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The family Asteraceae or Compositae (known as the aster, daisy, or sunflower family) is the largest family of flowering plants, in terms of number of species.
The name 'Asteraceae' is derived from the type genus Aster, while 'Compositae', an older but still valid name, means composite and refers to the characteristic inflorescence, a special type of pseudanthium found in only a few other angiosperm families. The study of this family is known as synantherology.
The most evident characteristic of Asteraceae is perhaps their inflorescence: a specialised capitulum, technically called a calathid or calathidium, but generally referred to as flower head or, alternatively, simply capitulum. The capitulum is a contracted raceme composed of numerous individual sessile flowers, called the florets, all sharing the same receptacle.
The capitulum of the Asteraceae has evolved many characteristics that make it look superficially like a big single flower. This kind of flower-like inflorescences are quite widespread amongst plants and have been given the name of pseudanthia.
Many bracts form an involucre under the basis of the capitulum; these are called "phyllaries", or "involucral bracts". They may simulate the sepals of the pseudanthium. These are mostly herbaceous but can also be brightly coloured (e.g. Helichrysum) or have a scarious texture. The bracts can be free or fused, and arranged in one to many rows, overlapping like the tiles of a roof (imbricate) or not (this variation is important in identification of tribes and genera).
Each floret may itself be subtended by a bract, called a "palea" or "receptacular bract". These bracts as a group are often called "chaff". The presence or absence of these bracts, their distribution on the receptacle, and their size and shape are all important diagnostic characteristics for genera and tribes.
The florets have five petals fused at the base to form a corolla tube and they may be either actinomorphic or zygomorphic. Disc florets are usually actinomorphic, with five petal lips on the rim of the corolla tube. The petal lips may be either very short, or long, in which case they form deeply lobed petals. The latter is the only kind of floret in the Carduoideae, while the first kind is more widespread. Ray florets are always highly zygomorphic and are characterised by the presence of a ligule, a strap-shaped structure on the edge of the corolla tube consisting of fused petals. In the Asteroideae and other minor subfamilies these are usually borne only on florets at the circumference of the capitulum and have a 3+2 scheme – above the fused corolla tube, three very long fused petals form the ligule, with the other two petals being inconspicuously small. The Cichorioidea has only ray florets, with a 5+0 scheme – all five petals form the ligule. A 4+1 scheme is found in the Barnadesioideae. The tip of the ligule is often divided into teeth, each one representing a petal. Some marginal florets may have no petals at all (filiform floret).
The calyx of the florets may be absent, but when present it is always modified into a pappus of two or more teeth, scales or bristles and this is often involved in the dispersion of the seeds. As with the bracts, the nature of the pappus is an important diagnostic feature.
There are usually five stamens. The filaments are fused to the corolla, while the anthers are generally connate (syngenesious anthers), thus forming a sort of tube around the style (theca). They commonly have basal and/or apical appendages. Pollen is released inside the tube and is collected around the growing style, expelled with a sort of pump mechanism (nüdelspritze) or a brush.
The pistil is made of two connate carpels. The style has two lobes; stigmatic tissue may be located in the interior surface or form two lateral lines. The ovary is inferior and has only one ovule, with basal placentation.
More info: en.wikipedia.org/wiki/Asteraceae
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CASTELLANO
Las Asteráceas (Asteraceae Bercht. & J. Presl), también denominadas Compuestas (Compositae Giseke), reunen mas de 23.000 especies (Jeffrey, 2007; Stevens, 2001) por lo que son la familia de Angiospermas con mayor riqueza y diversidad biológica. La familia está caracterizada por presentar las flores dispuestas en una inflorescencia compuesta denominada capítulo la cual se halla rodeada de una o más filas de brácteas (involucro). El nombre "Asteraceae" deriva del género tipo de la familia Aster, término que -a su vez- proviene del griego ἀστήρ que significa "estrella" y hace alusión a la forma de la inflorescencia. Por otro lado, el nombre "compuestas", más antiguo pero válido, hace referencia al tipo particular de inflorescencia compuesta que caracteriza a la familia y que solo se halla en muy pocas familias de Angiospermas. Las Compuestas presentan una considerable importancia ecológica y económica. Los miembros de esta familia se distribuyen desde las regiones polares hasta los trópicos, conquistando todos los hábitats disponibles, desde los desiertos secos hasta los pantanos y desde las selvas hasta los picos montañosos. En muchas regiones del mundo las Compuestas llegan a integrar hasta el 10% de la flora vernácula.
Las flores son pequeñas, hermafroditas o, en ocasiones, funcionalmente unisexuales o estériles (en este último caso se denominan neutras). Por su simetría pueden ser tanto actinomorfas como zigomorfas, es decir que pueden presentar simetría radial o bilateral, respectivamente. Por el número de piezas que componen cada ciclo, las flores de las compuestas son pentámeras. El cáliz es nulo o bien los sépalos están profundamente modificados como pelos simples, plumosos o setiformes, como escamas o como una pequeña corona membranácea. La corola es gamopétala, los pétalos pueden unirse entre si formando un tubo con 4 ó 5 lóbulos (la flor se denomina tubulosa o flósculo), o dos grupos de pétalos unidos (en el caso de las flores bilabiadas), o pueden presentar un tubo corto y el limbo prolongado lateralmente en una lígula con 3 o 5 dientes (flores liguladas).[a] El androceo presenta 5 estambres, los cuales alternan con los lóbulos de la corola. Los filamentos se hallan insertos en ella. Las anteras se unen entre sí fomando un tubo alrededor del estilo. El gineceo es de ovario ínfero, bicarpelar, con el ovario unilocular. Presentan un solo óvulo anátropo. El pistilo presenta un estilo que está usualmente rodeado en su base por un nectario. Cada estilo se halla dividido distalmente en dos ramas (ramas estilares) que presentan papilas estigmáticas en su cara adaxial dispuestas en dos líneas separadas o bien, en una sola banda continua.
El capítulo es un tipo de inflorescencia racimosa o abierta en la que el pedúnculo se ensancha en la extremidad formando un disco algo grueso, llamado receptáculo común o clinanto. Este receptáculo común se halla rodeado por una o más series de brácteas. Sobre este órgano se disponen las flores sésiles acompañadas o no por sus correspondientes brácteas. Es la inflorescencia típica de las Asteraceae (Compuestas) y de algunos otros géneros como Scabiosa. Inflorescencias en capítulo, rodeado por un involucro de brácteas; en ocasiones existen en el receptáculo escamas de naturaleza bracteal. Los capítulos a su vez pueden agruparse en inflorescencias compuestas diversas.
Más info: es.wikipedia.org/wiki/Asteraceae
The Medium Duty Business Class M2 4x4 used Freightliner Pick up Trucks for Sale in Arizona
Freightliner Pick-Up Truck Specifications :
Condition :NEW Year: 2006
Manufacturer: Freightliner Model:Business Class M2
Engine Type: MBE 900 Engine Specs: Mercedes
Transmission: Automatic Horsepower: 330
Tires: 22.5LP Wheels: All Aluminum
Wheelbase: 156"Number of Rear Axles: Single
Thursday's retread for the Monday Photo Challenges and Thursday Retreads group.
The Angel of the Sea was built around 1850 as a "summer cottage" for William Weightman, Sr., a Philadelphia chemist who, as managing partner of Powers & Weightman, introduced quinine to the United States as an anti-malarial drug. Built as a single structure, the house originally stood on the corner of Franklin and Washington Streets where the Cape May Post Office now stands.
In 1881, Mr. Weightman decided that an ocean view from the broad porches of his "cottage" would be appreciated by family, friends and guests. To accomplish this goal, he hired a number of local farmers to move the house to a piece of property on the corner of Ocean and Beach Avenues, near where the Marquis de Lafayette now stands.
The farmers discovered the house was too large to move as one unit. Not wanting to lose the winter work, they decided to cut the house in half, move it in sections and then reconnect it after the move. Their task took all winter long, pulling the sections on rolling tree trunks with mule and horse power! Unfortunately, after both halves of the house were moved to the new location, the farmers discovered that, although their mules and horses were quite adequate for "pulling" the house, they proved totally ineffective in "pushing" it back together.
Summer was close upon them, and Mr. Weightman would soon be returning to Cape May. The farmers enclosed the sides where the cut had been made, renovated as best they could and hurried back to their farming chores. The results of their efforts are the two buildings as they stand today.
The house remained in the Weightman family until Mr. Weightman's death in 1905. During the next 50 or so years the Weightman Cottage, as it was called, was used as a hotel, guest house and, during one period, a restaurant.
In 1962 a powerful Nor'easter ripped through New Jersey and devastated the city of Cape May. Referred to by many as the Storm of the Century, it destroyed much of the town including Convention Hall and the boardwalk. Miraculously the Angel survived, but not without considerable damage. The massive rebuilding that followed the storm cleanup called for the two houses to be torn down to make room for a parking lot. They were saved from this fate when they were purchased by the Reverend Carl McIntire and moved (this time on flatbed trucks) to their present location on Trenton Avenue. From 1962 to 1981, the houses were used as a dormitory for students from Shelton College and to board employees from several nearby inns. During this time they received very little maintenance and in 1981 they were declared uninhabitable. Virtually unwanted, this once magnificent structure was left abandoned to vandals and the elements until December of 1988.
About that time, John Girton, a builder and developer, and his wife Barbara crawled through a window to check out the soundness of the buildings. Although all of the windows were broken out, walls had collapsed and many of the porches and stairways had rotted, it appeared the houses could be saved! Based on what they found, the Girtons purchased the property and began renovations in January, 1989. Time was money and John Girton led his crews seven days a week around the clock to put the Angel back together. At times, as many as 75 people were working on the site during a 24 hour period. At the end of one shift, one painting crew would get off the scaffolding and another would get on it.
A trailer set up in the backyard housed a fully functional cabinet-making shop. There artisans and carpenters would find bits and pieces of the original building and piece them together. They then recreated on-site all the gingerbread detail, wall brackets and windows, copying the original designs they found. The first of the two buildings opened in July of 1989, only six short months after renovations had begun! One year later, the most complete Victorian restoration in New Jersey was completed. The total project cost approximately $3.5 million and was done with over 103,000 man hours of labor.
After its first two successful seasons as a bed and breakfast, the Angel of the Sea was acknowledged as one of the Top Ten B & Bs in the United States by two national bed and breakfast organizations. It also won the Historic Preservation Award from the National Trust for Historic Preservation in Washington, DC for renovation to historic specifications.
Van mij vaste slagerij Bles
Balkenbrij is een Nederlands gerecht dat vooral in het najaar en in de winter wordt gegeten. Van oorsprong komt het uit het oostelijke of zuidelijke deel van Nederland. Het bevat veel vlees en boekweitmeel.
Recept: Balkenbrij
Ingrediënten:
350 gram boekweitmeel (buckwheat flour)
100 gram gemengd meel (mixed flour)
500 gram varkenslever (pig liver)
250 gram kopvlees (varken) (head flesh from pig)
250 gram buikspek (abdomen pitch)
1 ½ liter water
Snufje nootmuskaat (note nutmeg)
Piment
Zout (salt)
Vers gemalen peper (pepper)
Bereiding:
Zeef de bloemsoorten en vermeng ze met elkaar.
Kook de varkenslever, varkenskopvlees en het buikspek in water met zout in enkele uren gaar.
Neem het vlees uit de pan en snijd alles in kleine stukjes.
Doe het gesneden vlees terug in de pan bij het vocht. Roer er het meel en de kruiden door.
Breng alles aan de kook en roer door tot er een deegbal ontstaat. Beboter een schaal of kom en stort er de balkenbrij in.
Laat de massa 24 uur in de koelkast besterven.
From my butcher Bles
Balkenbrij is a traditional Dutch style form of liverwurst, technically a relative of the New England scrapple. It's usually made with pork liver and mainly other various cuts of the animal, all of which are cooked, ground, then cooked again with oatmeal and a special spice mix ("rommelkruid") to achieve the form of a loaf. The cuts of the loaf (about 1 cm thick) are fried.
Detail of decaying Victorian architecture in Sule Square.
Sule Square
Rangoon, as Yangon was called in the British colonial period, was developed on a grid like street layout being devised in 1852, using Sule Pagoda as its centre. Consequently Sule Pagoda is surrounded by some of the most impressive Victorian architecture, including Yangon City Hall, the High Court and the Main Post Office.
