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Deutschland - Baden-Württemberg - Kaiserstuhl
Alt Vogtsburg
seen from Eichelspitze Observation Tower. In the background you can see the Vosges.
gesehen vom Eichelspitzturm. Im Hintergrund sieht man die Vogesen.
The Kaiserstuhl (German: [ˈkaɪzɐʃtuːl], lit. "Emperor’s Chair") is a range of hills in the state of Baden-Württemberg in southwest Germany with a maximum height of 556.6 metres (1,826 ft). It is of volcanic origin and located in the southwest of the state in the counties of Emmendingen and Breisgau-Hochschwarzwald. In terms of natural regions it is considered to be a part of the Upper Rhine Plain.
Name
The name "Kaiserstuhl" is believed to refer to King Otto III, who held court near Sasbach on 22 December 994. From then on, the whole hill range was called the Königsstuhl – the King’s Chair. In May 996, Otto III was crowned Emperor and the King’s Chair eventually became the Emperor’s Chair – "Kaiserstuhl". Reliable sources mention the name Kaiserstuhl only as early as 1304 and historians thus suppose that the term Kaiserstuhl was not coined until the 13th century.
Geography
Location
The Kaiserstuhl is situated in South Baden, mainly in Breisgau-Hochschwarzwald county or district. However, the smaller northern part belongs to Emmendingen. Within the Upper Rhine Plain it is situated about 16 km northwest of the city of Freiburg, right next to the eastern bank of the Rhine and a short distance west of the Dreisam. It reaches up to 377 metres above the level of the Rhine downstream (179.5 m a.s.l.) from the weir close to Burkheim.
At its greatest extent, from the Michaelsberg near Riegel in the northeast, to the Fohrenberg, by Ihringen in the southwest, the Kaiserstuhl is about 15 km long. Its maximum width is about 12.5 km.
Hills
The hills of the Kaiserstuhl include the following (sorted by height in metres above sea level):
Totenkopf (556.6 m), 1.9 km east of Bickensohl; with the Vogtsburg 1 telecommunication tower and Neunlinden observation tower
Eichelspitze (521.3 m), 2.8 km northwest of Bötzingen
Katharinenberg (492.4 m), 1.3 km southeast of Amoltern
Bisamberg (469.0 m), 1.2 km south of Amoltern
Staffelberg (446.0 m), 1.5 km northwest of Schelingen
Badberg (432.7 m) (protected area), 1.5 km east of Oberbergen
Holzeck (431.9 m), 1.7 km northeast of Ihringen; with tower
Hochbuck (374.8 m), 900 m south of Achkarren
Schlossberg (352.1 m), 500 m northwest of Achkarren; with Höhingen Castle ruins
Böselsberg (340.1 m), 500 m northwest of Wasenweiler
Büchsenberg (283.7 m), 1.3 km west of Achkarren
Geology
The formation of the Kaiserstuhl volcano during the Tertiary was the climax and at the same time the end of volcanic activity in the Upper Rhine Valley Rift. Volcanism started as early as the Cretaceous Period. Volcanic landforms include heavily eroded volcanic vents. The Kaiserstuhl is the only larger volcano from this period in the rift valley. Geologically the Kaiserstuhl can be divided into two parts: the sedimentary and volcanic part. Due to these peculiarities the Kaiserstuhl has been labeled one of the most important national geotopes.
Sedimentary base
The horizontal sedimentary layers forming the eastern third of the Kaiserstuhl date back to the Jurassic and the Tertiary long before the volcanic activity. Important stratigraphic outcrops include the Hauptrogenstein (local oolite) which is found mainly near the village of Riegel and the Pechelbronner Schichten (local Tertiary layers in the South German Scarplands) near Bötzingen. During the formation of the Upper Rhine Plain this part of the Kaiserstuhl sloped less in respect to its surrounding area – and thus appears as a so-called horst. In terms of its geological structure and the sequence of its escarpments, the Kaiserstuhl is comparable to the nearby Tuniberg, Nimberg and also to the Schönberg, which is situated south of the city of Freiburg.
Volcanic activity
Petrologically the volcanic Kaiserstuhl is an alkali-carbonate rock formation. The volcanic rocks making up a large part of the central and western Kaiserstuhl were the result of numerous volcanic eruptions during the Miocene, about 19 to 16 million years ago. They cover parts of the sedimentary base of the eastern Kaiserstuhl, which is why in some places changes in the base’s mineralogical composition occurred. The driving force behind this process of contact metamorphism was an increase in temperature. Due to the alternate eruption of tephra and lava flows from several vents a complex stratovolcano came into existence. Some of the rising magma solidified as volcanic intrusions below the surface – and today forms the central part of the Kaiserstuhl. Laterally rising phonolite magma also intruded into the sedimentary base of the Eastern Kaiserstuhl. Several hundred metres of the original volcano have been eroded.
Volcanic rocks
The entire volcanic Kaiserstuhl consists of rock types that contain feldspathoid minerals and olivine and are undersaturated with SiO2. Most igneous rocks at the surface are leucite-tephrites, with subordinate phonolites, limburgites, and olivine-nephelinites (at the Limberg Mountain near Sasbach), the last of which is rich in xenoliths from the Earth’s mantle. Carbonatite ignimbrite and lapilli are local peculiarities; they can be found in places in the western part of the Kaiserstuhl (Henkenberg near Burkheim, Kirchberg near Oberrotweil).
The subvolcanic and intrusive rocks of the central Kaiserstuhl are plutonic equivalents of the erupted material (essexite, carbonatite and coarse-granular phonolite). Several local terms which do not carry official status with the International Union of Geological Sciences have been used for different varieties of the intrusive rocks. Of major scientific interest is the consolidated carbonatite near Altvogtsburg und Schelingen. It is a quite rare volcanic rock, which crystallized from a carbonate magmatic melt rather than a silicate one. Given its unusual composition for an igneous rock, the magmatic nature of the carbonatite was not proposed for a long time and remained doubtful subsequently. An alternative interpretation was that it was a metamorphically altered sedimentary rock, examples of which can be found nearby. Only in the 1950s and 1960s did research prove that it was a carbonatite; one of the clues was identification of the eruptive carbonatites found in the western part of the Kaiserstuhl. The carbonatite contains the niobium rich pyrochlore; attempts to mine the carbonatite rock for niobium were carried out in the middle of the 20th century, but the amount turned out to be too small to be economical.
Minerals
For a long time the Kaiserstuhl has been known for rare minerals. Examples include the quarries at the Limberg (zeolites), Badberg (carbonatites), Orberg and Fohberg. Well-crystallized minerals can be found predominantly in clefts or cavities in the volcanic rock.
Loess
The Kaiserstuhl is today largely covered by a Quaternary loess layer, a loosely cemented sediment. It is derived from other rocks through erosion and is then transported by the wind. The loess at the Kaiserstuhl – as in all the peripheral areas of the Upper Rhine Valley – was formed during the last Ice Age. Large parts were bare of vegetation and so loess was winnowed out from the Rhine sediments. It was then deposited in the periglacial area (i.e. ice-free, but surrounded by glaciers) at the Kaiserstuhl. The major process active here was frost weathering resulting in crushed rocks. The wind blew strongly, as there was no vegetation that could have moderated it – entraining the lightest material and depositing it at obstacles like the Kaiserstuhl. Deposition took place northeast of the Kaiserstuhl, as the winds blew from the southwest.
The higher the place of sedimentation, the thinner the layer of the sedimented material is. At the Kaiserstuhl the thickness of the loess layer varies between 10 and 40 metres. There are, however, also areas in the southwest where no loess has been deposited. The Northern Limestone Alps are considered the main source of the Kaiserstuhl loess. A rust-coloured band occurs at irregular intervals. It developed as a new material and did not arrive regularly but in phases of different intensities. In a phase of weak sedimentation the material on top weathered – and the calcium carbonate was washed out. It then precipitated further down and formed a particular type of soil horizon, which contains concretions of calcium carbonate.
The Kaiserstuhl loess soils are used for intensive farming, as they offer good aeration, high water storage capacities and good mechanical qualities. Besides, as a result of farming deep narrow ravine-like paths developed.
As the loess developed over time it is, furthermore, significant for flood control. Sponge-like, it absorbs and then gently releases rainfall. This quality is however lost when bulldozers, employed to construct large terraces for viticulture, compress the loess.
Climate
General
The Kaiserstuhl is one of the warmest regions in Germany. The winters are relatively mild for the area, and the summers are warm or even hot, with possible average temperatures of over 20 °C (68 °F) in July and August. Because of its loess covered volcanic soils it is a very good wine-producing region. The climatic situation of the Kaiserstuhl is outstanding in the area. It is rain-shadowed by the Vosges Mountains, under the climatic influence of the Belfort Gap and is characterized by a drier and hotter climate, which one would rather expect not to be typical of the area. Despite this, winters remain cold and dry, and summers wet, in comparison with Mediterranean climate (which instead has a rainfall peak during winter, which can see few frost days, and a dry season in summer).
Meteorological data
The average annual temperature is 9.9 °C (49.8 °F), with 50–60 days with a maximum temperature above 25 °C (77 °F) as well as 60–70 days with a minimum temperature below 0 °C (32 °F). This illustrates a special feature of the Kaiserstuhl: it is characterized by its relatively extreme climate. The average difference between the lowest and the highest average temperatures within one year is 18.5 °C (65.3 °F). The mean precipitation at the Kaiserstuhl is approximately 600–700 millimetres (24–28 in), with about 1,720 hours of sunshine per year.
Flora and fauna
The climate of the Kaiserstuhl also explains the vast richness of thermophile flora and fauna. The Kaiserstuhl is for example one of the places with the largest variety of orchids in Europe – more than 30 species have been recorded. Among the vines wild grape hyacinths sprawl and along acclivities iris plants blossom. Furthermore, sand lizards (lacerta bilineata) and praying mantis (Mantis religiosa) live here – species which mainly occur in the Mediterranean area. (However, according to the latest research results the sand lizard presumably belongs to the allochthonous species of the European green lizard (Lacerta viridis)). The pubescent oak (Quercus pubescens) is a Xerophyte and normally only occurs in Southern Europe, but is also able to survive at the Kaiserstuhl. This species has a disjunct distribution, which means away from its normal habitat. It is a relict of a postglacial warm period where there had been a much warmer climate around the Kaiserstuhl. After the end of the warm period only the named species were able to survive. Besides there is a larger population of the May beetle (Melolontha melolontha). In spite of protests from conservationists the May Beetle is controlled by the use of insecticides.
Changes in landscape
The terrain of the Kaiserstuhl has been altered by the people living there since it was settled. The loam there is strongly susceptible to erosion as a result of soil cultivation, thus terraces had to be added, which were then mostly used as vineyards, as well as fruit growing or for other agricultural uses. As a result, the typical small "patio" hillsides and the streaked loess sunken roads typical of the region came into being.
To start with, it was for this reason that smaller terraces were merged in around 1950, this resulted in large scale reallocation, which turned parts of the original landscape completely upside down.
The phases of this reallocation were:-
Small-scale realignment between 1950 and 1960. At the same time the terrain was generally modified by manual labour with the help of in-house machines. During this time approximately 950 hectares were enclosed by the farmland consolidation authority.
Between 1960 and 1970 the loess slopes were more comprehensively modified, whereby large rectangular terraced areas with corresponding high embankments were made. The terraces were arranged with mountain like slopes so that now only the multiple slope edges are visible from the valley. About 650 hectares of the surface were styled in this way.
