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This photograph was published in the Illustrated Chronicle on the 13th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
This is not normally something I do - publish more than one picture from a particular session, but I decided to make an exception in this case for feedback purposes.
This is another take on the situation I first illustrated here. This is a different type of shot and I'd be interested in opinions given the largely negative feedback I got about the earlier shot.
I've also published this in a sepia variation as I couldn't decide which works best?
Published on Monday 2 April 2012 15:53
THE owners of a “filthy” cafe in the heart of Towneley Park where out of date food was stored unlabelled and left fermenting in dirty fridges have been ordered to pay almost £10,000 for a catalogue of food hygiene breaches.
Reedley Magistrates’ Court was told that environmental health inspectors from Burnley Borough Council found dirty cloths and floors, insects, unrecognisable liquids, greasy, rusty equipment, and food debris when they visited The Stables Cafe on May 19th last year.
The Stables @ Townley Ltd, owned by the Faiz family for the last 10 years, was slapped with a fine and costs totalling £9,402. At an earlier hearing they had admitted contravening 26 hygiene regulations.
www.burnleyexpress.net/news/local-news/filthy-burnley-caf...
This photograph was published in the Illustrated Chronicle on the 22nd of March 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Published in Crochet With Bits & Pieces (DRG)
A beginner-level pattern.
A few of these strands tied around the waist make a good summer belt.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
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Lee Ritenour è uno degli interpreti più significativi della chitarra jazz dei nostri tempi. Influenzato artisticamente dai grandi maestri (Wes Montgomery, Joe Pass e Barney Kessel), Ritenour ha cominciato da giovanissimo con i Mama’s & Papa’s per poi unirsi come session man ad artisti jazz di indiscusso spessore come Herbie Hancock e Sonny Rollins, fino a formazioni più vicine al rock come Steely Dan e Pink Floyd. Fortemente influenzato negli anni ’80 dalla musica brasiliana, i suoi lavori gli sono valsi numerosi riconoscimenti e nomination ai Grammy.
"Rit" ha recentemente pubblicato un progetto ambizoso e premiato da un grande successo: una vera festa della chitarra, con un cast mai visto, dal titolo "6 STRING THEORY". L'album è una sorta di enciclopedia della chitarra moderna, dal jazz al rock passando per il blues e la fusion: il tutto a opera dei massimi esponenti dei rispettivi generi. Ritenour suona in quasi tutti i brani, mostrando la consueta versatilità e competenza: fa impressione sentirlo a proprio agio nel passare dall'aggressivo brano di apertura con John Scofield al jazz con Pat Martino, al blues elettrico con Jonny Lang e il grande veterano B.B.King, al rock con Slash. Nell'album compare, insieme ad una rosa incredibile di solisti, anche il grande George Benson.
Dave Grusin è un famoso compositore di colonne sonore cinematografiche, pianista jazz e arrangiatore.
È autore di più di cento colonne sonore. Ha vinto l'Oscar per Milagro.
Assieme a Larry Rosen, fonda nel 1982 la GRP Record, etichetta di musica jazz. Nel 1994 l'etichetta viene ceduta alla MCA Records, che poi cambierà nome in Universal Music Group. Nel 1997 Grusin e Rosen fondarono una nuova etichetta, la N2K Encoded Music, specializzata in smooth jazz.
Lee Ritenour - chitarra
Dave Grusin - piano/tastiere
Tom Kennedy - Basso
Sonny Emory - Batteria
Got two notices on the swedish board magazine Transition's site, one as a rider in a short movie with the Romon Crew and by Petter Schanche, and the other as a photographer. Pretty cool... even though it wasn't much about me.
Video here (me in the green jacket) and photo article here, in swedish though.
Being published in the Birmingham Evening Mail August 2012
You can take him a walk and then he still wants to play. It a great ball that takes shape once Ben gets his head off it. Wish I had removed the weeds now
This photograph was published in the Illustrated Chronicle on the 13th of May 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
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I Panic! At The Disco arrivano nel nostro paese per una data unica, a cinque anni dall’ultima data italiana, venerdì 4 novembre al Fabrique di Milano, per un concerto sensazionale.
La band ha pubblicato lo scorso 15 gennaio l’attesissimo quinto album Death Of A Bachelor. Disco prodotto da Jake Sinclair (Taylor Swift, Fall Out Boy), Death Of A Bachelor è il primo album del gruppo dopo l’acclamato Too Weird To Live, Too Rare To Die! del 2013. Il nuovo album ha già prodotto grandi successi: il singolo Victorious ha raggiunto la posizione #1 nella Top Songs chart di iTunes, # 1 della Trending 140 chart di Billboard ed è stato top trend in tutto il mondo sia su Tumblr che su Twitter. La traccia è la colonna sonora del baseball su MLB Network ed è nel trailer del video game “WWE 2K16”.
