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Whizzing round the Poole Park cycle track
Did you learn to ride your bike in Poole Park? Or maybe you raced here? From its opening in 1892, the Poole Park track was the place to go for cycling in Poole. Thousands enjoyed the exhilarating track races.
Others came for fun family rides.
This track is one of the few Victorian park cycle tracks remaining: Just like today
cycling was very fashionable then. As soon as the Poole track opened, races became popular events.
'Encouraged by the frantic. Often there were 12,000 spectators.
The two main clubs were the Poole
Wheelers and Wesley Guild Cycling Club.
The Banten brothers were the local stars.
The family owned a bicycle shop and raced for Wesley Guild CC.
In the 1930s, Bill Harvell was the star rider.
He trained at Poole Park and won a Bronze Medal at the Olympic Games in 1932.
In 1933, he led the Poole Wheelers' team to victory at the National Team Pursuit Championship. Another champion was Marguerite Wilson from Bournemouth.
She became the first full-time female professional cyclist. At one point she held all 16 women's distance records.
In the 1970s and 80s, riders travelled quite a distance to compete here. It was one of the few places for mid-week racing.
Imagine racing here. The first track was gravel and cinder. In places it isn't much more than two metres wide. How did they avoid the benches and trees? Not to mention the water and spectators. Try to picture the spectacle of 30 fast and furious riders whizzing round the track.
Poole Wheelers are still an active club today, with regular rides for members of all abilities. Families also come to ride their bikes. Did you race or learn to ride your bike on the Poole Park track?
than to be able to read Latin :-) Charles Haddon Spurgeon
HPPT!!
prunus mume, Japanese flowering apricot, 'Luke', j c raulston arboretum, ncsu, raleigh, north carolina
The high-resolution background image of this poster is also available to download and use:
Mount St. Helens: A Mountain Reborn background image
Learn and see more:
US Forest Service Mount St. Helens Area page
The Bare Earth lidar story map
Map text:
The cataclysmic eruption of Mount St. Helens on the morning of May 18, 1980, instantly transformed the glacier-capped volcano and its surrounding forests and lakes into an unrecognizable landscape. Moments before the volcano erupted, an earthquake accompanied the collapse of 3.7 billion cubic yards of land on the north flank of the mountain—one of the largest landslides in recorded history! The lateral blast that instantaneously followed the landslide flattened everything in its path—as far as 17 miles away from the volcano. Pyroclastic flows covered the land to the north of the volcano with a mixture of hot gases and debris while the vertical eruption column sent ash and gas high into the atmosphere.
In addition to altering the volcano’s physical landscape, the eruption catastrophically disrupted its productive mountain ecosystem. In the years and decades that followed, however, streams carved new paths through the volcanic deposits, the volcano grew bulky lava domes, and within the steep crater walls, a new glacier was born. Today, plants and animals have repopulated the lakes and lands around the volcano and life is once again flourishing.
Read more below for examples of how the landscape of Mount St. Helens has been continuously transformed since the eruption of 1980.
1 Lava Domes
Between 1980 and 1986, a series of smaller eruptions formed a lava dome in the crater of Mount St. Helens. These eruptions added an estimated 101 to 119 million cubic yards of lava to the crater. An eruption from 2004 to 2008 formed a series of dacite spines that added an additional lava dome with 121 million cubic yards of material—enough to fill almost 37,000 Olympic swimming pools!
2 Crater Glacier
Movement in the crater snowfield in the mid-1990s signaled the arrival of Crater Glacier (also known as Tulutson Glacier). Since then, a combination of shade from a north-facing aspect and high crater walls, avalanches of snow, ice, and rock from the crater rim, and an insulating rock cover have fueled the glacier’s continuous growth. In 2004, erupting lava began squeezing the glacier against the crater walls accelerating its downslope flow. Four years later the east and west arms of the glaciers merged, completely encircling the lava domes.
