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Carlinville is the seat of Macoupin County, and is located about 40 miles south of Springfield on Illinois Rt. 4. The population of Carlinville was 5,685 at the 2000 Census.
For more images of Carlinville, visit my "Carlinville IL" (Set).
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You are invited to stay and browse through my photostream. Here's a quick index to my Flickr site:
Central Illinois (except Springfield): Central Illinois (except Springfield): Photos relating to the middle section of the "Land of Lincoln" (except for the Capital City of Springfield) may be found in this collection. Every city and town I've photographed is contained within its own set, and rural (as in "counrtyside") photographs are grouped by county.
Springfield, Illinois: All of my photographs of Springfield and the Abraham Lincoln Sites are in this collection. For the City of Springfield, there are separate sets for the Capitol Complex, Downtown (including the Old State Capitol), Neighborhoods, Parks, Illinois State Fairgrounds (and past State Fairs), and more. Photographs of Lincoln sites include the Abraham Lincoln Presidential Library and Museum, Lincoln Home National Historic Site, Lincoln Tomb, and so on. Also in the Lincoln "All About Abe" (Set) are a few Lincoln sites not located in Springfield.
Beyond Central Illinois: Other locales in the United States and Canada including New York, Chicago, San Francisco and Seattle.
In addition to my location-based sets, here are links to some "topical" collections and sets I've put together:
Automobile Photograph Collection: This is a very large collection of images whose primary, but not exclusive, focus is on American automotive classics. Images are organized by decade, by manufacturer, and by topics (such as convertibles, station wagons, muscle cars, etc.)
Barbers & Barber Shops: Traditional barbers and barber shops are on the endangered species list. But there are still plenty to be found if you go looking for them.
Almost Everything Else. Check It Out!!!: Included topics range from man's first walk on the moon to small town schools and churches, and from Soft-Coated Wheaten Terriers (our favorite breed) to things that are abandoned, neglected, weathered, or rusty.
Thank you for visiting my photostream - myoldpostcards
The subject matter of images relating to the military come in many forms, and here the photographer recorded the packaging and bottles for 'Normal Human Plasma' in the USN Hospital at Creevagh.
The use of Blood Plasma during WW2 was a relatively new innovation. Blood plasma was an essential component of treating wounded soldiers. When a soldier is critically wounded, blood loss is extremely dangerous. Rather than the loss of oxygen carrying red blood cells, the greatest concern is the loss of fluids which results in low blood pressure. By transfusing casualties with plasma, blood volume is maintained and blood pressure remains at a normal level, preventing shock. Because the red blood cells are removed from plasma, the need to match the blood type of the donor to the recipient is unnecessary. Dried (desiccated) plasma was developed which could be stored for long periods of time without refrigeration or transportation difficulties. A package was designed for bottles of either the 250 or 500 ml equivalent of dried plasma to be reconstituted with companion bottles of distilled water. Both were supplied in boxes containing all that was necessary to infuse in the field.
In January 1941, U.S. military authorities asked the American Red Cross to organize a Blood Donor Service to meet the anticipated needs of the American armed forces should the United States enter the war and by the time of the attack on Pearl Harbor, the Red Cross operated ten blood donor centers in the Eastern United States. Eventually, that number grew to 35 centers located across the country, supplemented by an additional 63 mobile units. At its peak, the program involved a paid staff of 2,285 doctors, nurses, and technicians, plus an estimated 25,000 volunteers. The Red Cross expended nearly $16 million in the Service which ended on 15 September 1945 after collecting 13.4 million pints of blood from 6.6 million donors. Near the end of the war, when the necessary collection, refrigeration, and air transport links had been established, whole blood was shipped to the battlefront and found to be superior.
The image shows the standard Army & Navy package containing one bottle of plasma and one bottle of distilled water, and the respective bottles.
Sources:
www.nationalww2museum.org/sites/default/files/2017-07/blo...
www.redcross.org/content/dam/redcross/National/history-ww...
onlinelibrary.wiley.com/doi/pdf/10.1111/j.1537-2995.2012....
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The Postcard
A postcard bearing no publisher's name. They do however state on the back of the card that it was printed in England.
The card was posted in Folkestone on Wednesday the 10th. August 1960 to:
Mr. & Mrs. Meadows,
19 King Edward Road,
Ware,
Herts.
The message on the divided back of the card was as follows:
"Wed, Folkestone.
Dear Both,
At the moment it's raining.
Yesterday morning it was
glorious.
Dinner time we had a hail
storm for 10 minutes, then
a glorious afternoon.
We went to Dover, talk
about mixed weather, it
will have to be a shopping
morning.
I hope you are not looking
for a letter, I have written
to Mother.
There are 23 of us here -
quite a jolly crowd.
Our time will soon be up
now.
Thank you for sending
letter on, it was from Barts,
to go for check-up in Oct.
I'll see you soon,
Mabel & Will".
The Significance of Black Cats
There are more black cats than any other color because the black gene is most dominant for felines.
Over the centuries, these dark, handsome, and friendly felines have been associated with cultural and historical myths, superstitions, and tales that make them either revered or feared.
Here are conflicting superstitions relating to black cats:
-- Black Cats Are Witches in Disguise
If you're spooked when you see a black cat, it’s probably from medieval folklore that continues to shroud the reputation of these dignified kitties. Black cats have long been associated with witches and witchcraft.
It's said that the story began when a black cat was seen running into a house thought to be inhabited by a witch. During the Middle Ages, black cats became equated with black magic.
Roaming nocturnal black cats were thought to be witches in disguise, witches' pets, or animal-shaped demons sent by witches to spy on humans.
From the early 13th. century in Europe through the 17th.-century Salem Witch Trials in Massachusetts, black cats were killed. Black cats have evolved into icons of anything related to witchcraft, especially during the Halloween season.
-- Black Cats Are Bad Luck
A black cat is also associated by some people with bad luck, and even death. This fear of black cats appears to stem from medieval times, when an animal with dark feathers or fur, including crows and ravens, signaled death.
In 16th.-century Italy, it was believed that death was imminent if a black cat would lay on someone's sickbed. In modern-day North America, negative connotations continue to haunt black cats: It’s considered bad luck if a black cat crosses your path, and good luck if a white cat crosses your path.
Another family member is bound to die if you spot a black cat during a funeral procession. And it's a bad omen if you see a black cat walking away from you.
Fortunately, all these ideas are just superstition.
-- Black Cats Are Good Luck
Black cats are also believed to bring good luck in many ways. In ancient Egypt, black cats were held in the highest esteem because they resembled Bastet, the cat-headed Egyptian goddess of home, fertility, and protection from disease.
Black cats are considered good luck in other parts of the globe as well. In Asia and the U.K., you're going to be lucky in life if you own a black cat. When British good luck postcards feature a cat, the cat is always black.
In Japan, you'll have luck in finding love if you spot a black cat.
In parts of England, a bride will have luck in her marriage if she receives a black cat as a gift.
In Europe, sailors will have a safe journey if they bring along a black cat on the ship.
In Scotland, you'll have coming prosperity if a black cat appears at your doorway or on your porch.
In France, something magical is about to happen if you see a black cat.
In other cultures around the world, it’s a sign of good luck if you dream about a black cat, see one walking towards you, or if you happen to find a stray white hair on its fur.
The Recovery of Discoverer 13
So what else happened on the day that the card was posted?
Well, on the 10th. August 1960, U.S. Navy frogmen successfully recovered the satellite Discoverer 13, marking the first retrieval of a satellite after twelve previous attempts had failed.
Although plans to make the first mid-air capture failed, the recovery opened the era of the spy satellite.
Antonio Banderas
The day also marked the birth of Antonio Banderas, Spanish actor, in Málaga.
José Antonio Domínguez Bandera, known professionally as Antonio Banderas, is a Spanish actor and director. Known for his work in films of several genres, he has received various accolades, including a Cannes Film Festival Award and a European Film Award.
Banderas made his film debut in Pedro Almodóvar's screwball comedy Labyrinth of Passion (1982). They have since collaborated together on many films including Matador (1986), Law of Desire (1987), Women on the Verge of a Nervous Breakdown (1988), Tie Me Up! Tie Me Down! (1989), and The Skin I Live In (2011).
For the 2019 film Pain and Glory, Banderas earned various accolades for Best Actor including the Goya Award, and nominations from the Academy Awards and Golden Globe Awards.
Antonio is also known for films such as Philadelphia (1993), Interview with the Vampire (1994), Desperado (1995), Assassins (1995), Evita (1996), and The Mask of Zorro (1998).
He also appeared in the first three films of the Spy Kids series (2001–2003) and provided the voice of Puss in Boots in the Shrek franchise (2004–present) and its spin-off films Puss in Boots (2011) and Puss in Boots: The Last Wish (2022).
In 2003, Banderas made his US theater debut as Guido Contini in Nine, for which he was nominated for a Tony Award and won a Drama Desk Award.
He received Primetime Emmy Award nominations for his roles in the television film And Starring Pancho Villa as Himself (2004) and the second season of Genius (2018); his portrayal of Pablo Picasso in the latter garnered him critical praise.
-- Antonio Banderas - The Early Years
José Antonio Domínguez Bandera was born to Civil Guard gendarme officer José Domínguez Prieto (1920–2008) and schoolteacher Ana Bandera Gallego (1933–2017). He has a younger brother named Francisco.
As a little boy, Banderas wanted to become a professional football player until a broken foot side-lined his dreams at the age of 15.
He showed a strong interest in the performing arts, and formed part of the ARA Theatre-School and the College of Dramatic Art, both in Málaga.