The plans to create large-scale terraces made between 1970 and 1976 were executed with the help of heavy machinery, changing the landscape radically. Before the original, naturally formed, depressions had still been visible in the gentle hillsides with only small terraces. Natural and man-made structures existed side by side. However, these small-scale structures were then obliterated completely. Monstrous areas resembling fortresses and entirely incongruous to the region were created. The total wine-growing area of the terraces was 630 ha. As the embankments and other areas exceeded the size of the wine-growing areas, the changes affected more than twice the newly created arable area. The land reforms of Oberrotweil-Oberberg, Ihringen-Abtsweingarten, Eichstetten-Hättlinsberg and Endingen am Kaiserstuhl-Schambach are examples of this phase.
The last phase of wine-growing land reforms was realized between 1976 and 1982. Due, in part, to protests against plans for further large scale terraces the changes were not as radical as the previous phase: the maximum height for embankments was "limited" to 10 m and their shapes were "made smooth and adjusted to the landscape" (Mayer 1986, citation translated). This procedure was, for example, applied to about 330 ha of wine-growing area in Oberbergen-Baßgeige or in Bickensohl-Herrenstück.
From 1977 on, several longer periods of enhanced precipitation caused damage to the embankments. During one week in May 1983 for example, the amount of precipitation was so large that in some areas it was equivalent to one third of the annual average, causing great damage in the modified areas.
The surfaces of the acclivities often slid off together with the vegetation. Former valleys, which had been blocked due to re-allocation, were flushed out. In some terraces dramatic shear failures developed. In addition extensive, devastating frost damage occurred; due to the incline of the mountainside at the surfaces of the acclivities, cold air pockets were formed in which the vines in bloom were frostbitten. Additionally substantial frost damage occurred in the woody part of the vines, especially in the vineyards which were situated in lower regions. In earlier times fruit had mostly been grown here but later this was changed to vineyards.
The activity of the farmland consolidation authority was narrowed to repairing and partly to rescheduling which at least was meant to correct the most severe consequences of the transformations from 1982 on.
Hiking
There are many opportunities for hiking in the Kaiserstuhl. The best known trail is the North-South Trail (check mark: blue rhomb on yellow background) from Endingen across the Katharinenberg and the Totenkopf and the Neunlinden viewing point to Ihringen. From the trail there are panoramic views over the Black Forest, the Upper Rhine Valley and the Vosges.
(Wikipedia)
Der Kaiserstuhl ist ein bis 556,8 m ü. NHN hohes, kleines Mittelgebirge vulkanischen Ursprungs in der Oberrheinischen Tiefebene. Es erhebt sich im Südwesten von Baden-Württemberg (Deutschland), in den Landkreisen Emmendingen und Breisgau-Hochschwarzwald.
Namensdeutung
Seinen Namen hat der Kaiserstuhl vermutlich von König Otto III., der bei Sasbach am 22. Dezember 994 einen Gerichtstag abhielt. Nach diesem Gerichtstag wurde das ganze Gebirge als „Königsstuhl“ bezeichnet. Nachdem Otto III. im Mai 996 zum Kaiser gekrönt worden war, wurde aus dem „Königsstuhl“ der „Kaiserstuhl“. Nachweislich belegt ist die Bezeichnung „Kaiserstuhl“ erst seit 1304. Historiker vermuten, dass der Begriff „Kaiserstuhl“ nicht vor dem 13. Jahrhundert entstand.
Geographie
Lage
Naturräumlich wird der Kaiserstuhl zum Oberrheinischen Tiefland gezählt und stellt dort die Haupteinheit 203 dar. Er befindet sich in Südbaden zum Großteil im Landkreis Breisgau-Hochschwarzwald, der kleine Nordteil gehört zum Landkreis Emmendingen. Innerhalb der Oberrheinischen Tiefebene liegt er etwa 16 km nordwestlich der Großstadt Freiburg, direkt östlich des Rheins und etwas westlich der Dreisam. Er erhebt sich maximal 377,1 m über den Rhein unterhalb (179,5 m) des Stauwehrs bei Burkheim.
In seiner weitesten Ausdehnung vom Michaelsberg bei Riegel im Nordosten bis zum Fohrenberg bei Ihringen im Südwesten ist der Kaiserstuhl rund 15 km lang, seine größte Breite beträgt etwa 12,5 km.
Berge
Zu den Bergen, Erhebungen und deren Ausläufern des Kaiserstuhls gehören – sortiert nach Höhe in Meter (m) über Normalhöhennull[1]:
Totenkopf (556,8 m), 1,9 km östlich von Bickensohl; mit Fernmeldeturm Vogtsburg-Totenkopf und Aussichtsturm Neunlinden
Eichelspitze (521,3 m), 2,8 km nordwestlich von Bötzingen mit dem Eichelspitzturm
Katharinenberg (491,9 m), 1,3 km südsüdöstlich von Amoltern
Bisamberg (469,6 m), 1,2 km südlich von Amoltern
Staffelberg (447,6 m), 1,5 km nordnordwestlich von Schelingen
Badberg (432,7 m) (Naturschutzgebiet), 1,5 km östlich von Oberbergen
Holzeck (431,9 m), 1,7 km nordnordöstlich von Ihringen; mit Sendeturm
Hochbuck (375,2 m), 900 m südlich von Achkarren
Schlossberg (351,9 m), 500 m nordwestlich von Achkarren; mit Burgruine Höhingen
Böselsberg (340,1 m), 500 m nordwestlich von Wasenweiler
Hochberg, (288,7 m), 900 m nordöstlich von Jechtingen
Büchsenberg (283,7 m), 1,3 km westlich von Achkarren
Geologie
Die Entstehung des Kaiserstuhlvulkans im Tertiär stellt sowohl den Höhepunkt als auch den Schlusspunkt der vulkanischen Aktivität im Oberrheingraben dar. Diese begann schon in der Kreidezeit und zeigt sich in zahlreichen, heute tief erodierten Vulkanschloten. Der Kaiserstuhl ist der einzige größere Vulkan aus dieser Zeit im Bereich des Oberrheingrabens. Dieser trifft hier auf den Bonndorfer Graben, der über den Hegau zum Bodensee führt. Gegen Ende des Oligozäns drang Magma empor, erstarrte jedoch noch unter der Erdoberfläche. Erst im Miozän kam es zu einem Durchbruch und zu großflächigen Lavaströmen. Geologisch gesehen lässt sich der Kaiserstuhl in einen sedimentären und einen vulkanischen Teil gliedern. Aufgrund dieser Besonderheiten wurde der Kaiserstuhl als eines der bedeutendsten nationalen Geotope Deutschlands ausgezeichnet.
Sedimentärer Sockel
Die das östliche Drittel bildenden, nahezu horizontal lagernden Sedimentgesteine wurden lange vor der vulkanischen Aktivität zu Zeiten des Juras und Tertiärs gebildet. Wichtige aufgeschlossene stratigraphische Einheiten sind der Hauptrogenstein (hauptsächlich in Riegel) und die Pechelbronner Schichten (in der Gegend von Bötzingen). Dieser Teil des Kaiserstuhls wurde während der Entstehung des Oberrheingrabens weniger stark als seine Umgebung abgesenkt und stellt einen sogenannten Horst dar. Er entspricht im Aufbau und der Schichtenfolge äquivalenten Strukturen im näheren Umkreis, wie dem Tuniberg und Nimberg westlich sowie dem Schönberg südlich von Freiburg im Breisgau.
Vulkanismus
Petrologisch handelt es sich beim vulkanischen Kaiserstuhl um einen Alkaligesteins-Karbonatit-Komplex. Die den Großteil des zentralen und westlichen Kaiserstuhls aufbauenden vulkanischen Gesteine wurden vor rund 19 bis 16 Millionen Jahren im Miozän durch zahlreiche Vulkanausbrüche gebildet. Sie überlagern teilweise den sedimentären Sockel des östlichen Kaiserstuhls, wodurch dieser stellenweise kontaktmetamorph, das heißt durch Einwirkung hoher Temperatur, verändert wurde. Durch abwechselnde Eruption von Tephra und Lavaströmen aus mehreren Schloten bildete sich ein komplexer Schicht- oder Stratovulkan. Emporquellendes Magma erstarrte teilweise als subvulkanische Intrusion im Vulkangebäude und baut heute den Zentralkaiserstuhl auf. Lateral aufsteigende phonolithische Schmelzen drangen auch in den sedimentären Sockel des östlichen Kaiserstuhls. Bis heute wurden durch Erosion mehrere 100 m des ursprünglichen Vulkans abgetragen.
Vulkanische Gesteine
Der gesamte vulkanische Kaiserstuhl besteht aus Foid- und/oder Olivin-führenden, SiO2-untersättigten Gesteinen. Bei den Eruptivgesteinen handelt es sich zum größten Teil um Leucit-Tephrit, untergeordnet auch Phonolith, Limburgit und Olivin-Nephelinit (am Limberg bei Sasbach). Letzterer ist sehr reich an Xenolithen aus dem Erdmantel. Als Besonderheit bei den Eruptivgesteinen sind karbonatitische Ignimbrite und Lapilli zu nennen, die im Westkaiserstuhl an einigen Stellen (Henkenberg bei Burkheim, Kirchberg bei Oberrotweil) aufgeschlossen sind.
Bei den subvulkanischen Intrusionen und Ganggesteinen des zentralen Kaiserstuhls handelt es sich um die Tiefengesteinsäquivalente der Ausbruchsprodukte (Essexit, Karbonatit und grobkörnigerer Phonolith). Für verschiedene Varietäten der Ganggesteine existieren in der Literatur eine Fülle weiterer Bezeichnungen (Alvikit, Hauynophyr, Mondhaldeit, Tinguait, Monchiquit und viele andere), die aber teilweise keine allgemein anerkannten Gesteinsnamen sind. Von großem wissenschaftlichen Interesse ist der bei Altvogtsburg und Schelingen anstehende Karbonatit. Dabei handelt es sich um ein recht seltenes vulkanisches Gestein, das nicht aus einer silikatischen, sondern aus einer karbonatischen Schmelze auskristallisierte. Aufgrund dieses ungewöhnlichen Umstandes wurde die magmatische Natur des Karbonatits lange Zeit nicht erkannt oder in Zweifel gezogen. Alternative Interpretationen gingen von kontaktmetamorph veränderten Sedimentgesteinen aus, die bekanntermaßen in unmittelbarer Nähe zu finden sind. Erst in den 1950er- und 1960er-Jahren gelang es, das Gestein gesichert als Karbonatit zu identifizieren, unter anderem durch das Auffinden der eruptiven Karbonatite im westlichen Kaiserstuhl. Wegen des in ihm auftretenden Niob-Minerals Koppit wurde der Karbonatit in der Mitte des 20. Jahrhunderts versuchsweise bergmännisch abgebaut. Allerdings erwiesen sich die Gehalte als zu gering für eine Nutzung in größerem Umfang.
Minerale
Seit langer Zeit ist der Kaiserstuhl als Fundstelle für zum Teil seltene Minerale bekannt. Besondere Fundstellen sind die Steinbrüche im Limburgit des Limbergs (verschiedene Zeolithe), im Karbonatit am Badberg und Orberg (Koppit) und im Phonolith des Fohbergs und des Kirchbergs (Zeolithe, Wollastonit, Melanit). Überwiegend treten diese als Kluftminerale oder Blasenfüllungen (Mandelstein) auf.
