-Ruhel Sensor ,www.iupac.org =www.iupac2003.org

P,21 ( AE-1.P033),:RChisty ,39Th IUPAC Congress and 86th conference of the Canadian society of

Chemistry Aug10-15 ,2003 Ottawa ,Ontario ,Canada

(2) A Nobel - Ruhel -Far-Brain -Sensor" This will in series of Ruhel-

sensor @2 ,Which will Detect all Brain Figure , brain hormones, All

brain enzymes .all brain Peptides ,with and with out taking any more

sample ,blood ,of Person , so even Now not required any , MRI,CT

scan ,for all Brain disorder ,and good brain ,for a revolutionary

change in medical science of till today .RChisty Pittcon 2005 ,

(3) Ruhel word converter attach in scanner ,for PhD

Student's ,Scientist's , it's more than OCR RChisty Pittcon

2005=www.pittcon.org

(4) New low cost Handy Ruhel -Micro -GC/MS)- COPI - Ruhel- Micro--

Mass-Spectrophotometer instrument and COPI ,-For two different

reactions ,conditions ,programming ,pressure .volume- one GC(Nano-

Tech), P 64,Session 10,000, GC-MS ,PITTCON 2004 ,March 7-

12 ,2004 .Chicago. Illinois US = www.pittcon.org

(5) New instrument in gas chromatography(Nano Tech) RChisty, p 14-

15 ,41 Eastern Analytical Symposium &Exposition November 18-21, 2002

U.S.A , Montchanin, DE =www.eas.org

( 6 ) Role of matrix mechanism in Organic Chemistry (Nano-Tech)

(Environmental Analysis) DRO, GRO ,HC, TPH ,Pesticides ,Phenols etc's

24th international symposium on Chromatography

Leipzig ,Germany,September,15-20, 2002

(7) Support for Publication in Implementation,-ASTM-G-48(A,

B ,C ,D)&A-262-Methods (Metallurgical)2003.4

(8) Ruhel sensor(1) -**Coupled** with (Nano ) - TCD / (Nano) - FID/PID to detect -Gases & Impurities to PPT level , in process -DHS -Conference (Home land security) = www.sam2006.org

(9) Ruhel sensor(1) -**Coupled** with (Nano ) - electro-chemical mechanism sensor / detect -Gases & Impurities to PPT level , (in process) -DHS -Conference (Home land security)= www.sam2006.org

(10) A New- Ruhel- Anti Land mines sensor - :-أ series , of sensors

to detect and identify -Explosives ,Bio-Chemicals DHS -Home land

security (in process)

NOMINATION : (1) Please I got nominate for **The William T. Pecora Award.*2006,2007 , Its for remote sensing Technology, remotesensing.usgs.gov/pecora.html ,Pl Its NASA Award

(2) Pl, I got special e-mail form , Scientific American ,Inc ,415 Madison Avenue New York, NY, 10017, USA ,to apply for "A ROLEX AWARD =to project ,advances human knowledge and well-being?, www.rolexawards.com

(3) Pl, I nominated for "International WHO'S WHO of Professionals , as a candidate for inclusion in the 2005-2006 edition. = internationalwhoswho.com/

(4) Pl I got nominate for "for Prestigious Innovations Award ,2007 ", www.innovationsaward.harvard.edu ,Pl it will be given by Harvard university .,USA

(5) Pl I Got Nominate for Dubai International Award 2004,2005 ,2006 (Pl

its UN Award = www.unhabitat.org , Please it's Middle -East Nobel prize .for Environmental +best human practices . www.bestpractices.org,

SKILLS :-MS -word ,excel ,Office ,(have, "mine own" Personal Computer )From Dec, 2001 ,.