Antonio's work in the theater and his performances on the streets eventually landed him a spot with the Spanish National Theatre.
-- The Career of Antonio Banderas
Banderas made his acting debut at a small theater in Málaga. He was arrested by the Spanish police for performing in a play by Bertolt Brecht, because of political censorship under the rule of General Franco.
Banderas spent a whole night at the police station; he experienced several such arrests while he was working with a small theater troupe that toured all over Spain and was giving performances in small town theaters and on the street.
While performing with the theater, Banderas caught the attention of Spanish director Pedro Almodóvar, who gave the young actor his film debut in Labyrinth of Passion. Five years later, he went on to appear in the director's Law of Desire (1987), making headlines with his performance as a gay man, which required him to engage in his first male-to-male onscreen kiss.
After Banderas appeared in Almodóvar's 1986 Matador, the director cast him in his internationally acclaimed 1988 film, Women on the Verge of a Nervous Breakdown.
The recognition Banderas gained for his role increased, years later, when he starred in Almodóvar's controversial Tie Me Up! Tie Me Down! (1989) as a mental patient who kidnaps a porn star (Victoria Abril) and keeps her tied up until she returns his love. His breakthrough role in Tie Me Up! Tie Me Down! helped spur him on to Hollywood.
Almodóvar is credited for helping launch Banderas's international career, as he became a regular feature in his films throughout the 1980's.
-- Antonio Banderas in the 1990's
In 1991, Madonna introduced Banderas to Hollywood. (He was an object of her desires in her pseudo-documentary film of one of her concert tours, Madonna: Truth or Dare.)
The following year, still speaking minimal English, he began acting in U.S. films. Despite having to learn all his lines phonetically, Banderas still managed to turn in a critically praised performance as a struggling musician in his first American drama film, The Mambo Kings (1992).
Banderas then broke through to mainstream American audiences in the Jonathan Demme film Philadelphia (1993), as the life-long partner of lawyer Andrew Beckett (Tom Hanks), who has AIDS.
The film's success earned Banderas wide recognition, and the following year, he was given a role in Neil Jordan's high-profile adaptation of Anne Rice's Interview with the Vampire (1994), sharing the screen with Brad Pitt, Tom Cruise, and Kirsten Dunst.
Antonio appeared in several major Hollywood releases in 1995, including a starring role in the Robert Rodriguez-directed film Desperado and the antagonist on the action film Assassins, co-starring with Sylvester Stallone.
In 1996, he starred alongside Madonna in Evita, an adaptation of the musical by Andrew Lloyd Webber and Tim Rice in which he played the narrator, Che, a role played by David Essex in the original 1978 West End production.
Banderas also had success with his role as the masked swordsman Zorro in the 1998 film The Mask of Zorro starring Anthony Hopkins and Catherine Zeta-Jones.
In 1999, he starred in The 13th Warrior, a movie about a Muslim caught up in a war between the Northman and human-eating beasts.
-- Antonio Banderas in the 2000's
In 2001, he collaborated with Robert Rodriguez who cast him in the Spy Kids film trilogy. He also starred in Michael Cristofer's Original Sin alongside Angelina Jolie the same year.
In 2002, he starred in Brian De Palma's Femme Fatale opposite Rebecca Romijn, and in Julie Taymor's Frida with Salma Hayek.
In 2003, Antonio starred in the last installment of the trilogy Once Upon a Time in Mexico (in which he appeared with Johnny Depp and Hayek).
Banderas' debut as a director was the poorly-received Crazy in Alabama (1999), starring his then-wife Melanie Griffith.
In 2003, he returned to the musical genre, appearing to great acclaim in the Broadway revival of Maury Yeston's musical Nine, based on the film 8½, playing the prime role originated by Raul Julia.
Banderas won both the Outer Critics Circle and Drama Desk awards, and was nominated for the Tony Award for best actor in a musical.
Banderas' voice role as Puss in Boots in Shrek 2, Shrek the Third, and the last film in the Shrek franchise, Shrek Forever After, helped make the character popular on the family film circuit.
In 2005, he reprised his role as Zorro in The Legend of Zorro, though this was not as successful as The Mask of Zorro.
In 2006, he starred in Take the Lead, a high-set movie in which he played a ballroom dancing teacher. That year, he directed his second film, El camino de los ingleses, based on the novel by Antonio Soler.
Banderas received a star on the Hollywood Walk of Fame in 2005, the 2,294th. person to do so; his star is located on the north side of the 6800 block of Hollywood Boulevard.
-- Antonio Banderas in the 2010's
In 2011, the horror thriller The Skin I Live In marked the return of Banderas to Pedro Almodóvar, the Spanish director who launched his international career. The two had not worked together since 1990 (Tie Me Up! Tie Me Down!).
In The Skin I Live In he breaks out of the "Latin Lover" mold from his Hollywood work and stars as a calculating revenge-seeking plastic surgeon following the rape of his daughter. According to the Associated Press, Banderas' performance is among his strongest in recent memory.
He again lent his voice to Puss in Boots, this time as the protagonist of the Shrek spin-off prequel, Puss in Boots. This film reunited Banderas with Salma Hayek for the sixth time.
In 2015, Banderas starred in The SpongeBob Movie: Sponge Out of Water as Burger Beard, the film’s main antagonist.
In 2018, Banderas starred in the National Geographic limited series Genius: Picasso, as the noted sculptor and painter Pablo Picasso. For his performance he received a Primetime Emmy Award, Screen Actors Guild Award, and Golden Globe Award nomination.
He also starred in the ensemble drama Life Itself (2018) which premiered at the Toronto International Film Festival.
In 2019, Banderas starred in the Spanish film Pain and Glory (Dolor y gloria), directed by Pedro Almodóvar. The film centers around an aging film director, played by Banderas who has a chronic illness and writer's block as he reflects on his life in flashbacks to his childhood. The film has been described as semi-autobiographical, according to Almodóvar.
The film premiered at the 2019 Cannes Film Festival to critical acclaim. On the 25th. May 2019, Banderas won Cannes Film Festival Award for Best Actor for his role in the film. He was later nominated for his first ever Academy Award for Best Actor in a Leading Role for Pain and Glory.
Also in 2019, Banderas starred in Steven Soderbergh's Netflix film, The Laundromat alongside Meryl Streep and Gary Oldman.
-- Antonio Banderas in the 2020's
In 2020, he co-starred with Robert Downey Jr. in the fantasy adventure film Dolittle.
In 2022, Banderas appeared as Santiago Moncada, the antagonist of the Uncharted. In 2023, he is appearing in the Indiana Jones and the Dial of Destiny with Harrison Ford.
He also returned to work for DreamWorks Animation reprising his voice as Puss in Boots in the sequel Puss in Boots: The Last Wish.
He is also appearing in The Enforcer which filmed in Greece in 2022.
In June 2023, it was announced that Banderas was cast in Paddington in Peru. He is reportedly playing Hunter Cabot, a dashing and intrepid riverboat captain who offers to help the Brown family on their Peruvian adventure.
-- Antonio Banderas' Personal Life
A long-time supporter of Málaga CF, Banderas is also an officer (mayordomo de trono) of a Roman Catholic religious brotherhood in his hometown of Málaga, and travels during Holy Week to take part in the processions, although he once described himself as an agnostic in an interview with People magazine.
In May 2010, Banderas received an honorary doctorate from the University of Málaga.
Banderas has always struggled with the pronunciation of certain English words. As he mentioned in a 2011 article with GQ magazine:
"The word that really gets me is 'animals.'
I just can never say it properly. Whenever
it is in a film I have to get it changed for a
synonym.
In Zorro, I had a line changed from 'you
look like a bunch of animals' to 'you look
like a collection of beasts'.
It worked much better, so I don't care."
In August 2015, Banderas enrolled in a fashion-design course at Central Saint Martins. As of 2016, Banderas resides in the United Kingdom in Cobham, Surrey.
-- Antonio Banderas' Relationships
Banderas married Ana Leza in 1986 or 1988 (sources differ) and divorced in 1996.
He met and began a relationship with the American actress Melanie Griffith in 1995 while shooting Two Much. They married on the 14th. May 1996 in London. They have a daughter, Stella del Carmen Banderas (born 24th. September 1996), who appeared onscreen with Griffith in Banderas' directorial debut Crazy in Alabama (1999).
In 2002, the couple received the Stella Adler Angel Award for their extensive philanthropy. Griffith had a tattoo of Banderas' name on her right arm that has since been removed.
In June 2014, Banderas and Griffith released a statement announcing their intention to divorce "in a loving and friendly manner". According to the petition filed in the Los Angeles Superior Court, the couple had "irreconcilable differences" that led to their separation.
The divorce became official in December 2015. Despite being divorced, Banderas and Griffith remain close friends. His former stepdaughter Dakota Johnson has stated that she considers Banderas part of the family, calling him a "bonus dad".
Banderas is currently (2023) dating Nicole Kimpel, a Dutch investment banker. They have made public appearances such as the 2015 AFI Fest, the 2019 Cannes International Film Festival, and the 2020 Academy Awards.
-- Antonio Banderas' Health
In 2009, Banderas underwent surgery for a benign tumor in his back.
Speaking at the Málaga Film Festival in March 2017, Banderas revealed that he had suffered from a heart attack on the 26th. January 2017, but said:
"It wasn't serious and hasn't
caused any damages".