A Fever You Can’t Sweat Out, album di debutto della band pubblicato nel 2005, è stato certificato doppio platino e rimane tuttora uno degli album di debutto che hanno venduto di più nella storia della Fueled By Ramen. I singoli come il doppio platino I Write Sins Not Tragedies hanno fatto guadagnare alla band il successo internazionale , fan in tutto il mondo e premi incluse le molteplici nomination ai Grammy e il prestigioso “Video of the Year” agli MTV Video Music Awards per il video di I Write Sins Not Tragedies.
Brendon Urie – lead vocals, guitar
Current touring members
Dallon Weekes – bass
Kenneth Harris – guitar
Dan Pawlovich – drums
Jesse Molloy – saxophone
Erm Navarro – trombone
Chris Bautista – trumpet
Published in 1961, this is largely an edited version of Harlequin 480, Grey Cup Cavalcade. The last couple of chapters are new to this edition.
This photograph was published in the Illustrated Chronicle on the 3rd of May 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
I created a series of flower characters for a book titled Blossom Buddies, published by teNeues in 2009. The book includes 100 blossom buddies.
en.wikipedia.org/wiki/Philae_temple_complex
The Philae temple complex (/ˈfaɪliː/; Greek: Φιλαί or Φιλή and Πιλάχ, Arabic: فيلة Egyptian Arabic: [fiːlæ], Egyptian: p3-jw-rķ' or 'pA-jw-rq; Coptic: ⲡⲓⲗⲁⲕ, ⲡⲓⲗⲁⲕϩ, Coptic pronunciation: [ˈpilɑk, ˈpilɑkh]) is an island-based temple complex in the reservoir of the Aswan Low Dam, downstream of the Aswan Dam and Lake Nasser, Egypt.
Until the International Campaign to Save the Monuments of Nubia, the temple complex was located on Philae Island, near the expansive First Cataract of the Nile in Upper Egypt. These rapids and the surrounding area have been variously flooded since the initial construction of the Aswan Low Dam in 1902. The temple complex was dismantled and moved to nearby Agilkia Island as part of the UNESCO Nubia Campaign project, protecting this and other complexes before the 1970 completion of the Aswan High Dam. The hieroglyphic reliefs of the temple complex are being studied and published by the Philae Temple Text Project of the Austrian Academy of Sciences, Vienna (Institute OREA).
Geography
Philae is mentioned by numerous ancient writers, including Strabo, Diodorus Siculus, Ptolemy, Seneca, Pliny the Elder. It was, as the plural name indicates, the appellation of two small islands situated in latitude 24° north, just above the First Cataract near Aswan (Egyptian Swenet "Trade;" Ancient Greek: Συήνη). Groskurd computes the distance between these islands and Aswan at about 100 km (62 mi).
Despite being the smaller island, Philae proper was, from the numerous and picturesque ruins formerly there, the more interesting of the two. Before the inundation, it was not more than 380 metres (1,250 ft) long and about 120 metres (390 ft) broad. It is composed of syenite: its sides are steep and on their summits a lofty wall was built encompassing the island.
Since Philae was said to be one of the burying-places of Osiris, it was held in high reverence both by the Egyptians to the north and the Nubians (often referred to as "Ethiopians" in Greek) to the south. It was deemed profane for any but priests to dwell there and was accordingly sequestered and denominated "the Unapproachable" (Ancient Greek: ἄβατος). It was reported too that neither birds flew over it nor fish approached its shores. These indeed were the traditions of a remote period; since in the time of the Ptolemaic Kingdom, Philae was so much resorted to, partly by pilgrims to the tomb of Osiris, partly by persons on secular errands, that the priests petitioned Ptolemy VIII Physcon (170-117 BC) to prohibit public functionaries at least from coming there and living at their expense.
In the nineteenth century, William John Bankes took the Philae obelisk on which this petition was engraved to England. When its Egyptian hieroglyphs were compared with those of the Rosetta Stone, it threw great light upon the Egyptian consonantal alphabet.
The islands of Philae were not, however, merely sacerdotal abodes; they were the centres of commerce also between Meroë and Memphis. For the rapids of the cataracts were at most seasons impracticable, and the commodities exchanged between Egypt and Nubia were reciprocally landed and re-embarked at Syene and Philae.
The neighbouring granite quarries also attracted a numerous population of miners and stonemasons; and, for the convenience of this traffic, a gallery or road was formed in the rocks along the east bank of the Nile, portions of which are still extant.