Sule Square in front of Sule Pagoda and flanked by the imposing colonial style City Hall on one side and Maha Bandula Garden on the other, was the rallying point for the 8888 uprising of 1988 and the Saffron Revolution of 2007. Both times thousands of monks gathered to pray around Sule Pagoda in anti-government and pro-democracy protest, and both times the Pagoda bore silent witness to the brutal reaction by the military regime.
Yangon
Yangon traces its roots to the 6th century AD, when it was founded by the dominant Mon ethnic group of what is today Lower Burma. The Shwedagon Pagoda was the original centre of the then small village known as Dagon. in 1755 Dagon was captured by King Alaungpaya of the Kongbaung Dynasty, which became the Third Burmese Empire. Dagon expanded rapidly and was renamed Yangon. Yangon is the more correct phonetic pronunciation of the city's name, being a combination of the words Yan and Koun meaning 'enemies' and 'running out'. In combination it can be translated as 'End of Strife'. The interchangeable pronunciation or the letters 'y' and 'r' in Burmese is the most likely explanation for the English name of 'Rangoon' for the city. The current military dictatorship has officially renamed the city from Rangoon to Yangon in 1989.
The ex-capital, but still often mistakenly identified as the capital, lies on the delta of the Yangon and Bago rivers, giving good transport access for commerce, but leaving the city exposed to invasion. The regime's generals therefore relocated the capital 320km inland to to Pyinmana in November 2005, which was then little more than a village. By March 2006 the created city was called Naypyidaw and designated Capital of Myanmar (or Burma). Today it is the third largest city in the country, after Yangon and Mandalay.
Myanmar
Burma, or Myanmar as it has been renamed by the military dictatorship, derives its name from the Burmese word Bamar, which is pronounced 'Bama', and became 'Burma' in the colonial days. However the in old Burmese it is pronounced Mranma or Myanmah, thus giving rise to Myanmar. The renaming remains the subject of debate, where the UN refers to 'Myanmar', the US, UK and France still refer to 'Burma', and yet the New York Times and The Wall Street Journal refer to 'Myanmar'. We've followed the UN and used current naming throughout this collection of photos, however with the alternatives included in the tags.
José Honorato Lozano
Albun de M L
1850 - 51
Indias con traje de gala para paseo y para iglesia
1850
20.2 x 29.7 cm (8 x 11 ½ in)
A lot of 12 watercolors
Estimate: PHP 5,500,000 - 7,000,000
Lot 143 of the Salcedo Auctions auction on 17-18 September 2016. Please see <a href="http://www.salcedoauctions.com"
The painter José Honorato Lozano (1821-1885) is known today as the visual chronicler and ethnographic painter par excellence of life in the Philippines in the second and third quarters of the 19th Century. He is also renowned as the father of the art form known as Letras y Figuras - literally ‘Letters and Figures.’ Mostly watercolors on Manila paper, these artworks depict views of quotidian Philippine life in the 19th century, wherein the artist ingeniously and meticulously painted what on close scrutiny appear as human figures and their environs (houses, flora, fauna, work tools, produce, etc.), but when seen from a distance spell out names or words (e.g. Edward A. Westley, Views of Manila).
In his book José Honorato Lozano, Filipinas 1847, art historian Ambassador Jose María A. Cariño states “The origins of Lozano’s Letras y Figuras can be traced to the Middle Ages in Europe when calligraphers embellished the first letter of each chapter (Capitulares) of the Bible or Psalm or Prayer Book. . . Lozano may have seen copies of these and considered adapting this style and Filipinizing it through over-decorating and illuminating not just the first letter but every letter in the word. Thus, letras y figuras was born”.
It was only in the last twenty years - after several albums painted by Lozano were sold at auctions in London, Madrid, Singapore and Hong Kong - that Filipinos realized the important role of José Honorato Lozano in Philippine art history. His meticulous depiction of Tipos Filipinos (Philippine Types), costumes, customs, traditions, flora, fauna, buildings, houses, fruits, shells, tribes, uniforms (military, school, religious orders, militia), weapons, reptiles, sheet music, views, modes of land transportation, marine vessels, etc. are a treasure trove of visual information about the Philippines in the 19th century.
One of the most famous albums limned by Lozano is the Ayala Karuth Album. Since the watercolors contained therein were unsigned, for many years the works were mistakenly attributed to Carl Johann Karuth, a German employee of Jacobo Zóbel Hinsch (Botica Zóbel), as Karuth’s name was engraved in the leather cover of the album.
The Philippine art market went wild when the Nyssens Flebus Album containing twenty-five watercolors measuring approximately 13 ½ by 9 ¾ inches was auctioned at Christie’s London on in July 1995, with the hammer price reaching GBP 265,000. Emile Nyssens who commissioned the album was a Belgian tobacco trader.
Two other famous albums by Lozano were commissioned by Spanish military officials, namely: 1) The Gervasio Gironella Album; and 2) The José de la Gándara Album. Gervasio Gironella was the Superintendente y Intendente del Ejercito y de la Hacienda (Superintendent of the Armed Forces and Quarter Master General of the Treasury), making him the second most important official in the Philippines during the Spanish period. On the other hand, José de la Gándara y Navarro was Governor General of the Philippines from 1866 to 1867. He also served as Governor General in Cuba. Due to his achievements during his stint in the Philippines including beautification projects and the construction of new roads and the widening of narrow streets in Manila, Gándara Street was named after him. The Gándara Album contains twenty-seven spectacular watercolors.
THE ML ALBUM
The ML Album is the first album by José Honorato Lozano to be auctioned in the artist’s country of birth. All the recently discovered albums by the artist were either bought privately or sold at auctions in Singapore and Hong Kong, and in Europe.
More importantly, the ML Album’s provenance can be traced to one of the Grandees of Spain. ML was an important businessman based in Andalucia who traded in sugar and textiles. Due to his business successes and charitable works, ML was conferred the title of marquis by Queen Isabella II in the 1860’s. The family was also involved in railways, financing and in the olive oil and soap industries. One of the descendants made a fortune in the liquor industry. Today, the descendants of the family are gentlemen farmers dabbling in the fruit and real estate businesses. ML never set foot in the Philippines and therefore did not commission the album. It was a gift from a Philippine sugar producer and business partner. The marquis died during a business trip in France in 1873.
The heir who inherited the album informed Salcedo Auctions that the paintings were never bound into an album and were never framed or displayed as the family had so many Spanish artworks that there was no space in the marquis’ palace to hang them. Throughout its existence, the twelve watercolors of the album were stashed away and all but forgotten in an antique chest containing other gifts and exotic artworks that were gifted to the marquis. As the watercolors were never displayed, today the colors are vibrant and there are no signs of water damage or foxing. This is one of the best preserved albums by Lozano.
For Philippine collectors, one of the important features of this album is the existence of an ‘ML’ letras y figuras as the first page of the album, featuring fishermen holding a fish net forming the letter ‘M’ and two Igorrotes conversing beside a cooking pot forming the letter ‘L’. The Puente Colgante de Manila serves as a backdrop, and on top an angel carries the flag of Spain. The old Spanish word ‘Albun’ identifies this as the frontispiece of a set of pictures – an ‘album’ as it is now known owing to the influence of the English language.
Another interesting feature of the album is that, with the exception of one sheet, all the works are either signed or signed and dated. The signature of the last watercolor appears to have been torn off accidentally, and was not restored. Four of the works feature Tipos Filipinos in their colorful attire while another four are typical views of the Philippines. Two of the most outstanding paintings in the set are the Carruaje de Alquiler (Carriage for Hire) and the Entierro de un Parbulo (Funeral for a School Child), where a band in colorful attire is featured playing lively music while the child is dressed like a bishop or a saint and paraded on the way to the cemetery. This particular scene is borne out of the idea that when a child passes, he goes straight to heaven, thus a cause for celebration rather than sadness.
The return of the ML Album to the Philippines is a cause for joy, especially since there are very few surviving mid 19th century Philippine art works in the country and even less works by this artist whom Rafael Díaz Arenas praised in his book Memorias Históricas y Estadísticas de Filipinas (published in Manila in 1850): “There is a landscape painter using distemper, who is also a watercolorist without rival in the country… I speak of Lozano.” The recent discovery of three oil on canvas paintings by Lozano, namely Vista de la Casa de Campo de Malacañan and two studies of Philippine fruits, flowers and vegetables also confirm Rafael Diaz Arena’s words that “Lozano was a virtuoso in oil and watercolor.”
The provenance of the album and the identity of ML will be provided to the buyer.
Caterpillar D8n Dozer Crawler Used Heavy Construction Equipments for Sale
Year : 1994
Category : Dozer
Subcategory : Crawler
Manufacturer : Caterpillar
Model : D8n
Location : Pinerolo, PIEMONTE, ITALY
Serial Number : 9TC03853
Condition : USED
Hours : 14,56
69/365
okay so, this picture is exactly how im feeling right now. in orchestra we are having compose a piece of music. which means you pretty much have to write 5 pieces of music because you have to writte for all the parts in the string orchestra. which is violin 1, violin 2, viola, chello & bass. gooness im overwhelemed with it. but im getting through. i've finished two melodys. but thats it. i've only been working a week. but i feel so behind.
but before its over, it WILL drive me crazy. just sayin'.
oh & p.s - i know i just uploaded like a BUNCH of pictures, but please.. if you view. leave a comment. i'd love to know what you think. i promise to make it back to you streams to tell you my thoughts :)
okay so i just got tagged also, & im bored so ima do my ten facts already :)
1. im actually reading a book right now, The Last Song.
2. I pretty much live for the weekends.
3. I'm OCD about my straightner. I have to make sure its off like 10 times before i actually leave the house. I'm scared I'm goin to burn the house down :(
3. I dont really like the show The Secrect Life.. but i HAVE to watch it to see where the drama is. Too bad its over tonight haha.
4. When I listen to country music it reminds me of summer. Idk why it, it just does.
5. My wisdom teeth are comin' in, so i go to the dentist wednesday to find out if I gotta get them cut out :/
6. I'd rather wear sweatpants anyday over any outfit. hahaha.
7. I'm not good at math, at all.
8. I wish i could play the piano.. not sure if thats a fact or anything. but just thought i'd say that.
9. I'm a fresh new PRO on here ;)
10. I pretty much take a nap everyday in my 1st period, just because I TA in that class. (teacher assistant) ha!
sorry those were kinda sucky facts, just killin time :)
La 55^ stagione del Circolo della Musica di Imola proponeva in data 07.02.2011 un concerto del Leopold String Trio
Il trio è formato da:
- Isabelle van Keulen, violino
Per motivi familiari Isabelle van Keulen è stata sostituita da Stephanie Gonley
Il programma prevedeva musiche di:
- Ludwig van Beethoven: Trio per archi in re magg. op. 9 n. 2 (1798)
- Arnold Schoenberg: Trio per archi op. 45 (1946)
- Wolfgang Amadeus Mozart: Divertimento per archi in mi bemolle magg. K 563 (1788)
Al termine del concerto il trio ha concesso come bis un brano da "Goldberg-Variationen" di Johann Sebastian Bach.
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Artículo LA BIODIVERSIDAD OCULTA
Entre las algas libres y numerosas que como las diatomeas crecen en la fuente de Arbolí también se encuentran otras ancladas y filamentosas como en finos hilos de seda verde que se mueven ondulando con la corriente. Son filamentos del alga Zygnema.
Zygnema es alga relativamente común que habita casi en cualquier lugar en el que el agua dulce está remansada o se mueva en suave corriente. Su principal característica es la presencia de dos cloroplastos de contornos estrellado en cada una de las células y entre los cuales se dispone el núcleo que les da la vida.
Zygnema es prima de Spirogyra y de Mougeotia un alga del grupo de las “conjugadas” en las que la reproducción sexual se produce cuando las células de dos filamentos paralelos se unen, una a una, construyendo así una escalera en la que dos a dos se funden los núcleos y cloroplastos para formar unas esporas de resistencia que pueden sobrevivir en muy duras condiciones para germinar finalmente cuando éstas se vuelven favorables.
Los filamentos de Zygnema se agrupan formando enmarañadas y suaves selvas , entre las que viven gran cantidad de organismos que encuentran en ellas o entre ellas su alimento.
Para poder determinar cada una de las numerosas especies de este género de algas filamentosas es preciso conocer la morfología de las esporas de resistencia, las zigosporas, que hasta dentro de unos meses no se formarán.