Following that incident, he underwent heart surgery to insert three stents into his arteries. In a Fresh Air interview in September 2019, he recalled it as being life changing. He said:
"It just gave me a perspective of who
I was, and it just made the important
things go to the surface. When I say
this, people may just think that I'm
crazy, but it's one of the best things
that ever happened in my life."
-- Antonio Banderas' Activism
In 1996, Banderas appeared among other figures of Spanish culture in a video supporting the Spanish Socialist Workers' Party lists in the general election.
In 2013, he called upon Europe and the United States to emulate Hugo Chávez in Venezuela and nationalize big corporations as a solution to the global economic crisis.
In June 2015, Banderas demonstrated his support for Israel by taking part in a fund-raising event organized by Friends of the Israeli Defense Forces (FIDF), which raised $31m for Israeli soldiers.
-- Antonio Banderas' Business Activities
Banderas has invested some of his film earnings in Andalusian products, which he promotes in Spain and the US. He owns 50% of a winery in Villalba de Duero, Burgos, Spain, called Anta Banderas, which produces red and rosé wines.
Antonio performed a voice-over for a computer-animated bee which can be seen in the United States in television commercials for Nasonex, an allergy medication, and was seen in the 2007 Christmas advertising campaign for Marks & Spencer.
He is a veteran of the perfume-industry. The actor has been working with fragrance and beauty multinational company Puig for over ten years, becoming one of the brand's most successful representatives.
Banderas and Puig have successfully promoted a number of fragrances – Diavolo, Diavolo for Women, Mediterraneo, Spirit, and Spirit for Women. After the success of Antonio for Men and Blue Seduction for Men in 2007, he launched his latest Blue Seduction for Women the following year.
#lol #Friday #funny #relatable #posts #me #repost #quote #quotes #follow #nofilter #like #instadaily #life #like
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Always a helper somewhere. I'm trying to photograph this bouquet and mini arms are reaching in the shot.
Gov. Neil Abercrombie today signed House Bill 656, establishing the Health Care Transformation Program within the Governor’s office to advance the transformation.
“Improving health and the quality of care while bending the cost curve are among my administration’s top priorities,” Gov. Abercrombie said. “Addressing these concerns requires a new systematic approach that affects health care statewide.”
HB656 (Relating to Health Care Administrative Uniformity) also sets specific responsibilities for creating a strategy and timeline for statewide healthcare transformation that includes developing standards to measure quality and costs, reducing administrative burdens for providers and insurers, and improving and expanding the use of information technology to support transformation.
The measure explicitly gives the Governor the authority to obtain information by consulting with any stakeholders, individually or in groups, as part of the foundation for transformation. This is crucial since the healthcare sector cannot make systematic, coordinated changes of its own volition because:
- antitrust issues preclude many kinds of concerted group action that are not mandated and/or supervised by government authority;
- while insurers, hospitals, and provider groups can all make sweeping changes within the scope of their own organizations, these changes may have little effect on the rest of the system; and
- private sector health organizations agree on improving health, quality and cost, but implementing strategies without regulation or at least industry coordination is difficult because such organizations may have mixed motivations in a competitive environment.
“The cost of health care affects every resident and business in Hawaii,” said Beth Giesting, the state’s Healthcare Transformation Coordinator. “While health insurance premiums in Hawaii are relatively modest and offer good coverage, the inflationary trend – on average about 6 percent per year – results in wage stagnation and limited opportunities for business expansion.”
More than any other entity in Hawaii, the state is directly impacted by the effectiveness of the healthcare system as it purchases coverage for nearly 40 percent of the population, and that percentage will grow when new eligibility provisions and requirements under the federal Affordable Care Act result in Medicaid expansion. Med-QUEST programs now cover more than 20 percent of the state’s population with a budget of nearly $2 billion. The Hawaii Employer-Union Health Benefits Trust Fund covers nearly 15 percent of the population (Its annual budget is $523 million and it carries an unfunded liability of $14.4 billion). The state budget also supports the Hawaii Health Systems Corporation, emergency and trauma services at other facilities, behavioral health care, federally qualified health centers, and more.
Also today, Gov. Abercrombie signed the following measures in separate bill signing ceremonies:
Kupuna Bills
Individuals 65 years or older account for 14.7 percent of Hawaii’s population, which makes Hawaii the eighth in the nation in terms of the greatest percentage of older Americans. The following bills provide protections and resources needed for Hawaii’s growing kupuna population.
- HB529 (Relating to Care Homes)
- HB120 (Relating to Health)
- SB106 (Relating to Aging)
- HB398 (Relating to Human Services)
- SB102 (Relating to the Elderly)
SB102 specifically requires that financial institutions report instances of suspected financial abuse of an elder directly to the appropriate county police department (via 911) and the state Department of Human Services via Adult Protective Services:
Oahu – 832-5115
Kauai – 241-3337
Maui – 243-5151
East Hawaii – 933-8820
West Hawaii – 327-6280
Other Health-Related Bills
These bills protect consumers, ensure qualified professionals provide medical treatment, and help families who have loved ones suffering from a severe mental illness obtain treatment.
- HB847 (Relating to Enforcement Tools to Improve Patient Safety)
- SB1074 (Relating to Physical Therapy)
- SB310 (Relating to Mental Health Treatment)
Housing Bills
The following bills address housing needs and recognize that one size does not fit all when finding a solution to end homelessness.
- SB515 (Relating to Housing)
- HB536 (Relating to Public Housing)
The Museum of Occupations and Freedom Fights (Lithuanian: Okupacijų ir laisvės kovų muziejus), previously Museum of Genocide Victims (Lithuanian: Genocido aukų muziejus), in Vilnius, Lithuania was established in 1992 by order of the Minister of Culture and Education and the President of the Lithuanian Union of Political Prisoners and Deportees.
In 1997 it was transferred to the Genocide and Resistance Research Centre of Lithuania.
The museum is located in the former KGB headquarters across from the Lukiškės Square, therefore it is informally referred to as the KGB Museum.[1]
The museum is dedicated mostly to collecting and exhibiting documents relating to the 50-year occupation of Lithuania by the Soviet Union, the anti-Soviet Lithuanian partisans, and the victims of the arrests, deportations, and executions that took place during this period.
Before 2018, the museum was known as the Museum of Genocide Victims reflecting a broadened definition of the term "genocide" used by the Genocide and Resistance Research Centre.[2]
Although these events considered a genocide only by a few historians,[3] just a small part of space is devoted to the Holocaust in Lithuania, the event that is universally considered a genocide.
In 2018, the museum was renamed to the Museum of Occupations and Freedom Fights.[4]
During the 19th century, Lithuania was part of the Russian Empire. The building, completed in 1890, originally housed the court of the Vilna Governorate. The German Empire used it during its World War I occupation of the country.
After independence was declared, it served as a conscription center for the newly formed Lithuanian army and as the Vilnius commander's headquarters.
During the Lithuanian Wars of Independence, the city was briefly taken by the Bolsheviks, and the building housed commissariats and a revolutionary tribunal.
Following Żeligowski's Mutiny of 1920, Vilnius and its surroundings were incorporated into Poland, and the building housed the courts of justice for the Wilno Voivodship.
Lithuania was invaded by the Soviet Union in 1940, and following an ultimatum, became a Soviet Socialist Republic.
Mass arrests and deportations followed, and the building's basement became a prison.
In 1941 Nazi Germany invaded the country; the building then housed the Gestapo headquarters. Inscriptions on the cell walls from this era remain.
The Soviets retook the country in 1944, and from then until independence was re-established in 1991, the building was used by the KGB, housing offices, a prison, and an interrogation center.
Over 1,000 prisoners were executed in the basement between 1944 and the early 1960s, about one third for resisting the occupation.[5]
Most bodies were buried in the Tuskulėnai Manor, which underwent reconstruction and host a branch of the museum.[6]
In addition to housing the museum, the building now serves as a courthouse and as the repository of the Lithuanian Special Archives.
The non-violent aspect of the resistance is represented by various books, underground publications, documents, and photographs.
The collection pertaining to the Forest Brothers' armed resistance includes documents and photographs of the partisans. A section devoted to the victims of deportations, arrests, and executions holds photographs, documents, and personal belongings; this collection is continually expanded by donations from the public, seeing the museum as the best means of preserving the materials.
Controversy
No exposition devoted to The Holocaust in Lithuania existed in the Museum of Genocide Victims until 2011, despite the fact that more Jews were killed in Lithuania than in Germany, both in relative and absolute numbers, and that only a few historians believe Soviet repression against the Lithuanians constituted a genocide.[3] To address international criticism,[3] a small exposition describing the Holocaust in Lithuania was added in 2011.[7] Further, in April 2018, the museum officially changed its name to the Museum of Occupations and Freedom Fights.[4] According to Dovid Katz, the museum is "a 21st-century version of Holocaust denial".[3]
Scanned from film shot in 2003
The Palace of Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France.
In French it is the Château de Versailles.
When the château was built, Versailles was a country village; today, however, it is a wealthy suburb of Paris, some 20 kilometres southwest of the French capital. The court of Versailles was the center of political power in France from 1682, when Louis XIV moved from Paris, until the royal family was forced to return to the capital in October 1789 after the beginning of the French Revolution. Versailles is therefore famous not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime.
The earliest mention of the name of Versailles is in a document dated 1038, relating to the village of Versailles. In 1575, the seigneury of Versailles was bought by Albert de Gondi, a naturalized Florentine, who invited Louis XIII on several hunting trips in the forests surrounding Versailles. Pleased with the location, Louis ordered the construction of a hunting lodge in 1624. Eight years later, Louis obtained the seigneury of Versailles from the Gondi family and began to make enlargements to the château. This structure would become the core of the new palace. Louis XIII's successor, Louis XIV, had it expanded into one of the largest palaces in the world. Following the Treaties of Nijmegen in 1678, he began to gradually move the court to Versailles.