Philae also was remarkable for the singular effects of light and shade resulting from its position near the Tropic of Cancer. As the sun approached its northern limit the shadows from the projecting cornices and moldings of the temples sink lower and lower down the plain surfaces of the walls, until, the sun having reached its highest altitude, the vertical walls are overspread with dark shadows, forming a striking contrast with the fierce light which illuminates all surrounding objects.
Construction
The most conspicuous feature of both islands was their architectural wealth. Monuments of various eras, extending from the Pharaohs to the Caesars, occupy nearly their whole area. The principal structures, however, lay at the south end of the smaller island.
The most ancient was a temple for Isis, built in the reign of Nectanebo I during 380-362 BC, which was approached from the river through a double colonnade. Nekhtnebef was his ancient Egyptian royal titulary and he became the founding pharaoh of the Thirtieth and last native dynasty when he deposed and killed Nepherites II.
For the most part, the other ruins date from the Ptolemaic Kingdom, more especially with the reigns of Ptolemy II Philadelphus, Ptolemy V Epiphanes, and Ptolemy VI Philometor (282-145 BC), with many traces of Roman work in Philae dedicated to Ammon-Osiris.
In front of the propyla were two colossal lions in granite, behind which stood a pair of obelisks, each 13 metres (43 ft) high. The propyla were pyramidal in form and colossal in dimensions. One stood between the dromos and pronaos, another between the pronaos and the portico, while a smaller one led into the sekos or adyton. At each corner of the adytum stood a monolithic shrine, the cage of a sacred hawk. Of these shrines one is now in the Louvre, the other in the Museum at Florence.
Beyond the entrance into the principal court are small temples, one of which, dedicated to Isis, Hathor, and a wide range of deities related to midwifery, is covered with sculptures representing the birth of Ptolemy Philometor, under the figure of the god Horus. The story of Osiris is everywhere represented on the walls of this temple, and two of its inner chambers are particularly rich in symbolic imagery. Upon the two great propyla are Greek inscriptions intersected and partially destroyed by Egyptian figures cut across them.
The monuments in both islands indeed attested, beyond any others in the Nile valley, the survival of pure Egyptian art centuries after the last of the Pharaohs had ceased to reign. Great pains have been taken to mutilate the sculptures of this temple. The work of demolition is attributable, in the first instance, to the zeal of the early Christians, and afterward, to the policy of the Iconoclasts, who curried favour for themselves with the Byzantine court by the destruction of heathen images as well as Christian ones.[citation needed] Images/icons of Horus are often less mutilated than the other carvings. In some wall scenes, every figure and hieroglyphic text except that of Horus and his winged solar-disk representation have been meticulously scratched out by early Christians. This is presumably because the early Christians had some degree of respect for Horus or the legend of Horus - it may be because they saw parallels between the stories of Jesus and Horus (see Jesus in comparative mythology#Iconography and #Dying-and-rising god archetype).
The soil of Philae had been prepared carefully for the reception of its buildings–being leveled where it was uneven, and supported by masonry where it was crumbling or insecure. For example, the western wall of the Great Temple, and the corresponding wall of the dromos, were supported by very strong foundations, built below the pre-inundation level of the water, and rested on the granite which in this region forms the bed of the Nile. Here and there steps were hewn out from the wall to facilitate the communication between the temple and the river.
At the southern extremity of the dromos of the Great Temple was a smaller temple, apparently dedicated to Hathor; at least the few columns that remained of it are surmounted with the head of that goddess. Its portico consisted of twelve columns, four in front and three deep. Their capitals represented various forms and combinations of the palm branch, the doum palm branch, and the lotus flower. These, as well as the sculptures on the columns, the ceilings, and the walls were painted with the most vivid colors, which, owing to the dryness of the climate, have lost little of their original brilliance.
History
The ancient Egyptian name of the smaller island meant "boundary". As their southern frontier, the pharaohs of Egypt kept there a strong garrison, and it was also a barracks for Greek and Roman soldiers in their turn.
The first religious building on Philae was likely a shrine built by Pharaoh Taharqa of the 25th Dynasty, which was probably dedicated to Amun. However this structure is only known from a few blocks reused in later buildings, which Gerhard Haeny suspects may have been brought over for reuse from structures elsewhere.
The oldest temple to have undoubtedly stood on the island, as well as the first evidence of Isis-worship there, was a small kiosk built by Psamtik II of the 26th Dynasty. This was followed by contributions from Amasis II (26th Dynasty) and Nectanebo I (30th Dynasty). Of these early buildings, only two elements built by Nectanebo I survive– a kiosk that was originally the vestibule of the old Isis temple, and a gateway which was later incorporated into the first pylon of the current temple.