La fotografía se ha tomado a 400 aumentos con la técnica de contraste de interferencia y procede, como las de días anteriores, del agua recogida por África en la bonita fuente de Arbolí en Tarragona ¡¡ Gracias, África !!
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☁ la nube negra de una justicia pervertida en nuestro país, movida por la envidia y la venganza, permanecerá aquí, hasta que soplen los vientos limpios que todos necesitamos. La Justicia es uno de los cimientos necesarios para la Paz. Desde aquí todo nuestro apoyo al Juez Baltasar Garzón -el buen Juez de Saramago- y a las personas de buena voluntad como él que trabajan por la Justicia.
www.brooklandsmuseum.com/index.php?/history/motoring-hist...
Brooklands, the world's first purpose-built motor racing circuit, was built by local landowner Hugh Locke King on 330 acres of farm and woodland on his estate at Weybridge in Surrey. Work commenced in late 1906.
Building the Hennebique Bridge SF Edge 1907As soon as the design of the track was entrusted to Colonel H.C.L. Holden of the Royal Artillery, the original plans began to grow beyond Locke King’s wildest expectations. Far from his initial idea of a simple road circuit, Locke King was persuaded that, in order for cars to achieve the highest possible speeds, with the greatest possible safety, the 2¾ mile circuit would need to be provided with two huge banked sections nearly 30 ft. high. The track would be 100 ft. wide, made of concrete and include two long straights, one running for half a mile beside the London to Southampton Railway, and an additional ‘Finishing Straight’ passing the Paddock and enclosures, bringing the total length of the track to 3¼ miles. This outstanding feat of engineering was built in only nine months and eventually cost Hugh Locke King his personal fortune, a price equal to millions of pounds today.
Before the first race was even run, Brooklands was the venue for a dramatic speed record attempt. A few days after the ceremonial opening of the Motor Course in June 1907, the motor-racing pioneer, Selwyn Francis Edge, used the Track for establishing a 24 hour record. With hundreds of roadside lanterns to mark the inner edge of the Track and bright flares to illuminate the rim Edge drove his green six-cylinder Napier for the whole 24 hours covering 1,581 miles at an average speed of almost 66 miles an hour. Supported by two other Napiers on the run, Edge established a record which stood for 17 years.
The first official race was held on the 6th July 1907 and was greeted by the press as a ‘Motor Ascot’. Because Brooklands was the world’s first purpose built motor racing circuit there were no established rules to follow. To begin with many of the procedures were based on horse racing traditions partly in an attempt to attract a ready-made audience to this new and curious sport. Cars assembled in the ‘paddock’ were ‘shod’ with tyres, weighed by the ‘Clerk of the Scales’ for handicapping and drivers were even instructed to identify themselves by wearing coloured silks in the manner of jockeys.
At this time, even cycle racing was not approved of on the open roads and the Track proved to be a safe haven for cyclists as it had for the motor car. In September 1907 a 100 mile massed start cycle race was held, looking ahead to the great massed start cycle racing events at Brooklands of the 1930s.
On the morning of 15th February 1913, in front of a large crowd of press and public, the small but courageous Brooklands racing driver, Percy Lambert, achieved 103.84 mph. Tragically, while trying to improve his own record a few months later, after promising his fiancée that he would attempt no more, he crashed and was killed on the Track. Many still say his ghost regularly walks at Brooklands in full racing attire.
Motor racing stopped at Brooklands in 1914 with the outbreak of World War One.
We went to see the D. J. Hall retrospective at the Palm Springs Museum. Hall is a Southern California artist with a home in Palm Desert. She does large-scale paintings of women seated in or near swimming pools. Her women are described as smug, self-satisfied and privileged, and her work is seen as a commentary on wealth, aging and beauty. One review described her paintings as "where trophy wives go to die."
Early in her career Hall painted older women, showing all their wrinkles and veins. The skin had blue/purple/grey tones, as if they were already dead. In the 1980s she painted women with "hysterical smiles." They wear big shoulder pads, mirrored sunglasses and outsized jackets. They look a little stretched, like women who spend way too much time at the gym.
Now that Hall is 57, she's somewhat kinder towards her subjects. The light is softer and her treatment gentler. But critics still gleefully emphasize the edginess, saying that "all is not right" in these worlds. Judging by the comments in the museum's guestbook, viewers like to buy into this idea. They want to project their own fears and insecurities onto Hall's women.
There's a killer irony that she's become a successful artist by painting critiques of the wealthy -- that only the wealthy can afford to buy. I guess people like to show that they can be self-aware and self-deprecating in their choice of art.
The retrospective explains the roots of Hall's ambivalence towards her subject. She had a troubled childhood, growing up with a mother who had severe mental illness. The only time she felt safe was playing in the pool at her grandmother's house in Palm Desert. So the work is about trying to return to a happy time that never really existed. She's angry at her mother because her parents' divorce and her mother's mental illness were taboo, not acknowledged in the family. She transfers that anger onto the rich, creating scenes where we're supposed to look for the flaws. We're supposed to assume that these women aren't as happy as they would like us to believe.
Hall often puts herself in her paintings, usually with her back to the viewer. Although she unflinchingly shows the sagging necks of her models, she paints herself with a firm butt and taut skin. Yet she thinks that these later works are "a visual diary of my journey towards maturity and self-acceptance."
I love her technique and use of color. I could look at this painting for hours. It's one of the few that conveys hope and optimism.
I had a problem with the commentary -- especially what the critics like to think she's saying about women and aging. This is a topic that's close to my heart. It stares back at me every time I look in the mirror, every time I hear a woman being ridiculed for having Botox or plastic surgery. Reviewers like to mention how the women in Hall's paintings show the effects of time "despite their best efforts to the contrary."
As a woman who's showing the effects of time, comments like that make me want to shout back, "What exactly is it I'm supposed to do, then?" But I know the answer. I'm supposed to look good, but not look like I'm trying. It's just supposed to naturally happen -- y'know, the whole "aging gracefully" thing. God forbid I should let on that I care; that would indicate that I'm vain and pathetically trying to hold onto my youth. No, I'm supposed to go along with the deception and play the game. La-de-da, no worries here, nothing a little moisturizer can't fix. If we all look good to each other, we all feel better.
There's such a narrow range of acceptability. If we let ourselves go, that's depressing. If we try too hard, that's desperate. As Mary McNamara, Television Critic for the Los Angeles Times, said, “If women look old, we criticize, and if they try to fix it, we criticize more snidely.”
I'm glad I went to see that art. It gave me a lot to think about. I admire her for turning her pain into something marketable.
Now I'm going to go swim in my pool.
We went with a couple of friends to Olbrich Gardens again since I realized I should be going there more to take pictures and had a great time. It ended up being mostly cloudy which led to soft lighting for portraits. Worked out great.
Nikon D5000
Lens: 1970s Nikkor-P 105mm f/2.5
Post Processing done in Photoshop CS5
Here is the link for another shot I took.
In the Brooklyn Botanical Gardens parking lot, there is a section fenced off with a lot of these pieces of statues. They simply fascinate, and even haunt me!
Midnightblues' (thank you!) gave me a suggestion to speak to someone to see if I could be let in and shoot them closer. This day, I happened to run into a guard who was on her lunch break and started talking to her. I ask what she knew about them, she told me they didn't belong to the gardens, but in fact to the Brooklyn Museum.
She didn't think anyone would let me in, but she, you never know...
She told me who to speak to during the week (when I have to work!). But who knows...maybe someday I be lucky enough to be off and catch someone nice enough to let me in...it good to dream right??
Be well my friends....and thank you for all your visits, and wonderful comments!
;0}
mit Manfred Maurenbrecher
www.diether-dehm.de/index.php/service-mainmenu-65/archiv/...
»Mit einem Teelöffel kannst du helfen«
Der Sänger Pete Seeger über McCarthy, schwarze Listen und die Jagd nach Idealen
www.nd-online.de/artikel.asp?AID=74005&IDC=2&DB=O2P
Pete Seeger, der legendäre Singersongwriter von Welthits wie „We shall overcome“, „Sag mir wo die Blumen sind“, „If I had a hammer“ „Turn turn turn“, „Good Night Irene“ lebt heute noch in den gleichen bescheidenen Verhältnissen wie 1950 in Beacon im Bundeststaat New York. Dort besuchten im den heute 86jährigen Sozialisten die deutschen Liedermacher Diether Dehm und Manfred Maurenbrecher, die an neuen Liedern mit ihm und an einem Musical über ihn arbeiten. Dabei entstand Ende Mai 2005 das nachfolgende Gespräch.
Frage:
Dein damaliger Manager soll Anfang der Fünfziger verhindert haben, dass du und die „Weavers“ dein „If I had a hammer“ gespielt haben - um MacCartheys antikommunistische „Blacklisters“ nicht weiter zu provozieren. .
Seeger: Stimmt. Wir hatten zwar mit „Irene“ einen Nr.1 Hit, hatten aber allmählich einen vollständigen Radio- und Auftritts-Boykott. Natürlich war es trotzdem falsch, nachzugeben. Aber die übrigen „Weavers“ wollten die wenigen Jobs nicht auch noch verlieren. Deswegen schloss ich mich ihrer Entscheidung an.
Frage: Wann fingen die Schwarzen Listen an?
Seeger: Nun ja, auf eine Weise hat es Schwarze Listen immer gegeben. Woody Guthrie und ich kamen als „lefties“ in kein Radio, damals, Woody sang nur noch in Kalifornien einem sehr kleinen, unabhängigen Senders, der ihn fast alles singen ließ. Das einzige Mal, wo wir breit im Radio waren, war nach Pearl Harbor. Das war eine landesweite Ausstrahlung und wir hatten einen Song „Round and round Hitler’s grave, he won’t get up no more“. Aber prompt stand in der nächsten Woche auf der Titelseite einer großen New Yorker Zeitung „kommunistische Folk-Sänger versuchen, das Radio zu unterwandern“. Und das war der letzte Job, den wir bekamen. Ich hatte mein ganzes Leben lang mit Schwarzen Listen zu tun. Auch als der Gehimdienst subtiler auf Radio und TV einwirkte. Sicher: besonders brutal war die Einschüchterungs-Zeit der Fünfziger. Als Künstler genau wie Arbeiter Angst hatten, ihren Beruf zu verlieren und sie nicht wussten, wie sie ihre Familien ernähren würden… Ich bin da etwas dran vorbei gekommen, indem ich in Schulen und Kinder-Sommerlagern sang, und schließlich in Hochschulen. Aber die antikommunistischen Vereine tönten laut „Geht nicht los, um Seeger zu hören.“ Manchmal aber war alles was sie damit erreichten nur kostenlose Reklame.
Frage: Meinst du, dass es heute immer noch Schwarze Listen gibt?
Seeger: O, ich bin sicher dass die Leute, die das Fernsehen kontrollieren, sehr genau wissen, was sie tun. Ich habe keine Stimme mehr, ich versuche nicht zu singen. Aber sie spielen nicht die Platten von Leuten, wenn diese zum Beispiel für Frieden sind. Es gibt Millionen Amerikaner, die nicht froh darüber sind, dass wir im Irak sind. Aber hörst du davon im Radio, hörst du davon im Fernsehen? Nein, natürlich nicht. Weil das Radio und das Fernsehen auf eine Weise kontrolliert sind von denen, die ich „höhere Mächte“ nenne.
Frage: Darüber zerbrachen die „Weavers“, trotz ihrer Hits und großen Erfolge….
Seeger: … und dann kam ein neuer Manager, Harold Leventhal, zu den Weavers nachdem wir seit drei Jahren nicht mehr zusammen gesungen hatten. Eine Zeit während der Fred zurück zur Hochschule gegangen war, Ron Gilber ein Baby bekommen hatte, Lee Hays Kurzgeschichten schrieb. Und er sagte: „Wäret ihr bereit, eine Wiedervereinigung zu machen?“ Und wir sagten: „Sicherlich, wenn du denkst, dass du einen Saal finden kannst, der an uns vermietet.“ Nun, ein Saal, die Town Hall, mit zwölfhundert Sitzen, sagte: „Nein, wir können es nicht riskieren, die Weavers bei uns zu haben. Ihr könnt unseren Saal nicht mieten.“ Aber dann ging er zu Carnegie-Hall, und die sagten dort: „Wenn du das Geld hast, werden wir es an dich vermieten.“ Und Harold Leventhal wusste nicht, ob dort einhundert Leute sein würden oder zweihundert…. Stattdessen war es ausverkauft. Fast dreitausend. Und wir fingen wieder an zu singen. Allmählich wurde mir meine Familie aber dann doch wichtiger als die Band und 1957 schlug ich vor, dass Eric Darling den Platz übernehmen sollte. Er war ein alter Freund und ein wundervoller Musiker. Und er konnte einige Stücke viel besser spielen als ich. Und so sangen die Weavers weiter bis neunzehnhundertzweiundsechzig, glaube ich.