The court was officially established there on 6 May 1682.
Much of Louis XVI's contributions to Versailles were largely dictated by the unfinished projects left to him by his grandfather. Shortly after his ascension, Louis XVI ordered a complete replanting of the gardens with the intention of transforming the jardins français to an English-style garden, which had become popular during the late 18th century (Verlet, 1985). In the palace, the library and the salon des jeux in the petit appartement du roi and the decoration of the petit appartement de la reine for Marie-Antoinette are among the finest examples of the style Louis XVI (Verlet, 1945; 1985).
On 6 October 1789, the royal family had to leave Versailles and move to the Tuileries Palace in Paris, as a result of the Women's March on Versailles.
During the early years of the French Revolution, preservation of the palace was largely in the hands of the citizens of Versailles. In October 1790, Louis XVI ordered the palace to be emptied of its furniture, requesting that most be sent to the Tuileries Palace. In response to the order, the mayor of Versailles and the municipal council met to draft a letter to Louis XVI in which they stated that if the furniture was removed, it would certainly precipitate economic ruin on the city (Gatin, 1908).
A deputation from Versailles met with the king on 12 October after which Louis XVI, touched by the sentiments of the residents of Versailles, rescinded the order. However, eight months later, the fate of Versailles was sealed.
The galerie des glaces (Hall of Mirrors in English), is perhaps the most celebrated room in the château of Versailles. Setting for many of the ceremonies of the French Court during the Ancien Régime, the galerie des glaces has also inspired numerous copies and renditions throughout the world.
The room was built 15 June in 1690.
Evolving with the château, the gardens of Versailles represent one of the finest extant examples of Garden à la française in French Garden design.
Pierre de Nolhac arrived at the Palace of Versailles in 1887 and was appointed curator of the museum in 1892.Nolhac began to restore the palace to its appearance before the Revolution. Nolhac also organized events aimed at raising the awareness of potential donors to the Palace. The development of private donations led to the creation of the Friends of Versailles in June 1907.
Under the aegis of Gérald van der Kemp, chief conservator of the museum from 1952 to 1980, the Palace witnessed some of its most ambitious conservation and restoration projects: new roofing for the galerie des glaces; restoration of the chambre de la reine; restoration of the chambre de Louis XIV; restoration of the Opéra (Lemoine, 1976). At this time, the ground floor of the aile du Nord was converted into a gallery of French history from the 17th century to the 19th century. (Kemp, 1976; Meyer, 1985).
The Fifth Republic has enthusiastically promoted the museum as one of France's foremost tourist attractions (Opperman, 2004). The palace, however, still serves political functions.
Heads of state are regaled in the Hall of Mirrors; the Sénat and the Assemblée nationale meet in congress in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution.
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition.[174] Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
Obstetrics and Gynecology
This is part of a 52-week project relating my experiences during my medical internship during the last year of medical school.
during Queens Park Cricket Club 125th Anniversary Gala Dinner at the Hilton Trinidad & Conference Centre, Port of Spain, Trinidad.
Photo by WICB Media/Randy Brooks of Brooks Latouche Photography
Activity relating to the carrying of the more than 100 portable shrines (mikoshi) around the Asakusa neighbourhood to bless the businesses and residents with prosperity in the coming year.
Sanja Matsuri (Festival) at the Sensoji Temple, Asakusa,
Tokyo, Japan, 2016
Only the street shots - thestreetzine.blogspot.com/
Sarah Dallon, aged about 65 Taken at Blackpool GB124.DPA/645/4 No Date, circa 1925
See also www.flickr.com/photos/manchesterarchiveplus/7214624268/in...
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
立法會鐵路事宜小組委員會視察港鐵沙田貨運場及馬場站
立法会铁路事宜小组委员会视察港铁沙田货运场及马场站
LegCo Subcommittee on Matters Relating to Railways visits the MTR Shatin Freight Yard and Racecourse Station (2014.01.10)
Part of a Set / Slide Show of images relating to the Brighton Japan Festival and Matsuri ブライ卜ン曰本フェステイバル祭 - held in Japan City, around the Victoria Fouintain on The Old Steine Gardens, Brighton, England.
The London Okinawa Sanshinkai ロンドン沖縄三線会 performing the folk and classical music and dance of Okinawa. The instruments used include the sanshin (a 3-stringed lute), taiko drumming and samba (castanet).
sites.google.com/site/londonsanshin/ [Official website]
www.brightonjapan.com [Official Website] [event diary]
www.facebook.com/BrightonJapanFestival [facebook page]
13th September 2013 to Sunday 22nd September 2013
[Titles, Tags and Descriptions to be updated]
This photo shows cartilage cell infiltration into a fibrous metallic scaffold. The cell nuclei are stained orange with Hoechest and the metal fibres are in monochrome. The project relates to the introduction of a relatively thick metallic layer, strongly attached to a conventional hip prosthesis. This metal layer is highly porous, being composed of a network of stainless steel fibres bonded together. Provided the pore size of the scaffold is suitable (~100-400 microns), tissue in-growth can readily occur forming a strong bond between the prosthesis and the surrounding tissue. The photo is a combined reflectance and fluorescence confocal microscope image, taken 260 micrometres below the scaffold surface.
ca. 1917
Image H2010.127/5
Scenes relating to Mont Park Hospital: interior views of hospital with staff, group portraits, views of buildings and grounds.
Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/96294
Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures
Kagura, a shamanic ritual of ancient Japan was performed here recently. Team Viva attended
Shinto, the ancient Japanese religion has many rites and rituals relating to sacred worship. Among them is the Kagura, a theatrical dance, performed wearing heavy, colourful costumes of animals, with demon masks and featuring graceful body movements.
It was delivered by the Iwami Kagura troupe. The whole extravaganza was divided in three parts.
The last was particularly riveting. It involved a huge bamboo and paper serpent, about 40cm in diameter and 16mts long.
Tomoharu Katsuta, director of The Japan-India Association explained, “This is a sacred dance offered to Gods and Goddess at local shrines during the autumn harvest festival. It is based on old scriptures and was begun during 1100AD, by Shinto priests. Ordinary folk began performing it from the start of the Meiji Era, from 1869-1912, using Taiko drums, hand claps and flutes.”
It originally lasted for 12 hours, beginning from 7pm. It ended by 7am. The Delhi show was organised by ICCR and supported by the Embassy of Japan.
The evening began with a section called the Jin-rin, named after a demon, represented with a big mask. It was followed by Ebisu, the of fishing and Orochi, the name of a giant serpent. “According to myth, Jin-rinwas a winged demon king who flew all over Japan and killed people.” Later, King Chuai, second son of Emperor Yamato Takeru decided to kill the Jin-rin. The second piece featured Ebisu and Daikoku, God of wealth and prosperity. This is usually performed at weddings and auspicious ceremonies.
Orochi’s story involves an old couple and their daughter. The serpent would take the girls away and kill them. The couple was saved by the hero, Susano no Mikoto, who was exiled from the Heaven called Takamagahara. He asked the couples to make eight barrels of strong sake (rice wine), because the Orochi serpent had eight heads and eight tails. And its length swept over eight mountains and eight valleys.
“Mikoto succeeded in killing the monster while it was drunk and sleeping. Since then, sake is used to be drink in the weddings,” explained Tomoharu Katsuta.
He added, “This traditional dance form is used as a tool for Japans’ cultural exchange activities. It includes the Orochi (giant evil Serpent) episode, which received acclaim for its scale and dynamic movement. And the Iwami Kagura is a source of pride for locals. However, the big masks used, with their small eyes, create problem for performers vision. And the heavy costumes weigh over 20kgs, with gold and silver threads, plus glass beads.” Carrying the heavy serpent is also a tough job.
[Credit to Pioneer article]
Mary's maternal grandmother nee Sarah Dallon. Born 1860 and died in 1926. Her nephew is Cannon of Chester Hill and his name: Morris Hill Ridgeway. She lived at Washway Road, Sale. 645/3 No Date
GENERAL DESCRIPTION
PLEASE NOTE: -
“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.
“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.
27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).
Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.
This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.
A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.
Folio 2 verso (Original Folio 3 verso)
TRANSCRIPTION
(17) Patronis galearum teneantur lenare mercatores cum und traponta
uno plumatio, una valisia, et cum armis suis, & suorum famulorum sb'
pena libr, xxv, pro quolibet dictorum, et qualibet vice.
(18)Qui cunque. mercator ab omnis, xvi. Supra & Ltd. infra qui vadit
super galeis, a mercato habere debeant unam balistam, unam Car -
casium, &, xxv, veretonos super ipsa Galea. Et Capitanens
cum slibet armate de predictis teneatur facere circam antequam
transeat Culphum, & facere quelibet tirare suam balistam, &
si aliquis ipsorum non servaret Cadaet de libr, x, pro qualibet Ba -
sista, et de soldis, x, pro qualibet vere tono deficiente, quam pe -
nam exigat Capitanens, cuius medietas sit sua, et alia medie -
tas sit communis. De qua, Capitanens non possit facer gra -
tia, donum, vel remissionem aliquo modo, vel forma sub debi -
ta sacrameti. Et patroni galearum teneantur predicta levare, &
ea conservare sub cooperta, quam circam fieri facies de omni -
bus simul ut millus mercator possit mutuare aliquid de predictis.