3 Spirit Lake
The debris avalanche from the 1980 eruption completely displaced Spirit Lake, pushing its waters 800 feet up the opposite slopes and completely filling the former lake basin with volcanic sediment. Amazingly, the elevation of the current lakebed is now higher than the lake’s previous surface. Although the lake is not as deep as before, the shoreline is 200 ft higher than it once was and the surface area is nearly double its previous size. In the decades since the eruption, life has returned to the lake. Phytoplankton, the base of the aquatic food chain, reemerged, followed by frogs and salamanders. Rainbow trout, likely reintroduced by humans, now thrive in the lake’s waters. A persistent mat of floating logs, remnant of the former surrounding forest, now covers 15–20 percent of the lake, providing additional habitat for insects and other life.
4 Pumice Plain
Pyroclastic flows from the initial and subsequent 1980 eruptions of Mount St. Helens blanketed the surface of the debris avalanche directly north of the mountain and left behind a barren zone known as the ‘Pumice Plain’. Incredibly, within two years, native lupine plants bloomed on this sterile landscape. In turn, lupine added essential nutrients to the soil while also providing anchor points for other plants to take hold. In the decades since the eruption, many other native plants and animals, including pocket gophers and elk, have gradually returned to the Pumice Plain. It has become an invaluable living laboratory for scientists seeking to study how landscapes recover and develop after a seemingly catastrophic geologic event.
5 North Fork Toutle River
The debris avalanche completely buried the upper North Fork Toutle River near the mountain. Hours after the eruption, a volcanic mudflow known as a lahar entered the lower reach of the river as ice and snow meltwater, groundwater, and sediment flowed from the deposit. The lahar traveled down the Toutle and Cowlitz River system to the Columbia River, choking downstream channels with sediment and debris. Today, the river winds a new course by eroding and transporting debris avalanche sediment down river. Including the lahar, over 400 million tons of sediment have entered the river system since 1980, yet only about 15 percent of the deposit has been eroded. Although many structures have been built to contain sediment and manage flooding, sediment continues to flow into the river promising the 1980 eruption and debris avalanche will continue to reshape the North Fork Toutle River into the foreseeable future.
Map by Daniel E. Coe, Washington Geological Survey, Washington State Department of Natural Resources.
You may use this image for any purpose, commercial or non-commercial, with or without modification, as long as you attribute us. For attribution please use ‘Image from the Washington Geological Survey (Washington State DNR)’ if it’s a direct reproduction, or ‘Image modified from the Washington Geological Survey (Washington State DNR)’ if there has been some modification.
For more information, see the linked Creative Commons Attribution-ShareAlike license.
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"How can I learn to trust that God is in control?"
Answer: Before we can learn to trust that God is in control of all of life’s circumstances, we have to answer four questions: Is God really in control? How much control does He have? If He is not in complete control, then who/what is? How can I learn to trust that He is in control and rest in that?
Is God really in control? The concept of the control of God over everything is called the “sovereignty” of God. Nothing gives us strength and confidence like an understanding of the sovereignty of God in our lives. God’s sovereignty is defined as His complete and total independent control over every creature, event, and circumstance at every moment in history. Subject to none, influenced by none, absolutely independent, God does what He pleases, only as He pleases, always as He pleases. God is in complete control of every molecule in the universe at every moment, and everything that happens is either caused or allowed by Him for His own perfect purposes.
“The LORD of hosts has sworn, saying, ‘Surely, as I have thought, so it shall come to pass, And as I have purposed, so it shall stand’” (Isaiah 14:24). Nothing is random or comes by chance, especially not in the lives of believers. He “purposed” it. That means to deliberately resolve to do something. God has resolved to do what He will do, and nothing and no one stands in His way. “I make known the end from the beginning, from ancient times, what is still to come. I say: My purpose will stand, and I will do all that I please” (Isaiah 46:10). This is our powerful, purposeful God who is in control of everything. That should bring us great comfort and help to alleviate our fears.