Frage: War Deine Welthits, etwa gesungen von Joan Baez, den Byrds, Peter, Paul and Mary und Trini Lopez nicht doch so etwas wie eine kommerzielle Waffe gegen die Blacklisters?
Seeger: Ich denke um 1958 kamen Songs von uns wieder in Mode. Peter Paul and Mary verbesserten „If I had a Hammer“; mit Trini Lopez wurde es dann ein Welthit.. Es gab auch ganz neuartige Aufnahmen von „Where Have all the Flowers gone“. Das Kingston-Trio sang das auch, und Marlene Dietrich übernahm es von denen. Max Colpet machte eine deutschsprachige Version, die sich besser singen lässt als meine englische. Es klingt im deutschen wirklich noch beeindruckender: „Sag mir wo die Blumen sind.“
Frage: Du hast auch viel musikalischen Widerstand organisiert. Glaubst du, dass Organisieren nicht auch etwas ist, was dem organischen Feingefühl und der ästhetischen Kreativität eines Künstlers schaden kann?
Seeger: Nun, Schreiber organisieren Worte. Maler organisieren Farbe. Tänzer organisieren ihre Füße und Beine, schätze ich mal, und viele andere Sachen. Und Musiker versuchen, Instrumente und Stimmen und Noten zu organisieren. Aber ich denke, jeder von uns sollte mehr als das sein. Zum einen sollten wir, falls wir Familien haben, helfen die Familie zu organisieren. Und wenn wir irgendwo Mitglieder sind, haben wir eine Verantwortung. Und das will organisiert sein. Ich denke, dass wenn es hier in hundert Jahren eine Welt gibt – niemand weiß, ob – dann nur, weil bis dahin Abermillionen Menschen, begriffen haben, wie man selbst ein Organisator des gemeinschaftlichen Organismus ist. Dann werden die Menschen nach ihren Bedürfnissen Arbeit haben, wie Karl Marx das vorausahnte – und sowas will besonders gut organisiert sein, und dann orgnanisieren die Leute sich mit der Rücksicht auf die Natur.
Frage: Wurdest Du nicht oft in Richtung fauler Kompromisse und Anpassung an Macht gedrängt, vielleicht sogar auch verlockt, mit den großen Hunden zu pinkeln?
Seeger: O, ich mache Kompromisse jedes Mal, wenn ich meinen Mund öffne. Ich mache Kompromisse, wenn ich versuche zu entscheiden was ich genau sagen will. Ich mag es nicht, Leute zu beleidigen, ich möchte nicht Leute wütend machen. Und wenn ich vor stets unterschiedlichem Publikum bin, möchte ich auch verschiedene Arten von Stücken singen. Meine Schwester Peggy sagt es so: es gibt einen Unterschied zwischen Kompromissen und Ausverkauf. Wenn du die Hoffnung für die Menschheit aufgegeben hast, so lange du nur Dein Geld verdienst.
Frage: Was sind Fehler in Deinem Leben gewesen?
Seeger: Einige meiner Fehler waren rein musikalisch. Und dann: zu viel zu reisen und von meiner Frau zu erwarten, dass sie drei Kinder großzieht ohne viel Beistand von mir. Sie lebte alleine bei einem Berg, und konnte einfach nur hoffen, dass, wenn die Hunde anfingen zu bellen, es nicht irgendein Kerl dort draußen war. Sie ist eine sehr tapfere Frau. Sie macht normalerweise Witze darüber. Sie sagt: „Wenn Peter bloß Frauen hinterher jagen würde, hätte ich eine Chance, ihn zu verlasse. Aber er jagt Idealen hinterher, und so bleibe ich bei ihm.“ Es gibt einen Cartoon über mich: eine Frau ist am Telefon, und sie hat einen großen Haufen Wäsche vor sich, und einen Besen, und ein dreijähriges Kind, das an ihrem Rock zieht, und sie sagt in das Telefon: „Nein, er ist nicht da, er ist weit weg, um die Menschheit zu retten.“
Frage: Du überarbeitest gerade Deine Biographie. Was hebst Du als gesellschaftlich besonders relevant hervor?
Seeger: Ich will Dir eine Geschichte erzählen. Stell dir eine Wippe vor. Und eine Seite der Wippe ist auf dem Boden, weil dort ein Korb, halbvoll mit Steinen, ist. Das andere Ende der Wippe ist hoch in der Luft. Dort ist ein Korb, ein Viertel voll mit Sand. Und einige von uns haben Teelöffel, und sie versuchen, mehr Sand in den Korb zu bringen. Die meisten lachen uns aus. „Ah,“ sagen sie, „Leute wie ihr haben es Jahrhunderte lang versucht. Aber es leckt aus dem Korb gerade so schnell wie ihr es hineintut.“ Nun, wir sagen: „Ihr mögt recht haben, aber wir denken ihr liegt falsch, weil wir ständig mehr Leute mit Teelöffeln bekommen. Und wir glauben, dass eines Tages der Korb so voller Sand sein wird, dass ihr die ganze Wippe in die andere Richtung gehen sehen werdet.“ Schwupp! Und Leute auf der ganzen Welt sagen: „Wie ist das so plötzlich passiert?“ Wir und all unsere kleinen Teelöffel über die Jahrhunderte hinweg werden vielleicht übersehn? Wer weiß, wer weiß. Jedenfalls glaube ich, dass du mit einem Teelöffel helfen kannst, egal wo du bist.
Frage: Nun gibt es doch eine ganz neue Generation von Singer-Songwritern in Deiner Tradition?
Seeger: Ja sicher, seit den frühen Sechzigern. Leute wie Bob Dylan und Phil Ochs, Tom Paxton, Joany Mitchell. Und zuerst duzende, und dann hunderte, und jetzt tausende. Ich sage immer, dass die Spitze einer Pyramide so hoch ist wie das Fundament breit ist. Wenn du also viele Leute hast, die Stücke schreiben, wird es einige gute Stücke geben. Zugegebenermaßen, vielleicht sind neunundneunzig von hundert Stücken es nicht wert, ein zweites Mal gesungen zu werden. Ich sage immer über meine eigene Arbeit, dass ich zwanzig Ideen für jedes Stück, das ich fertig stelle, kriege. Und ich erhalte zwanzig fertige Stücke für jedes Stück, das Wert ist, mehr als einmal gesungen zu werden. Aber über eine lange Lebenszeit hinweg und mit hunderten, sogar tausenden von Ideen, habe ich Glück gehabt, einige wenige duzend Stücke zu haben, von denen ich glaube, dass sie vielleicht von Leuten gesungen werden, nachdem ich tot bin. Nun, lass mich Euch danken, Diether und Manfred, dass ihr den ganzen Weg über den Ozean zu mir gekommen seid. Und ich glaube ihr könnt sehen, warum das eine sehr schwierige Zeit für mich ist. Mein Telefon klingelt alle fünf Minuten, die Post kommt, täglich in großen Bündeln. Und ich kriege zu viele Anrufe und es kommt doch immer so wenig dabei heraus.
i have a thing on my blog where i post pictures of spiral galaxies under the series name spiral-tuality. this time i’m adding a flower: it’s made of stardust, too.
‘carl sagan distinguished clearly between mysticism and spirituality. while mysticism is concerned with matters of magic, the occult, the supersensual and ‘essentially unknowable,’ spirit is something quite different, he maintained. "it comes from the latin word 'to breathe'. what we breathe is air, which is certainly matter, however thin. despite usage to the contrary, there is no necessary implication in the word 'spirituality' that we are talking about anything other than matter (including the realm of matter of which the brain is made) or anything outside the realm of science...science is not only compatible with spirituality; it is a profound source of spirituality...the notion that science and spirituality are somehow mutually exclusive does a profound disservice to both.'’
- from new jersey humanist network
HDR from 3 exposures. Normal curves and adjustments in PS CS2. Tone mapping with a tailor made script. Adaptive color temperature adjustments. EXIF made available from 0Ev, 2 second shutter shot taken at f/8.0 . | Strongly Recommended to View Large On Black
I take feedback very seriously. Since past few days, I am not very happy with the pictures that I have been making. I thank Vikrant for his honest opinion that he conveyed to me via email. ( If you find this better, give me a call to let me know!)
If you have 2 minutes spare , do have a look at some other Night Shots that I made
When free, do take out some time to take a Slide Tour of HDRs that I made. It will be revitalizing.
A carousel (or carrousel) is an amusement ride consisting of a rotating platform with seats for passengers. The "seats" are traditionally in the form of wooden horses or animals, which are often moved mechanically up and down to simulate galloping. This leads to one of the machine's alternative names, the galloper. Other popular names are merry-go-round, roundabout and flying horses. Usually, music is looped while the rides spins. -wikipedia
© 2007 Ayush Bhandari
Perhaps the most striking and spectacular impression of Stone Town for its first time visitor is the magnificent wooden doors serving as prosperous entrances to the grand buildings.
The doors have become more or less synonym with the Swahili culture where they mainly are found in East Africa, Lamu and Mombasa (Kenya) and in Zanzibar. The doors in Zanzibar outnumber the doors, both in number and in grandness, found elsewhere along the coast, and thus being named ‘Zanzibar doors’. An inventory done in the 1980ies reported around 800 doors. Unfortunately has the number decreased, not only due to the diminishing of several houses, but also due to theft following the increased attention from international collectors.
The doors are manifestations in excellent craftsmanship, both technically and artistically. The oldest doors are often made out of Burma (Indian) teak, shipped all the way from Asia across the Indian Ocean. The shutters are made in one impressive piece and not mended together as is the case on newer doors. The Burma teak does no longer exist and the alternative has been the East African teak. Even this wood has become rare and difficult to find, often demanding a very high price.
The wealthy traders and house owners appointed skilled carvers brought in from India for the delicate job of arranging the entrance ornament. Their creativity is continuously at display.
In principal there are two types of doors found in Stone Town. The Indian doors, or Gujarati doors, with square shutters and made into smaller sections so that the door can fold together. These doors are to be seen along the busy bazaar streets where the Indian businessmen lived. The second type is called ‘Arab doors’, these doors are often found with an inscription in Arabic – most likely a phrase from the Holy Quraan – on the top frieze, and richly decorated around the frame. The older doors were all square at top. The semi-circular frames were introduced later, but are still referred to as ‘Arab doors’.
The custom of putting brass knobs on the shutters comes from India, where the knobs were said to prevent elephants from crushing the doors. Since there have been no violent elephants in Zanzibar the brass knobs were simply but there as a decoration and to show the wealth of its owner.
By looking at the lower part of the side posts and rough estimate can be done of the age of the door. The oldest doors have a symbol resembling of a fish. The fish gradually transformed into a shape of a pineapple and thus if the carving shows a clear and distinct pineapple the doors is of a younger generation. Another symbol that became part of the decoration was the chain-like row at the very outside of the whole door. The chain was said to protect the entrance from evil spirits.
(source: Zanzibar Stone Town Heritage Society)
See the article at www.eriegaynews.com/news/article.php?recordid=201110pride...
Erie Pride Parade & Rally a Great Time!
by Michael Mahler
On Saturday, August 27, about 230 people participated in the Erie Pride Parade & Rally. This year’s Pride events were organized by the Pride Planning committee, which is an informal coalition of groups and individuals.
Parade
About 100 people marched in the parade from the Zone Dance Club to Perry Square. John Daly King was the Grand Marshal for the parade, in a convertible driven by Caitlyn. Also in the parade were beloved local gay icons Jesse and Ricardo, who rode their tandem bike.
Parade units included
Lake Erie Belly Dance
Doctor Who contingent
PFLAG Erie/Crawford County
Erie Gay News
Lake Erie Derby Dames
LBT Women
Latonia Theatre
PFLAG Butler
Erie Sisters
Unitarian Universalist Congregation of Erie
Community United Church
OUT (Pittsburgh newspaper)
There were also many people marching as individuals, as well as a float carrying current and former Miss Eries.