(19)Et si eundo ut redeundo inueneris aliquos qui offendissent vel
damnificassent gentem nostram, debeas eos capere damnificare
et punire sicut tibi indebitur, Considerata offensa quam fecissent
et conditione eorum. Et si aliquos cursarios inueneris qui esset
manifesti et publici Cursarii, et non offendissent gentem nostram de -
beas homines permittere, & de lignis sit in tuo arbitrio com -
burendi vel non.
(20)Iudices magni salarii non debent facere rationem de debito vel ple -
zaria : nec de mutuis vel pignoribus que fient de cetero in galies
tibi Commissis p Comitos Nanclerios, & soldatos galearum nisi sci -
pta sint per notarium tuum, & aliter non fiet eis ratio p iudices
predictos.
(21)Teneris in tuo Reditum infra octo dies postq Venetias applicueris
Folio 2 verso (Original Folio 3 verso)
POSSIBLE ENGLISH TRANSLATION
17. The merchants of the patrons of the galleys are bound with a single shot, one blanket, one valise and with their weapons of war, and his servants subject to a penalty of 25 of each of the said, or at any time.
18. They however, the merchants from all sixteen above and below who go on the galleys ought to have one crossbow from the market, one of the carcases and 25 tons correctly on the galley. And the captain armed with the freedom of the obligations to do so before Culphum to make any of his crossbow, and if any one of them does not observe this, 10 pounds, for each accomplice and for each real failing which involves the captain the penalty will be half his own and the other half is to be common to all. With regard to this, you cannot allow the captain the grace, the gift or the remission in any way subordinate to the right or form of the dispute. And as to the patron of your galleys, he shall hold the leverage, and keep it under cover, rather than one who is at the same time so that no merchant may be made to be seen to borrow any part of the or all of the aforsaid.
19. And if going back to find some people who have offended or condemned our nation you should take the injustice and punish them just as you considered the offence which had caused their condition. And if there are any who are found openly going through and offending, they shall not be permitted and bound to our nation, even if the wood is burning of its own free will or not.
20. Judges should not take a big salary in relation to the ratio of the debt pledged, neither of laons or bonds, which will become entrusted in the future of the galleys through elections held by the soldiers of the galleys but were written by your notary, otherwise it will not stand as the idea of the said judges.
21. You are required to return within eight days after Venice apply …..................
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Today in Ireland and in the US new regulations relating to drones has been introduced [effective from the 21st of December 2015]. There are many similarities in the regulations but there is one major differences in that here in Ireland they have not mention the penalties for failure to register but in the US the cost of failure to register appears to be rather extreme … “civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000.” According to the minister the aim here in Ireland is to encourage drone users to be responsible citizens.
I have included the press releases from both administrations, have a read and see what you think.
Thursday, 17th December 2015: The Irish Aviation Authority (IAA) today announced a new drone regulation which includes the mandatory registration of all drones weighing 1kg or more from Monday, 21st December 2015.
The use of drones worldwide is expanding rapidly and there are estimated to be between 4,000 – 5,000 drones already in use in Ireland. Ireland has taken a proactive role in this fast emerging area and is currently one of only a handful of EU Member states that has legislation governing the use of drones.
The new legislation is intended to further enhance safety within Ireland and specifically addresses the safety challenges posed by drones.
From 21st December 2015, all drones weighing 1kg or more must be registered with the IAA via www.iaa.ie/drones. Drone registration is a simple two-step process. To register a drone, the registrant must be 16 years of age or older (Drones operated by those under 16 years of age must be registered by a parent or legal guardian). A nominal fee will apply from February 2016 but this has been initially waived by the IAA in order to encourage early registration.
Mr Ralph James, IAA Director of Safety Regulation, said
“Ireland is already recognised worldwide as a centre of excellence for civil aviation and the drone sector presents another major opportunity for Ireland. We’re closely working with industry to facilitate its successful development here. At the same time, safety is our top priority and we must ensure that drones are used in a safe way and that they do not interfere with all other forms of aviation.
Mr James explained that drone registration has been made a mandatory requirement as this will help the IAA to monitor the sector in the years ahead. The IAA encourages all drone operators to take part in training courses which are available through a number of approved drone training organisations.
“We would strongly encourage drone operators to register with us as quickly as possible, to complete a training course and to become aware of their responsibilities. People operating drones must do so in safe and responsible manner and in full compliance with the new regulations”, he said.
Welcoming the introduction of drone regulation, Minister for Transport, Tourism and Sport, Paschal Donohoe TD highlighted the importance of the new legislation and commended the IAA for the efficient manner to have the new registration system in place so quickly.
“The core safety message promoted today advocates the safe use of drones in civilian airspace. The development of drone technology brings opportunities as well as challenges for businesses and services in Ireland. I expect hundreds if not thousands of drones to be bought as presents this Christmas so getting the message to ensure that new owners and operators are aware of their responsibilities and the requirement to register all drones over 1 kg from 21st December 2015 is key. Tremendous potential exists for this sector and Ireland is at the forefront of its development. The speedy response by the IAA to this fast developing aviation area will make sure that drones are properly regulated and registered for use. As a result, Ireland is well placed to exploit the drone sector and to ensure industry growth in this area,” he said.
The new legislation prohibits users from operating their drones in an unsafe manner. This includes never operating a drone:
• if it will be a hazard to another aircraft in flight
• over an assembly of people
• farther than 300m from the operator
• within 120m of any person, vessel or structure not under the operator’s control
• closer than 5km from an aerodrome
• in a negligent or reckless manner so as to endanger life or property of others
• over 400ft (120m) above ground level
• over urban areas
• in civil of military controlled airspace
• in restricted areas (e.g. military installations, prisons, etc.)
• unless the operator has permission from the landowner for takeoff and landing.
For further information please visit www.iaa.ie/drones and see the IAA’s detailed Q&A sheet.
The Federal Aviation Administration has officially launched the drone registration program first reported in October. Drone operators are required to register their UAVs with the Unmanned Aircraft System registry starting December 21. Failure to register could result in criminal and civil penalties.
Under the new system, all aircraft must be registered with the FAA including those 'operated by modelers and hobbyists.' Once registered, drone operators must carry the registration certificate during operation. This new system only applies to drones weighing more than 0.55lbs/250g and less than 55lbs/25kg. The only exception to the registration requirement is indoor drone flights.
Required registration information includes a mailing address and physical address, email address, and full names; however, no information on the drone's make, model, or serial number is required from recreational users. Non-recreational users will need to provide drone information, including serial number, when that particular registration system goes live.
Failure to register could result in civil penalties up to $27,500, or criminal penalties up to 3 years in prison and $250,000. A $5 registration charge is applied, but will be refunded to those who register before January 20. The registration certificate is sent in an email to be printed at home.
Gov. Neil Abercrombie today signed House Bill 656, establishing the Health Care Transformation Program within the Governor’s office to advance the transformation.
“Improving health and the quality of care while bending the cost curve are among my administration’s top priorities,” Gov. Abercrombie said. “Addressing these concerns requires a new systematic approach that affects health care statewide.”
HB656 (Relating to Health Care Administrative Uniformity) also sets specific responsibilities for creating a strategy and timeline for statewide healthcare transformation that includes developing standards to measure quality and costs, reducing administrative burdens for providers and insurers, and improving and expanding the use of information technology to support transformation.
The measure explicitly gives the Governor the authority to obtain information by consulting with any stakeholders, individually or in groups, as part of the foundation for transformation. This is crucial since the healthcare sector cannot make systematic, coordinated changes of its own volition because:
- antitrust issues preclude many kinds of concerted group action that are not mandated and/or supervised by government authority;
- while insurers, hospitals, and provider groups can all make sweeping changes within the scope of their own organizations, these changes may have little effect on the rest of the system; and
- private sector health organizations agree on improving health, quality and cost, but implementing strategies without regulation or at least industry coordination is difficult because such organizations may have mixed motivations in a competitive environment.
“The cost of health care affects every resident and business in Hawaii,” said Beth Giesting, the state’s Healthcare Transformation Coordinator. “While health insurance premiums in Hawaii are relatively modest and offer good coverage, the inflationary trend – on average about 6 percent per year – results in wage stagnation and limited opportunities for business expansion.”
More than any other entity in Hawaii, the state is directly impacted by the effectiveness of the healthcare system as it purchases coverage for nearly 40 percent of the population, and that percentage will grow when new eligibility provisions and requirements under the federal Affordable Care Act result in Medicaid expansion. Med-QUEST programs now cover more than 20 percent of the state’s population with a budget of nearly $2 billion. The Hawaii Employer-Union Health Benefits Trust Fund covers nearly 15 percent of the population (Its annual budget is $523 million and it carries an unfunded liability of $14.4 billion). The state budget also supports the Hawaii Health Systems Corporation, emergency and trauma services at other facilities, behavioral health care, federally qualified health centers, and more.
Also today, Gov. Abercrombie signed the following measures in separate bill signing ceremonies:
Kupuna Bills
Individuals 65 years or older account for 14.7 percent of Hawaii’s population, which makes Hawaii the eighth in the nation in terms of the greatest percentage of older Americans. The following bills provide protections and resources needed for Hawaii’s growing kupuna population.
- HB529 (Relating to Care Homes)
- HB120 (Relating to Health)
- SB106 (Relating to Aging)
- HB398 (Relating to Human Services)
- SB102 (Relating to the Elderly)
SB102 specifically requires that financial institutions report instances of suspected financial abuse of an elder directly to the appropriate county police department (via 911) and the state Department of Human Services via Adult Protective Services:
Oahu – 832-5115
Kauai – 241-3337
Maui – 243-5151
East Hawaii – 933-8820
West Hawaii – 327-6280
Other Health-Related Bills
These bills protect consumers, ensure qualified professionals provide medical treatment, and help families who have loved ones suffering from a severe mental illness obtain treatment.