Ptolemaic era
More than two thirds of Philae's surviving structures were built in the Ptolemaic era, during which the island became a prominent site of pilgrimage not only for Egyptians and Nubians but for pilgrims from as far as Anatolia, Crete, and the Greek mainland. Some of these pilgrims marked their presence with inscriptions on the temple walls, including votive inscriptions known as proskynemata, as well as other types. Among these are inscriptions left by four Romans in 116 BC, which represent the oldest known Latin inscriptions in Egypt.
Along with the various contributions of Ptolemaic rulers, Philae also received additions from the Nubian king Arqamani, who contributed to the Temple of Arensnuphis and the mammisi, and his successor Adikhalamani, whose name has been found on a stela on the island. Some experts have interpreted these additions as signs of collaboration between the Nubian and Ptolemaic governments, but others consider them to represent a period of Nubian occupation of the region, likely enabled by the revolt of Hugronaphor in Upper Egypt. The cartouches of Arqamani were later erased by Ptolemy V, while the stela of Adikhalamani was eventually reused as filling under the floor of the pronaos.
Roman era
The Roman era saw an overall decline in pilgrimage to Philae, especially from Mediterranean regions, as evidenced by the reduced number of inscriptions. Nevertheless, it remained an important sacred site, especially for Nubians, who continued to visit both as individual pilgrims and in official delegations from their government in Meroë.
Several Roman emperors made artistic and architectural contributions to Philae. While most of the architectural additions date to the Julio-Claudian dynasty, the island continued to receive contributions to its temples up to the time of Caracalla as well as a triple arch built by Diocletian. In AD 298, Diocletian ceded Roman territory south of the First Cataract as part of an agreement made with the neighboring Nobades, withdrawing the border to about the area of Philae itself. The Kushite king Yesebokheamani made a pilgrimage to Philae in this period and may have taken over the Roman hegemony.
During the Roman era, Philae was the site of the last known inscription in Egyptian hieroglyphs, written in AD 394, and the last known Demotic inscription, written in 452.
Christianization
Christianity seems to have been present at Philae by the fourth century, at which point it coexisted with traditional Egyptian religion. According to the Coptic hagiography Life of Aaron, the first bishop of Philae was Macedonius (attested in the early fourth century), who is said to have killed the sacred falcon kept on the island, though modern experts question the historicity of this account. By the mid fifth century, a petition from Bishop Appion of Syene to co-emperors Theodosius II and Valentinian III indicates the presence of multiple churches on the island functioning alongside the pagan temples.
Traditional worship at Philae appears to have survived into at least the fifth century, despite the anti-pagan persecutions of that time. In fact, the fifth-century historian Priscus mentions a treaty between the Roman commander Maximinus and the Blemmyes and Nobades in 452, which among other things ensured access to the cult image of Isis.
According to the sixth-century historian Procopius, the temple was closed down officially in AD 537 by the local commander Narses the Persarmenian in accordance with an order of Byzantine emperor Justinian I. This event is conventionally considered to mark the end of ancient Egyptian religion. However, its importance has recently come into question, following a major study by Jitse Dijkstra who argues that organized paganism at Philae ended in the fifth century, based on the fact that the last inscriptional evidence of an active pagan priesthood there dates to the 450s. Nevertheless, some adherence to traditional religion seems to have survived into the sixth century, based on a petition from Dioscorus of Aphrodito to the governor of the Thebaid dated to 567. The letter warns of an unnamed man (the text calls him "eater of raw meat") who, in addition to plundering houses and stealing tax revenue, is alleged to have restored paganism at "the sanctuaries," possibly referring to the temples at Philae.
Philae retained significance as a Christian center even after its closure as a pagan site. Five of its temples were converted into churches (including the Temple of Isis, which was dedicated to Saint Stephen), and two purpose built churches were constructed on the north side of the island.
1800s
The island of Philae attracted much attention in the 19th century. In the 1820s, Joseph Bonomi the Younger, a British Egyptologist and museum curator visited the island. So did Amelia Edwards, a British novelist in 1873–1874.
The approach by water is quite the most beautiful. Seen from the level of a small boat, the island, with its palms, its colonnades, its pylons, seems to rise out of the river like a mirage. Piled rocks frame it on either side, and the purple mountains close up the distance. As the boat glides nearer between glistening boulders, those sculptured towers rise higher and even higher against the sky. They show no sign of ruin or age. All looks solid, stately, perfect. One forgets for the moment that anything is changed. If a sound of antique chanting were to be borne along the quiet air–if a procession of white-robed priests bearing aloft the veiled ark of the God, were to come sweeping round between the palms and pylons–we should not think it strange.