Rally
The rally in Perry Square begins at 2 PM and will include speakers and performers. Please check in at the registration table when you arrive in Perry Square. The rally will include a variety of vendors and information booths.
Speakers and performers included:
Greg Rabb, Openly gay Jamestown City Council President and Councilman at Large
Misty Kall, Miss Erie 2011
Rich McCarty of Equality PA, Greater Erie Alliance for Equality and Community United Church
Chris Wolfe, Erie Idol finalist 2011
Tammie Johnson, 2 term President of ACLU-NWPA
Brian T, singer, also with Pittsburgh Out TV
Jason Landau Goodman, founding Executive Director of the Pennsylvania Student Equality Coalition. The first and only youth-led statewide LGBTQ organization in the nation
Michelle Michaels, Former Miss Erie and Coordinator for FACE Show at Zone
Fiona Hensley, Chair of the Student Network Across Pennsylvania, SNAP, Regional Chair of the Erie-West region for SNAP and President of Queers and Allies at Allegheny College in Meadville, PA.
Diva D’Vyne
Games
The Dunk a Drag Queen game was very popular! We look forward to making this an annual tradition
Donors
Many businesses and organizations gave generously to help support Pride this year. These included
AdultMart
Allegheny College Bookstore
BeautiControl
Blue Heron Inn
Body Language
Chicory Hill Herbs
Coca-Cola/Erie
Country Fair
Craze Night Club
Crime Victim Center of Erie County
Douglas Kolcun
Drenched Fur
Earthshine Company
Eerie Horror Film Festival
emma's revolution
Erie Book Store
Erie County Democratic Party
Erie County Department of Health
Erie Playhouse
Erie Seawolves
Erie Sisters
Erie Spine and Wellness
Family United Counseling
Gaudenzia / SHOUT Outreach
Giant Eagle - Buffalo Road
Glass Growers
Good Health Rejuvenation
Greater Erie Alliance for Equality, Inc.
Hal Leonard Performing Arts Publishing Group
Hollywood Stories
Horomanski's DJ'ing Services
JR's Last Laugh
Kensington Books
La bella
Larese Floral Design
LBT Women
Lion's Den Adult Super Store
MLR Books
Pennsylvania Coaltion to End Homelessness
Pie in the Sky Cafe
Presque Isle Gallery Coffeehouse
Sam's Club
Shakira Nakelle's Mementos, Gifts & More
Silk Screen Unlimited
Smith's Hot Dogs
State Farm Insurance Agent Natalie Braddock
Tanglez Hair and Nail Studio
The Ringbearer
Tops Friendly Markets - W 38th St
Wegman's- Peach St
Wendy's of Erie
Zone Dance Club
Committee Members & Volunteers
Many people from the committee worked hard to make the day enjoyable for everyone! Committee members included
Season
Chris
Preston
Mark H
Erin Moll
Amy
Sue McCabe
Alex
Jeff H
John Daly King
Kerry
In addition to the committee members, volunteers included:
Kevin Schultz
Dok
Johauna
Wanda
Bob H
Eric Rogers
Maria S.
Deb Spilko
Brian
Info Tables & Vendors
Info tables included:
Adagio Health
American Civil Liberties Union (ACLU), NWPA Chapter
Community United Church
Crime Victim Center of Erie County
Equality Pennsylvania
Erie County Democratic Party
Erie County Human Relations Commission
Erie Gay News
Erie Sisters
Lake Erie Derby Dames
LBT Women
Pennsylvania Student Equality Coalition
PFLAG Erie/Crawford County
SafeNet Center
United Way of Erie County
Voices for Independence
Vendors included
BeautiControl
Book Merchant
Christopher's Novelty Gifts
Shakira Nakelle's Mementos, Gifts & More
Collecting Food
We collected 23 pounds of food for the Second Harvest Food Bank of NW PA.
Hilo de la Fotohistoria en Pullip .es: LIVING ROOM (4 of 7): MUSE /
LA SALA DE ESTAR (4 de 7): MUSE
(Read in order, this is: SHOT/FOTO 42 of 106) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106.
FOTOSTORY: In English / En Español
Dom: Mm-mphh... What do you think? ò_ó
Matt: XD Hahaha, come on you peevish, everybody carries his stuff, and you are the drumer, right? XD
/
Dom: Mm-mfff... Tu que crees? ò_ó
Matt: XD Jajaja, anda quejica, cada uno se lleva lo suyo, y tu escogiste la batería, no? XD
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
View On Black on line Pitch Invasion Site 1863.pitchinvasion.net/post/17158021291/tom-finney-statue...
www.footballgroundguide.com/preston_north_end/tom_finney_...
Please don't use this image on websites, blogs or other media
without my explicit permission.
© All rights reserved
The Splash i.dailymail.co.uk/i/pix/2009/03/18/article-0-0089D4B80000...
On 31 July 2004, Sir Tom unveiled the water feature sculpture "The Splash", by sculptor Peter Hodgkinson, which stands outside The National Football Museum. The sculpture was inspired by the 1956 Sports Photograph of the Year which features Tom Finney beating two defenders at a waterlogged Stamford Bridge.
Now aged 89, Finney is one of England's oldest living former international footballers. As of February 2011, he is also one of only three surviving players from England's 1950 World Cup squad. The others are Bert Williams and Roy Bentley.
www.pneformerplayers.co.uk/formerplayers/tom_finney_featu...
www.dailymail.co.uk/sport/football/article-1163026/EXCLUS...
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ISO Speed : 125
Exposure Bias : 0 EV
I've finally come to the end of the Iceland pictures that I'm going to put on Flickr. I'm finishing with some shots from the first night of our trip of the "Sun Voyager" in Reykjavik. After a cloudy evening, the sun dropped below a gap in the clouds to give us a most spectacular sunset. I took loads of pictures - we were there about an hour an a half - and \'ve struggled to decide which I like best, so have included some more in the comment below.
The first shot in the comment was taken slightly earlier than this one, the second a wider shot around the same time and the last was taken around midnight, before we finally went back to our hotel.
A full set of my pictures, including a few that aren't on Flickr, can be seen on this travel photography site, if anyone is interested:
It's Management Monday again, Check Out the latest Management Jobs in Polk County - ga-polk.countyjobs.careers/index.php?q=Management .
And now here is the rest of the story:
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More photographs of Newquay, can be viewed by visiting my photography website - Beautiful England
Newquay, on Cornwall’s North Atlantic Coast, is a popular seaside town, with some of Cornwall’s best sandy beaches. It is a major tourist destination of approximately 20,000 residents, but in the peak of the summer, this can increase to 100,000. It is a lively town with a thriving nightlife of traditional pubs, nightclubs and beachside cafes. Many venues offer live music. Obviously, the entertainment facilities attract young people to the town and it is a popular destination for celebrating, following examination results and for stag and hen nights.
Newquay can rightly be regarded as the leading surf centre in the United Kingdom. Fistral Beach is probably Britain’s best known surfing beach, but there are eight other long and accessible sandy beaches in Newquay. The good surfing facilities have made Newquay the centre of the surf industry in Britain, with many surf stores, board manufacturers and hire shops based here. The brand, “Fat Willy’s” was founded here.
Fistral Beach has been hosting international surfing competitions for over twenty years, including the Rip Curl Boardmasters Tournament, which is now known as the Relentless Boardmasters Festival. A music festival takes place at Watergate Bay. Towan Beach, Great Western Beach and Tolcarne Beach, also provide excellent surfing facilities and are close to the town. Tolcarne Beach is a sheltered bay, with soft golden sand and ideal waves for boogie boarders and surfing beginners. It is home to the award-winning Venus Café, which provides all day meals and has an “all-weather” deck.
Newquay has good communications, accessible by road, rail and unusually has its own international airport, handling both scheduled and chartered flights. Lufthansa, Bmibaby, Flybe and Skybus, all have scheduled services to Newquay (NQY) and now Newquay Cornwall Airport offers more than twenty routes. As for so many towns, the railway brought tourism and expansion. The railway was originally built as a mineral line in the 1840s to link with the harbour, but it could not cope with the volume of china clay and tin it needed to carry. On 20th June, 1876, a passenger service was opened and the town quickly developed as a holiday resort. Several major hotels were built at the end of the 19th century, including the Victoria, the Atlantic and the Headland. In the 1930s, growth spread eastwards towards the railway station. The houses along Narrowcliff were converted into hotels. In July and August, Newquay has daily intercity services to Paddington Station in London.
Newquay has few really old buildings. There is no mention of a settlement here in the Domesday Book.
The first signs of any settlement in the Newquay area are on Porth Island, Trevelgue Head. A small fishing village grew up, sheltered by the headland around what is now the location of the Harbour. It is not known when this was first established, but by 1439, the inhabitants applied to the Bishop of Exeter, to build a “New Quay”, hence its current name. Until then the village was called, “Towan Blystra”, in Cornish meaning, “blown sand dune”. The current harbour was constructed in 1832. Until the early 20th century, the port was famous for pilchards and the town’s insignia is two pilchards. In 1856, the pilchard industry was on a considerable scale. Above the harbour is a “Huer’s Hut”, from which a look-out would shout to warn the fishing fleet in the village that he had seen shoals of pilchards approaching. Stocks of pilchards are now limited, so only a small number of boats catch crabs and lobsters.
Acciones QPM: Establecer como borrador | Mover a la papelera | Forzar el borrado | Editar | Gestionar | Configuraciones QPM
Vaya, vaya, vaya. Parece que ya sabemos qué prenda va a ser la fetiche entre las celebrities y, quién sabe, las bloggers internacionales. Una prenda estupenda, diferente, chic y totalmente personalizada. ¿Qué es? Hablamos de la capa/manta de Burberry con las iniciales de la portadora grabadas en XXL. Y es que la calle ha sido testigo de cómo muchas de ellas ya la pasean con estilo.
Modelos y socialités
Las primeras en llevarla fueron las modelos al salir del desfile de la firma inglesa este pasado mes de febrero 2014: cada una se enfundó la prenda y la adaptó a su estilo de calle.
Aunque hace unos días ya os mostrábamos cómo la socialité Olivia Palermo combinaba este tipo de prenda con un outfit arriesgado, mientras que la top model Rosie Huntington-Whiteley optaba por algo más clásico dándole todo el protagonismo que se merece.
Y Cara Delevingne y Suki Waterhouse, amigas y modelos, también han salido a la calle con ella. Parece que es el mejor complemento para refugiarse del frío… ¿La veremos mucho esta nueva temporada?
De este multitudinario duelo de estilos, ¿con qué rostro te quedas?
Fotos | Gtres, Burberry
Más duelo de estilos en Trendencias Duelo de estilos: un mono floreado con sorpresa en la espalda Duelo de estilos: las celebrities y su Lockit de Louis Vuitton Duelo de faldas (y de outfits): la versión Céline de Zara triunfa entre las bloggers Duelo de bikinis: ¿qué blogger lo luce mejor? Duelo de estilos: un clutch con mucha garra Duelo de vestidos: SelfPortrait triunfa Duelo de estilos: el colgante de Cartier que causa furor Duelo de estilos: las camisetas de las bloggers personalizadas Duelo de petos: en versión short y color blanco Duelo de vestidos: Diane (Von Furstenberg) es la elegida Duelo de estilos: las flores primaverales de Taylor Swift contra las de Emma Stone Duelo de estilos: blogger vs. celebrity, ¿quién gana?
– La noticia Duelo de capas/mantas personalizadas: ¿Cuál de ellas la luce mejor? fue publicada originalmente en Trendencias por Charlie.
Acciones QPM: Establecer como borrador | Mover a la papelera | Forzar el borrado | Editar | Gestionar | Configuraciones QPM - www.diariototal.com/2014/09/15/duelo-de-capasmantas-perso...
http://www.diariototal.com/2014/09/15/duelo-de-capasmantas-personalizadas-cual-de-ellas-la-luce-mejor/
tendencia
#tendencia
I have taken a job in Ridgway, Co. which is located 15 miles from Telluride. My longtime friend and coworker has been working in the Durango area for the past year. He has been wanting me to come, and I have finally given in. I took this time-laps shot off of his deck looking back into Telluride. Mountain village is located just up in the middle right. Tom Cruise, and other "Celebs" have houses up there. Some may recognize the valley from the many music fests, although some may have been there several times, and never remember it! :)
This is 50 minutes of 30 second exposures blended with Startrails.exe i then blended 7 exposures for foreground. I tried several different views of the only road into Telluride, with cars, with out, and decided i liked best only one car heading into town. It is amazing how many cars where out at that time of night! :)
Here is a little history, for any who cares, thanks to Wikipedia: John Fallon made the first claim in Marshal Basin above Telluride in 1875 and early settlement of Telluride followed. The town itself was founded in 1878. Telluride was originally named "Columbia," but due to confusion with Columbia, California, the name was changed by the post office in 1887. The town was named after the chemical element tellurium, which was never actually found in the mountains of Telluride. Tellurium is a metalloid element sometimes associated with deposits of gold and silver. An alternate theory for the naming of Telluride is that it is a contraction of "to hell you ride". Telluride's mines were rich in zinc, lead, copper, silver, and, of course, gold.