IR/GC-(FID/ECD/PID) ,GC-MS ,FTIR,UV/VIS ,ICP,

EDUCATION :--

MSc-1992 Physical Chemistry + BSc -1990 , Physics chemistry Mathematics -MLSUniversity -Udaipur -RAJ India =www.mlsu.org ,

Grade 75% (Physics-1989-BS), 79% (Optics-1989,BS), Approx 60% ( Electronics) ,69% (Magnetism and Electricity).(1989-BS),82% (Organic Chemistry-1988-BS) ,18th Position University (1989) = www.mlsu.org,

AWARDS :--Get International Merit Award of poetry , Poet of the Year for 2003,2002 ,2003 ,Hollywood ,Disney land

AFFILIATIONS:--

ACS (American Chemical Society )(Sub Div (Analytical Chemistry ,Computer - Chemistry, Organic Synthesis ) =www.acs.org

IUPAC (International Union Of Pure And Applied Chemistry ) =www.iupac.org

Member Chartered Chemist level = The Royal Australian Chemical Institute Inc.= www.raci.org.au

INDEPENDENT MEMBER OF JOURNALS :- for 1 J.Analytical chemistry 2 J. Pharmaceutical 3J. Organic Synthesis 4 J.Medicinal Chemistry (with ACS=www.acs.org )

Passport Number:-E-6884179

Date Of Birth 26-08-1966

Single (Kid Mr. .F. Chisty)

   

via Instagram

A pulled rickshaw (or ricksha) is a mode of human-powered transport by which a runner draws a two-wheeled cart which seats one or two people.

 

In recent times the use of human-powered rickshaws has been discouraged or outlawed in many countries due to concern for the welfare of rickshaw workers.

Pulled rickshaws have been replaced mainly by cycle rickshaw and auto rickshaws.

 

OVERVIEW

Rickshaws are commonly believed to have been invented in Japan in the 1860s, at the beginning of a rapid period of technical advancement.

 

In the 19th century, rickshaw pulling became an inexpensive, popular mode of transportation across Asia.

 

Peasants who migrated to large Asian cities often worked first as a rickshaw runner.

 

It was "the deadliest occupation in the East, [and] the most degrading for human beings to pursue."The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. In China, the rickshaw's popularity began to decline in the 1920s. In Singapore, the rickshaw's popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930.

 

DESCRIPTION

The initial rickshaws rode on iron-shod wooden wheels and the passenger sat on hard, flat seats. In the late 19th century and early 20th century. Rubber or pneumatic rubber tires, spring cushions, and backrests improved the passenger's comfort. Other features, such as lights were also added.

 

In the city of Shanghai, public rickshaws were painted yellow to differentiate from the private vehicles of the wealthy citizens, which were described as:

 

... always shiny, were carefully maintained, and sported 'a spotless white upholstered double seat, a clean plaid for one's lap, and a wide protective tarpaulin to protect the passenger (or passengers, since sometimes up to three people rode together) against the rain.'

 

The rickshaws were a convenient means of travel, able to traverse winding, narrow city streets. During monsoon season, passengers might be carried out of the carriage, above the flooded streets, to the door of their arrival. They offered door-to-door travel, unlike scheduled public bus and tram service.

 

COUNTRY OVERVIEW

AFRICA

EAST AFRIKA

In the 1920s, it was used in Bagamoyo, Tanga, Tanzania and other areas of East Africa for short distances.

 

MADAGASCAR

Rickshaws, known as pousse-pousse, were introduced by British missionaries. The intention was to eliminate the slavery-associated palanquin. Its name pousse-pousse, meaning push-push, is reportedly gained from the need to have a second person to push the back of the rickshaw on Madagascar's hilly roads. They are a common form of transport in a number of Malagasy cities, especially Antsirabe, but are not found in the towns or cities with very hilly roads. They are similar to Chinese rickshaws and are often brightly decorated.

 

NAIROBI

Rickshaws operated in Nairobi in the beginning of the 20th century; pullers went on strike there in 1908.

South Africa

Durban is famous for its iconic Zulu rickshaw pullers navigating throughout the city. These colorful characters are famous for their giant, vibrant hats and costumes. There were about 2,000 registered men who pulled rickshaws in Durban in 1904; Since displaced by motorised transport, there are approximately 25 rickshaws left whom mostly cater to tourists today.

