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In the Dominican Republic, sugar cane is cut by hand with a machete. It is the lowest paid workers who actually cut the cane; they are usually new immigrants from Haiti. The work is grueling, somewhat dangerous, and very uncomfortable. The action of cutting sugar cane is called "picando la caña," which is from picar, and someone who cuts the cane is a picador, plural picadores. Picadores are paid by the metric ton.
The cut cane is gathered and put into a cart. The person who is in charge of this process is a cart-warden, or carretero. Un carretero sabe carretear.
Usually a team of oxen (bueys) pulls the cart to the weighing area, or grua , where the cart's contents will be weighed. The picadores and the carretero will receive tickets representing the amount they cut or delivered, respectively.
The workers live in a batey. A batey is a company town consisting of barracks and a few houses.
Every year for seventy years or more, male seasonal immigrants from Haiti arrive. These people are called congoses (plural-singular un congo), which is a derisive term roughly equivalent to "hick," "idiot," "chump," or "sucker" in our language. Congoses are lodged five to a room with no bedding and expected to work long, hard hours. The conditions are deplorable, even when they can get paid many times more than what they had previously received in Haiti.
Over time, some of these migrants have stayed through the six months that follow the zafra, called tiempo muerto, and have started families. Haitian women have migrated, as well. Bateyes are unique in culture and language in their mix of that which is Haitian and that which is Dominican.
Bateyes are often still regarded as places where only Haitians (non-citizens) live. Since the Haitians who originally filled the bateyes were not legal immigrants, their children have often been denied citizenship papers. Without citizenship papers, these Dominican born children of Haitian immigrants cannot go to school nor can they receive the benefits of other public services.
However, the Dominican sugar industry is no longer competitive, and when combined with the historical lack of educational and health services to these communities, the low wages have tended to make bateyes some of the poorest communities in the country.
The current trend in the Dominican Republic is for the ingenios to stop producing and for the bateyes to very slowly transform themselves into new sorts of communities. Los Alcarrizos in the Santo Domingo province is a good example of something that used to be a batey but now is a municipality which survives through jobs in the area, but making the transition is hard when people are so poor and only know about the sweet stuff.
Right now the workers get about 10 - 12 Dollars a day, working from sun-up to sun-down. It's hard on the animals too.
129 East 19th Street, NYC
by navema
East 19th Street, between Irving Place and Third Avenue, is known as the Block Beautiful for its notable row houses of East 19th Street. The block was an informal colony for artists and writers in the 1920s and 1930s, such as author Ida Tarbell, painter Cecilia Beaux, and the sculptor Zolnay. Music critic and novelist Carl Van Vechten, lived at 151 East 19th Street and with his neighbors, painters George Bellows and Robert Chanler, threw wild parties, about which Ethyl Barrymore commented, "I went there in the evening a young girl and came away in the morning an old woman."
Frederick J. Sterner, the architect credited with starting the revival of the block in the early 20th century, lived at No. 139, which he coated with stucco and decorated with colored tiles. A few other houses on the block have similar stucco, and some have unusual artistic touches like the pair of jockey statues at No. 141 and the nuzzling giraffes above the door at No. 149.
One of Manhattan's most interesting landmarks is the picturesque stable-studio at 129 East 19th Street. Charles Moran, an importer, built a town house at 24 Gramercy Park in 1847 on a lot stretching back to the north side of 19th Street between Irving Place and Third Avenue. Moran still had not built on the 19th Street side of the lot when he sold the house in 1855 to James Couper Lord. It was Lord, an iron merchant and philanthropist, who built the two-story stable at 129 East 19th Street in 1861.
A later account stated that the building never was used as a stable, and census records for the Lords and neighboring families show no coachmen or stablemen living on their properties. There is no record of the Lord stable's appearance in the 19th century.
The first account of its 19th-century occupancy is a 1903 article in The New York Times, which attributed its diamond-paned leaded glass windows to an unidentified glass worker who occupied it for some time in the 1890's. Indeed, classified directories show that Craig F. R. Drake, "stained-glass maker," leased and occupied the building for a year, in 1899.