Telluride began slowly because of its isolated location. In 1881 a toll road was opened by Otto Mears which allowed wagons to go where only pack mules could go before. This increased the number of people in Telluride, but it was still expensive to get gold-rich ore out of the valley. In 1890 the railroad reached town, which brought in more mines and brought out more ore.
Kraków
web.archive.org/web/20131209161218/http://www.milosierdzi...
MORE info:
The Divine Mercy Shrine in Kraków, Poland is a Roman Catholic basilica dedicated to the Divine Mercy devotion, as the resting place of Saint Faustina Kowalska, canonized on April 30, 2000.
The new basilica was built between 1999–2002, and is located in the District of Łagiewniki at św. Faustyny street. Three Popes have visited the shrine and millions of pilgrims from around the world continue to visit it every year
The site of the building originally housed the neo-Gothic monastery complex of the Sisters of Our Lady of Mercy (founded in 1862), which was designed by Charles Zaremba and was built between 1889–1891. In 1966, the remains of Sister Faustina were moved to the church. In 1968 Cardinal Karol Wojtyła (later Pope John Paul II) designated the church as a shrine, thanks to the remains of Sister Faustina.
In 1985, Pope John Paul II called Lagiewniki the "capital of the Divine Mercy devotion". Since the beatification of Saint Faustina in 1993, her remains rest on the altar, below the image of Divine Mercy.
In 1999–2002, a modern two-story, ellipsoidal basilica, specifically devoted to the Divine Mercy was built.The building was designed to resemble a boat, and has a 77-meter high observation tower that resembles a mast.
The basilica can accommodate about 5,000 people and the main chapel has about 1,800 seats. The altar in the main sanctuary houses the Divine Mercy painting and relics of Saint Faustina. The image above the main altar was painted by Adolph Hyla in 1944, and replaces the first image Hyla painted in 1943 as a votive offering for surviving during World War II. The image and the basilica are a major pilgrimage site and in 2011 the basilica received around 2 million pilgrims from around the world.
The lower level of the church has a central a chapel dedicated to Saint Faustina, with four side chapels. The upper part of the basilica has free-standing post-modern Chapel of Perpetual Adoration of the Blessed Sacrament. On June 24, 2007, on the 60th anniversary of Operation Vistula, the Basilica opened a Greek Catholic chapel dedicated to reconciliation, and as a gift to the Greek Catholic Church.
In March 1981, while praying at the tomb of St. Faustina at the church, Maureen Digan of Massachusetts reported a healing. Digan had suffered from lymphedema for decades, and had undergone 10 operations, including a leg amputation. Digan reported that while praying at Faustina's tomb she heard a voice saying "ask for my help and I will help you" and her constant pain stopped.
Upon her return to the US, five Boston area physicians stated that she was healed (with no explanation). Digan's healing was declared miraculous by the Vatican in 1992, and paved the way for the beatification of Faustina Kowalska.
On June 17, 1997 Pope John Paul II visited the church to pray at the tomb of Saint Faustina - an event commemorated by a relief at the entrance to the chapel.
In May 2006, Benedict XVI visited the chapel, and a second relief commemorates that. During the 2006 pilgrimage by Pope Benedict XVI, he unveiled a statue of Pope John Paul II at the observation tower at the basilica, as the seventh sculpture of John Paul II in Kraków.
In July 2016, Pope Francis visited the Basilica as part of the Jubilee Year of Mercy and as part of the International World Youth Day celebrations taking place in Kraków.
Poblet, Tarragona (Spain).
ENGLISH
The Monastery of Santa Maria de Poblet is a Cistercian monastery, founded in 1151, located in the comarca of Conca de Barberà, in Catalonia (Spain). It was founded by Cistercian monks from France. The main architect was Arnau Bargués.
It was the royal pantheon of the kings of the Crown of Aragon since James I of Aragon.
This monastery was abandoned in 1835 and was restored during the 1940s.
This monastery was the first of three sister monasteries, known as the Cistercian triangle, that helped consolidate power in Catalonia in the 12th century. (The other two are Vallbona de les Monges and Santes Creus)
It is a UNESCO World Heritage Site, since 1991.
Source: en.wikipedia.org/wiki/Poblet_Monastery
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CASTELLANO
El Real Monasterio de Santa María de Poblet (en catalán: Reial Monestir de Santa Maria de Poblet) es el prototipo de abadía cisterciense española. Localizado en la comarca de la Cuenca de Barberá, en el término municipal de Vimbodí i Poblet, en Tarragona (España), el primer cenobio fue impulsado y patrocinado por Ramón Berenguer IV, conde de Barcelona, quien lo entregó a los monjes bernardos de la abadía de Fontfroide en el año 1149.
Fue panteón real de la Corona de Aragón, desde finales del siglo XIV hasta la extinción de la casa real de Aragón en el siglo XV.
Enriquecido con distintas donaciones, alcanzó su máximo esplendor en el siglo XIV, y su total decadencia y abandono en 1835 como consecuencia de la desamortización de Mendizábal. En 1930 se inició su restauración, de forma que en 1935 pudo dedicarse nuevamente la iglesia al culto, y en 1940 retornaban a su abadía algunos monjes. No todos los espacios pueden visitarse, por ser dependencias en clausura utilizadas por los cistercienses que de nuevo ocupan el monasterio.
En 1991 fue declarado por la UNESCO Patrimonio de la Humanidad. Poblet, junto con Guadalupe, El Escorial, San Millán de Yuso y San Millán de Suso son los monasterios en España que gozan de este título.
La etimología del término Poblet deriva del latín populetum (alameda). El lugar fue siempre muy rico en vegetación y bosque de estos árboles (los álamos), lo que dio lugar a que en 1984 fuera declarado Paraje Natural de Interés Nacional, con 2.100 hectáreas y 50 fuentes naturales.
El monasterio de Poblet fue una fundación del conde de Barcelona Ramón Berenguer IV que alrededor del año 1150 donó las tierras de Populetum a la abadía francesa de Fontfroide (o Fontfreda) en el momento en que era abad Sancho I de Provenza. Fontfroide era filial de Claraval y estaba cerca de Narbona. Estas tierras que se ofrecieron son las situadas en la Conca de Barberá, en el término municipal de Vimbodí, cerca de Espluga de Francolí con las montañas de Prades como telón de fondo. El enclave tenía las condiciones recomendadas por el Císter para la fundación de un monasterio: podía estar aislado, con agua abundante y un extenso entorno para la agricultura.
Con la fundación de este monasterio sumaron cuatro las grandes abadías cistercienses: Claraval (en el valle de Absinthe (Francia), la Gran Selva (en Languedoc), Fontfreda (cerca de Narbona) y Poblet.
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Over 15 years ago I visited San Antonio and toured the famous building, The Alamo. I took this photo outside the building with my old film camera, and today I scanned it and enhanced it in PhotoShop, applying the a sepia tone and the Redfield "Fractalius" filter.
THE BATTLE OF THE ALAMO:
The Battle of the Alamo (February 23 – March 6, 1836) is the most famous battle of the Texas Revolution. After a revolutionary army of Texian settlers and adventurers from the United States drove all Mexican troops out of Mexican Texas, Mexican President Antonio Lopez de Santa Anna led an invasion to regain control of the area. Mexican forces arrived in San Antonio de Bexar on February 23 and initiated a siege of the Texian forces garrisoned at the Alamo Mission.
In the early morning hours of March 6 the Mexican army launched an assault on the Alamo. The outnumbered Texians repulsed two attacks, but were unable to fend off a third. As Mexican soldiers scaled the walls, most of the Texian soldiers retreated into the long barracks or the chapel. Several small groups who were unable to reach these points attempted to escape and were killed outside the walls by the waiting Mexican cavalry. The Mexican soldiers fought room-to-room and soon had control over the Alamo.
Between five and seven Texians may have surrendered; if so, they were quickly executed on Santa Anna's orders. Most eyewitness accounts reported between 182 and 257 Texian dead, while most Alamo historians agree that 400–600 Mexicans were killed or wounded. Of the Texians who fought during the battle, only two survived: Joe, spared because he was a slave, and Brigido Guerrero, a Mexican Army deserter who convinced Mexican soldiers he had been imprisoned. Women and children, primarily family members of the Texian soldiers, were questioned by Santa Anna and then released.
On Santa Anna's orders, three of the survivors were sent to Gonzales to spread word of the Texian defeat. After hearing this news, Texian army commander Sam Houston ordered a retreat; this sparked the Runaway Scrape, a mass exodus of citizens and the Texas government towards the east (away from the Mexican army). News of the Alamo's fall prompted many Texas colonists to join Houston's army. On the afternoon of April 21 the Texian army attacked Santa Anna's forces in the Battle of San Jacinto. During the battle many Texians shouted "Remember the Alamo!" Santa Anna was captured and forced to order his troops out of Texas, ending Mexican control of the area, which subsequently became the Republic of Texas.
By March 24 a list of names of the Texians who died at the Alamo had begun to be compiled. The first history of the battle was published in 1843, but serious study of the battle did not begin until after the 1931 publication of Amelia W. Williams's dissertation attempting to identify all of the Texians who died at the Alamo. The first full-length, non-fiction book covering the battle was published in 1948. The battle was first depicted in film in the 1911 silent film The Immortal Alamo, and has since been featured in numerous movies, including one directed by John Wayne. The Alamo church building has been designated an official Texas state shrine, with the Daughters of the Republic of Texas acting as permanent caretakers.
Source: Wikipedia
LEAH GARCHIK writes in the San Francisco Chronicle: 'I am informed by ADDA DADA , who never misses a party, that the winner of the Hunky Jesus Contest was TWERKING JESUS. And "Why carry your cross when you can ride it?" is what REBECCA ZITO when she spotted a cyclist so accessorized.'
In Wednesday's Leah Garchik column in the San Francisco Chronicle.
www.sfgate.com/entertainment/garchik/article/Dancing-in-t... ............................................................................................SISTER's of PERPETUAL INDULGENCE's 35th Annual HUNKY JESUS & FOXY MARY fun....The best thing about the Sister's show were the Marijuana 4/20 folks who incorrectly wandered into the Sister's party space...They were like "OMG, This is like , OZ, man."
Yes, it was.
Probably because it was the Sister's 35th Anniversary and it was an homage to the Wizard of Oz. The lawn in front of the stage was filled with red-paper poppies. There were several 'Cowardly Lions", many "Glenda the Good Witch", a couple of 'Bad Witches" including one on a bike...a very young 6-year old Judy Garland passing out Giradelli Chocolate, an awesome Scarecrow of indeterminate sex, a few Tin Men (and one obviously Tin Woman), and even a couple of 'munchkins'...yes, real little people. Though, ADDA DADA is happy to report that there were no Flying Monkeys.
THANK YOU to all the beautiful adults who let ADDA take their photos! (Everyone was properly asked & everyone consented.)
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This is why I love driving in Arizona outside the cities...the open road, you can see almost to infinity, the wide open spaces with NO billboards or advertisements to distract you from the views of nature...it is awesome. I took this photo out the front windor of the car as we cruised along US Highway 180 on our way from the Grand Canyon to Valle at the intersection of US180 and State Route 64. It was a really nice ride.
www.ucpress.edu/books/pages/9243/9243.excerpt.php
Stone Telling is my last name. It has come to me of my own choosing, because I have a story to tell of where I went when I was young; but now I go nowhere, sitting like a stone in this place, in this ground, in this Valley. I have come where I was going.
My house is the Blue Clay, my household the High Porch of Sinshan.
My mother was named Towhee, Willow, and Ashes. My father's name, Abhao, in the Valley means Kills.