 

ASIA

CHINA

In China, from the ancient times and until the 19th century, rich and important people, when traveling overland, were commonly transported in sedan chairs carried by bearers, rather than in wheeled vehicles. This was at least partly explained by road conditions. It is thought that it was from China (or East Asia in general) that sedan chair (a.k.a. "palanquin") designs were introduced into Western Europe in the 17th century. However, wheeled carts for one or two passengers, pushed (rather than pulled, like a proper rikshaw) by human servant, were attested as well.The proper rickshaw (pronounced renliche in Chinese) was first seen in China in 1886, and was used for public transportation in 1898. It was commonly called dongyangche for Japanese vehicle or "east- foreign-vehicle."

 

Rickshaw transportation was an important element in urban development in 20th century China, as a mode of transportation, source of employment and facilitation of migration for workers. According to author David Strand:

 

Sixty thousand men took as many as a half million fares a day in a city of slightly more than one million. Sociologist Li Jinghan estimated that one out of six males in the city between the ages of sixteen and fifty was a puller. Rickshaw men and their dependents made up almost 20 percent of Beijing's population.

 

Shanghai's rickshaw industry began in 1874 with 1,000 rickshaws imported from Japan. By 1914 there were 9,718 vehicles. The pullers were a large group of the city's working poor: 100,000 men pulled rickshaws by the early 1940s, up from 62,000 in the mid-1920s.Most manual rickshaws, a symbol of oppression of the working class, were eliminated in China after the founding of the People's Republic of China in 1949.

 

HOG KONG

Rickshaws were first imported to Hong Kong from Japan in 1880. They were a popular form of transport for many years, peaking at more than 3,000 in the 1920s. However, their popularity waned after World War II. No new licenses for rickshaws have been issued since 1975, and only a few old men—four as of 2009—still bear a license. It is reported that only one of them still offer rickshaw rides on The Peak, mainly for tourists.

 

INDIA

Around 1880, rickshaws appeared in India, first in Simla. At the turn of the century it was introduced in Kolkata (Calcutta), India and in 1914 was a conveyance for hire.

 

SERVICE AVAILIBILITY

Though most cities offer auto rickshaw service, hand-pulled rickshaws do exist in some areas, such as Kolkata, "the last bastion of human powered tana rickshaws". According to Trillin, most Kolkata rickshaws serve people "just a notch above poor" who tend to travel short distances. However, in a recent article by Hyrapiet and Greiner, the authors found that rickshaws also transport middle-class residents who use their services out of convenience and for short distance trips to the local marketplace. Rickshaws are used to transport goods, shoppers, and school children. It is also used as a "24 hour ambulance service."

 

Also according to Hyrapiet and Greiner, rickshaw pullers have acted as peer-educators for the Calcutta Samaritans prodving critical information on HIV/AIDS because of their access to marginalized groups within Kolkata's red light districts.

 

Rickshaws are the most effective means of transportation through the flooded streets of the monsoon season.

When Kolkata floods rickshaw business increases and prices rise.

 

The pullers live a life of poverty and many sleep under rickshaws.Rudrangshu Mukerjee, an academic, stated many people's ambivalent feelings about riding a rickshaw: he does not like about being carried in a rickshaw but does not like the idea of "taking away their livelihood."Motor vehicles are banned in the eco-sensitive zone area of Matheran, India, a tourist hill station near Mumbai so man-pulled rickshaws are still one of the major forms of transport there.

 

LEGISLATION

In August 2005, the Communist government of West Bengal announced plans to completely ban pulled rickshaws, resulting in protests and strikes of the pullers. In 2006, the chief minister of West Bengal, Buddhadeb Bhattacharya, announced that pulled rickshaws would be banned and that rickshaw pullers would be rehabilitated.

 

JAPAN

There are several theories about the invention of the rickshaw. Japan historian Seidensticker wrote of the theories:

 

Though the origins of the rickshaw are not entirely clear, they seem to be Japanese, and of Tokyo specifically. The most widely accepted theory offers the name of three inventors, and gives 1869 as the date of invention.