In 1903, a new lessee, F. Berkeley Smith, filed plans to convert what was described as a studio into a residence. Smith was trained as an architect but was apparently independently wealthy -- he summered in Paris and wrote "The Real Latin Quarter," "How Paris Amuses Itself" and other books. He had worked with the architect R.H. Robertson, and a Robertson employee, August Pauli, designed extensive interior alterations for the 19th Street house.
Smith installed fireplaces for heat -- a Bohemian touch in a time when a furnace was considered civilized -- two bedrooms, a boudoir for Mrs. Smith and a trunk room, all furnished with wooden wainscotting, antique metal lamps, furniture and art work.
A photograph taken by Joseph Byron in 1904 shows a brick stable with neo-Gothic trim, window moldings, bottle-end stained glass and other artistic touches. In 1903, The Times wrote that there was "no more picturesque exterior" in the whole city, "none so riotously gay in color" with window boxes of geraniums, evergreen shrubs, bright brass hardware, green painted brick and white trim, "an exterior that attracts the attention of the least observant passerby."
ABOUT THE BLOCK BEAUTIFUL
The picturesque little ''block beautiful' is a mixed bag of houses on 19th Street between Irving Place and Third Avenue. A variety of owners there are making changes that reflect multiple attitudes toward the individual buildings and even the block as a whole. Brick and brownstone rowhouses went up on 19th Street in the 1840's and 1850's, especially after the establishment of Gramercy Park in 1845. Although conceived as upper-class accommodations, half a century later they were simply aging housing, especially as newer districts with newer houses opened up farther north.
The usual pattern for such districts was a gentle slide into middle- and working-class housing -- Victorian gentry showed a distinct distaste for settling in anything but virgin territory. It took Frederick Sterner to reverse this trend. Born in London in the 1860's, Sterner emigrated to the United States in 1882 and practiced architecture in Colorado before coming to New York in 1906. He took an office on Fifth Avenue near 19th Street and rented space in an old house at 23 West 20th Street.
Casting about for a place to build his own house, Sterner was discouraged by high land prices in more desirable areas farther north, and then determined to make over a house to his own taste closer to the business section of town. He bought an old brick house at 139 East 19th Street and gave it what became his signature touch -- a coat of tinted stucco, shutters, decorative ironwork and a projecting tile roof. Sterner carefully used old brick and polychromed tile panels to give his design an informal, handmade character -- the direct opposite of the showy limestone town houses that were still in favor farther uptown.
On a block of aging brick and brownstone, the effect was dazzling, something like Bob Dylan's shift from scruffy folk music to electric guitar in the 1960's. Sterner used inventive and brilliantly colored tile work around the doorway of 139 East 19th Street -- even the tiled planters are still miraculously intact. Sterner's example attracted others interested in a slightly bohemian location, among them Joseph B. Thomas, a banker and polo player, who had the architect redo 135 East 19th Street into a picturesque Gothic house.
But Sterner bought more houses on the block and, also working with other owners, gradually spread his delicate Mediterranean style to at least eight of them, enough so that the Sterner style quickly became the dominant character and was even imitated by other designers. In 1911 House Beautiful praised Sterner's work and added, ''Why does anyone build a city house when a remodeled one can be made so fascinating?''
Harriet Gillespie, writing in American Homes and Gardens in 1914, described 19th Street as a ''block beautiful,'' a term that had been in general use since the turn of the century, when reformers first considered how to stabilize aging neighborhoods.
Working for Thomas, Sterner also designed the dramatic half-timbered apartment house at 132 East 19th Street. Completed in 1911, it was soon home to the muckraking author Ida Tarbell, the society painter Cecilia Beaux and the stockbroker Chester Dale, who was then beginning to assemble his great art collection. The architect's brother, the painter Albert Sterner, also lived at No. 132.
THE painter George Bellows took over an old house at 146 East 19th Street, adding an attic studio, and the painter-muralist Robert Winthrop Chanler had a studio at No. 147; perhaps it was he who added the surprising colored panel over the doorway of two giraffes, with necks intertwined.