But exactly how much control does God have? God’s total sovereignty over all creation directly contradicts the philosophy of open theism, which states that God doesn’t know what’s going to happen in the future any more than we do, so He has to constantly be changing His plans and reacting to what the sinful creatures do as they exercise their free will. God isn’t finding out what’s going to happen as events unfold. He is continuously, actively running things—ALL things—here and now. But to think He needs our cooperation, our help, or the exercise of our free will to bring His plans to pass puts us in control over Him, which makes us God. Where have we heard that lie before? It’s a rehash of Satan’s same old lie from the Garden—you shall be like God (Genesis 3:5). Our wills are only free to the extent that God allows us that freedom and no farther. “All the peoples of the earth are regarded as nothing. He does as he pleases with the powers of heaven and the peoples of the earth. No one can hold back his hand or say to him: ‘What have you done?’” (Daniel 4:35). No one’s free will trumps the sovereignty of God.
Some people find it appealing to think that Satan has control over a certain amount of life, that God is constantly revising His plans to accommodate Satan’s tricks. The book of Job is a clear illustration of just who has the sovereign power and who doesn’t. Satan came to God and, in effect, said, “Job only serves you because you protect him.” So God gave Satan permission to do certain things to Job but no more (Job 1:6–22). Could Satan do more than that? No. God is in control over Satan and his demons who try to thwart God’s plans at every step.
Satan knew from the Old Testament that God’s plan was for Jesus to come to the earth, be betrayed, crucified and resurrected, and provide salvation for millions, and if there was any way to keep that from happening, Satan would have done it. If just one of the hundreds of prophecies about the Messiah could have been caused by Satan to fail to come to pass, the whole thing would have collapsed. But the numbers of independent, “free will” decisions made by thousands of people were designed by God to bring His plan to pass in exactly the way He had planned it from the beginning, and Satan couldn’t do a thing about it.
Jesus was “delivered by the determined purpose and foreknowledge of God” (Acts 2:23). No action by the Romans, the Pharisees, Judas, or anyone else kept God’s plan from unfolding exactly the way He purposed it from before the foundation of the world. Ephesians 1 says we were chosen in Him before the world was even created. We were in the mind of God to be saved by faith in Christ. That means God knit together Satan’s rebellion, Adam and Eve’s sin, the fall of the human race, and the death and crucifixion of Christ—all seemingly terrible events—to save us before He created us. Here is a perfect example of God working all things together for good (Romans 8:28).
Unlimited in power, unrivalled in majesty, and not thwarted by anything outside Himself, our God is in complete control of all circumstances, causing or allowing them for His own good purposes and plans to be fulfilled exactly as He has foreordained.
Finally, the only way to trust in God’s sovereign control and rest in it is to know God. Know His attributes, know what He has done in the past, and this builds confidence in Him. Daniel 11:32b says, “The people who know their God shall be strong, and carry out great exploits.” Imagine that kind of power in the hands of an evil, unjust god. Or a god that really doesn’t care about us. But we can rejoice in our God’s sovereignty, because it is overshadowed by His goodness, His love, His mercy, His compassion, His faithfulness, and His holiness.
But we can’t trust someone we don’t know, and there is only one way to know God—through His Word. There is no magic formula to make us spiritual giants overnight, no mystical prayer to pray three times a day to mature us, build our faith, and make us towers of strength and confidence. There is only the Bible, the single source of power that will change our lives from the inside out. But it takes effort, diligent, everyday effort, to know the God who controls everything. If we drink deeply of His Word and let it fill our minds and hearts, the sovereignty of God will become clear to us, and we will rejoice in it because we will know intimately and trust completely the God who controls all things for His perfect purpose.
"Learn to think and weigh your options to help make a responsible choice or decision."
~ Unknown
memories, memories, memories...
Thanks for stopping by
and God Bless,
hugs, Chris
I found it in a Coelogyne flower at the backyard. It was 1cm across. Please enlarge the picture to see 'the face'. It is far from being a good macro shot, but this spider has some nice eyes!