 

Starting in 1870, the Tokyo government issued a permission for Izumi Yosuke, Takayama Kosuke, and Suzuki Tokujiro to build and sell rickshaws. By 1872, they became the main mode of transportation in Japan, with about 40,000 rickshaws in service. The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. After the World War II, when gasoline and automobiles were scarce, they made a temporary come-back. The rickshaw tradition has stayed alive in Kyoto and Tokyo's geisha districts only for tourists as well as in other tourist places. The tradition completely disappeared once, but a few people revived jinrikisha (human-powered rickshaws) for tourists in the 1970s-1980s and the rickshaws became popular as a tourism resource in the 2000s. The modern rickshaw men are a kind of tourist guide, who take their clients to some tourist spots and explain about them. Many of them are part-time working students and athletes who like running or exchanging cultures.

 

MALAYSIA

Rickshaws were a common mode of transport in urban areas of Malaysia in the 19th and early 20th centuries until gradually replaced by cycle rickshaws.

 

PAKISTAN

Pulled and Cycle rickshaw (qinqi) have been banned in Pakistan since November 1949. Prior to the introduction of auto rickshaws in cities, horse-drawn carriages (tongas) were a main source of public transportation.

 

SINGAPORE

Singapore had received its first rickshaws in 1880 and soon after they were prolific, making a "noticeable change in the traffic on Singapore's streets." Bullock carts and gharries were used prior to the introduction of rickshaws.Many of the poorest individuals in Singapore in the late nineteenth century were poor, unskilled people of Chinese ancestry. Sometimes called coolies, the hardworking men found pulling rickshaws was a new means of employment. Rickshaw pullers experienced "very poor" living conditions, poverty and long hours of hard work. Income remained unchanged from 1876 to 1926, about $.60 per day.Rickshaws popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930. In or after the 1920s a union was formed, called the Rickshaw Association, protect the welfare of rickshaw workers.

 

NORTH AMERIKA

UNITED STATES OF AMERIKA

From A History of the Los Angeles City Market (1930-1950), pulled rickshaws were operated in Los Angeles by high school teenagers during that time period.

 

CANADA

Foot-driven rickshaws have enjoyed several decades of popularity in Halifax, Nova Scotia; in addition to providing tours of the historic Waterfront, rickshaws are also occasionally used for transportation by local residents. The city is home to the oldest rickshaw company in Canada.Rickshaws are a popular mode of transportation in downtown Ottawa, Ontario, providing tours of historical Byward Market, in the summer. Ottawa's rickshaws stay true to the traditional foot-driven rickshaw model, but feature modern sound-systems.

 

WIKIPEDIA

This is my Lego Ideas project, so if you can, please support it here: ideas.lego.com/projects/7d059690-be78-43c3-a590-09228df65c6d

This is the Lego version of the Greek Myth Daedalus and Icarus. You can find a more thorough description of this on the Ideas site.

I did not invent this tower construction method.

A number of years ago, I did some fictional liveries on bus nets and invented some fictional operators to go with them. One such was Apollo Bus (www.flickr.com/photos/108834608@N06/22986087316/in/photol...) which I thought I would revive in the form of an operator of elderly private hire/school buses in OMSI.

 

The KMB Leyland Olympian has four variants of 9.5 metre, two axle buses. After spending many infuriating hours trying to work out which repaint belonged to which variant (of the four 9.5m variant and the countless 11m variants). Unhelpfully they were only labelled up as 9.5m or 11m so it took some time to re-label them all correctly and with something to identify each bus and what repaint file it used.

 

I only discovered there were three types of front grille when half of the repaints messed up, so after sorting that out I decided to make something a little less dull than the basic KMB repaints each bus came with. The 9.5m buses are the ones which I will probably use the most, and after getting all the repaint textures lined up as best I could (I somehow managed to overwrite the 9.5m side textures with ones from an 11m version) I tried to think of a livery to go on them all.

 

The idea of reviving Apollo Bus, with a similar livery but more in the style of an operator who mainly focuses on private hire school contracts, rail replacement etc and a fleet of mostly (if not all) old step-entrance buses. A bit like what South Yorkshire's Brightbus was.

 

Now, an operator like this would quite happily operate tri-axle buses too (Brightbus had loads) but like I said, I was focusing on the two axle version (tri axles may come later...)