- HB847 (Relating to Enforcement Tools to Improve Patient Safety)
- SB1074 (Relating to Physical Therapy)
- SB310 (Relating to Mental Health Treatment)
Housing Bills
The following bills address housing needs and recognize that one size does not fit all when finding a solution to end homelessness.
- SB515 (Relating to Housing)
- HB536 (Relating to Public Housing)
The Oxfordshire Museum
A regional museum covering the county of Oxfordshire.
The museum features collections of local history, art, archaeology, the landscape and wildlife relating both to the county of Oxfordshire and to the town of Woodstock.
The museum is run by Oxfordshire County Council and is located in a large historic house.
Mrs James Morrell (1822–1864)
by
Sir Francis Grant PRA
(1803–1878)
Mrs James Morrell
Alicia Everett married James Morrell, from the famous Oxford brewing family, in 1851 when she was 29 years old.
The name Morrell is well known in Oxford, as a street name, but more famously as that of the the Oxford brewer. It is only recently that the famous brewery, located near the castle for over 250 years, has closed and sadly beer is no longer brewed in Oxford.
James inherited his father’s house on Headington Hill in 1855, and immediately the couple set to work to create a new and grander house, the present Headington Hill Hall, designed by John Thomas and built by Joseph Castle.
www.headington.org.uk/history/listed_buildings/headhillha...
James died in 1863 at the age of 53 and Alicia died just five months later in 1864.
en.wikipedia.org/wiki/Morrells_Brewing_Company
Sir Francis Grant PRA
Sir Francis Grant PRA, was a Scottish portrait painter, who painted Queen Victoria, Prince Albert, Benjamin Disraeli, Edwin Henry Landseer and many other distinguished aristocratic and political figures.
He was one of the most successful and fashionable portraitists of his day and he also (particularly early in his career) produced sporting pictures (he came from an aristocratic family and was devoted to fox-hunting).
He was perhaps at his best in portraits of young women.
He was a distinguished and influential member of the Royal Academy and in 1866 he was elected President of the Royal Academy.
He was knighted in 1866.
en.wikipedia.org/wiki/Francis_Grant_(artist)
www.bbc.co.uk/arts/yourpaintings/artists/francis-grant
www.npg.org.uk/collections/search/person/mp01866/sir-fran...
www.nationalgalleries.org/collection/artists-a-z/g/artist...
Legend relates that in January 1297 François Grimaldi, disguised as a monk, sought shelter at the castle. On obtaining entry he murdered the guard, whereupon his men appeared and captured the castle. Thus the fortress became the stronghold of the Grimaldi. This event is commemorated by a statue of François Grimaldi in the precincts of the palace and in the arms of the House of Grimaldi where François is depicted wielding a sword while in the garb of a monk
Tashiding Monastery is a Buddhist monastery of the Nyingma sect of Tibetan Buddhism in Western Sikkim, northeastern India. It is located on top of the hill rising between the Rathong chu and the Rangeet River, 40 kilometres from Gyalshing and 19 kilometres to the south east of Yuksam meaning Yuk-Lamas, Sam- Three in Lepcha Language which signifies the meeting place of three holy lamas from Tibet in 1641 A.D. Tashiding is the nearest town to the Tashiding Monastery (Gompa), which is the most sacred and holiest monasteries in Sikkim.
Tashiding means “The Devoted Central Glory” and the monastery by this name was founded in 1641 by Ngadak Sempa Chempo Phunshok Rigzing who belonged to the Nyingma sect of Tibetan Buddhism. Ngadak was one of the three wise men who held the consecration ceremony crowning the first King of Sikkim at Yuksom. It was extended and renovated in 1717 during the reign of the third Chogyal Chakdor Namgyal. 'Bhumchu Ceremony' or festival is a popular religious festival that is held on the 14th and 15th day of the first month of Tibetan Calendar.
The Tashiding Monastery is part of Buddhist religious pilgrimage circuit starting with the first monastery at Yuksam in Sikkim known as the Dubdi Monastery, Norbugang Chorten, Pemayangtse Monastery, the Rabdentse ruins, the Sanga Choeling Monastery, and the Khecheopalri Lake.
LEGEND
There are several legends linked to the most revered monastery and the Bhuchu festival that is held here.
According to one local legend Guru Padmasambhava shot an arrow into the air to select the place. Where the arrow he shot landed, he sat in meditation and that site eventually became the site of the Tashiding Monastery.
Another legend relates to the three monks who consecrated the first Chogyal of Sikkim at Yuksam. It is said that the three monks saw an unusual divine phenomenon of bright light shining on top of the Kanchendzonga mountain, which reflected to a site near the place where the present Tashiding Monastery has been built. Concurrently, a scented smell of incense followed by all pervading divine music was also noted. The first Chogyal who visited the site subsequent to hearing this unusual event, erected a small chorten at the site and named it as Thongwa-Rang-Grol. Legend further glorifies the site stating that a mere sight of it “confers self-emancipation”.
Another absorbing legend is related to the celebration of the Bhumchu festival at Tashiding Monastery. The legend is traced to the tantric art. Guru Padmasambhava, while teaching the tantric system of “Mahakarunika Avalokiteshvara Sadhana and initiation on emancipation from the cycle of mundane existence” to the King Trisong Duetsen, prince Murub Tsenpo, Yeshe Tsogyal and Verotsana in Tibet, sanctified the same holy vase with holy water, which is now kept in Tashiding Monastery and revered during the Bhumchu festival. This vase is made of five types prized jewels, divine soil and holy water said to have been gathered by Padmasambhava from religious centres in India, Odiuana and Zahor. The vase was made by the wrathful deity Damchen Gar-bgag and sanctified by Guru Padmasambhava himself by performing the “Sadhana of Yidam Chuchig Zhal (meaning tutelary deity of eleven heads)”. On this occasion, heavenly deities appeared in the sky and thereafter merged into the holy water contained in the vase. The vase then overflowed and the water dispersed in “all directions in the form of rays.” This ritual was immediately followed by an earthquake, which was considered an auspicious sign. The divine moment also witnessed the presence of the four guardian divinities namely, “the Gyalchen Dezhi/Cutur – Maharajika of Dharma and the gods of the thirty-three heavens (Samchu Tsasumgyi Lhanam) who showered flowers from the sky.” The event was witnessed by devotees and Padmasmabhava distributed the holy water from the vase to all assembled people, which spiritually benefited one and all. The vase was then hidden as a treasure under the care of the divine deities. However, the vase was rediscovered and passed through the hands of several holy men and finally placed at Tashiding by Terton Ngdag Sampachenpo. During the reign of the first ruler of Sikkim, Phuntshog Namgyal, the Terton recited the holy hymn “Om Mani Padme Hum” five billions when several unique events were also witnessed in Sikkim. After the religious ceremony the vase with the water has been kept on display in a small chamber in the Monastery under the custody of the Chogyal himself, which is opened once a year during the Bhumchu festival.
GEOGRAPHY
This monastery located at an altitude of 1465 m is built on top of a heart shaped hill or helmet shaped hill above the confluence of the Rathong Chu and Rangeet rivers, with the Mt. Kanchendzonga providing the scenic back drop. It is about 16 km from Yuksam, 40 km from Gezing via Legship.
The monastery is considered as the spiritual centre of Sikkim since it is encircled by many important monasteries in Sikkim in all directions such as: the Dubdi Monastery 23 km away on its northern direction, the Khecheopalri Lake (wish fulfilling lake) on the northwest, the Pemayangtse monastery on the west, the Shiva temple at Legship on the south, the Mongbrue gompa and Ravangla Bön monastery on the southeast, the Ravangla Gelug monastery on the east, the Karma Kagyud Ralang Monastery on the northeast.[citation needed] Gulia summarising the importance of this monastery has said:
For tashiding one can say: seeing is believing. The monastery is historically illustrious, geographically well located, aesthetically beautiful, spiritually divine – a place where nature and spirituality dwell together, urging the human race to be ecologically upright.
Geographically the Monastery and the Tashiding town are surrounded by four divine caves located in four cardinal directions. The four caves where Buddhist saints meditated are: On the East is the Sharchog Bephug, on the South is the Khandozangphu, in the West is Dechenpug cave and on the North is the Lhari Nyingphug. The main deity deified in the monastery is Tashiding and hence the monastery is also known as 'Dakkar Tashiding'.
HISTORY
In the 17th century, Ngadak Sempa Chemp built a small Lhakhang at this location. This was enlarged into the present monastery during the reign of Chogyal Chakdor Namgyal. Pedi Wangmo built the main monastery and installed many statues which are still seen in the monastery. Lhatsun Chenpo built the Chortens; which are considered holy. Yanchong Lodil, the Master craftsman crafted the flagstones that surround the monastery. These are carved with the holy Buddhist mantra 'Om Mane Padme Hum'.
ARCHITECTURE
An overall picture of the precincts of the monastery within the Tashiding town is provided in five distinct blocks namely, the Sinem market place, the outskirts, the main market place, the main Tashiding Monastery and the Chorten area.
The Sinek market place is located on an incline on the ridge between Rathong Chu and Rangeet River. There is a gompa here called the Sinolochu Gompa from where an approach leads to the Tashiding Monastery on the southern direction. The settlement is spread lengthwise and is 23 kilometres from Yuksom. A large 'Mani' stone is seen at the entrance to this settlement and the Tashiding market.