Writing in The New York Times in 1921, Helen Lowrey, a reporter, firmly credited Sterner with the idea of the picturesque ''Italian'' front and the entire idea of reviving older neighborhoods for upper-class occupancy. By that time developments at Turtle Bay, Sutton Place and other areas had spread Sterner's ideas widely.
In 1914 Sterner moved up to 63d Street between Lexington and Third Avenues and repeated the block beautiful process there, finally building his own magnificent house at the southwest corner of 65th Street and Lexington. In 1925 he moved to London, and never practiced again in New York; he died in Rome in 1931.
Gradually East 19th Street between Irving and Third became the block beautiful, as other efforts faded away, and it was included in the Landmarks Preservation Commission's Gramercy Park Historic District, designated in 1966. Many minor changes have been made to the houses, both before and after landmark designation. The Thomas residence, now owned by Oleg Cassini, is unchanged, but the stucco-front Sterner houses have lost many of their distinctive elements -- in some cases shutters have been removed, in others the pastel colors have been toned down. Some previous owner destroyed Sterner's distinctive tile and brick entryway at 145 East 19th Street, and in 1992 Lee Ann Jaffee, working with the architect Richard Ayotte, decided to substitute a nominally Greek revival doorway, but the effect does not reverse the earlier dilution of the house's character.
Next door, at 147 East 19th Street, someone has chopped away at the two giraffes to put in an electrical conduit.
At 143 East 19th Street Lynn Wagenknecht has one of the few intact mid-century houses, and her architect, Thomas Tsue, has been restoring that building to its original character.
On the south side of the block other architects are more in evidence. In 1924 the architect Frank Forster stripped the mid-19th-century brownstone at 142 and gave it a neat Dutch door and supremely intelligent ironwork. Despite an extensive interior alteration, the front has been left lovingly unrestored by the new owners. Cicognani Kalla Architects designed the recent alteration, and Pietro Cicognani says ''there's some beauty in being anonymous.'' And at 128 East 19th Street, an unidentified designer put some trim Art Moderne ironwork up on the house of the late Lincoln Kirstein, co-founder of the New York City Ballet, probably after Kirstein bought it in 1953.
At the apartment house at 132 East 19th Street, now a co-op, the board has just finished replacing the four stone spheres on the pillars in front, and Jonathan Foster, the board president, says that they are gradually restoring the entire front to Sterner's original designs.
ABOUT GRAMERCY PARK
The area which is now Gramercy Park was once in the middle of a swamp. In 1831 Samuel B. Ruggles, a developer and advocate of open space, proposed the idea for the park due to the northward growth of Manhattan. He bought the property, which was then a farm called "Gramercy Farm", from James Duane, a descendant of Peter Stuyvesant. Ruggles developed the property: he landscaped it, drainied the swamp, and caused about a million horsecart loads of earth to be moved. He then laid out "Gramercy Square", deeding possession of the square to the owners of the 60 parcels of land he had plotted to surround it, and sought tax-exempt status for the park, which the Board of Alderman granted in 1832. It was the second private square created in the city, after Hudson Square, also known as St. John's Park, which was laid out by the parish of Trinity Church. Numbering of the lots began at #1 on the northwest corner, on Gramercy Park West, and continued counter-clockwise: south down Gramercy Park West, then west to east along Gramercy Park South (East 20th Street), north up Gramercy Park East, and finally east to west along Gramercy Park North (East 21st Street). Landscaping and construction of Gramcery Park occured between 1833 and 1844.
At #34 and #36 Gramercy Park (East) are two of New York's first apartment buildings, designed in 1883 and 1905. Elsewhere in the neighborhood, nineteenth century brownstones and carriage houses abound, though the 1920s brought the onset of tenant apartments and skyscrapers to the area.
On September 20, 1966, a part of the Gramercy Park neighborhood was designated an historic district, and extended in 1988. The district was listed on the National Register of Historic Places in 1980.