 

The 'fleet' consists of ten buses in total, and I thought that being in-keeping with the style of operator, each livery would be pretty much the same but with no two buses being identical. So each of the ten buses as its own repaint, which is why some buses have blue skirts, some have blue up to the waist area, and some have blue roofs while others have the whole top deck in blue.

 

What I would want to do is add a few Metrobuses, perhaps a couple of tri-axles, some maybe in a different 'previous' livery with fleet names pasted over - maybe even the odd Fleetline!

 

Because having all the buses parked up at Cotterell Uni (clearly, they overestimated the number of open day shuttle buses they needed!) killed my FPS, I sent them out one-by-one with at AI in control, driving around at random. The last bus, which looked kind of like a Metrobus in a way, I then drove to Cotterell bus station while I looked at the other buses along the way. Some of them need areas tweaking, especially around the headlights/dash panels.

 

What it then reminded me of, since they were everywhere, were the Corporation-type buses of old where, pre-deregulation, a city would be flooded with municipal buses of a seemingly infinite amount. Unfortunately, this effect was kind of ruined by the very de-reg livery and the fact that each bus was a bit crappy and inconsistent with all the other ones.

 

If the buses were halfcabs in a livery like cream/red, cream/green or cream/blue, then it have the full effect.

This is a similar problem to the route branding style adopted by NCT, as each bus has a highly contrasting livery to one from another line. Before Go2 was introduced, (almost) every bus was green and cream, and the whole fleet had a bigger presence in the city, since small numbers almost identical looking vehicles could be found in all corners of the city, and en masse in the more central areas. Nowadays, a Solo SR in yellow line 70/71 livery looks nothing like an E400 City in red line 44 livery because the colours are totally different and the new livery has yet to reach large parts of the fleet.

 

While I do like route branding, and the segregation of routes into similar groups (as per NCTs colour line system), the initial implication of coloured stickers and boards adorning the original green and cream livery might have been able to preserve the all-together presence of the fleet (the same presence that swathes of non route branded First, Arriva and Stagecoach buses bring to many cities)

A pulled rickshaw (or ricksha) is a mode of human-powered transport by which a runner draws a two-wheeled cart which seats one or two people.

 

In recent times the use of human-powered rickshaws has been discouraged or outlawed in many countries due to concern for the welfare of rickshaw workers.

Pulled rickshaws have been replaced mainly by cycle rickshaw and auto rickshaws.

 

OVERVIEW

Rickshaws are commonly believed to have been invented in Japan in the 1860s, at the beginning of a rapid period of technical advancement.

 

In the 19th century, rickshaw pulling became an inexpensive, popular mode of transportation across Asia.

 

Peasants who migrated to large Asian cities often worked first as a rickshaw runner.

 

It was "the deadliest occupation in the East, [and] the most degrading for human beings to pursue."The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. In China, the rickshaw's popularity began to decline in the 1920s. In Singapore, the rickshaw's popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930.

 

DESCRIPTION

The initial rickshaws rode on iron-shod wooden wheels and the passenger sat on hard, flat seats. In the late 19th century and early 20th century. Rubber or pneumatic rubber tires, spring cushions, and backrests improved the passenger's comfort. Other features, such as lights were also added.

 

In the city of Shanghai, public rickshaws were painted yellow to differentiate from the private vehicles of the wealthy citizens, which were described as:

 

... always shiny, were carefully maintained, and sported 'a spotless white upholstered double seat, a clean plaid for one's lap, and a wide protective tarpaulin to protect the passenger (or passengers, since sometimes up to three people rode together) against the rain.'

 

The rickshaws were a convenient means of travel, able to traverse winding, narrow city streets. During monsoon season, passengers might be carried out of the carriage, above the flooded streets, to the door of their arrival. They offered door-to-door travel, unlike scheduled public bus and tram service.

 

COUNTRY OVERVIEW

AFRICA

EAST AFRIKA

In the 1920s, it was used in Bagamoyo, Tanga, Tanzania and other areas of East Africa for short distances.