— Amelia B. Edwards, A thousand miles up the Nile / by Amelia B. Edwards, 1831-1892, p. 207.
These visits are only a small sample of the great interest that Victorian-era Britain had for Egypt. Soon, tourism to Philae became common.
1900s
In 1902, the Aswan Low Dam was completed on the Nile River by the British. This threatened to submerge many ancient landmarks, including the temple complex of Philae. However, the British prioritized the advancement of Modern Egypt at the expense of the complex. The height of the dam was raised twice, from 1907 to 1912 and from 1929 to 1934, and the island of Philae was nearly always flooded. In fact, the only times that the complex was not underwater was when the dam's sluices were open from July to October.
It was proposed that the temples be relocated, piece by piece, to nearby islands, such as Bigeh or Elephantine. However, the temples' foundations and other architectural supporting structures were strengthened instead. Although the buildings were physically secure, the island's attractive vegetation and the colors of the temples' reliefs were washed away. Also, the bricks of the Philae temples soon became encrusted with silt and other debris carried by the Nile.
Rescue project
The temples had been practically intact since the ancient days, but with each inundation the situation worsened and in the 1960s the island was submerged up to a third of the buildings all year round.
In 1960 UNESCO started a project to try to save the buildings on the island from the destructive effect of the ever-increasing waters of the Nile. First, building three dams and creating a separate lake with lower water levels was considered.
First of all, a large coffer dam was built, constructed of two rows of steel plates between which a 1 million cubic metres (35 million cubic feet) of sand was tipped. Any water that seeped through was pumped away.
External images
Next the monuments were cleaned and measured, by using photogrammetry, a method that enables the exact reconstruction of the original size of the building blocks that were used by the ancients. Then every building was dismantled into about 40,000 units from 2 to 25 tons, and then transported to the nearby Island of Agilkia, situated on higher ground some 500 metres (1,600 ft) away. The transfer itself took place between 1977 and 1980.
Nearby locations of interest
Prior to the inundation, a little west of Philae lay a larger island, anciently called Snem or Senmut, but now Bigeh. It is very steep, and from its most elevated peak affords a fine view of the Nile, from its smooth surface south of the islands to its plunge over the shelves of rock that form the First Cataract. Philae, Bigeh and another lesser island divided the river into four principal streams, and north of them it took a rapid turn to the west and then to the north, where the cataract begins.
Bigeh, like Philae, was a holy island; its ruins and rocks are inscribed with the names and titles of Amenhotep III, Ramesses II, Psamtik II, Apries, and Amasis II, together with memorials of the later Macedonian and Roman rulers of Egypt. Its principal ruins consisted of the propylon and two columns of a temple, which was apparently of small dimensions, but of elegant proportions. Near them were the fragments of two colossal granite statues and also an excellent piece of masonry of much later date, having the aspect of an arch belonging to a church or mosque.
Geylang Serai welcomes Ramadan with dazzling light up display
PUBLISHED MAY 10, 2018, 11:00 PM SGT
Rahimah Rashith
SINGAPORE - With the start of the Muslim holy month of Ramadan just a week away, a sprawling 3-D arch depicting a mosque's dome is welcoming visitors into the hustle and bustle of the Geylang Serai precinct.
Spanning the five lanes of Sims Avenue at the junction of Engku Aman Road, the 12m-high display brings an instant fillip to the joy of Hari Raya festivities.
From Saturday (May 12), over 50 light installations in the Hari Raya Light-Up will illuminate a 2.25km stretch of Sims Avenue, Geylang Road and Changi Road.
Based on Malay art and cultural icons, the displays include two other main arches, one depicting a mosque, and the other a traditional kampung house and sampan, while lights shaped as flowers and crescents will festoon the roads.
Madam Yasmin Razak, 49, a housewife, cannot wait to see the display.
"The lights add a magical feeling to our yearly Hari Raya shopping and festivities," she said.
"Every year I take my family to Geylang just to see the lights and enjoy the bazaar atmosphere. Even though new buildings have come up in the area and the bazaar stalls change, the lights are a constant attraction we look forward to."
The lights will stay on till June 30, and will coincide with the opening of the popular Geylang Serai bazaar. About 800 stalls setting up in the vicinity will sell goods such as traditional costumes and street foods such as vadai and Ramly burger.
The bazaar will also take up the ground floor of Wisma Geylang Serai, a new Malay-Muslim social and cultural heritage hub.
One highlight of the festivities, themed Celebrating our kampung spirit, will have residents and other members of the constituency gathering at sunset to break fast together at Wisma Geylang Serai.