Lössbedeckung
Der Kaiserstuhl ist heute weitgehend von einer quartären Lössschicht bedeckt. Löss ist ein Lockersediment, welches durch Erosion anderer Gesteine entsteht und durch äolischen Transport an seinen Ablagerungsort befördert wird. Der Löss entstand – wie im gesamten Randbereich der Oberrheinebene – während der letzten weitgehend vegetationsfreien Eiszeit durch Auswehung aus dem Rheinschlamm. Die Ablagerung fand im periglazialen (eisfreien, jedoch von Gletschereis umgebenen) Gebiet um den Kaiserstuhl statt. Der Hauptprozess, der in dieser Region stattfindet, ist Frostsprengung von Gestein. Da keine Vegetation vorhanden ist, die den Wind bremsen könnte, weht dieser beständig stark. Er nimmt das leichteste Material mit und lagert es an Hindernissen, beispielsweise dem Kaiserstuhl, wieder ab. Hierbei ist zu beachten, dass die Ablagerung im Lee stattfindet, im Falle des Kaiserstuhls – wo der Wind aus Südwesten wehte – also im Nordosten. Je höher der Sedimentationsort liegt, desto dünner ist die Schicht tatsächlich abgelagerten Materials. Am Kaiserstuhl liegt die Mächtigkeit der Lössschicht zwischen 10 und 40 Metern, es gibt jedoch auch Orte im Südwesten, an denen kein Löss sedimentiert wurde. Der Herkunftsort des Lösses am Kaiserstuhl lag hauptsächlich in den nördlichen Kalkalpen. Auffällig im anstehenden Löss ist ein sich in unregelmäßigen Abständen wiederholender, rostfarbener Streifen. Dieser entsteht durch die phasenweise Anlieferung neuen Materials. Während einer schwachen Sedimentationsphase verwittert das obenauf liegende Material, wobei der Kalk ausgewaschen wird. Hierbei bildet sich Lösslehm. Der ausgewaschene Kalkanteil fällt weiter unten im Bodenprofil wieder aus und bildet den sogenannten Lösskindelhorizont. Zu jedem Ausfällungshorizont gehört deshalb ein Anreicherungshorizont.
Die Lössböden des Kaiserstuhls werden agrarisch intensiv genutzt, da sie eine gute Belüftung bieten und eine hohe Wasserspeicherfähigkeit sowie mechanisch gute Eigenschaften besitzen. Außerdem sind im Zuge der landwirtschaftlichen Nutzung die sogenannten Lösshohlwege entstanden.
Der gewachsene Löss ist zudem für den Hochwasserschutz von Bedeutung, da er starke Niederschläge wie ein Schwamm aufnimmt und dann gleichmäßig wieder abgibt. Durch die Anlage von Großterrassen für den Weinbau am Kaiserstuhl wird der Löss jedoch mit Planierraupen verdichtet und verliert diese Eigenschaft.
Klima
Allgemeines
Klimatisch zählt der Kaiserstuhl zur temperaten (gemäßigten) Klimazone. Durch die in der Oberrheinebene vorherrschende Wärmebegünstigung gehört er jedoch zu den wärmsten Orten Deutschlands mit für Mitteleuropa vergleichsweise milden Wintern und warmen Sommern, die teilweise sogar Durchschnittstemperaturen von über 20 Grad in den Monaten Juli und August aufweisen können. Durch seine mit Löss bedeckten vulkanischen Böden ist er ein sehr gutes Weinanbaugebiet. Die klimatischen Voraussetzungen des Kaiserstuhls heben sich von seiner Umgebung deutlich ab. Er liegt im Regenschatten der Vogesen, im Einfluss der Burgundischen Pforte, und hat somit ein eher trockenes Klima.
Meteorologische Daten
Die Jahresmitteltemperatur beträgt 9,9 °C, wobei sowohl 50 bis 60 Sommertage als auch 60 bis 70 Frosttage zu verzeichnen sind. Dies spiegelt schon ein besonderes Merkmal des Kaiserstuhls wider, denn er zeichnet sich durch recht extreme Klimaverhältnisse aus, was sich besonders in der durchschnittlichen jährlichen Temperaturschwankung von 18,5 °C ausdrückt. Der mittlere Niederschlag auf dem Kaiserstuhl beträgt etwa 600 bis 700 mm, bei jährlich rund 1.720 Stunden Sonnenschein.
Flora und Fauna
Das Klima des Kaiserstuhls erklärt auch die große Fülle an wärmeliebender Flora und Fauna. Beispielsweise ist der Kaiserstuhl einer der Orte mit der größten Orchideenvielfalt in Europa – mehr als 30 Arten wurden registriert. Zwischen den Rebstöcken wuchern wilde Traubenhyazinthen, und an Böschungen blühen Schwertlilien. Außerdem leben hier Bienenfresser, Smaragdeidechsen und Gottesanbeterinnen (Mantis religiosa) – Arten, die ihren Verbreitungsschwerpunkt im mediterranen Bereich haben (nach neuen genetischen Studien handelt es sich bei der Smaragdeidechse allerdings um eine wahrscheinlich allochthone Population der Östlichen Smaragdeidechse). Die Flaumeiche ist ein Xerophyt und kommt sonst vor allem in Südeuropa vor, am Kaiserstuhl kann sie sich jedoch vor allem im Flaumeichenwald am Büchsenberg als Niederwald halten. Diese Arten leben in einem disjunkten Areal, also von ihrem normalen Verbreitungsgebiet abgetrennt. Dies ist ein Relikt einer postglazialen Warmzeit, zu der auch im Gebiet um den Kaiserstuhl ein deutlich wärmeres Klima herrschte. Nach Ende der Warmzeit konnten die genannten Arten nur noch am Kaiserstuhl überleben. Außerdem gibt es am Kaiserstuhl größere Populationen des Maikäfers. Die Art wurde in der Vergangenheit trotz Kritik von Umweltschützern mit Insektiziden bekämpft, so etwa im Jahr 2009. Die Aktion wurde damit begründet, dass der Maikäfer ansonsten existenzbedrohende Schäden in der umliegenden Landwirtschaft auslösen könnte.
Landschaftsveränderung
Die Oberfläche des Kaiserstuhls wurde vom wirtschaftenden Menschen seit dessen Besiedlung verändert. Da Löss infolge der Bodenbearbeitung stark erosionsanfällig ist, mussten Terrassen geschaffen werden, die meist als Rebflächen, teilweise auch für Obst- oder zum Ackerbau genutzt wurden. Dadurch entstanden schon früh die typischen kleinterrassierten Hänge, die zudem von den ebenfalls durch die „Nutzung“ entstandenen Lösshohlwegen durchzogen wurden.
Im Sinne der Flurbereinigung wurde um 1950 damit begonnen, zunächst kleinere Terrassen zusammenzulegen; dies endete in Großumlegungen, welche die ursprüngliche Landschaft in Teilbereichen völlig umgestalteten. Diese Umgestaltung begann zwischen 1950 und 1960 mit kleinräumigen Neuordnungen. Dabei wurde das Gelände meist in Handarbeit bzw. mit Hilfe betriebseigener Maschinen umgestaltet. In dieser Zeit wurden rund 950 ha von den Flurbereinigungsbehörden flurbereinigt.
Zwischen 1960 und 1970 wurden die Lösshänge umfassender umgestaltet, wobei große, tiefe und möglichst rechteckige Terrassenflächen mit entsprechend hohen Böschungen entstanden. Die Terrassen wurden mit bergseitiger Neigung angelegt, so dass jetzt vom Tal aus vielfach nur noch die Kanten sichtbar sind. Auf diese Art entstanden rund 650 ha Rebfläche.
Mit umfassendem Maschineneinsatz wurden die Großterrassenplanungen der Jahre 1970 bis 1976 umgesetzt, die das Landschaftsbild deutlich veränderten. Vor diesen Maßnahmen zeichneten sich in den sanften Hängen, deren Oberflächen von den kleinen Terrassen überprägt waren, noch die ursprünglich natürlich entstandenen Senken ab. Statt diesem Nebeneinander von natürlichen und vom Menschen geschaffenen Strukturen nehmen die Kritiker nun festungsartige und landschaftsfremde Oberflächen wahr, die eine Gesamtgröße von ca. 630 ha Rebfläche bieten. Da die Böschungen und sonstigen Flächen größer waren als die Rebflächen, erstreckte sich die Landschaftsveränderung jeweils auf mehr als das Doppelte der neu geschaffenen nutzbaren Fläche. Beispiele für diese Phase sind die Flurbereinigungen Oberrotweil-Oberberg, Ihringen-Abtsweingarten, Eichstetten-Hättlinsberg und Endingen am Kaiserstuhl-Schambach. Inzwischen war der Großteil der Lösshohlwege durch die Flurbereinigung verschwunden, die zuvor ökologische Nischen speziell für Wildbienen und Vögel gewesen waren.
Die letzte Phase der Rebflurbereinigung erstreckte sich auf die Zeit zwischen 1976 und 1982, in der unter anderem wegen der Proteste gegen die Großterrassenplanungen gemäßigt vorgegangen wurde: Die Böschungshöhen wurden auf maximal 10 m „beschränkt“, der Böschungsverlauf wurde „geschwungen angelegt und der Landschaft angepasst“. Mit diesen Verfahren wurden zum Beispiel in Oberbergen-Baßgeige oder in Bickensohl-Herrenstück rund 330 ha Rebfläche bearbeitet.
Nachdem ab 1977 durch länger anhaltende niederschlagsreiche Perioden Böschungsschäden entstanden waren, fielen in der Pfingstwoche des Jahres 1983 Niederschlagsmengen, die teilweise ein Drittel des Jahresmittels ausmachten. Diese führten in den umgelegten Gebieten zu Schäden: Die Böschungsoberflächen rutschten vielfach mitsamt der Vegetation ab, ehemalige, durch die Umlegungen verschüttete Talzüge wurden ausgeschwemmt, in einzelnen Terrassen entstanden tiefgreifende Grundbrüche. Überdies kam es in den Folgejahren zu Frostschäden. Durch die bergseitige Neigung der Terrassenoberflächen konnten sich Kaltluftseen bilden, in denen die Reben vor allem in der Blüte erfroren.[6] Außerdem entstanden, vor allem in den niedriger gelegenen Rebflächen, in denen zuvor meist Obst angebaut worden war, erhebliche Frostschäden am Holz der Rebbestände.
Die Tätigkeit der Flurbereinigungsbehörden beschränkte sich in der Zeit nach 1982 auf Reparaturarbeiten und partielle Umplanungen, die zumindest die schwersten Folgen der Umgestaltungen korrigieren sollten. Inzwischen hatte man auch begonnen, die verbliebenen Lösshohlwege als Naturdenkmale auszuweisen und sie zu schützen.
Seit 2021 wird auf einer Fläche von etwa einem Hektar Echter Lavendel und Lavandin angebaut. Dank der Wärme und der kalkreichen Böden gedeiht er gut. Zwei der vier Felder liegen in Bischoffingen, wo es auch einen Hofladen gibt und je eines in Königschaffhausen und Burkheim. Auf letzterem wachsen neun verschiedene Sorten.
Wandern
Der bekannteste und „klassische“ Wanderweg ist der Neunlindenpfad (Nord-Süd-Weg); er ist einer von acht Themenpfaden und führt von Endingen über den Katharinenberg und den Totenkopf mit Aussichtsturm Neunlinden nach Ihringen. Von den Wegen bieten sich vielerorts Ausblicke auf den Schwarzwald, die Rheinebene und die Vogesen. Auch der Querweg Schwarzwald–Kaiserstuhl–Rhein führt über den Kaiserstuhl.
Als Wissenschaftlicher Lehrpfad wurde 1977 der Limberg-Weg angelegt. Er umfasst 90 Stationen zu den Themen Geologie und Mineralogie, Geschichte, Naturschutz und Landschaftspflege, Forstwirtschaft, Wein- und Obstbau, Rheinbau und Wasserwirtschaft, sowie Landeskunde.