In Sinshan babies' names often come from birds, since they are messengers. In the month before my mother bore me, an owl came every night to the oak trees called Gairga outside the windows of High Porch House, on the north side, and sang the owl's song there; so my first name was North Owl.
High Porch is an old house, well-built, with large rooms; the beams and frame are redwood, the walls of adobe brick and plaster, the flooring oak, the windows of clear glass in small square panes/ The balconies of High Porch are deep and beautiful. The great-grandmother of my grandmother was the first to live in our rooms, on the first floor, under the roof; when the family was big they needed the whole floor, but my grandmother was the only one of her generation, and so we lived in the two west rooms only. We could not give much. We had the use of ten wild olives and several other gathering trees on Sinshan Ridge and a seed-clearing on the east side of Wakyahum, and planted potatoes and corn and vegetables in one of the plots on the creek southeast of Adobe Hill, but we took much more corn and beans from the storehouses than we gave. My grandmother Valiant was a weaver. When I was a small child she had no sheep in the family, and so we gave most of what she wove for wool to weave more. The first thing I remember of being alive is that my grandmother's fingers moved across the warp of the loom, forth and back, a silver crescent bracelet shining on her wrist below the red sleeve.
The second thing I remember is that I went up to the spring of our creek in the fog in early morning in the winter. It was my first time as a Blue Clay child to dip up water for the new-moon wakwa. I was so cold I cried. The older children laughed at me and said I had spoiled the water. My grandmother was officiating, and she told me the water was all right, and let me carry the moon-jar all the way back to town; but I bawled and snivelled all the way, because I was cold and heavy. I can feel that cold and wet and weight now in old age, and see the dead arms of the manzanita black in the fog, and hear the voices laughing and talking before and behind me on the steep path beside the creek.
. . . Some of the children, illmeaning or ignorant, called me Hwikmas, "half-House." I had also heard people say of me, "She is half a person." I understood this in my own way, badly, since it was not explained to me at home. I had not the courage to ask questions at the heyimas, or to go where I might have learned about matters outside the little town of Sinshan, and begun to see the Valley as a part of a whole as well as a whole. Since neither my mother nor her mother spoke of him, in the first years of my life all I knew of my father was that he had come from outside the Valley and had gone away again. This meant to me only that I had no father's mother, no father's House, and therefore was a half-person. I had not even heard of the Condor people. I had lived eight years before we went to the hot springs in Kastoha-na to treat my grandmother's rheumatism, and in the common place there saw men of the Condor.
dannyreviews.com/h/Always_Coming_Home.html
The subject of Le Guin's work is the Kesh — a people who inhabit a valley in a far-future California and who are clearly based on native American models. Mostly she lets them speak for themselves, allowing the reader to learn about them through a montage of their short stories, poems, and myths. These are laid out around a central novella, which tells the story of a woman called Stonetelling who leaves the valley to live with her father's people, the Condor. The "back of the book" contains additional information about the Kesh in more traditional ethnographic form.
en.wikipedia.org/wiki/Always_Coming_Home
Always Coming Home is a novel by Ursula K. Le Guin published in 1985. This novel is about a cultural group of humans -- the Kesh -- who "might be going to have lived a long, long time from now in Northern California."
The book weaves around the story of a Kesh woman called Stone Telling, who lived for years with her father's people—the Dayao or Condor people, whose society is rigid, patriarchal, hierarchical and militarily expansionist. The story fills less than a third of the book, with the rest being a mixture of Kesh cultural lore (including poetry, prose of various kinds, mythos, rituals, and recipes), essays on Kesh culture, and the musings of the narrator, "Pandora". Some editions of the book were accompanied by a tape of Kesh music and poetry.
Like much of Le Guin's work, Always Coming Home follows Native American and Taoist themes. It is set in a time so post-apocalyptic that no cultural source can remember the apocalypse, though a few folk tales refer to our time. The only signs of our civilisation that have lasted into their time are indestructible artifacts such as styrofoam and a self-manufacturing, self-maintaining, solar-system-wide computer network.
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Exposición LA VIDA OCULTA DEL AGUA; en el Centro del Agua de Daimiel del 21 de diciembre al 20 de febrero.
Artículo LA BIODIVERSIDAD OCULTA
La última vez que Cosmarium botrytis se asomó por la ventana de esta galería, vino desde Francia y su interior bullía, igual que lo hacen en muchos désmidos como éste o en Closterium cristalitos de sales de Calcio que actúan como balancines, permitiendo que el cuerpo de muchas de estas algas permanezca paralelo a la superficie de las aguas en las que habitan y así, recibir la misma cantidad de luz, por la cara en que está expuesto.
Hoy, en pleno invierno, Cosmarium botrytis no hierve, quizá porque la placa de hielo bajo la que lo hemos hallado no le deje, pero la intensidad de la vida se refleja en su intenso color.
Cosmarium botrytis es un désmido de contorno ovalado y relativamente común en los bordes de las charcas y lagunas en las que vive, sin embargo, a pesar de su fácil localización, sus formas son muy variables, unas se acercan al contorno circular mientras que otras se muestran alargadas, unas variedades presentan grandes dimensiones al contrario que otras, que se muestran más discretas en su tamaño.
En todas las variedades de Cosmarium botrytis, la constricción central que divide su cuerpo en dos mitades perfectamente simétricas, es una constricción profunda que separa los dos cloroplastos de su interior, cada uno de los cuales presenta dos pirenoides a modo de ojos, unos grandes ojos verdes. La pared que protege el interior de Cosmarium botrytis está irregularmente cubierta de pequeños botones casi semiesféricos que posiblemente concentren la luz sobre sus cloroplastos como si se tratase de minúsculas lentes.
La fotografía se ha tomado con 400 aumentos utilizando la técnica de campo oscuro y procede de la pequeña Laguna Grande situada en las proximidades de la localidad zamorana de Ricobayo.
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☁ la nube negra de una justicia pervertida en nuestro país, movida por la envidia y la venganza, permanecerá aquí, hasta que soplen los vientos limpios que todos necesitamos. La Justicia es uno de los cimientos necesarios para la Paz. Desde aquí todo nuestro apoyo al Juez Baltasar Garzón -el buen Juez de Saramago- y a las personas de buena voluntad como él que trabajan por la Justicia.
Gracias a nuestros amigos de Brasil de AFNatura, en especial a Rosane Marques y a Emídio Bastos por su cariñosa acogida y difusión de la exposición LA VIDA OCULTA DEL AGUA ¡ Un gran abrazo !
Ahora en Biodiversidad virtual y hace poco en El País -en pdf- gracias a Elisabet Sans.
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Astasia es un flagelado y es la prima ciega y pálida de Euglena, pero no por ello hay que compadecerse, vive perfectamente y posiblemente ella lo ha elegido así y es seguro que desde hace millones y millones de años su vida transcurra como la de hoy y que en un acuerdo con la Naturaleza haya encontrado su hueco para su existencia por siempre en las lagunas.
Es pálida porque no necesita la luz del sol para vivir, por ello se zambulle y nada alegre desde los fondos de las charcas hasta la superficie y en este bucear, arrastrada por su flagelo, va envolviendo en remolinos a pequeñas partículas, materia orgánica y bacterias que constituyen su alimento.
Aunque el cuerpo de Astasia es un portento de flexibilidad y en ocasiones en él se producen ondas como en un ritual de danza de vientre, la de hoy, más discreta, tímida o austera apenas se deforma y navega con determinación cruzando el océano de esta gota de agua.
La camisa de Astasia como la de Euglena es transparente y aparece adornada con finísimas estrías, aquí invisibles para nosotros, su cuerpo alargado y su fina cola redondeada nos hacen suponer que se trata de Astasia kathemerios o una forma similar y con esa alegría ciega y pálida, va palpando y surcando el agua mientras su flagelo dibuja letras cuyo significado no alcanzamos a comprender…un bonito misterio que quedará así, como misterio por resolver.
Astasia kathemerios es un flagelado que habita principalmente en zonas de aguas estancadas ricas en materia orgánica. La de hoy procede de la Laguna de las Sanguijuelas, en las inmediaciones de la población zamorana de Vigo de Sanabria y ha sido fotografiada a 400 aumentos empleando la técnica de contraste de interferencia.
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☁ la nube negra de una justicia pervertida en nuestro país, movida por la envidia y la venganza, permanecerá aquí, hasta que soplen los vientos limpios que todos necesitamos. La Justicia es uno de los cimientos necesarios para la Paz. Desde aquí todo nuestro apoyo al Juez Baltasar Garzón -el buen Juez de Saramago- y a las personas de buena voluntad como él que trabajan por la Justicia.
The United Arab Emirates Dirham is the currency in United Arab Emirates. For more details visit tofocus.info/currency-of-United-Arab-Emirates.php
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La curruca capirotada (Sylvia atricapilla) es una especie de ave paseriforme del género Sylvia dentro de la familia Sylviidae. Es un pájaro de pequeño tamaño de color sobrio y discreto, canto agradable, vuelo ágil, comportamiento activo e inquieto, que se alimenta de insectos y frutas. Habita principalmente en sotobosques y está ampliamente distribuido por Europa. Se trata de una curruca frecuente, y localmente abundante, que está muy repartida por toda España.
Descripción
Mide entre 13 y 15 cm de longitud, con una envergadura de entre 20 y 23 cm, y un peso de unos 14 a 20 g. Presenta el cráneo levemente aplanado. El pico (en ambos sexos adultos) es negruzco con la mandíbula inferior gris pizarra. Los tarsos y los pies son gris azulado. El iris es de 3,5 mm de diámetro y de color castaño.
Plumaje
A simple vista tiene un aspecto discreto e insignificante, ya que la sobriedad de su plumaje le permite pasar desapercibido para todo aquel que no haya aprendido a identificarlo, que lo confundirán con el gorrión común cada vez que se lo crucen fugazmente en su camino (ocurriendo esto más veces de lo que cabe imaginarse).
El macho, para quien sabe identificar esta especie, resulta inconfundible; el macho adulto presenta sus partes superiores (laterales de la cabeza, del cuello y el pecho) de color verde oliva, o bien puede describirse como un tono pardo grisáceo. El obispillo es gris claro. El vientre blanco. Su cola y las alas son de un gris negruzco. El píleo y la frente son de color negro brillante.2
La hembra se diferencia del macho principalmente por el píleo que es pardo o castaño rojizo. El resto de las partes superiores son pardo oliváceas, y en los lados de la cara hay un tinte grisáceo. El pecho y los flancos son de un tono más pálido, algunas veces con un tinte gris, pero siempre se presenta con un color más pardo que el del macho.
Los ejemplares inmaduros son similares a las hembras adultas, con el capirote castaño jengibre. Tal vez se pueda apreciar en la espalda y dorso de las alas un tinte más rojizo que en los adultos. El color de las partes inferiores, como son el pecho y los flancos, se presentan considerablemente más oscuros que en los adultos.
Nota: Apenas se observan diferencias entre las distintas subespecies de Sylvia atricapilla, no obstante, morfológicamente sí que podrían encontrarse leves diferencias fácilmente apreciables.
Es una especie forestal que cría en terrenos arbolados, umbríos y con denso sotobosque, aunque también pueden hacerlo en parques y jardines con abundante maleza, ya que siempre van de copa en copa, de mata en mata, e inquietamente de rama en rama. Ejemplos donde estas currucas se desarrollan son los robledales, fresnedas y otras formaciones de planifolios. También habitan bosques de coníferas, quejigares y bosques mixtos, monte bravío, huertos de frutales y también olivares. Evitan zonas muy secas por ello son frecuentes en la vegetación de riberas, junto a los arroyos, donde los índices de humedad son mayores y donde los árboles se presentan más desarrollados. Cuando las ciudades ofrecen mayor cantidad de alimento, o por motivos climáticos, etc., recurren a estas, pasando desapercibidas por ser desconfiadas y a la vez activas.
Altitudinalmente esta especie ocupa rangos muy dispares, desde el nivel del mar hasta los 1.500 m (en Tenerife), incluso 1.700 m en Pirineos centrales o los 1.800 en el Sistema Central y 1.850 m en las Cordilleras Béticas.
Alimentación
Fruto del espino común.