Said Mr Eric Wong, chairman of the Hari Raya Light Up 2018 Organising Committee: "We look forward to celebrating the old kampung spirit in this year's festive light-up. Each year without fail, Geylang Serai comes alive with creative light displays in the lead-up to Ramadan and Hari Raya Puasa.
"This is something the local community eagerly awaits, but the Hari Raya Light Up also invites our international friends to experience and be immersed in the Malay culture of Singapore.
"We hope this year's event will give them a taste of the traditional kampung spirit that resonates with our cultural roots."
The Geylang bazaar will run till June 14, a day before Hari Raya Aidilfitri.
Source: www.straitstimes.com/singapore/geylang-serai-welcomes-ram...
This photograph was published in the Illustrated Chronicle on the 8th of May 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Suspended Animation Classic #272
Originally published March 13, 1994 (#11)
(Dates are approximate)
E-Man Returns and Bartman
By Michael Vance
“E-Man Returns” #1/$2.75, 28 pages from Alpha Productions/writer: Nicola Cuti; artist: Joe Staton/available in comics shops and by mail order.
The energetic alien who won his letter at the school of superheroics years ago has lettered again! E-Man gets an A+ for great art and story!! It’s a shame this comic book’s one flaw is fatal. E-Man suffers from “one-shot-and-your-dead” syndrome.
Created in 1973 by Nicola Cuti and Joe Staton, E-Man was probably the best character published by defunct Charlton Comics. Inspired by Plastic Man from earlier years, it’s almost appropriate this shape-changing alien of sentient energy metamorphosed through several publishers in different formats. What isn’t right is that “E-Man Returns” as “No. 1 of one” wasn’t released as a new series.
Is it right that some of the strongest visual storytelling and stylized are in comics can’t get a series? When Joe Staton’s quirky art is at its peak, you’ll even believe talking sharks and dolphins.
Peek at “E-Man Returns”.
Is if fair that some of the most compact, clear, entertaining, original and just-plain-fun words in comics can’t get past one-shot status? When Nicola Cuti balances humor, pathos, and adventure ‘effortlessly’ in one issue (with a back-up feature, no less!), you’ll even buy aliens changing into boats, sailors, sea-gulls, and monsters.
Buy “E-Man Returns”.
Was it mentioned yet that that back-up feature by writer Ron Fortier and artist Gary Kato is just as powerful and fun as E-Man? “Mr. Jigsaw (Man of a Thousand Parts)” is a beautifully realized send-up of a superhero butting heads with reality. Every six pages in comics should be this good.
Was it noticed that a certain reviewer of questionable credentials and suspect personal taste completely forgot to mention what happens in E-Man and his side-kick Nova in “E-Man Returns”?
Oops.
Highly recommended.
MINIVIEW: “Bartman”. Lacking the satiric variety of its parent (“Simpson Comics”), this superhero parody still rankles high.
The original French edition of “In Search of the Castaways” was published by Hetzel in 1867-1868 as “Les Enfants du Capitaine Grant” (The Children of Captain Grant). It included 170 engravings by Edouard Riou which are also present in this 1873 English-language edition.
The book tells the story of the quest for Captain Grant of the “Britannia.” After finding a bottle the captain had cast into the ocean after the “Britannia” is shipwrecked, Lord and Lady Glenarvan of Scotland contact Mary and Robert, the young daughter and son of Captain Grant, through an announcement in a newspaper. The government refuses to launch a rescue expedition, but Lord and Lady Glenarvan, moved by the children's condition, decide to do it themselves. The main difficulty is that the coordinates of the wreckage are mostly erased, and only the latitude (37 degrees) is known; thus, the expedition would have to circumnavigate the 37th parallel south. The bottle was retrieved from a shark's stomach, so it is impossible to trace its origin by the currents. Remaining clues consist of a few words in three languages. They are re-interpreted several times throughout the novel to make various destinations seem likely.
Lord Glenarvan makes it his quest to find Grant; together with his wife, Grant's children and the crew of his yacht, the Duncan, they set off for South America. An unexpected passenger in the form of French geographer Jacques Paganel (he missed his steamer to India by accidentally boarding on the Duncan) joins the search. They explore Patagonia, Tristan da Cunha Island, Amsterdam Island, and Australia (a pretext to describe the flora, fauna, and geography of numerous places to the targeted audience). They face many challenges on their journey– avalanche, hurricane, flood, tornado, erupting volcano, wolves, head-hunters, cannibals, you name it. It’s one of Verne’s most exciting adventure stories.
This photograph was published in the Illustrated Chronicle August 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
オキザリス・プルプレア ‘ローズ’
Oxalis purpurea Linn., 1753 ‘Rose’ (♂)
This name is accepted.
Confirmation Date: 11/27, 2022.