Die acht Themenpfade wurden 2007 mit einer Gesamtlänge von 140 km eröffnet und in das bestehende Wanderwegenetz des Schwarzwaldvereins (Markierung: gelber Rhombus auf weißem Hintergrund) integriert. Dabei wurde das Wanderwegenetz mit 430 neuen Wegweisern ausgeschildert. Große Tafeln mit einer Übersichtskarte und mit Standortinformationen sind an zentralen Punkten wie zum Beispiel an Bahnhöfen in den von den Themenpfaden verbundenen oder durchlaufenden Ortschaften aufgestellt. Jeder Themenpfad ist durch eine eigene Farbe und ein dem Namen entsprechendes Symbol auf den Eingangsportalen und den Wegweisern optisch gekennzeichnet. Weitere 120 kleinere Thementafeln erläutern entlang der Wanderwege lokale Besonderheiten. Örtliche Pfade, wie zum Beispiel der Brunnenpfad (7 km) in Bötzingen, wurden in das neue Netz der Themenpfade integriert.
Die acht Themenpfade wurden 2010 durch den Kaiserstuhlpfad ergänzt, der als Prädikatswanderweg das Gütesiegel „Qualitätsweg Wanderbares Deutschland“ erhielt. Der 21,7 km lange Kaiserstuhlpfad orientiert sich mit einigen Erweiterungen am Neunlindenpfad (Nord-Süd-Weg) und führt von Endingen durch das Erletal hoch zur Katharinenkapelle, entlang der Naturschutzgebiete Badberg und Haselschacher Buck zum Eichelspitzturm, weiter über den Vogelsang-Pass zum Neunlindenturm, durch den Lößhohlweg Eichgasse nach Bickensohl und über den Kreuzenbuck durch die Lenzengasse nach Ihringen.
(Wikipedia)
Die Eichelspitze ist ein 521,3 m ü. NHN hoher Berg. Er bildet nach dem Totenkopf (556,8 m ü. NHN) die zweithöchste Erhebung des Kaiserstuhls in Baden-Württemberg. Ihr Gipfel liegt am Ostrand dieses Mittelgebirges, nahe dem Treffpunkt der Gemarkungsgrenzen von Eichstetten, Bötzingen und Vogtsburg.
Bruderhäusle und St. Erhardskapelle
Auf dem Gipfel der Eichelspitze hat sich eine spätmittelalterliche, aus Küche und Schlafraum bestehende Eremiten-Einsiedlei mit angrenzender St. Erhards-Kapelle nachweisen lassen. Nach ersten Lesefunden von Hobbyarchäologen fanden die Reste der Gebäude besondere Beachtung, als im Zuge der Errichtung eines provisorischen Aussichtsturmes weitere Funde aus dem 14. bis 16. Jahrhundert zu Tage kamen. Bei der gezielten Grabung vor der Errichtung des heutigen Eichelspitzturmes (Eröffnung im Juli 2006) kamen unter anderem zahlreiche Ofenkacheln, Bruchstücke von Geschirrkeramik, Maultrommeln und eine Ringfibel aus Bronze hinzu, die einen guten Einblick in das alltägliche Leben der vor Ort lebenden Eremiten bieten.
Der Gebäudekomplex war Teil des in Sichtweite, 2,1 km (Luftlinie) entfernt gelegenen St. Petersklosters auf dem Neunlinden-Buck (555 m ü. NHN; Totenkopf-Nebengipfel), das Hesso von Baden-Hachberg einigen Pauliner-Ordensbrüdern 1387 übertrug. Die St. Erhards-Kapelle wird unter anderem 1491 in einem Urbar der Eichstetter Pfarrei erwähnt, das die Einnahmen der kleinen Kirche thematisiert.
Da Eichstetten zur Herrschaft Hachberg gehörte und sich somit schon früh der Reformation anschloss, wurde die Einsiedelei wahrscheinlich in dieser Zeit aufgegeben. Schichten von Ofenbauteilen und Baumaterial lassen auf einen Abbruch des Gebäudes schließen. Von dem einst von einem Graben umgebenen Gebäudekomplex von ungefähr 16 auf 9 Meter (mittels Georadar nachgewiesen) ist heute noch ein Mauerrest von 4 m Breite und 2,5 m Höhe zu sehen. Die bauliche Struktur des Bruderhäusles ist seit der Eröffnung des Fundortes als Bodendenkmal durch eine Lage oberirdischer Granitblöcke nachgebildet.
Eichelspitzturm
Seit Juli 2006 steht auf der Eichelspitze der insgesamt 42,5 Meter hohe Eichelspitzturm, der in einer Gemeinschaftsaktion der Gemeinden Eichstetten, Bötzingen, Bahlingen und Vogtsburg sowie des Fördervereins Eichelspitztum e. V., des Landes Baden-Württemberg und dem Mobilfunkanbieter O2 realisiert wurde. Die Höhe der Besucherplattform beträgt 28 Meter, von dort bietet sich ein guter Rundumblick auf Kaiserstuhl, Schwarzwald und Vogesen.
Besichtigung der Eichelspitze
Die Eichelspitze ist nicht mit dem Auto befahrbar, kann aber über einen als Rundweg konzipierten Geopfad erreicht werden, der im Samengarten der Stiftung Kaiserstühler Garten in Eichstetten startet. Der gut neun Kilometer lange Weg führt in etwa 1,5 Stunden über den alten Eichstetter Steinbruch zum Gipfel. Vom Parkplatz Fohrenbuck (Eichstetten) ist es etwa ein Kilometer Fußmarsch auf die Anhöhe, die Eichelspitze ist auch gut vom Vogelsang-Pass (277 m ü. NHN) zwischen Bötzingen und Vogtsburg zu erreichen.
(Wikipedia)
Volume 1 - Origin of Powerhouse: Issue #1
Flicker Fighters
It had been six months since Ben and his Mum had moved to Advent City. It was a big transition in both their lives moving from the Scottish countryside and into the big city. However, with his Mum being CEO of ‘Imagine’ he wasn’t surprised to hear she wanted to manage the company in person. Six months later, and Ben had only made one friend who he really liked, Connie. She was in the same college class as him studying Biomedical Sciences and she was also new to the city. They didn’t really have much in common other than that but, they both had the same personality and enjoyed one another’s company. They could talk about anything and always had a good laugh. Ben contemplated asking her out but he didn’t want to ruin such a good friendship and break the bond that they had, should anything happen. She was a total nerd for mech suits and it just so happened that the new branch opening in ‘Imagine’ was developing some. It was supposed to be kept a secret until their grand unveiling later in the year, but Ben knew Connie wasn’t exactly going to go around telling everyone. Therefore, he arranged to surprise her and set her up for a tour of his Mum’s company. She was more than excited for the day, and Ben struggled not to reveal the surprise. He planned to keep it for the end of the tour and then lead her through the storage facility, where the armoured suits are kept. Ben saw the suits and their designs, half of them were all ready to be showcased. However, his Mum planned to reveal them as a complete set on display once the others had been built. Ben was far too excited to show her the suits, so much so he was going to make her suspect something if he kept smiling like a lunatic.
Ben makes his way through the bustling crowd and is about to check his phone and ask where she is. She was supposed to be outside the main entrance. Although with the way he’s getting bumped about by the city crowd, he figures she got overwhelmed and went inside. She was probably chilling on her phone in a corner, the same thing he’d be doing to avoid the large crowds. He enters the building and there she is, exactly where he thought she’d be. As if she knows he’s watching, she looks up from her phone and smiles waving. They walk towards one another as she slips her phone back into her pocket.
Ben: “You ready for the best tour of your life?”
Connie: “Yeah, I got my camera ready like Peter Parker.”
Ben: “Well I can assure you there’s no radioactive spiders here. I asked my Mum to get some, but apparently it’s a ‘safety hazard’.”
The two shares a laugh and Ben begins to lead her through the tourist exhibits based on all of the new technology. Ben had heard about most of it when talking business with his Mum. Some of the projects were just frivolous crazy things for rich people with far too much money to purchase. Such as nanotechnology paint that allows you to decorate your room with micro robots. They can be remotely controlled to change colour, pattern, and even display images from the internet. Which meant you could paint a wall with these devices and have something different everyday. Then there were more useful pieces of technology for medicinal purposes. The kind of technology which would allow the replication of synthetic tissue and allow it to be ‘filled’ with a false but functional nervous system. It sounded like something from a Sci-Fi show. But that’s why the company was called, Imagine, they create technology that could only have been plucked from wildest of imaginations. Connie was overjoyed as Ben showed her some of the exhibits and the more excited she got the more he felt himself hurrying to show her the grand finale - the mech suits in storage.
Ben: “Come on, I got something cool to show you in the back. My Mum said as long as you keep it a secret and don’t take any pictures it’s okay.”
Connie: “Ooh, something top secret?”
Ben: “For the next year or so, yeah. Now come on, you’re going to love it.”
Ben leads her away from a bustling exhibit, he had to stop himself from pulling her to hurry. He knew she was going to love seeing these suits, she loved that sort of thing. She was a nerd just like him when it came to this stuff. As they are making their way through the crowd Ben turns, beaming a smile. However, someone in the building screams from just down the corridor. The overlapping conversation of the crowds around them fall silent. The scream echoes up the corridor, soon followed by other terrified shrieks. A large crashing sound causes a tremor to quake throughout the exhibit. People begin to murmur amongst themselves and others start to make their way to the exits.
Connie: “What the hell was that?”
Ben: “Um, I’m not sure. We should probably-“
An automated female voice blares from the speakers in the roof, “Emergency! Emergency! Everyone please evacuate the building in a calm and orderly fashion.”
Everyone begins pushing and shoving as they stampede towards the exits. Connie gets shoved to the ground by a larger man who doesn’t bother to look her way as she cries out. Ben yells in protest and struggles to make his way through the sea of panicked people to get to her. He loses sight of her as she’s engulfed by the mob. He knew she was on the floor, probably getting trampled on by all these people. They were scared but so was she, she was probably hurt as well. It was like the videos he had witnessed on Youtube of people going nuts over deals on Black Friday. Doing anything they can to be the first ones in the door - or in this case, out of the door. Eventually, the numbers of the crowd thin out and he sees Connie curled up in a ball on the floor, in a foetal position. Ben rushes towards her as the automated voice continues to repeat the order to evacuate. He kneels beside her and places his hand on her shoulder, she is trembling.
Ben: “Connie, we gotta get out of here.”
She doesn’t say anything and uncurls herself hesitantly. Ben’s heart sinks as he sees boot imprints on her hands and broken finger nails from being trampled on. Her cheek is red and swollen and her lip is busted in the centre. He forces a reassuring smile and lifts her to her feet pulling her towards the exit. Only to feel the building shudder with another tremor. Debris leaks from the ceiling and Ben looks up seeing a crack tear it’s way through the ceiling. His eyes widen and he continues to haul Connie to the exit. The building shakes one last time and the fracture in the ceiling pries apart. Chunks of rubble and debris rain down in front of him crashing against the ground, just inches away from them and blocking the exit. Ben begins to panic but remembers the emergency exit down the corridor. He turns and holds up Connie as she stumbles alongside him. As they make their way down to the corridor he hears something. At first he thinks it’s another tremor but no, it’s more structured with its sound - coordinated. They were footsteps. Loud, thundering footsteps from just one set of feet. Whoever it was, they were big or wearing steel boots and they were heading right for them.
Ben: “Something tells me that isn’t someone coming to help.”
Gilbert Scott-Heron (April 1, 1949 – May 27, 2011) was an American soul and jazz poet, musician, and author, known primarily for his work as a spoken-word performer in the 1970s and 1980s. His collaborative efforts with musician Brian Jackson featured a musical fusion of jazz, blues, and soul, as well as lyrical content concerning social and political issues of the time, delivered in both rapping and melismatic vocal styles by Scott-Heron. His own term for himself was "bluesologist", which he defined as "a scientist who is concerned with the origin of the blues". His poem "The Revolution Will Not Be Televised", delivered over a jazz-soul beat, is considered a major influence on hip hop music.