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A break between skyline shots. A hangar sits abandoned at the former City Centre Airport (YXD) in Edmonton, AB.
We should learn from the snow how to enter in other people’s life, with that grace and that ability to put a thin layer of beauty above all things.
Dovremmo imparare dalla neve a entrare nella vita degli altri con quella grazia e quella capacità di stendere un velo di bellezza sulle cose.
I suck at picking my favorite; More in comments; I was exploring flickr a few days ago and I saw an interesting photo. A person attached a tag to their toe with their name, age, and cause of death on it. I thought it was an amazing idea!! So I wanted to try. I wish I remembered the person's name so I can give them credit for the idea. Im sure other people have done it before him but I would still like to give them credit for giving me the idea. While doing this I got the idea of rape from a recent experience. It didn't personally happen to me but it was something I would enjoy not mentioning on flickr. So this photo was not only for fun but it was also to display a purpose.
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تعلم التصوير بخطوات سهلة ومبسطة مع زهراء حسين
“You will learn the hard way that on the long journey of life you will encounter many masks and few faces“
“Imparerai a tue spese che nel lungo tragitto della vita incontrerai tante maschere e pochi volti.”
Luigi Pirandello
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1995-2015.undo.net/Pressrelease/foto/1202921455b.jpg
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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I was working on two of my photographic projects, then Carnival arrived, I put aside what I had done up until then, and so I created this group of photographs; they are shots taken during the Carnival which took place in Taormina center (Taormina alta) and in Trappitello (fraction of Taormina, the plain part of Taormina, located towards the hinterland; there is also Taormina seaside, but this part is not was affected by the Carnival). Carnival, from a photographic point of view, has always interested me not for its allegorical floats, not for its beautiful or refined masks, but for the people who find themselves "behind the masks", for their emotions, the their ability to have fun, to uninhibit themselves, even in front of the camera. I photographed a detail of the float dedicated to the mayor of Taormina, Cateno De Luca, I photographed boys and girls from the masked groups who paraded through the city streets, as well as boys and girls not belonging to any group, who had fun with clothes invented for the 'occasion; despite having placed heterogeneous photographs, I mostly followed a theme that refers to a work by Andy Warhol, an iconic figure of Pop Art as well as being one of the most important artists of the 20th century, ideally linking myself for its creation to the allegorical float of Pop Art of Taormina.
I conclude, I dedicate this work to the flicker-friend White Angel, hoping to please her.
www.flickr.com/photos/white-angel/
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Stavo lavorando a due miei progetti fotografici, poi è arrivato il Carnevale, ho messo da parte quanto avevo fino ad allora fatto, ed ho così realizzato questo gruppo di fotografie; sono scatti realizzati durante il Carnevale che si è svolto a Taormina centro (Taormina alta) ed a Trappitello (frazione di Taormina, la parte in pianura di Taormina, sita verso l’entroterra; c’è anche Taormina mare, ma questa parte non è stata interessata dal Carnevale). Il Carnevale, dal punto di vista fotografico, mi ha sempre interessato non per i suoi carri allegorici, non per le sue maschere belle o ricercate che siano, ma per le persone che si trovano “dietro le maschere”, per le loro emozioni, la loro capacità di divertirsi, di disinibirsi, anche davanti la macchina fotografica. Ho fotografato un dettaglio del carro dedicato al sindaco di Taormina, Cateno De Luca, ho fotografato ragazzi e ragazze dei gruppi in maschera che sfilavano per le vie cittadine, come ragazzi e ragazze non appartenenti a nessun gruppo, che si divertivano con vestiti inventati per l’occasione; pur avendo messo fotografie eterogenee, ho seguito maggiormente un tema che fa riferimento ad un lavoro di Andy Warhol, figura iconica della Pop Art oltre che essere uno dei più importanti artisti del XX secolo, agganciandomi idealmente per la sua realizzazione, al carro allegorico della Pop Art di Taormina.