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Family: Oxalidaceae (APG IV)
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Authors:
Carl von Linnaeus (1707-1778)
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Published In:
Species Plantarum 1: 433. 1753. (1 May 1753) (Sp. Pl.)
Name publication detailView in BotanicusView in Biodiversity Heritage Library
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Annotation:
!VCH 4/11
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Type-Protolog:
Distribution:"Habitat in Aethiopia."
Institutions(s):LT: BM-000628563
Note:Lectotype (Wijnands, Bot. Commelins: 160. 1983): Herb. Clifford: 175, Oxalis 2 (BM-00062863)
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Distribution:
NativeIntroduced:
Native to:
Cape Provinces, Northern Provinces, Swaziland
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Introduced into:
Algeria, Azores, Bulgaria, California, Canary Is., Corse, Madeira, Morocco, Portugal, Sicilia, Spain, Tasmania, Tristan da Cunha
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Synonyms:
Homotypic Synonyms:
Acetosella purpurea (L.) Kuntze in Revis. Gen. Pl. 1: 90 (1891)
Oxalis amoena Salisb. in Prodr. Stirp. Chap. Allerton: 321 (1796), nom. superfl.
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Heterotypic Synonyms:
Acetosella breviscapa (Jacq.) Kuntze in Revis. Gen. Pl. 1: 91 (1891)
Acetosella laburnifolia (Jacq.) Kuntze in Revis. Gen. Pl. 1: 91 (1891)
Acetosella stictophylla (Sond.) Kuntze in Revis. Gen. Pl. 1: 91 (1891)
Acetosella variabilis (Jacq.) Kuntze in Revis. Gen. Pl. 1: 91 (1891)
Oxalis aemula Schltr. ex R.Knuth in H.G.A.Engler (ed.), Pflanzenr., IV, 130: 347 (1930)
Oxalis arthrophylla Turcz. in Bull. Soc. Imp. Naturalistes Moscou 31(I): 433 (1858)
Oxalis breviscapa Eckl. et Zeyh. in Enum. Pl. Afric. Austral.: 91 (1835), nom. illeg.
Oxalis breviscapa Jacq. in Oxalis: 95 (1794)
Oxalis decipiens Schltr. in Bot. Jahrb. Syst. 27: 154 (1899), nom. illeg.
Oxalis fallax Eckl. et Zeyh. in Enum. Pl. Afric. Austral.: 91 (1835), nom. illeg.
Oxalis grandiflora Jacq. in Oxalis: 91 (1794)
Oxalis humilis Thunb. in Prodr. Pl. Cap.: 190 (1800)
Oxalis inscripta E.Mey. in J.F.Drège, Zwei Pflanzengeogr. Dokum.: 103 (1843), nom. nud.
Oxalis laburnifolia Jacq. in Oxalis: 63 (1794)
Oxalis laburnifolia var. latifolia T.M.Salter in J. S. African Bot. 14: 14 (1948)
Oxalis laevigata Willd. in Enum. Pl. Hort. Berol., Suppl.: 26 (1814)
Oxalis laxula Jacq. in Oxalis: 94 (1794)
Oxalis laxula Eckl. et Zeyh. in Enum. Pl. Afric. Austral.: 90 (1835), nom. illeg.
Oxalis mutabilis DC. in Cat. Pl. Horti Monsp.: 129 (1813), nom. superfl.
Oxalis mutabilis var. alba DC. in Cat. Pl. Horti Monsp.: 47, 129 (1813)
Oxalis mutabilis var. breviscapa DC. in Cat. Pl. Horti Monsp.: 47, 129 (1813)
Oxalis mutabilis var. laxula (Jacq.) DC. in Cat. Pl. Horti Monsp.: 47 (1813)
Oxalis mutabilis var. purpurea DC. in Cat. Pl. Horti Monsp.: 47, 129 (1813)
Oxalis reptatrix Jacq. in Oxalis: 33 (1794)
Oxalis rigidula Jacq. in Oxalis: 96 (1794)
Oxalis sanguinea Jacq. in Oxalis: 64 (1794)
Oxalis speciosa Eckl. et Zeyh. in Enum. Pl. Afric. Austral.: 90 (1835), nom. illeg.
Oxalis speciosa Jacq. in Oxalis: 97 (1794)
Oxalis stictophylla Sond. in W.H.Harvey & auct. suc. (eds.), Fl. Cap. 1: 335 (1860)
Oxalis suggillata Jacq. in Oxalis: 98 (1794)
Oxalis variabilis Jacq. in Oxalis: 89 (1794)
Oxalis variabilis var. nana Sond. in W.H.Harvey & auct. suc. (eds.), Fl. Cap. 1: 331 (1860)
Oxalis variabilis var. rubra Jacq. in Oxalis: 90 (1794)
Oxalis venusta Lowe in Man. Fl. Madeira 1: 595 (1868)
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The native range of this species is S. Africa. It is a tuberous geophyte and grows primarily in the subtropical biome.