His music, most notably on the albums Pieces of a Man and Winter in America in the early 1970s, influenced and foreshadowed later African-American music genres such as hip hop and neo soul. His recording work received much critical acclaim, especially for The Revolution Will Not Be Televised. AllMusic's John Bush called him "one of the most important progenitors of rap music", stating that "his aggressive, no-nonsense street poetry inspired a legion of intelligent rappers while his engaging songwriting skills placed him square in the R&B charts later in his career."
Scott-Heron remained active until his death, and in 2010 released his first new album in 16 years, entitled I'm New Here. A memoir he had been working on for years up to the time of his death, The Last Holiday, was published posthumously in January 2012. Scott-Heron received a posthumous Grammy Lifetime Achievement Award in 2012. He also is included in the exhibits at the National Museum of African American History and Culture (NMAAHC) that officially opened on September 24, 2016, on the National Mall, and in an NMAAHC publication, Dream a World Anew. In 2021, Scott-Heron was inducted into the Rock and Roll Hall of Fame, as a recipient of the Early Influence Award.
Gil Scott-Heron was born in Chicago, Illinois. His mother, Bobbie Scott, was an opera singer who performed with the Oratorio Society of New York. His father, Gil Heron, nicknamed "The Black Arrow," was a Jamaican footballer who in the 1950s became the first black man to play for Celtic Football Club in Glasgow, Scotland. Gil's parents separated in his early childhood and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. When Scott-Heron was 12 years old, his grandmother died and he returned to live with his mother in The Bronx in New York City. He enrolled at DeWitt Clinton High School, but later transferred to The Fieldston School, after impressing the head of the English department with some of his writings and earning a full scholarship. As one of five Black students at the prestigious school, Scott-Heron was faced with alienation and a significant socioeconomic gap. During his admissions interview at Fieldston, an administrator asked him: "'How would you feel if you see one of your classmates go by in a limousine while you're walking up the hill from the subway?' And [he] said, 'Same way as you. Y'all can't afford no limousine. How do you feel?'" This type of intractable boldness would become a hallmark of Scott-Heron's later recordings.
After completing his secondary education, Scott-Heron decided to attend Lincoln University in Pennsylvania because Langston Hughes (his most important literary influence) was an alumnus. It was here that Scott-Heron met Brian Jackson, with whom he formed the band Black & Blues. After about two years at Lincoln, Scott-Heron took a year off to write the novels The Vulture and The Nigger Factory. Scott-Heron was very heavily influenced by the Black Arts Movement (BAM). The Last Poets, a group associated with the Black Arts Movement, performed at Lincoln in 1969 and Abiodun Oyewole of that Harlem group said Scott-Heron asked him after the performance, "Listen, can I start a group like you guys?"[18] Scott-Heron returned to New York City, settling in Chelsea, Manhattan. The Vulture was published by the World Publishing Company in 1970 to positive reviews.
Although Scott-Heron never completed his undergraduate degree, he was admitted to the Writing Seminars at Johns Hopkins University, where he received an M.A. in creative writing in 1972. His master's thesis was titled Circle of Stone. Beginning in 1972, Scott-Heron taught literature and creative writing for several years as a full-time lecturer at University of the District of Columbia (then known as Federal City College) in Washington, D.C. while maintaining his music career.
Scott-Heron began his recording career with the LP Small Talk at 125th and Lenox in 1970. Bob Thiele of Flying Dutchman Records produced the album, and Scott-Heron was accompanied by Eddie Knowles and Charlie Saunders on conga and David Barnes on percussion and vocals. The album's 14 tracks dealt with themes such as the superficiality of television and mass consumerism, the hypocrisy of some would-be black revolutionaries, and white middle-class ignorance of the difficulties faced by inner-city residents. In the liner notes, Scott-Heron acknowledged as influences Richie Havens, John Coltrane, Otis Redding, Jose Feliciano, Billie Holiday, Langston Hughes, Malcolm X, Huey Newton, Nina Simone, and long-time collaborator Brian Jackson.
Scott-Heron's 1971 album Pieces of a Man used more conventional song structures than the loose, spoken-word feel of Small Talk. He was joined by Jackson, Johnny Pate as conductor, Ron Carter on bass and bass guitar, drummer Bernard "Pretty" Purdie, Burt Jones playing electric guitar, and Hubert Laws on flute and saxophone, with Thiele producing again. Scott-Heron's third album, Free Will, was released in 1972. Jackson, Purdie, Laws, Knowles, and Saunders all returned to play on Free Will and were joined by Jerry Jemmott playing bass, David Spinozza on guitar, and Horace Ott (arranger and conductor). Carter later said about Scott-Heron's voice: "He wasn't a great singer, but, with that voice, if he had whispered it would have been dynamic. It was a voice like you would have for Shakespeare."
In 1974, he recorded another collaboration with Brian Jackson, Winter in America, with Bob Adams on drums and Danny Bowens on bass. Winter in America has been regarded by many critics as the two musicians' most artistic effort. The following year, Scott-Heron and Jackson released Midnight Band: The First Minute of a New Day. In 1975, he released the single "Johannesburg", a rallying cry for the end of apartheid in South Africa. The song would be re-issued, in 12"-single form, together with "Waiting for the Axe to Fall" and "B-movie" in 1983.
A live album, It's Your World, followed in 1976 and a recording of spoken poetry, The Mind of Gil Scott-Heron, was released in 1978. Another success followed with the hit single "Angel Dust", which he recorded as a single with producer Malcolm Cecil. "Angel Dust" peaked at No. 15 on the R&B charts in 1978.
In 1979, Scott-Heron played at the No Nukes concerts at Madison Square Garden. The concerts were organized by Musicians United for Safe Energy to protest the use of nuclear energy following the Three Mile Island accident. Scott-Heron's song "We Almost Lost Detroit" was included in the No Nukes album of concert highlights. It alluded to a previous nuclear power plant accident and was also the title of a book by John G. Fuller. Scott-Heron was a frequent critic of President Ronald Reagan and his conservative policies.
Scott-Heron recorded and released four albums during the 1980s: 1980 and Real Eyes (1980), Reflections (1981) and Moving Target (1982). In February 1982, Ron Holloway joined the ensemble to play tenor saxophone. He toured extensively with Scott-Heron and contributed to his next album, Moving Target the same year. His tenor accompaniment is a prominent feature of the songs "Fast Lane" and "Black History/The World". Holloway continued with Scott-Heron until the summer of 1989, when he left to join Dizzy Gillespie. Several years later, Scott-Heron would make cameo appearances on two of Ron Holloway's CDs: Scorcher (1996) and Groove Update (1998), both on the Fantasy/Milestone label.
Scott-Heron was dropped by Arista Records in 1985 and quit recording, though he continued to tour. The same year he helped compose and sang "Let Me See Your I.D." on the Artists United Against Apartheid album Sun City, containing the famous line: "The first time I heard there was trouble in the Middle East, I thought they were talking about Pittsburgh." The song compares racial tensions in the U.S. with those in apartheid-era South Africa, implying that the U.S. was not too far ahead in race relations. In 1993, he signed to TVT Records and released Spirits, an album that included the seminal track "'Message to the Messengers". The first track on the album criticized the rap artists of the day. Scott-Heron is known in many circles as "the Godfather of rap" and is widely considered to be one of the genre's founding fathers. Given the political consciousness that lies at the foundation of his work, he can also be called a founder of political rap. "Message to the Messengers" was a plea for the new generation of rappers to speak for change rather than perpetuate the current social situation, and to be more articulate and artistic. Regarding hip hop music in the 1990s, he said in an interview:
They need to study music. I played in several bands before I began my career as a poet. There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humor. They use a lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing.
— Gil Scott-Heron
In 2001, Scott-Heron was sentenced to one to three years imprisonment in a New York State prison for possession of cocaine. While out of jail in 2002, he appeared on the Blazing Arrow album by Blackalicious. He was released on parole in 2003, the year BBC TV broadcast the documentary Gil Scott-Heron: The Revolution Will Not Be Televised—Scott-Heron was arrested for possession of a crack pipe during the editing of the film in October 2003 and received a six-month prison sentence.
On July 5, 2006, Scott-Heron was sentenced to two to four years in a New York State prison for violating a plea deal on a drug-possession charge by leaving a drug rehabilitation center. He claimed that he left because the clinic refused to supply him with HIV medication. This story led to the presumption that the artist was HIV positive, subsequently confirmed in a 2008 interview. Originally sentenced to serve until July 13, 2009, he was paroled on May 23, 2007.
After his release, Scott-Heron began performing live again, starting with a show at SOB's restaurant and nightclub in New York on September 13, 2007. On stage, he stated that he and his musicians were working on a new album and that he had resumed writing a book titled The Last Holiday, previously on long-term hiatus, about Stevie Wonder and his successful attempt to have the birthday of Martin Luther King Jr. declared a federally recognized holiday in the United States.
Malik Al Nasir dedicated a collection of poetry to Scott-Heron titled Ordinary Guy that contained a foreword by Jalal Mansur Nuriddin of The Last Poets. Scott-Heron recorded one of the poems in Nasir's book entitled Black & Blue in 2006.
In April 2009, on BBC Radio 4, poet Lemn Sissay presented a half-hour documentary on Gil Scott-Heron entitled Pieces of a Man, having interviewed Gil Scott-Heron in New York a month earlier. Pieces of a Man was the first UK announcement from Scott-Heron of his forthcoming album and return to form. In November 2009, the BBC's Newsnight interviewed Scott-Heron for a feature titled The Legendary Godfather of Rap Returns. In 2009, a new Gil Scott-Heron website, gilscottheron.net, was launched with a new track "Where Did the Night Go" made available as a free download from the site.
In 2010, Scott-Heron was booked to perform in Tel Aviv, Israel, but this attracted criticism from pro-Palestinian activists, who stated: "Your performance in Israel would be the equivalent to having performed in Sun City during South Africa's apartheid era... We hope that you will not play apartheid Israel". Scott-Heron responded by canceling the performance.
Scott-Heron released his album I'm New Here on independent label XL Recordings on February 9, 2010. Produced by XL label owner Richard Russell, I'm New Here was Scott-Heron's first studio album in 16 years. The pair started recording the album in 2007, with the majority of the record being recorded over the 12 months leading up to the release date with engineer Lawson White at Clinton Studios in New York. I'm New Here is 28 minutes long with 15 tracks; however, casual asides and observations collected during recording sessions are included as interludes.
The album attracted critical acclaim, with The Guardian's Jude Rogers declaring it one of the "best of the next decade", while some have called the record "reverent" and "intimate", due to Scott-Heron's half-sung, half-spoken delivery of his poetry. In a music review for public radio network NPR, Will Hermes stated: "Comeback records always worry me, especially when they're made by one of my heroes ... But I was haunted by this record ... He's made a record not without hope but which doesn't come with any easy or comforting answers. In that way, the man is clearly still committed to speaking the truth". Writing for music website Music OMH, Darren Lee provided a more mixed assessment of the album, describing it as rewarding and stunning, but he also states that the album's brevity prevents it "from being an unassailable masterpiece".
Scott-Heron described himself as a mere participant, in a 2010 interview with The New Yorker:
This is Richard's CD. My only knowledge when I got to the studio was how he seemed to have wanted this for a long time. You're in a position to have somebody do something that they really want to do, and it was not something that would hurt me or damage me—why not? All the dreams you show up in are not your own.