Concludo, dedico questo lavoro alla flicker-friend White Angel, sperando di farle cosa gradita.
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Now this is inspiration that should've struck a month ago. Still, I had a laugh making them. They're small squares of tea-stained watercolor paper painted with deep scarlet watercolor and accented with black ink. What's fun with these is you can put them in any order you want, or get a couple sets and watch kitty really never learn - repeatedly.
Pssssst: Zazzle Store
I took this from the Gatwick Express train on our way back home. It was interesting to learn about the redevelopment of Battersea. See below for a description of the project.
From New York Magazine
Written by: Justin Davidson
nymag.com/intelligencer/2019/10/review-of-the-redeveloped...
“If you were going to anoint a single great temple to the deity of fossil fuel, you might choose the Battersea Power Station, just across the Thames from some of the costliest real estate in London. From the 1930s through the ’70s, it sucked up coal and pumped out electricity. Now it’s burning through £9 billion ($11.5 billion) in the hope of generating much, much more, and that process of transformation is an awesome, troubling thing to behold. Bristling with cranes, it hulks over the river like some rough beast, slouching toward Westminster. Londoners know it from a distance — the quartet of chimneys jabbing at clouds, its mountainous brick bulk — but few have been inside. That will soon change, along with everything else about it.
I recently toured the construction site with Sebastien Ricard, an architect at the firm Wilkinson Eyre who is in charge of disemboweling, shoring up, and rebuilding the structure for use as a zone of white-collar lifestyle and work. Even when I stand inside the shell, the great fluted columns of the turbine hall rising toward a distant ceiling, the scale of the place is hard to fathom. One of the two boiler houses is filled with an impenetrable thicket of scaffolding. In the other, fresh armatures of concrete and steel have grown up beneath a new roof. Not long ago, Battersea Power Station was a ruin, left exposed by a developer who went bankrupt before he made good on a plan for an open-air amusement park. For years, only the rain and the odd nocturnal creature penetrated the decaying interiors.
Now, money is flowing again, thanks to a consortium of the Malaysian development group Setia, Sime Darby Property, and Employees Provident Fund. Ricard points out a vast slab of raw concrete that one day will host cocktail parties, with expansive views onto the Thames. Beyond, an undergrowth of apartment blocks is already growing around the outer walls, supplemented by an esplanade, a riverboat stop, and a couple of still-quiet cafés. Leisure is on the move.
There’s something simultaneously exciting, a little sad, and bracingly preposterous about the rehabilitation: exciting because the project brings fresh life to a central city tract that has been forlorn for a couple of generations; sad because that life consists of a narrow and familiar set of ways to make and spend money. Preposterous because the task of converting a huge machine for the postindustrial era means treating it as a precious relic. To satisfy Historic England, the body that oversees “listed” buildings, the developers had to demolish and rebuild four of those graceful but useless smokestacks, match thousands of damaged tiles, and order a million hand-made bricks from the same workshops that furnished the originals. It’s a multibillion-dollar fixer-upper.
The largest brick building in Europe, it inspired awe in the kingdom of energy. The architect was Giles Gilbert Scott, who brought a classicizing finesse to tough utilitarian structures like the Bankside Power Station that later became Tate Modern, and the U.K.’s famous red telephone booth. (The booth has an exquisite architectural pedigree: It’s based on the 19th-century architect Sir John Soane’s mausoleum, which in turn got its characteristic shallow dome from the breakfast room in Soane’s own house.) As if to guard against inevitable obsolescence, Scott encrusted the Battersea colossus with Art Deco flourishes, including the opulent control room with coffered ceilings. (In the next incarnation, that will become an event space.)