 

MADAGASCAR

Rickshaws, known as pousse-pousse, were introduced by British missionaries. The intention was to eliminate the slavery-associated palanquin. Its name pousse-pousse, meaning push-push, is reportedly gained from the need to have a second person to push the back of the rickshaw on Madagascar's hilly roads. They are a common form of transport in a number of Malagasy cities, especially Antsirabe, but are not found in the towns or cities with very hilly roads. They are similar to Chinese rickshaws and are often brightly decorated.

 

NAIROBI

Rickshaws operated in Nairobi in the beginning of the 20th century; pullers went on strike there in 1908.

South Africa

Durban is famous for its iconic Zulu rickshaw pullers navigating throughout the city. These colorful characters are famous for their giant, vibrant hats and costumes. There were about 2,000 registered men who pulled rickshaws in Durban in 1904; Since displaced by motorised transport, there are approximately 25 rickshaws left whom mostly cater to tourists today.

 

ASIA

CHINA

In China, from the ancient times and until the 19th century, rich and important people, when traveling overland, were commonly transported in sedan chairs carried by bearers, rather than in wheeled vehicles. This was at least partly explained by road conditions. It is thought that it was from China (or East Asia in general) that sedan chair (a.k.a. "palanquin") designs were introduced into Western Europe in the 17th century. However, wheeled carts for one or two passengers, pushed (rather than pulled, like a proper rikshaw) by human servant, were attested as well.The proper rickshaw (pronounced renliche in Chinese) was first seen in China in 1886, and was used for public transportation in 1898. It was commonly called dongyangche for Japanese vehicle or "east- foreign-vehicle."

 

Rickshaw transportation was an important element in urban development in 20th century China, as a mode of transportation, source of employment and facilitation of migration for workers. According to author David Strand:

 

Sixty thousand men took as many as a half million fares a day in a city of slightly more than one million. Sociologist Li Jinghan estimated that one out of six males in the city between the ages of sixteen and fifty was a puller. Rickshaw men and their dependents made up almost 20 percent of Beijing's population.

 

Shanghai's rickshaw industry began in 1874 with 1,000 rickshaws imported from Japan. By 1914 there were 9,718 vehicles. The pullers were a large group of the city's working poor: 100,000 men pulled rickshaws by the early 1940s, up from 62,000 in the mid-1920s.Most manual rickshaws, a symbol of oppression of the working class, were eliminated in China after the founding of the People's Republic of China in 1949.

 

HOG KONG

Rickshaws were first imported to Hong Kong from Japan in 1880. They were a popular form of transport for many years, peaking at more than 3,000 in the 1920s. However, their popularity waned after World War II. No new licenses for rickshaws have been issued since 1975, and only a few old men—four as of 2009—still bear a license. It is reported that only one of them still offer rickshaw rides on The Peak, mainly for tourists.

 

INDIA

Around 1880, rickshaws appeared in India, first in Simla. At the turn of the century it was introduced in Kolkata (Calcutta), India and in 1914 was a conveyance for hire.

 

SERVICE AVAILIBILITY

Though most cities offer auto rickshaw service, hand-pulled rickshaws do exist in some areas, such as Kolkata, "the last bastion of human powered tana rickshaws". According to Trillin, most Kolkata rickshaws serve people "just a notch above poor" who tend to travel short distances. However, in a recent article by Hyrapiet and Greiner, the authors found that rickshaws also transport middle-class residents who use their services out of convenience and for short distance trips to the local marketplace. Rickshaws are used to transport goods, shoppers, and school children. It is also used as a "24 hour ambulance service."

 

Also according to Hyrapiet and Greiner, rickshaw pullers have acted as peer-educators for the Calcutta Samaritans prodving critical information on HIV/AIDS because of their access to marginalized groups within Kolkata's red light districts.

 

Rickshaws are the most effective means of transportation through the flooded streets of the monsoon season.

When Kolkata floods rickshaw business increases and prices rise.

 

The pullers live a life of poverty and many sleep under rickshaws.Rudrangshu Mukerjee, an academic, stated many people's ambivalent feelings about riding a rickshaw: he does not like about being carried in a rickshaw but does not like the idea of "taking away their livelihood."Motor vehicles are banned in the eco-sensitive zone area of Matheran, India, a tourist hill station near Mumbai so man-pulled rickshaws are still one of the major forms of transport there.