The remix version of the album, We're New Here, was released in 2011, featuring production by English musician Jamie xx, who reworked material from the original album. Like the original album, We're New Here received critical acclaim.
In April 2014, XL Recordings announced a third album from the I'm New Here sessions, titled Nothing New. The album consists of stripped-down piano and vocal recordings and was released in conjunction with Record Store Day on April 19, 2014.
Scott-Heron died on the afternoon of May 27, 2011, at St. Luke's Hospital, New York City, after becoming ill upon returning from a trip to Europe. Scott-Heron had confirmed previous press speculation about his health, when he disclosed in a 2008 New York Magazine interview that he had been HIV-positive for several years, and that he had been previously hospitalized for pneumonia.
He was survived by his firstborn daughter, Raquiyah "Nia" Kelly Heron, from his relationship with Pat Kelly; his son Rumal Rackley, from his relationship with Lurma Rackley; daughter Gia Scott-Heron, from his marriage to Brenda Sykes; and daughter Chegianna Newton, who was 13 years old at the time of her father's death. He is also survived by his sister Gayle; brother Denis Heron, who once managed Scott-Heron; his uncle, Roy Heron; and nephew Terrance Kelly, an actor and rapper who performs as Mr. Cheeks, and is a member of Lost Boyz.
Before his death, Scott-Heron had been in talks with Portuguese director Pedro Costa to participate in his film Horse Money as a screenwriter, composer and actor.
In response to Scott-Heron's death, Public Enemy's Chuck D stated "RIP GSH...and we do what we do and how we do because of you" on his Twitter account. His UK publisher, Jamie Byng, called him "one of the most inspiring people I've ever met". On hearing of the death, R&B singer Usher stated: "I just learned of the loss of a very important poet...R.I.P., Gil Scott-Heron. The revolution will be live!!". Richard Russell, who produced Scott-Heron's final studio album, called him a "father figure of sorts to me", while Eminem stated: "He influenced all of hip-hop". Lupe Fiasco wrote a poem about Scott-Heron that was published on his website.
Scott-Heron's memorial service was held at Riverside Church in New York City on June 2, 2011, where Kanye West performed "Lost in the World" and "Who Will Survive in America", two songs from West's album My Beautiful Dark Twisted Fantasy. The studio album version of West's "Who Will Survive in America" features a spoken-word excerpt by Scott-Heron. Scott-Heron is buried at Kensico Cemetery in Westchester County in New York.
Scott-Heron was honored posthumously in 2012 by the National Academy of Recording Arts and Sciences with a Grammy Lifetime Achievement Award. Charlotte Fox, member of the Washington, DC NARAS and president of Genesis Poets Music, nominated Scott-Heron for the award, while the letter of support came from Grammy award winner and Grammy Hall of Fame inductee Bill Withers.
Scott-Heron's memoir, The Last Holiday, was published in January 2012. In her review for the Los Angeles Times, professor of English and journalism Lynell George wrote:
The Last Holiday is as much about his life as it is about context, the theater of late 20th century America — from Jim Crow to the Reagan '80s and from Beale Street to 57th Street. The narrative is not, however, a rise-and-fall retelling of Scott-Heron's life and career. It doesn't connect all the dots. It moves off-the-beat, at its own speed ... This approach to revelation lends the book an episodic quality, like oral storytelling does. It winds around, it repeats itself.
At the time of Scott-Heron's death, a will could not be found to determine the future of his estate. Additionally, Raquiyah Kelly-Heron filed papers in Manhattan, New York's Surrogate's Court in August 2013, claiming that Rumal Rackley was not Scott-Heron's son and should therefore be omitted from matters concerning the musician's estate. According to the Daily News website, Rackley, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate, as Rackley stated in court papers that Scott-Heron prepared him to be the eventual administrator of the estate. Scott-Heron's 1994 album Spirits was dedicated to "my son Rumal and my daughters Nia and Gia", and in court papers Rackley added that Scott-Heron "introduced me [Rackley] from the stage as his son".
In 2011, Rackley filed a suit against sister Gia Scott-Heron and her mother, Scott-Heron's first wife, Brenda Sykes, as he believed they had unfairly attained US$250,000 of Scott-Heron's money. The case was later settled for an undisclosed sum in early 2013; but the relationship between Rackley and Scott-Heron's two adult daughters already had become strained in the months after Gil's death. In her submission to the Surrogate's Court, Kelly-Heron states that a DNA test completed by Rackley in 2011—using DNA from Scott-Heron's brother—revealed that they "do not share a common male lineage", while Rackley has refused to undertake another DNA test since that time. A hearing to address Kelly-Heron's filing was scheduled for late August 2013, but by March 2016 further information on the matter was not publicly available.[69] Rackley still serves as court-appointed administrator for the estate, and donated material to the Smithsonian's new National Museum of African American History and Culture for Scott-Heron to be included among the exhibits and displays when the museum opened in September 2016. In December 2018, the Surrogate Court ruled that Rumal Rackley and his half sisters are all legal heirs.
According to the Daily News website, Kelly-Heron and two other sisters have been seeking a resolution to the issue of the management of Scott-Heron's estate. The case was decided in December 2018 with a ruling issued in May 2019.
Scott-Heron's work has influenced writers, academics and musicians, from indie rockers to rappers. His work during the 1970s influenced and helped engender subsequent African-American music genres, such as hip hop and neo soul. He has been described by music writers as "the godfather of rap" and "the black Bob Dylan".
Chicago Tribune writer Greg Kot comments on Scott-Heron's collaborative work with Jackson:
Together they crafted jazz-influenced soul and funk that brought new depth and political consciousness to '70s music alongside Marvin Gaye and Stevie Wonder. In classic albums such as 'Winter in America' and 'From South Africa to South Carolina,' Scott-Heron took the news of the day and transformed it into social commentary, wicked satire, and proto-rap anthems. He updated his dispatches from the front lines of the inner city on tour, improvising lyrics with an improvisational daring that matched the jazz-soul swirl of the music".
Of Scott-Heron's influence on hip hop, Kot writes that he "presag[ed] hip-hop and infus[ed] soul and jazz with poetry, humor and pointed political commentary". Ben Sisario of The New York Times writes that "He [Scott-Heron] preferred to call himself a "bluesologist", drawing on the traditions of blues, jazz and Harlem renaissance poetics". Tris McCall of The Star-Ledger writes that "The arrangements on Gil Scott-Heron's early recordings were consistent with the conventions of jazz poetry – the movement that sought to bring the spontaneity of live performance to the reading of verse". A music writer later noted that "Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists", while The Washington Post wrote that "Scott-Heron's work presaged not only conscious rap and poetry slams, but also acid jazz, particularly during his rewarding collaboration with composer-keyboardist-flutist Brian Jackson in the mid- and late '70s". The Observer's Sean O'Hagan discussed the significance of Scott-Heron's music with Brian Jackson, stating:
Together throughout the 1970s, Scott-Heron and Jackson made music that reflected the turbulence, uncertainty and increasing pessimism of the times, merging the soul and jazz traditions and drawing on an oral poetry tradition that reached back to the blues and forward to hip-hop. The music sounded by turns angry, defiant and regretful while Scott-Heron's lyrics possessed a satirical edge that set them apart from the militant soul of contemporaries such as Marvin Gaye and Curtis Mayfield.
Will Layman of PopMatters wrote about the significance of Scott-Heron's early musical work:
In the early 1970s, Gil Scott-Heron popped onto the scene as a soul poet with jazz leanings; not just another Bill Withers, but a political voice with a poet's skill. His spoken-voice work had punch and topicality. "The Revolution Will Not Be Televised" and "Johannesburg" were calls to action: Stokely Carmichael if he'd had the groove of Ray Charles. 'The Bottle' was a poignant story of the streets: Richard Wright as sung by a husky-voiced Marvin Gaye. To paraphrase Chuck D, Gil Scott-Heron's music was a kind of CNN for black neighborhoods, prefiguring hip-hop by several years. It grew from the Last Poets, but it also had the funky swing of Horace Silver or Herbie Hancock—or Otis Redding. Pieces of a Man and Winter in America (collaborations with Brian Jackson) were classics beyond category".
Scott-Heron's influence over hip hop is primarily exemplified by his definitive single "The Revolution Will Not Be Televised", sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron's indirect contributions to rap music extend to his and co-producer Jackson's compositions, which have been sampled by various hip-hop artists. "We Almost Lost Detroit" was sampled by Brand Nubian member Grand Puba ("Keep On"), Native Tongues duo Black Star ("Brown Skin Lady"), and MF Doom ("Camphor"). Additionally, Scott-Heron's 1980 song "A Legend in His Own Mind" was sampled on Mos Def's "Mr. Nigga", the opening lyrics from his 1978 recording "Angel Dust" were appropriated by rapper RBX on the 1996 song "Blunt Time" by Dr. Dre, and CeCe Peniston's 2000 song "My Boo" samples Scott-Heron's 1974 recording "The Bottle".
In addition to the Scott-Heron excerpt used in "Who Will Survive in America", Kanye West sampled Scott-Heron and Jackson's "Home is Where the Hatred Is" and "We Almost Lost Detroit" for the songs "My Way Home" and "The People", respectively, both of which are collaborative efforts with Common. Scott-Heron, in turn, acknowledged West's contributions, sampling the latter's 2007 single "Flashing Lights" on his final album, 2010's I'm New Here.
Scott-Heron admitted ambivalence regarding his association with rap, remarking in 2010 in an interview for the Daily Swarm: "I don't know if I can take the blame for [rap music]".[81] As New York Times writer Sisario explained, he preferred the moniker of "bluesologist". Referring to reviews of his last album and references to him as the "godfather of rap", Scott-Heron said: "It's something that's aimed at the kids ... I have kids, so I listen to it. But I would not say it's aimed at me. I listen to the jazz station." In 2013, Chattanooga rapper Isaiah Rashad recorded an unofficial mixtape called Pieces of a Kid, which was greatly influenced by Heron's debut album Pieces of a Man.
Following Scott-Heron's funeral in 2011, a tribute from publisher, record company owner, poet, and music producer Malik Al Nasir was published on The Guardian's website, titled "Gil Scott-Heron saved my life".
In the 2018 film First Man, Scott-Heron is a minor character and is played by soul singer Leon Bridges.
He is one of eight significant people shown in mosaic at the 167th Street renovated subway station on the Grand Concourse in the Bronx that reopened in 2019.
They say plants don't move.
Only some 120- hours ago these were all yellow dandelions.
And thye figured out haw to mix their males and females to fly far away without using any of their own energy,,
Parachutes come to mind.
Edward Nygma was a forensic investigator for the GCPD with a penchant for asking riddles, one of the few fond memories from his abusive household. He was viewed as a know-it-all and weird by most of his co-workers, especially when he began to develop a crush on his fellow forensic investigator Ms. Kirsten Kringle. At first, what Nygma was doing seemed harmless enough; Small, passing gifts left on her desk now and then. Ed eventually started buying bigger gifts for her, though he found he needed the money to do so. He elected to grab money from the stolen goods processing vault and use it. No one would miss it, right? He bought watches, necklaces, expensive tokens of his affection. One day, while raiding the vault as usual, he was caught by an officer. Scared that he’d be reported to the captain, Ed stabbed him, over and over. He had cut the cameras to the vault earlier, replacing it with previous footage of the room so the officers wouldn't discover his theft. He remained within the vault, along with the body, until most had gone home. Ed dragged the body into the morgue and placed it in one of the freezers. He got a bit of a thrill from not being caught, and decided to chase that thrill, leaving a riddle on the body to find the killer and locking the freezer, heading out to buy Ms. Kringle a bracelet. Of course, Ed was caught. It didn't cross his mind that he was the only one in the GCPD known for riddles at the time, and when he tried to pass it off as a framing, the internal affairs investigation discovered the knife he left in the vault. Along with that, they uncovered the robberies he had been periodically carrying out. Awestruck that someone could possibly outsmart him, Ed snapped. He admitted to the murder and was locked in Arkham, where he quickly began to devise an escape plan and a new identity: The Riddler.