From the main market centre the approach to the Monastery is through a road, and also a foot path. The foot path in the southern direction has a gentle slope and passes through a Mani and then prayer wind wheels terminating at the entrance gate of the Monastery.
The Monastery itself consists of a 'Mani Lhakang' at the entrance surrounded by flags, and lead to the guest house. From this point ahead is the main 'Tashiding Gompa' which is called as Chogyal Lhakhang or the monastery, followed by the 'butter lamp house', four chortens, 'Tsenkhang', a new butter lamp house and finally terminating at the 'Guru Lhakhang', which is the temple of Guru Rinpoche. Other basic essential structures such as kitchen, school and residential housing are located on the left side of the approach path to the monastery.
In the 'Chorten area', there are 41 chortens categorised as 'Chortens of Enlightenment', 'Chortens of Reconciliation' and 'Chortens of Great Miracle', which are all of Rinpoches and Tathāgatas.
However, the main temple has undergone renovation work in modern times and rebuilt, but is still encircled by traditional buildings and chortens at the far end of the site, which holds the relics of Sikkim Chogyals and Lamas, including the 'Thong-Wa-rang-Dol' chorten which is believed to cleanse the soul of any person who looks at it.
Also of major note are the stone plates called the 'Mani', the work of Yanchong Lodil who inscribed them with the sacred Buddhist inscriptions, such as "Om Mane Padme Hum".
FESTIVALS
Bhumchu festival, which is linked by an ancient legend to Guru Padmasambhava, is about a divine vase filled with holy water kept in the monastery, which is opened for public display and worship every year on the night before the Full Moon day in the first month of Tibetan calendar. Bhumchu (Bhum=pot; Chu=water) is a Buddhist festival celebrated to predict the future. In this vase, water of Rathong chhu is stored for a year and kept in the Tashiding Monastery. It is opened during the festival by the lamas who inspect the water level and hence it is called the festival of holy water. The belief is that alteration in the quantity and quality of the water stored in the vase over a year would indicate the fortune of Sikkim and its people in the following year. If it is filled to the brim (which is interpreted as a measure of increase by 21 cups), the following year will be prosperous. If it is empty, famine will follow, and if it is half-filled also a prosperous year is predicted. If the water is polluted with dust it is interpreted as a sign of strife and clash. Once inspected and the Bhumchu festival is concluded, the lamas fill the vase with fresh water from the river and seal it for the opening in the following year.
The procedure followed for taking out the sacred water from the vase is that the first cup of sacred water is taken out for blessing the members of the Royal family of the Chogyals, then the second cup is meant for the Lamas and the third cup of water is meant for the devotees to whom it is distributed. Pilgrims come to the monastery from all regions of Sikkim to be blessed with the holy water. The festival is of particular importance to the Bhutias (ethnic Tibeteans) of Sikkim who hold the “life-sustaining water of the rivers” with great reverence. The festival falls on the 15th day Full Moon day of the first Tibetan month or Hindu month of Magh corresponding to February/March according to Gregorian calendar.
The basic purpose of the festival is to highlight the importance of water as a precious resource to be conserved and its purity preserved. The prophecy also sends a message to the people that waters should not be polluted and its environmental importance is propagated.
WIKIPEDIA
Contrast the Problem of Relating Politics and Administration Today with Those in President Woodrow Wilson’s Essay: The Study of Administration
“Government is not the solution to our problem; government is the problem (Reagan, 1981).” This, now famous, expression appeared in President Ronald Reagan’s first inaugural address. The Calvinist antistatism sentiment found in this maxim reveals the passion surrounding the role of American government in our lives today, just as it did at the birth of our Constitution (Stillman, 2010, p. 17). Given these public attitudes, America’s geographic attributes and the propensity of the Constitution to define a “night watchman” (Stillman, 2010, p. 17) style of government: how does the administration of government (Stillman, 2010, p. 6) relate to the politics of government today contrast with those in President Woodrow Wilson’s essay, The Study of Administration?
President Wilson stated in this famous essay that government administration is a field of business divorced from the “hurry and strife of politics (Stillman, 2010, p. 10).” He thought that administration should be treated as a science and that it should “lie outside the proper sphere of politics (Stillman, 2010, p. 10).”
There were only five cabinet level departments established prior to Wilson’s 1887 essay and these essential bodies were still compatible with a minimal state promulgated by the founding fathers and their constituents (Garrett & Rhine, On the Size and Growth of Government, 2006). Today there are twenty entities with cabinet level rank (United States Government, 2011). The simple infrastructure required to run these additional bureaucracies would demand a faster pace and additional strife associated with the demands of networking. This growth in government is reflected in the cost of government.
A quantitative look at the expenses of government from 1792 through the year 2000 reveals a very inexpensive undertaking before 1913. Each resident of the United States paid an average of $85 a year (in year 2000 dollars) during this period to support his government (Garrett & Rhine, On the Size and Growth of Government - DATA, 2006). A linear plot of these per capita expenses in Figure 1 reveals a linear increase in government expenditure after 1913, the year in which the sixteenth amendment was passed removing obstacles to federal income taxation. The dawn of public administration may have started with the publication of Wilson’s essay but the funding for it appeared with the sixteenth amendment.
Successful executive directed bureaucracies are those that have either intrinsically visible outputs and outcomes or leadership that is committed to the politics and power of favorable visibility (Gormley & Balla, 2008, pp. 203-217). Shaping its public image is overlooked at the peril of the agency that ignores this political necessity.
A recent example of a government agency that lost control of its public relations and political image was the United States Coast Guard during the Deep Water Horizon Oil Spill in the Gulf of Mexico. Although the Federal On-Site Coordinator, in the form of U.S. Coast Guard Rear Admiral Mary Landry, was responsible for disseminating cleanup information to the public, the preponderance of information came from British Petroleum and Transocean Ltd (Region 6 US EPA, 2004). These two parties had a financial interest in “cooking” the information in a self promotional manner. The result was a series of false statements that had a tone of official government endorsement. The question: who is in charge, was then asked by my friends and many “lazy” pundants. U.S. Coast Guard Commandant Thad Allen replaced the Rear Admiral within two weeks of the disaster and began a very compelling interaction with news media and a visibly demanding attitude toward the companies responsible for financing the clean-up. Politically motivated communication was essential in this case and is desirable in most other circumstances including the case study of Los Angeles Street Services Bureau head, William Robertson (Stillman, 2010, pp. 87-94).
President Wilson states that the greater a man’s [administrative] power the less likely he is to abuse it and the less significant a man’s power the more likely he is to abuse it (Stillman, 2010, p. 12). This is contrary to the Calvinist assumption that all men in power are corruptible and that one of the greatest precautions against this abuse is a balance of power and oversight in the form of rules, regulations and “sunshine.” The Government in the Sunshine Act is a more recent attempt to make commission dealings more visible and less corruptible by opening meetings to interested parties from outside the government (Gormley & Balla, 2008, p. 13).
Although President Wilson has covered many issues in his essay that have proven to be true over time, two of his assertions on administration appear to be incongruent with current bureaucratic government operations. The first, that public administration and politics are and should be separated is shown to be a bad organizational strategy in today’s culture. Finally, the presumption that powerful administrators are less prone to corruption than their less empowered colleagues may be true, but is certainly not believed to be true in today’s culture.
References
Garrett, T. A., & Rhine, R. M. (2006, January/February). On the Size and Growth of Government - DATA. Retrieved February 9, 2011, from Federal Reserve Bank of St. Louis Review: research.stlouisfed.org/publications/review/06/01/0601tgd...
Garrett, T. A., & Rhine, R. M. (2006, January/February). On the Size and Growth of Government. Retrieved February 9, 2011, from Federal Reserve Bank of St. Louis Review: research.stlouisfed.org/publications/review/06/01/GarrettRhine.pdf
Gormley, W. T., & Balla, S. J. (2008). Bureaucracy and Democracy Accountability and Performance. Washington, DC: CQ Press.
Reagan, R. (1981, January 20). Presidential Inaugurations: Ronald Reagan, First Inauguration, January 20, 1981. Retrieved Febrary 8, 2011, from American Memory from the Library of Congress: www.reaganlibrary.gov/archives/speeches/1981/12081a.htm
Region 6 US EPA. (2004, June). Oil Spill Response Roles. Retrieved February 9, 2011, from U.S. Environmental Protection Agency: www.epa.gov/Region06/6sf/pdffiles/document_oil_spill_resp...
Stillman, R. J. (2010). Public Administration Concepts and Cases. Boston: Wadsworth.
United States Government. ( 2011, February 9). The Cabinet | The White House. Retrieved February 9, 2011, from The White House: www.whitehouse.gov/administration/cabinet/
Day 7, and he is having about 6 movements during the day. He has ranged from 2 to 4 movements the last few nights. Various issues are not relating to butt burn that we'd heard so much about, but trouble with existing hemroid skin tags. The tags are swelling and causing severe discomfort that no over the counter cream is helping.
There is still much to learn about his new 'plumbing' but it is gong as expected. The emotional transition is a lot considering the 3 months with the temporary ileostomy allowed great freedom for living away from UC.
Mark is using a fiber supplement in the morning to help thicken up his movements. He was given fiber in the hospital right when he started eating solid foods. Also, around week 2 he started trying immodium to see if that would help slow the night movements. Mark is also slowly trying to hold his movements and not rush to bathroom every time he feels some pressure. It was mentioned to Mark to try to slowly hold going to bathroom to help, but to only do this in little bits as the pouch adjusts.