La curruca capirotada se alimenta de insectos, fruta cultivada y bayas o frutos silvestres. Durante la primavera se centra básicamente en la captura coleópteros y dípteros, aunque no son estos los únicos insectos que caen presa de este pajarillo. A partir del nacimiento de sus pollos se dedican a recoger infinidad de pequeñas orugas y larvas, mas estos también son cebados con cerezas, higos y otros frutos silvestres del tiempo. Durante el invierno ingieren gran cantidad de manzana, aprovechándose de las cosechas más próximas lo que les permite resistir el invierno sin apenas moverse de zonas reducidas. Les gustan los frutos de la hiedra, así como las bayas de las plantas de adorno que encuentran en jardines o parques. Presentes en su dieta podrían estar, el saúco, el espino, el aligustre, la rosa silvestre, la zarzamora, la madreselva, el tejo, el acebo, etc., sintiendo especial predilección por todos ellos.
Nido
Curruca con hierba seca en el pico para construir su nido.
El nido es una construcción muy pobre, "transparente", ligero y escaso en materiales. Normalmente es el macho quien elige el lugar de emplazamiento colocando allí dos o tres hierbas secas, aunque es la hembra quien principalmente lo construye. Entre el macho y la hembra consiguen terminarlo en unos 3 o 5 días generalmente. Los materiales de construcción usados por esta curruca son básicamente hierbas secas, musgo, y raicillas, estando forrado interiormente con pelos y hierba más fina, para lograr un cierto confort. Se localizan escondidos en arbustos u otra maleza, sujetos en ramas débiles y a una altura del suelo que no suele bajar de 80 cm ni subir por encima del 1,70 m. Los polluelos permanecen en el nido durante un periodo de tiempo que oscila en unos 11 y 14 días.Enfermedades
Los parásitos que hospedan a Sylvia atricapilla son motivo de las posibles distintas enfermedades infecciosas que pueden afectar a estas aves. Un ejemplo es el parásito de la malaria de la curruca capirotada, que puede hacer bastante daño a la especie si su capacidad de transmisión y dispersión se presenta con demasiada potencia y facilidad.
Predadores
Como toda pequeña ave de sotobosque, desde que es un simple polluelo la curruca capirotada puede ser presa de todo tipo de vertebrados, pues reptiles, diferentes pequeños mamíferos, y otras aves (como una simple urraca), codician este tipo de capturas.
También el ser humano puede convertirse en un "predador parcial" para un gran número de especies de aves, entre ellas la curruca capirotada, pues el dulce canto de estas aves las hace muy atractivas para mantenerlas en cautiverio, y existen todo tipo de prácticas ilegales por medio de las que se captura con redes y otros sistemas a estos pajarillos
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Everything I do I do it for you, Bryan Adams
Look into my eyes - you will see
What you mean to me
Search your heart - search your soul
And when you find me there you'll search no more
Don't tell me it's not worth tryin' for
You can't tell me it's not worth dyin' for
You know it's true
Everything I do - I do it for you
Look into your heart - you will find
There's nothin' there to hide
Take me as I am - take my life
I would give it all - I would sacrifice
Don't tell me it's not worth fightin' for
I can't help it - there's nothin' I want more
Ya know it's true
Everything I do - I do it for you
There's no love - like your love
And no other - could give more love
There's nowhere - unless you're there
All the time - all the way
Oh - you can't tell me it's not worth tryin' for
I can't help it - there's nothin' I want more
I would fight for you - I'd lie for you
Walk the wire for you - ya I'd die for you
Ya know it's true
Everything I do - I do it for you
National Naval Aviation Museum
Rolling off the Douglas Aircraft Company assembly line in El Segundo, California, in December 1940, SBD-2 Dauntless (Bureau Number 2106) was delivered to Bombing Squadron (VB) 2 at Naval Air Station (NAS) San Diego, California, on the last day of 1940. For the better part of the following year the aircraft flew with that squadron, logging hours flying from the deck of the aircraft carrier Lexington (CV 2) and participating in large-scale military maneuvers in Louisiana.
During the first week of December 1941, with Lexington earmarked to deliver aircraft of a Marine scout bombing squadron to Midway Atoll, the aircraft was off loaded from the carrier to make room for the additional aircraft and left at Pearl Harbor when "Lady Lex" put to sea. Thus, on the morning of 7 December 1941, it was on Ford Island in the middle of Pearl Harbor when the Japanese attacked. Put back aboard Lexington when she returned to Pearl, the aircraft embarked in the carrier to the South Pacific. On 10 March 1942, flown by Lieutenant (junior grade) Mark T. Whittier with Aviation Radioman Second Class Forest G. Stanley as his gunner, the aircraft joined 103 other planes from Lexington and Yorktown (CV 5) in a raid against Japanese shipping at Lae and Salamaua in New Guinea. Credited with pressing home his attack against a Japanese ship, Whittier received the Navy Cross.
When Lexington returned to Pearl Harbor following the raid, the museum's SBD-2 was again put ashore and earmarked for transfer to Marine Scout Bombing Squadron (VMSB) 241 on Midway Atoll, arriving there with eighteen other SBD-2s on 26 May 1942, on board the aircraft transport Kitty Hawk (APV 1).
On the morning of 4 June 1942, with 1st Lieutenant Daniel Iverson as pilot and Private First Class Wallace Reid manning the .30-caliber machine gun in the aft cockpit. the museum's aircraft was one of sixteen SBD-2s of VMSB-241 launched to attack Japanese aircraft carriers to the west of Midway. Approaching the enemy carrier Hiryu, the Marine planes came under fire from antiaircraft gunners and fighters of the enemy combat air patrol. Iverson, with two Japanese Zero fighters following him down in his dive, released his bomb at an altitude of 800 feet. During his egress from the target area, the pair of Zeroes on Iverson's tail were joined by two others, which pursued the Dauntless for miles. Enemy fire holed Iverson's plane 219 times, knocking out his hydraulic system and wounding Reid. One bullet came so close that it clipped Iverson's throat microphone chord. Nevertheless, the pilot managed to return to Midway, making a one-wheel landing on the atoll. His was one of only eight SBD-2s of VMSB-241 to return from the attack against the Japanese fleet. For their actions, Iverson received the Navy Cross and Reid was awarded the Distinguished Flying Cross.
Returned to the United States, the museum's SBD-2 was repaired and eventually assigned to the Carrier Qualification Training Unit (CQTU) at NAS Glenview, Illinois. On the morning of 11 June 1943, with Marine 2nd Lieutenant Donald A. Douglas, Jr., at the controls, the aircraft ditched in the waters of Lake Michigan during an errant approach to the training carrier Sable (IX 81). Douglas was retrieved from the water by a Coast Guard rescue boat, but his aircraft sank to the bottom of the lake.
Recovered in 1994, the aircraft underwent extensive restoration at the museum before being placed on public display in 2001. Elements of its original paint scheme when delivered to the fleet are still visible on its wings and tail surfaces. A survivor of the Pearl Harbor attack and two combat actions, including the famous Battle of Midway, it is one of the most historic aircraft in existence anywhere in the world.
Timanfaya National Park or Parque Nacional de Timanfaya is a Spanish national park covering the municipalities of southern portion of Tinajo and the northern portion of Yaiza. The park is located in the southwestern part of the island of Lanzarote. The area is 51.07 km². The parkland is entirely made up of volcanic soil. The greatest recorded eruptions occurred between 1730 and 1736. The volcanic activity continues as the surface temperature in the core ranges from 100 to 600 ºC at the depth of 13m, which is demonstrated by pouring water into the ground, resulting in a geyser of steam which is an attraction for tourists. In 1993, UNESCO granted the qualification for the Biospherical Reserve.
The statue "El Diablo" by César Manrique is its symbol. The park is open to the public, and conducts tours of the volcanic landscape by coach.
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Die etwa 845 km² große Insel Lanzarote ist zu drei Vierteln mit Lava bedeckt, ausgespieen aus mindestens 300 Kratern von etwa 100 Vulkanen. Das Eruptivmaterial der sechs Jahre dauernden Ausbrüche vom 1. September 1730 bis 16. April 1736 bedeckt etwa 167 km² Lanzarotes. Der Timanfaya Nationalpark im Südwesten der Insel erstreckt sich über 51,07 km², von der Ortsgrenze Yaizas bis zum Montaña Timanfaya, die Westgrenze bildet die Küstenlinie. Hier entstanden damals 32 Vulkankegel. Diese Ausbrüche im 18. Jahrhundert waren, nicht nur wegen der großen Menge des ausgespieenen Materials, sondern auch wegen der langen Dauer, die bedeutendsten in der Geschichte des Vulkanismus. Zu den Ausbrüchen an Land kamen noch zahlreiche Seebeben.
Der Nationalpark ist über gut asphaltierte Straßen zu erreichen. Sie wurden zum Besuch General Francos 1950 angelegt. Eine 14 Kilometer lange Rundfahrt kann nur per Bus unternommen werden. Von dem 350 Meter hoch gelegenen Montaña Rajada erhält man einen Überblick über den größten Teil des Timanfaya-Nationalparks. Das große Areal, das heute das Lavameer einnimmt, gehörte vor den Ausbrüchen zum fruchtbarsten Teil Lanzarotes. Nach der Katastrophe lag die unglaubliche Menge von acht Millionen Kubikmetern Lava dort, wo zuvor kleine Ortschaften und einzelne Gehöfte existiert hatten; insgesamt wurden etwa 420 Häuser zerstört. Die zerstörten Dörfer waren Timanfaya, Los Rodeos, Mancha Blanca, Santa Catalina, Mazo, Jarretas, Tingafa, Peña Palomas, Testeina, La Geria, Macintafe, Mozaga, Guagaro, Masdache und Iguadén, außerdem die Landgüter von Maretas und Chupaderos.
Die Vulkane, die den Timanfaya-Nationalpark bilden, gehören zur so genannten Hawaii-Gruppe. Diese bilden in großen Höhen riesige Aschesäulen, die Lapillis, und die vom Wind befördert weite Flächen und Hänge alter Krater bedeckt haben. Diese durch die Ascheregen gebildeten Flächen nennt man Valle de la Tranquilidad (Tal der Ruhe). Das Zentrum des Ausbruchs lag am Maciso del Fuego (Feuer-Massiv), welches 525 Meter hoch aufragt. Dieser Vulkan ist von Schlacke und Asche bedeckt, die von den Ausbrüchen des 18. Jahrhunderts stammen. Allerdings stellte man fest, dass der Bergrücken, der immer noch enorme Hitzestrahlungen aussendet, aus sehr alter Lava besteht, dem alten Berg Timanfaya zugehörig. Interessant sind die häufigen Reihen von kleinen Öfchen (Hornitos) und Parasitenvulkanen, so genannt, weil sie sich am Fuße eines Zentralkolosses gebildet haben. Der imposante Vulkankrater Corazoncillo, der größte Explosionskrater Lanzarotes, besitzt eine Caldera, deren Tiefe etwa 100 Meter unter die Oberfläche der Außenwelt geht. Die Lava dieses Vulkans begrub das Dorf Timanfaya.
Nur sehr langsam hat sich auf dem entstandenen Malpaís (schlechten Land) wieder etwas Vegetation gebildet. Man kann an einigen Orten Flechten oder kleine Sukkulente und viele niedrige dornige Sträucher namens Aulaga Majorera entdecken. Dieser Strauch wird von der Parkverwaltung verwendet, um die hohe Temperatur des Erdbodens im Bereich des Islote de Hilario zu demonstrieren. Das in ein Loch im Boden gestopfte, trockene Geäst geht sofort in Flammen auf. Bei einer weiteren beeindruckenden Demonstration wird Wasser in ein senkrecht im Boden eingelassenes Rohr gegossen. Da die Temperatur wenige Meter unter der Erdoberfläche über 400°C beträgt, entsteht eine explosionsartig empor schießende Dampffontäne. Westlich des Hauptkraters des Montaña del Fuego beträgt die Temperatur in 27 Metern Tiefe etwa 700°C. Der Islote de Hilario, wurde nach jenem Mann namens Hilario benannt, der der Sage nach wie ein Einsiedler in diesem Felseneiland lebte, während mehr als einem halben Jahrhundert, ohne weitere Begleitung als seinem Kamel. Man erzählt, dass Hilario einen Feigenbaum gepflanzt hatte, der, obwohl er Wurzeln schlug, niemals Früchte trug, weil die Blüte sich nicht von Flammen ernähren konnte. Hier wurde von César Manrique das runde Restaurant El Diablo (Der Teufel) mit Kochstelle über einem heißen Erdloch errichtet.
Quelle/Source: Wikipedia