I usually walk among the Fittie housing and tarry sheds when I have some time while waiting on ships arriving or leaving the harbour, today I choose to walk along the main street where locals parks their cars , I've passed this building many times though never noticed the scripted block with info of the buildings origins and date etc, took a photo to archive for my Flickr, this is the result .
The Gospel Hall is located on New Pier Road, within the conservation area of Footdee. This building was constructed as recently as 1951 and was initially used as a place of worship. A full-immersion baptismal font remains a defining feature of the erstwhile Gospel Hall.
From 1990 to 2014, the building was rented as a studio by respected RSA artist, Joyce Cairns. Among a great many distinctive, large scale paintings-many inspired by and featuring the village of Fittie, her significant body of work “War Tourist” was produced within the four walls of the hall.
When Joyce’s tenancy came to an end in April 2014, members of the Castlehill and Pittodrie Community Council began informal inquiries into the vacant property being acquired for the benefit of village residents.
Residents of a historic fishing community have joined together in a bid to buy a disused gospel hall from the local authority.
In a first for Aberdeen City Council, the residents of Footdee, know locally as Fittie, will take over ownership of the old Gospel Hall from the local authority via a community asset transfer.
This relatively new legislation introduces a right for community bodies to make requests to all local authorities for land or buildings they feel they could make better use of.
The building, which dates back to 1951 in its current form, will be acquired by the non-profit charity Fittie Community Development Trust which is an association of 60 residents of the former fishing village.
The local authority has approved the terms of the sale with the trust on course to buy the building in which they want to hold community events.
The trust has received £50,000 from the Scottish Land Fund and is raising cash to renovate the hall, with an anticipated opening date of summer 2018.
Trust chairwoman Pauline Brown said: “The purchase of this building to use as a community hall is an important and positive development for the village of Fittie.
“We have been heartened by the support of Aberdeen City Council in helping to make this happen.
“Providing the Fittie community with a physical location to hold meetings and social, recreational and educational clubs and events will provide opportunities for residents of all ages to engage in activities which will support community cohesion, develop interests and improve general health and wellbeing.”
The gospel hall, on New Pier Road, was initially used as a place of worship for local fishermen but was later rented as a studio by artist Joyce Cairns from 1990 to 2014.
Members of Castlehill and Pittodrie Community Council then began informal inquiries before the trust led the campaign to buy it.
Fittie resident Mary Falconer, who has lived in the village for 35 years, said it was “wonderful news” for the community.
She said: “Now we can look forward to opening the doors to a historic building that’s been part of the village for many years but has been empty and disused for some time.
“This building will bring pleasure to local people and we look forward to being able to share some community activities and our history and heritage with the wider community, showing another side of Fittie life.”
October 26, 2018 - Pensacola, Florida, United States - Jeff Bezos' Blue Origin ship to be used for rocket landings docked at Port of Pensacola.
Dès son origine (1477-1478), le “pion” est un surnom pour désigner “celui” qui a de grands pieds !
C’est aussi une pièce d’échec, la seule à ne pas pouvoir reculer !
On parle aussi souvent d’une personne qui est manipulée !
De même on surnomme parfois ainsi les “assistants éducatifs" et surtout dans les internats …
Mais revenons à l’éthymologie de ce mot issu du latin et qui veut dire celui «qui va à pied» même si l’homme repris sur ce cliché, compte, à mon avis, prendre un transport en commun !
Avec l’utilisation de plus en plus importante des caméras de surveillance, il devient également un “pion” parmi tant d’autres sous contrôle quasi permanent du système !
Je ne sais pas ce que vous en pensez ou tout simplement si vous vous sentez aussi être “un pion” mais moi, rien qu’à y penser, je deviens vexé et “irritable” 🤔
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INFORMATIONS CONCERNANT LA PRISE DE VUE CI-DESSUS !
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A la recherche d’un boîtier plus léger et moins encombrant, j’ai eu l’occasion d’essayer le dernier né des compacts de l'enseigne Sony !
Photo réalisée donc avec le nouveau Sony Alpha 7CII et un petit zoom FE 28-60 mm dont la plus grande ouverture est de f/4 à 28 mm et de f/5,6 à 60 mm !
Il était équipé d’une poignée GP-X2 qui donne un excellent maintien en main mais pas vraiment nécessaire !
Quant à son prix, il devrait se situer entre 2000 et 2200 € et normalement, il sera disponible dès le mois prochain !
Léger et équipé d’un capteur de 33 Mégapixels, il permet de jouer avec des sensibilités Iso entre 100 et 51200 et procure des prises de haute sensibilité …. et sans bruit !
La pêche aux carrelets effectuée à l’origine à partir d'un bateau carrelet se sédentarise sur les berges de la Rance dans les années 1970. Des cabanons sur pilotis placés au bout d'une estacade forment un abri de fortune en planches de châtaignier. Aujourd'hui, certains sont abandonnés et en ruines.
La Rance est un fleuve côtier d'une longueur de 104 km. Elle prend sa source dans les monts du Mené à Collinée et se jette dans la Manche entre Dinard et Saint-Malo.
Merci à tous pour vos visites, favoris et commentaires
Thanks you all for your visits, faves and comments
I have two psychological hang-ups relating to food and diet, and I can easily trace their origins to my father's participation in my upbringing.
The first is not only a love of - even a reverence for - food, but a belief that food is love. The importance of food in Chinese culture may be a cliche, but it's no less true for being one. In Cantonese, people ask one another "have you eaten yet?" in the same way as we ask "what's up?" or "how's it going?”, and then there’s this popular aphorism of Prince Philip’s:
“If it has got four legs and it is not a chair, if it has got two wings and it flies but is not an aeroplane, and if it swims and it is not a submarine, the Cantonese will eat it.”
When I left home at the age of seventeen, Dad gave me a rice cooker, a wok and some recipes, but my passion for food took hold much earlier, in childhood. Typically for a Chinese man of his generation, Dad worked long hours: fourteen hours a day, six days a week. I missed him, and his weekly days off on which he prepared what seemed to me then to be vast banquets, were occasions for childish excitement comparable to Christmas. Also typically for a Chinese man of his generation, Dad was not effusive or demonstrative. Of course, Dad's devotion to his family was expressed in the fact that he worked so hard to provide for us, but I had no appreciation of that as a child. And so I found his love and affection in the food he cooked for us: in the effort and care that was put into the meals; in the way he would put the best pieces of meat or fish into our bowls rather than his own; in how damned good they tasted.
Food as love is a belief I have inherited, or perhaps just inferred, from my Dad. Unless I'm working away from Glasgow, I cook every single day, but rarely for other people. If I cook for someone, it's because I care about them very much (or maybe, in some shallower instances, because I want to impress them). And by "cook for someone" I don't mean "I was going to heat up some of this stew, do you want some too?" or "feel free to have some of the soup I made earlier" but rather "I'm going to prepare and cook a meal for you and I to sit down and eat together." I can't expect everyone to understand what it means for me to do that, of course: romantic partners in the past have been baffled by my anger when they arrived late for dinner, or been irritated by how much I interest I took in their diets.
This brings me to my second neurosis, an unusually enthusiastic and occasionally angsty concern with the nutritional or health-giving value of my diet. As a child, I wasn't allowed to go and play after dinner until I had eaten an apple and drunk what seemed to me as a child to be a huge glass of water (I have since I was a teenager had a particular compulsion about staying hydrated, and remember thinking it irrational and unjust that we weren't allowed to drink water in class in secondary school). This compulsiveness may seem incompatible with the fact that I regularly abuse my body variously with alcohol, cigarettes and, until recently, by indulging my sweet tooth, but perhaps it (along with exercise) was borne of these abuses: knowing that I do these things, I feel I must exercise, eat well and try my best to sleep well.
A few months ago, I read an article in The Guardian (it's a running joke among my friends how many of our conversations begin with this line) about Dr Robert Lustig, the man at the forefront of the anti-sugar movement in America. In it, he makes the alarming claim that sugar is as harmful to our bodies as tobacco and cocaine. In further reading about the subject, I kept coming across the paleo diet. When I sought the advice of friends and colleagues who I knew subscribed to it, they were unanimous in proclaiming its benefits. The diet is based around the food our ancestors ate tens of thousands of years ago, before the advent of agriculture, and permits meat, fruit and veg, fish, nuts and seeds. This means that coffee, booze, grains, legumes, starches, dairy and any kind of processed food are all out. There are variations of the diet that permit some of these food groups, but bread, pasta, rice, couscous and potatoes (except the sweet variety) are out.
I've been following the paleo diet for three months now. I'm not particularly strict about it: legumes and some dairy still form a (now smaller) part of my diet, my meat isn't necessarily grass-fed, I treat myself to the occasional dessert or pizza, and nobody is ever taking beer away from me. When I go to a restaurant or a friend's house for food, I'm no more picky than I used to be. Some friends and family members have expressed alarm that someone like me, who has spent his whole life underweight, should go on a diet. I wouldn't be surprised if, since adopting this "lifestyle" (as many of its adherents prefer to think of it), my daily intake of calories and fat has increased substantially, but that's part of the point: fat doesn't make you fat; sugar makes you fat. In any case, I stress to them that this is not about losing weight or about body image - although if you are keen to lose weight, a paleo diet will show dramatic results very quickly - but about general good health. And after only a couple of weeks, I felt the benefits. My energy levels are much more constant than they used to be: I get out of bed earlier, more easily, and don't feel tired after meals; indigestion and acid reflux are things of the past; bowel movements are, to use a respectfully vague adjective, better. I’ve enjoyed an excitement I haven’t felt for a long time at going into the kitchen to cook and knowing that I’m forced to be creative. The downside is that I'm almost always a little hungry, but nuts and fruit are never far away to snack on. The other principal drawback is that this diet is expensive, cutting out all the cheap staples such as rice and pasta in favour of more meat, fish and vegetables.
While I know that there are many challenges to the anthropological and evolutionary bases of the paleo diet, and that nutritionists continue to disagree on what constitutes the healthiest diet, the benefits of the paleo diet have for me been tangible, and I recommend it to anyone.
Glasgow, 2014.
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Ngan Cute
Binh Chanh, Saigon
04 Dec 2010
135mm f2@ f2
Special thanks to models and photography friends!
Another sharp one from the Arkham Origins wave 2 shoot. Full gallery at The Toyark here : news.toyark.com/2014/03/21/dc-collectibles-arkham-origins...
DSC_1048 - Click of Nature
Storia
La chiesa, di probabile origine tardo-rinascimentale, è ricordata per la prima volta in un documento del 1590.
L'edificio religioso venne in seguito riprogettato sia esternamente che internamente dall'architetto Giuseppe Partini nel 1884, ispirandosi a modelli cinquecenteschi.
Da essa proviene la statua della Madonna attribuita ad Andrea della Robbia, dal 1870 in poi conservata all'interno della chiesa della Madonna di Vitaleta nel centro storico di San Quirico d'Orcia, che si dice acquistata nel 1553 in una bottega a Firenze.
Descrizione
Madonna di Andrea della Robbia, originariamente posta nella cappella
Chiesetta della Madonna di Vitaleta
La cappella della Madonna di Vitaleta si trova su una strada sterrata che porta da Pienza a San Quirico d'Orcia ed è posta sotto tutela dall'UNESCO.