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Publications:
POWO follows these authorities in accepting this name:
Delipavlov, D. & Cheshmedzhiev, I. (eds.) (2011). Opredelitel na rasteniiata v Bulgariia: 1-590. Akad. Isd. Agrar. Univers. Plovdiv.
Dobignard, A. & Chatelain, C. (2013). Index synonymique de la flore d'Afrique du nord 5: 1-451. Éditions des conservatoire et jardin botaniques, Genève.
Flora of North America Editorial Committee (2016). Flora of North America North of Mexico 12: 1-603. Oxford University Press, New York, Oxford.
Germishuizen, G. & Meyer, N.L. (eds.) (2003). Plants of Southern Africa an annotated checklist. Strelitzia 14: 1-1231. National Botanical Institute, Pretoria.
Gremmen, N. & Halbertsma, R.L. Gremmen, N. & Halbertsma, R.L. (2009). Alien plants and their impact on Tristan da Cunha 2: 1-307. Overseas Territories Environment Programme (OTEP).
Muer, T., Sauerbier, H. & Cabrara Calixto, F. (2020). Die Farn- und Blütenpflanzen Madeiras: 1-792. Verlag und Versandbuchhandlung Andreas Kleinsteuber.
Schäfer, H. (2021). Flora of the Azores a field guide: 1-445. Margraf Publishers GmbH.
Tutin, T.G. & al. (eds.) (1968). Flora Europaea 2: 1-469. Cambridge University Press.
de Salas, MF, Baker, ML (2022). A Census of the Vascular Plants of Tasmania, including Macquarie Island: 1-161. Tasmanian Herbarium, Tasmanian Museum and Art Gallery, Hobart. flora.tmag.tas.gov.au/resources/census.
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Kew Backbone Distributions:
Delipavlov, D. & Cheshmedzhiev, I. (eds.) (2011). Opredelitel na rasteniiata v Bulgariia: 1-590. Akad. Isd. Agrar. Univers. Plovdiv.
Dobignard, A. & Chatelain, C. (2013). Index synonymique de la flore d'Afrique du nord 5: 1-451. Éditions des conservatoire et jardin botaniques, Genève.
Flora of North America Editorial Committee (2016). Flora of North America North of Mexico 12: 1-603. Oxford University Press, New York, Oxford.
Germishuizen, G. & Meyer, N.L. (eds.) (2003). Plants of Southern Africa an annotated checklist. Strelitzia 14: 1-1231. National Botanical Institute, Pretoria.
Gremmen, N. & Halbertsma, R.L. Gremmen, N. & Halbertsma, R.L. (2009). Alien plants and their impact on Tristan da Cunha 2: 1-307. Overseas Territories Environment Programme (OTEP).
Tutin, T.G. & al. (eds.) (1968). Flora Europaea 2: 1-469. Cambridge University Press.
de Salas, MF, Baker, ML (2022). A Census of the Vascular Plants of Tasmania, including Macquarie Island: 1-161. Tasmanian Herbarium, Tasmanian Museum and Art Gallery, Hobart. flora.tmag.tas.gov.au/resources/census.
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Accepted By:
AFPD. 2008. African Flowering Plants Database - Base de Donnees des Plantes a Fleurs D'Afrique.
Flora of North America Editorial Committee. 2016. Magnoliophyta: Vitaceae to Garryaceae. 12: i–xxiv, 1–603. In Fl. N. Amer.. Oxford University Press, New York.
Hickman, J. C. 1993. The Jepson Manual: Higher Plants of California 1–1400. University of California Press, Berkeley.
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Canon EOS Kiss M (Canon EOS M50)
七工匠 7artisans Macro 60mm F2.8
for Canon EOS-M Mount
This photograph was published in the Illustrated Chronicle on the 3rd of May 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Cattle producers have long lobbied for a vaccine bank as part of the industry's efforts to combat foreign animal disease.
Taken on 02 June 2014 in Namibia near Brandberg-West-Mine D2303 (DSC_3372)
freewheely.com: Cycling Africa beyond mountains and deserts until Cape Town
One of my photos was published in a Brazilian magazine called "a revista de natureza ecológica" ... It's of the Sudbury Smoke Stack that I put up on my former photoblog.
This photograph was published in the Illustrated Chronicle on the 18th of January 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
This photograph was published in the Illustrated Chronicle August 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.