Notable residents:
*James Harper – #4: an original resident, 1847-1869, Mayor of New York from 1844–1845 and one of the founders of the Harper publishing firm.
*Samuel J. Tilden – #15: New York Governor and 1876 Presidential Candidate whose house (a Victorian Gothic mansion), a National Historic Landmark, is now the National Arts Club.
Edwin Booth – #16: famed Shakespearean actor, founded the Players Club. The brother of John Wilkes Booth, the assassin of Abraham Lincoln. In the center of Gramercy Park is a statue in his honor.
John Barrymore – #36: star of stage and screen.
Daniel Chester French – #36: sculptor responsible for the seated figure of Lincoln at the Lincoln Memorial in Washington, D.C.
Alfred Ringling – #36: who founded the Ringling Brothers Circus.
Stanford White – an architect, who renovated The Players Club, lived where the Gramercy Park Hotel is now located.
James Cagney – the actor once lived in one of the buildings on Gramercy Park South (East 20th Street).
I'm just a guy that loves gaming and music, you will find unique gaming videos and soundtracks on my channel! My channel is all about Gaming Trailers, Gaming Videos. Trophy Walkthroughs and Soundtracks. Subscribe to support my YouTube videos, Thank you everyone! :) Videos in here Live in bit.ly/2F9gulM NO-SCOPE APPAREL bit.ly/2EE6uke (Use : SYNKATEYT) Patreon - bit.ly/2Fax3xv TIP (PayPal) - bit.ly/2F9mBai
I’ve felt as if I’ve been moving a snail’s pace in the studio. Here’s a little turtle to remind me slow and steady wins the race...or in my case, a lovely batch. No need to rush :)
Pay loaders from MTA New York City Transit Buses await transfer from the College Point Depot on lowboy trucks. Nine are being sent to Suffolk County to assist with snow clearing operations, each being escorted with supervision and operators.
From my own files, I present the GUN Loader 2.0! Deployed by the Hyperion corporation, loaders are Handsome Jack's soldiers, for a lack of better words. There are many variants. This includes the ION, HOT, RPG, and EXP loaders. They have many critical hit points, including their central eye. GUN variants seem to carry the Transmurdera SMG, although this is never confirmed.
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I hope you guys enjoy it! Please comment and fave!
My 1/16 scale Liebherr Articulated Road Loader L 574 by Bruder Toys.
Unboxing video can be viewed here:
Airmen of the 312th load Landing Ship Tanks (LSTs) in preparation for the voyage to Leyte in November 1944. (Russell L. Sturzebecker Collection)
U.S. Marines with India Battery, Battalion Landing Team 3rd Battalion, 1st Marine Regiment, 15th Marine Expeditionary Unit, practice loading ordnance onto an MV-22B Osprey aboard the USS Essex (LDH 2) during Composite Training Unit Exercise (COMPTUEX) aboard Naval Base San Diego March 17, 2015. The Marines must work together to properly align the ATV with the ramp to successfully load on the ordnance - COMPTUEX is designed to integrate and train the PHIBRON and ship staff as they prepare for deployment later this spring. (U.S. Marine Corps photo by Cpl. Elize McKelvey/Released)
These two pieces of equipment are for the National Grid and are going to Ninfield substation. These photos was taken at Polegate, East Sussex
first load done. 3 layout in my life. other 2 took months.. lol hope 2 page layouts are ok. at first i was stumped but then i ran across these pictures
journaling reads
Ohio State Fair 2010
Every year since my daughter Karilee was little. we shared one common passion. Fair Food!! every year we try to go to at least one. just to enjoy the food
club ruby January kit
cricut- summer vacation
imagine- yummy
From PhC.184 Massengill Postcard Collection, initial donation, State Archives of North Carolina, Raleigh, NC.
Samantha Freida and Jeffery Harvey!!!
I was so excited when my mom got me my 2 cabbage patch kids. I loved their smell, dimples and I especially loved the diapers that came with them. I spent hours playing with them...a favorite memory!!!