L'edificio religioso si presenta ad aula unica, con la facciata principale rivestita in pietra di Rapolano che si caratterizza per un piccolo rosone che si apre al di sopra del portale architravato; lateralmente, la stessa facciata è delimitata da lesene, una a destra e l'altra a sinistra, sulle quali poggia il frontone sommitale, nel cui timpano è collocato uno stemma gentilizio.
Le facciate laterali sono rivestite in pietra, così come la parte posteriore dell'edificio religioso alla cui sommità si eleva un campanile a vela con due celle campanarie contigue ad arco tondo.
Block from the tomb of the 'Great Head of the Army' called Iwrkhy of Syrian origin. He began his military career under King Sethi I and succeeded to reach a high position in the time of King Ramses II and was responsible for the administrations of all the estates of the king: the Ramesseum.
The block was found buried in the sand beside the northeast wall of the room named 'Statue Room' because it contained on both sides of its western wall on each side of the door a base of statues.
Description of the block
It shows a scene in two registers. The upper one shows two chariots driven each by two men with two horses leading each of them. The chariots are separated by a waterway filled with crocodiles.
In the lowes registers, an army formed of five men of different nationalities according to their features and hair dress. The three first one to the left might represent the mDAyw police force formed of Nubians. They are carrying weapons (swords and sticks with shield). Following them a group of donkeys: two at the front with a child on the back of one of them and two at the back with a boy crouching on the back of one of them.
A man holding a long stick is leading the donkeys who seem to be crossing the waterway on a flat area beneath the water with crocodiles.
This block is an important discovery since it depicts for the second time the waterway with crocodiles which appeared for the first time on the relief of the northern outer wall of the hypostyle court at Karnak where Sethi I is depicted coming back victorious from a campaign against the SAsw Bedouins in Sinai.
The waterway in this relief is clearly filled with crocodiles and represents - like the one in Karnak - the fortress of Tharou, as clearly mentioned in the relief on the left side.
From the tomb of the 'Great Head of the Army' called Iwrkhy of Syrian origin
Saqqara, south of Unas Causeway
Season 2017/2018
Egyptian Museum, Cairo
Origins©David Rothwell All Rights Reserved. Please do not use any of my images/digital data without my written permission. 2012
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A collaboration with Ryan DeVore.
The two triangles are alchemy symbols. The upright triangle is the symbol for air, which is associated with inspiration... and the inverted triangle is the symbol for earth, with is associated with origin.
Replica Benz Motorwagen (world's first petrol-engined car)
Intentional Camera Movement abstact with highlights in car details, Gaydon Heritage Motor Centre
Carte de visite by Stiles & King of Windsor, Vt. At first glance, the irregular uniforms, non-military hats, and title of this photo collage points to a band of brothers with Southern origins.
But the back of the mount reveals a different story. It is marked with the imprint of photographers Stiles & King, two veterans who briefly operated a gallery in Windsor, Vt.
George D. Stiles (about 1837-1869), a onetime clerk in a store in Strafford, Vt., served with the Union Navy's Pay Department and was stationed in New Orleans, La. According to a newspaper report, he participated in the Red River Campaign. After the end of his service, he and Wallace A. King opened a photo gallery in Windsor, Vt. Evidence suggests the business did not last long, as it is not mentioned in Stiles' 1869 obituary following his death from sunstroke in Cincinnati, Ohio. He had relocated to the Buckeye State and worked as a distributing agent for a tobacco warehouse.
Vermont native Wallace Albert King (1837-1919) studied art in high school and at seminary until 1857, when he relocated to Michigan. After the war started, he became a first lieutenant in the 4th Michigan Infantry. Illness prompted his resignation soon after he received his commission, and his return to Vermont. In 1862, he joined the 7th Rhode Island Cavalry Squadron for a 3-month enlistment. He went on to work in Vermont and New Hampshire after he mustered out of the army. His connection to photography and Stiles is not mentioned in his obituary, perhaps lending credence to the short life of the gallery. But we know he was a photographer based upon one image credited to him, a "View of Ascutney Mountain taken from High Bridge at Claremont, N.H.," which appeared as a lithograph in 1868. Claremont's northwestern boundary touches the southeast boundary of Windsor, Vt.
The back of the mount also includes a revenue stamp that was hand-cancelled by "S&R" on Nov. 1, 1865.
At this time, the state of Vermont contained active companies of home guards. Newspaper reports document the presence of these quasi-military organizations in Vermont before and during the war. The Confederate Raid on St. Albans, Vt., on Oct. 19, 1864, boosted the presence of these organizations.
An editorial in the July 1, 1865, edition of the Vermont Record stated, "last fall a raid was made at St. Albans, and the news flew with the velocity of lightning through the State, and in different portions of it, volunteer companies were formed, one of which was formed in Montpelier within forty-five minutes from the the time the news reached town, and contained one hundred and forty men ranged in line at the depot, ready to start for the scene of action, just as it was announced that the raiders had left and were on their way to Canada."
The editorial also noted, "We are of opinion that if an invasion of the State were attempted, to-day, it would meet a similar rebuke, and those that would fly to the rescue would not of necessity belong to the uniformed militia, but citizens would rally, and the 'brave boys in blue,' very few of which are found in the ranks of our 'home guard' would be first and foremost in the ranks for their State's defence."
It is entirely possible that this band of brothers was part of the wave of volunteer home guardsmen who rose up in the wake of the St. Albans Raid. Moreover, that they possessed a sense of humor that resulted in this self-deprecating photo illustration.
I encourage you to use this image for educational purposes only. However, please ask for permission.
Performed by Drum Feng at the Esplanade Outdoor Theatre during Moonfest 2018 for the Mid-Autumn Festival celebrations.
Proyecto de autorretratos hecho mientras estudiaba fotografía, sobre conectar con las raíces aborígenes canarias (Islas Canarias). Inspirado por el concepto de "repatriación espiritual" de Christian Thompson, de su proyecto "We bury our own". / Project of self-portraits made while studying photography about connecting through photography with Canarian aboriginal roots. Inspired by Christian Thompson's concept "spiritual repatriation" from his We Bury Our Own project.
It's amazing that our biological bodies are seemingly built upon technology that has been passed to us through numerous replications of our DNA strains through each and every cell division ad infinitum. Through meosis, mitosis, and it continues again.
There is this moment of rebirth when our genetic codex is melanged through combinatronic permutation after permutated combination in this grand scheme of survival, life, and existence. It is the greatest hedging of the bets done so for purely longer-term species survival, but is this concept of an individual that we adore so much just an elaborate illusion? Instead, are we really just infinitesimal parts of a whole, the huge composite structure of machinery that completes the circle of life, the way of the tao, the nature of the au natural, the systemic mechanisms of divinity?
Are we just an experimental device, a mouthpiece for control over the dominion of evolutionary advantage such that our DNA is mixed into a combinatorial cocktail and then reborn anew time and time again for the pure fact of increasing the probability of species survival and thusly letting the natural forces at bay enhance and design our technology?
With all of this illusion and deceiving, it's hard to discern reality from dream, so it comes to light that we are a product of continuous being whereby there has been no end since the beginning. Is this so? And all this where the replication from one system to another has been so seamless that an illusion upon an illusion upon an illusion began to surface seemingly making us distinct individuals, when in fact we are but one grand individual?
There is no spoon, yet there is no divinity. I find this to be simultaneously true and false at the same time, which is blasphemy at its best. There isn't a spoon, it's all an illusion, but yet we do exist, we think, breathe, eat, and live, then where is the divinity? Is it all around us, including us, ourselves, our individualistic entities of existential being?
We are also not multiple beings, but one continuous breed of life that has been spawned, remixed, recoded, reconfigured time and time again just to maintain strength, vigor, and an edge on the competition in this jungle of an environment.
Ultimately, we are one. We are one being, one machine, one system, one divinity. We will not fully become aware of our supremeness nor immortality until we have reached our destination called destiny, but when we do reach it, we will be one, and with that oneness, we will be divine.
La machine parfaite est divinité.
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Le origini del borgo di Guardabosone si possono far risalire tra la fine dell'XI sec. e l'inizio dell'XII sec. L'origine etimologica del nome, secondo alcuni, deriva da Bosone, primo Signore di Trivero, erede dello stesso re Arduino d'Ivrea. Altri storici forniscono un'indicazione diversa "Guarda", infatti, significa luogo di guardia, di controllo e di confine con la vicina Valsesia. "Bosone", invece, sarebbe da ricondurre al termine arcaico tedesco "bos" che, ai tempi dei longobardi, indicava tutte le località di fondo valle. Quindi Guardabosone a significare località di guardia al fondo valle.
Fin dal medioevo, attraverso la Valle Sessera e Guardabosone, transitava un'importante via di collegamento tra il Ducato di Savoia ed il Ducato di Milano. L'attività svolta era essenzialmente costituita da commercio, artigianato, agricoltura, pastorizia; una vita tranquilla in un clima di pace, fino al XVI sec. in cui divenne parte del Principato di Masserano e Marchesato di Crevacuore. In questo periodo fu spettatore spesso coinvolto nelle dispute tra i governanti del Biellese sabaudo e della Valsesia spagnola.
Di questo passato Guardabosone conserva molte tracce che si possono ritrovare nel percorso di visita.
(dal sito del Comune)
More Saturday sunset views of the Blue Origin New Glenn, shown in five acts. These views are from offshore; when I booked the trip, I thought it would be the last sunset on the pad for the NG-1 mission. Despite the calm water we had last night, the sea conditions for the far-away landing platform warranted delaying the launch.
El nombre de esta línea se originó en un estacion, entre 1903 y 1939, estuvo ahí la "Estación Tropezón" del Ferrocarril de Yungay a Barrancas (con Estación terminal en la esquina de San Francisco con La Estrella, en el centro de la comuna de Barrancas), ubicada justo en la Punta de Diamante donde se divide esa calle en José Joaquín Pérez y Mapocho.
Las primeras micros acercaban a la gente desde las poblaciones de las zonas más alejadas de Barrancas (Actual Pudahuel, Cerro Navia y Lo Prado) hasta esa punta de diamante llamada el Tropezón para abordar el Tren que iba hacia el centro de Santiago.
Posteriormente al término del Tranvía, las micros que llegaban hasta el Tropezón (decían eso arriba del parabrisas) extendieron su recorrido hasta Santa María con Recoleta y poco a poco fueron sacando variantes hacia Barrancas, las que llegaron a ser siete, que con el tiempo también extendieron progresivamente sus recorridos hacia el norte por la calle Recoleta.
Hasta la instauración de las micros amarillas en 1992, la línea mantuvo el nombre original de "Tropezón" (aunque ya no necesariamente pasaran por ahí) y sus variantes sólo se diferenciaban por números del 1 al 7 según contó Daniel Larenas.
1835AD 28th September, Chatham Island (now San Cristobal) Galapagos Islands. Charles Darwin had been the second choice of Robert FitzRoy to join him on HMS Beagle for the expedition to chart the coastline of South America. The expedition left England in 1831 and arrived back in 1836. HMS Beagle was in the Galapagos Islands for five weeks, from 15 September to 20 October 1835.
Darwin was 26 years old when he landed on San Cristobal. During his stay in the Galapagos Islands he stayed at the islands now known as Floreana, Isabela, San Cristóbal, and Santiago. The visit struck Darwin that the creatures on the islands roaming, flying and swimming were so unique from those elsewhere. Many of the Galapagos species were distinct from those on the mainland, whilst those species of similar features to those on the mainland had perfectly adapted to their environment.
It is agreed by many that the animals and plants Darwin saw on the Galapagos Islands contributed significantly to him becoming an evolutionist.