 

LEGISLATION

In August 2005, the Communist government of West Bengal announced plans to completely ban pulled rickshaws, resulting in protests and strikes of the pullers. In 2006, the chief minister of West Bengal, Buddhadeb Bhattacharya, announced that pulled rickshaws would be banned and that rickshaw pullers would be rehabilitated.

 

JAPAN

There are several theories about the invention of the rickshaw. Japan historian Seidensticker wrote of the theories:

 

Though the origins of the rickshaw are not entirely clear, they seem to be Japanese, and of Tokyo specifically. The most widely accepted theory offers the name of three inventors, and gives 1869 as the date of invention.

 

Starting in 1870, the Tokyo government issued a permission for Izumi Yosuke, Takayama Kosuke, and Suzuki Tokujiro to build and sell rickshaws. By 1872, they became the main mode of transportation in Japan, with about 40,000 rickshaws in service. The rickshaw's popularity in Japan declined by the 1930s with the advent of automated forms of transportation, like automobiles and trains. After the World War II, when gasoline and automobiles were scarce, they made a temporary come-back. The rickshaw tradition has stayed alive in Kyoto and Tokyo's geisha districts only for tourists as well as in other tourist places. The tradition completely disappeared once, but a few people revived jinrikisha (human-powered rickshaws) for tourists in the 1970s-1980s and the rickshaws became popular as a tourism resource in the 2000s. The modern rickshaw men are a kind of tourist guide, who take their clients to some tourist spots and explain about them. Many of them are part-time working students and athletes who like running or exchanging cultures.

 

MALAYSIA

Rickshaws were a common mode of transport in urban areas of Malaysia in the 19th and early 20th centuries until gradually replaced by cycle rickshaws.

 

PAKISTAN

Pulled and Cycle rickshaw (qinqi) have been banned in Pakistan since November 1949. Prior to the introduction of auto rickshaws in cities, horse-drawn carriages (tongas) were a main source of public transportation.

 

SINGAPORE

Singapore had received its first rickshaws in 1880 and soon after they were prolific, making a "noticeable change in the traffic on Singapore's streets." Bullock carts and gharries were used prior to the introduction of rickshaws.Many of the poorest individuals in Singapore in the late nineteenth century were poor, unskilled people of Chinese ancestry. Sometimes called coolies, the hardworking men found pulling rickshaws was a new means of employment. Rickshaw pullers experienced "very poor" living conditions, poverty and long hours of hard work. Income remained unchanged from 1876 to 1926, about $.60 per day.Rickshaws popularity increased into the 20th century. There were approximately 50,000 rickshaws in 1920 and that number doubled by 1930. In or after the 1920s a union was formed, called the Rickshaw Association, protect the welfare of rickshaw workers.

 

NORTH AMERIKA

UNITED STATES OF AMERIKA

From A History of the Los Angeles City Market (1930-1950), pulled rickshaws were operated in Los Angeles by high school teenagers during that time period.

 

CANADA

Foot-driven rickshaws have enjoyed several decades of popularity in Halifax, Nova Scotia; in addition to providing tours of the historic Waterfront, rickshaws are also occasionally used for transportation by local residents. The city is home to the oldest rickshaw company in Canada.Rickshaws are a popular mode of transportation in downtown Ottawa, Ontario, providing tours of historical Byward Market, in the summer. Ottawa's rickshaws stay true to the traditional foot-driven rickshaw model, but feature modern sound-systems.

 

WIKIPEDIA

It's not surprising it could end like this

Your eyes are open even when you kiss

You're so distant

So cold, so resistant

 

You see the world in only grey and black

Now how could anybody live like that

Without screaming

Without dying for dreaming

 

And you stare out the window at the passing cars

And you look at the sky, thank your unlucky stars

No you're never quite happy right where you are

 

So you keep on

Inventing shadows

Where there are none

No, there are none

Yeah, you keep on

Inventing shadows

Where there are none

You don't even see the sun

Can't you see the sun?

 

- Dia Frampton

 

Lucas & Miguel are not on the rocks, they are just the models for this photo ;-)