The power station burned a million tons of coal a year, hewn from the ground under Northumberland and Wales, hauled by train or loaded on barges, and transferred from a jetty on the Thames. When the facility was first proposed, Londoners objected to the idea of spitting so much coal smoke into the air of their city center. Not to worry, the journal Nature chirped in 1932: Recent technological advances had “proved conclusively that the emission of sulphur fumes can be reduced to a negligible quantity.” That was partly true: An innovative process scrubbed the gases of their most noxious ingredients by “washing” them with water — which was then dumped into the Thames. Keeping the lights on amounted to a choice between visibly poisoning the air and invisibly poisoning the river. Eventually, though, coal did both. In 1952, a thick cloud laden with toxins settled over London, and by the time it dissipated five days later, it had killed 12,000 people. Battersea’s B section was still under construction.
It was the album cover of Pink Floyd’s 1977 album Animals that gave the almost-retired plant a global profile and a reputation for mayhem that continued through rock concerts, festivals, and raves. (Algie, the inflatable pink pig tethered to one of the chimneys for the photo shoot, broke free and soared into the Heathrow Airport flight path; police helicopters chased it for miles until it alighted in a field in Kent.) The powerhouse glowered over the banks of the Thames, but it loomed even more impressively in the lives of commuters, who passed its great brick cliffs on the train just before pulling into Victoria Station. “It looked like a gate, or a castle,” says the aptly named Peter Watts in his book Up in Smoke: the Failed Dreams of Battersea Power Station. “When it came into view, that was the moment you were entering the city, which was always so much more exciting than whatever town in Surrey you were coming from. It looked primal and permanent. I fantasize that at the end of days, everything else will be gone and the power station will remain.”
And yet the apparently eternal hulk was supremely fragile. In 2004, it cropped up on the World Monuments Fund’s endangered list. Dozens of schemes, each more grandly harebrained than the last, were rolled out, threatening various combinations of rescue and destruction. The New York–based architect Rafael Viñoly contributed several idas: A decade ago, a group of Irish developers hired him to design a new ostensibly “clean” power plant tucked below ground and topped with a new 1,000-foot chimney, next to an office park that would have been covered by a plastic “eco-dome.” That dream went the way of so many others in the 2008 financial crisis. Later, the Chelsea Football Club recruited Viñoly to design a soccer stadium there, though what he really wanted was a concert hall. The architect Terry Farrell suggested stripping the carcass down to four chimneys and two walls and enshrining it in parkland as an immense, evocative ruin. That proposal addressed the central conundrum of its redevelopment. Preserving the structure’s mysterious isolation, its sheer brooding strangeness, meant leaving the land around it vacant or, at most, scattering it with low-rise buildings the way a medieval village huddles around its cathedral. But builders don’t make money by not building, and the quantities of cash needed to preserve the thing, never mind reinvigorate the area, were inconceivably enormous. By 2014, the station was back on the WMF’s watch list again.
When Setia and its partners landed the site, Viñoly returned, this time with a plan that wrapped the brick monolith in glass apartment complexes (one designed by Frank Gehry, another by Norman Foster), close-cropped lawns, and fountains with the usual dancing jets of water. A year and a half from now, a new Northern Line Underground stop will stitch a long-inaccessible area back into Central London.
The power station itself will contain an immense indoor shopping center and rentable party spaces, topped by crow’s-nest penthouses. Apple has scooped up most of the offices that will crown the structure. Wilkinson Eyre’s design reclaims the site’s history and smooths it over at the same time, inserting an elegantly generic lattice of black steel, glass walls, and airy voids. Where once generators roared, now milk will be foamed, code written, and brand identities polished.
One detail captures the ethos of spectacular silliness that pervades almost every huge development project these days: a sightseeing elevator that glides up through one of the pristine chimneys and pops out the top, giving passengers a quick 360-degree vista, before dropping back inside. Let’s hope that a metamorphosis on this imperial scale yields something more solid and meaningful than a soap bubble with a view. Still, if this all seems more like a default option than a thrilling destiny, consider the imaginative alternatives that failed because of the site’s sheer scale and the possible squandered fortunes. The current future isn’t ideal, but it’s probably the least bad solution — far better than just letting the whole thing collapse into a disconsolate pile of rubble.”
Source: New York Magazine