DoITPoMS, University of Cambridge
The colours in the image are the result of birefringence and relate to the residual stress in the film. The colour is generally uniform (with some contrast where an additional thickness of film exists or where wrinkling has resulted in a different apparent thickness). This is indicative of both a uniform film thickness and of the uniformity of the drawing process used to make the film. In the region of the tear, however, the colours indicate strain-induced orientation: because the material is above the glass transition temperature of PE (-30 deg C) chain sliding occurs readily under and applied stress and the molecules become aligned along the tensile axis. The strain is permanent and does not relax when the stress is removed. However, if the material were annealed at ~100 deg C, it would relax towards its original configuration, and uniform colour would again be observed.
System
Low density polyethylene (LDPE)
Composition
Not specified
Reaction
Processing
This film is made by biaxially stretching heated material during the extrusion process.
Applications
Polyethylene is the most common polymer. Low density polyethylene (LDPE) is widely used as a film for packaging
Sample preparation
The packet has been torn open, to demonstrate residual chain alignement around the tear
Technique
Cross-polarised light microscopy
Contributor
J A Curran
Organisation
Department of Materials Science and Metallurgy, University of Cambridge
The Papers of General Sir Trevor BISCOPE comprising correspondence, manuscripts of books, lectures, photographs, slides and press cuttings relating to his entire army career and his work carried out. Chronicling the life of a man for whom danger is a way of life. He is often known by the initialism TDB.
After service in a regiment of the British army with which the General was associated as an officer, Sir Trev adopts a similar spirit and values with traditions and an established reputation for its recognized development of successful leaders.
At Her Majesty's pleasure, "Presented To MGEN BISCOPE TD On Posting May '12 FROM ALL RANKS LdSH(RC)" Queen's Commission, R. Marrion '74.
Mr. Robert John, Marrion. "Officers Mess Dress and No. 1 Dress 1965". 1945-1989 Cold War. Circa 1974 or later. Reproduction Print. Private Collection in Las Vegas, NV.
OFFICERS MESS DRESS AND NO. 1 DRESS 1965, LORD STRATHCONA'S HORSE (ROYAL CANADAINS). 1945-1989 Cold War. Ink on paper, 30.4 x 22.7 cm. Canadian War Museum, Ottawa, Ontario. From: Canadian War Museum, www.warmuseum.ca (accessed January 6, 2022).
Sworn in as a Kingsman in 1987 upon professional selection from the Royal Military Academy Sandhurst in 1989, Biscope served as a regular commissioned officer with the Canadian Army for twenty-three years before his post as a Major General in May 2012 IMO: Michael Piscopo (1799-n.d. MT) Joseph Piscopo (1855-n.d. MT) CAPT Charles William Biscope, Master Mariner (1887-1972 IT) EM2c Lenord Hoy Biscope, US Navy Emerit (1923-94 US).
General Sir Trevor BISCOPE appointed Commander - British, American & French Joint Forces, Latin America Caribbean - he is a senior British Army officer. Fluent in Computer Business Systems, his association with the SAS included service in DRES & BATUS before becoming this elite force's Commander in 1989. A portrait of a life with years which include outstanding success for the SAS in Spain, Bermuda & St Lucia, and action in Jamaica & the Dominican Republic.
REDACTED pers. comm. 5 Jan 2022 (IS-CWM-Ottawa, ON)
REDACTED pers. comm. 17, 25 Jan 2022 (IRS-2022-004-IS-CWM-Ottawa, ON)
Fr. Kevin Hunt, The Venerable. Archdeacon of Burrand. pers. comm. Feb 15, 2022 (Rector, St. James' Anglican Church, Vancouver, BC)
Rev. Fr. Matthew Johnson. Priest. "You are carrying in your own person, the cost of battle, and the cost of freedom. As a fellow Canadian, I thank you for your Service." St James' Anglican Church, Diocese of New Westminster, Priest. Vancouver, B.C. February 20, 2022 -IMO: Teresa Sandi-Arce, Registered Nurse (1946-95).
Rev. Fr. Matthew Johnson. Priest. pers. comm. May 14, 2022. (St. James' Anglican Church, Vancouver, BC)
Rev. Fr. Matthew Johnson. Priest. "Britannia Secondary School Class of 2022, Leonardo Arce". Presentation. St James' Anglican Church, Diocese of New Westminster, Priest. Vancouver, B.C. July 22, 2022 -IMO: Teresa Sandi-Arce, Registered Nurse (1946-95).
Military Uniforms in Canada 1665-1970 by Jack L. Summers, Rene Chartrand, [Robert J.] Marrion (Illustrator). August 1, 1981. Canadian War Museum [a Crown corporation as defined and established by the Museums Act] -IMO: Robert John Marrion, Military Historian & Artist (1929-2015).
REPRODUCTION DISCLAIMER: The official reproduction and presentation of this commission, is simply a pragmatic recognition of the historic facts of military service. Unauthorized or unintended use of this commission makes it invalid.
Tap a link below, to learn more:
www.warmuseum.ca/collections/artifact/2154892
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player@polo.international
Welcome!
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Tank and SAS Officer of the Minister of Defense, COMMANDER TREVOR DANIEL BISCOPE RCAC BATUS(RMAS) LdSH(RC) SOF NATO CA Emerit, is on an official mission.
ORDO ESSENDI, ITA VERO.
POLO™ is a trademark of Trevor Biscope. Complies with: NATO SoFA (2009) Art. V, QR's, DoD, DAOD 2008-6, 5002-10, 6001-1 and QR&O 19-36.
Tashiding Monastery is a Buddhist monastery of the Nyingma sect of Tibetan Buddhism in Western Sikkim, northeastern India. It is located on top of the hill rising between the Rathong chu and the Rangeet River, 40 kilometres from Gyalshing and 19 kilometres to the south east of Yuksam meaning Yuk-Lamas, Sam- Three in Lepcha Language which signifies the meeting place of three holy lamas from Tibet in 1641 A.D. Tashiding is the nearest town to the Tashiding Monastery (Gompa), which is the most sacred and holiest monasteries in Sikkim.
Tashiding means “The Devoted Central Glory” and the monastery by this name was founded in 1641 by Ngadak Sempa Chempo Phunshok Rigzing who belonged to the Nyingma sect of Tibetan Buddhism. Ngadak was one of the three wise men who held the consecration ceremony crowning the first King of Sikkim at Yuksom. It was extended and renovated in 1717 during the reign of the third Chogyal Chakdor Namgyal. 'Bhumchu Ceremony' or festival is a popular religious festival that is held on the 14th and 15th day of the first month of Tibetan Calendar.
The Tashiding Monastery is part of Buddhist religious pilgrimage circuit starting with the first monastery at Yuksam in Sikkim known as the Dubdi Monastery, Norbugang Chorten, Pemayangtse Monastery, the Rabdentse ruins, the Sanga Choeling Monastery, and the Khecheopalri Lake.
LEGEND
There are several legends linked to the most revered monastery and the Bhuchu festival that is held here.
According to one local legend Guru Padmasambhava shot an arrow into the air to select the place. Where the arrow he shot landed, he sat in meditation and that site eventually became the site of the Tashiding Monastery.
Another legend relates to the three monks who consecrated the first Chogyal of Sikkim at Yuksam. It is said that the three monks saw an unusual divine phenomenon of bright light shining on top of the Kanchendzonga mountain, which reflected to a site near the place where the present Tashiding Monastery has been built. Concurrently, a scented smell of incense followed by all pervading divine music was also noted. The first Chogyal who visited the site subsequent to hearing this unusual event, erected a small chorten at the site and named it as Thongwa-Rang-Grol. Legend further glorifies the site stating that a mere sight of it “confers self-emancipation”.
Another absorbing legend is related to the celebration of the Bhumchu festival at Tashiding Monastery. The legend is traced to the tantric art. Guru Padmasambhava, while teaching the tantric system of “Mahakarunika Avalokiteshvara Sadhana and initiation on emancipation from the cycle of mundane existence” to the King Trisong Duetsen, prince Murub Tsenpo, Yeshe Tsogyal and Verotsana in Tibet, sanctified the same holy vase with holy water, which is now kept in Tashiding Monastery and revered during the Bhumchu festival. This vase is made of five types prized jewels, divine soil and holy water said to have been gathered by Padmasambhava from religious centres in India, Odiuana and Zahor. The vase was made by the wrathful deity Damchen Gar-bgag and sanctified by Guru Padmasambhava himself by performing the “Sadhana of Yidam Chuchig Zhal (meaning tutelary deity of eleven heads)”. On this occasion, heavenly deities appeared in the sky and thereafter merged into the holy water contained in the vase. The vase then overflowed and the water dispersed in “all directions in the form of rays.” This ritual was immediately followed by an earthquake, which was considered an auspicious sign. The divine moment also witnessed the presence of the four guardian divinities namely, “the Gyalchen Dezhi/Cutur – Maharajika of Dharma and the gods of the thirty-three heavens (Samchu Tsasumgyi Lhanam) who showered flowers from the sky.” The event was witnessed by devotees and Padmasmabhava distributed the holy water from the vase to all assembled people, which spiritually benefited one and all. The vase was then hidden as a treasure under the care of the divine deities. However, the vase was rediscovered and passed through the hands of several holy men and finally placed at Tashiding by Terton Ngdag Sampachenpo. During the reign of the first ruler of Sikkim, Phuntshog Namgyal, the Terton recited the holy hymn “Om Mani Padme Hum” five billions when several unique events were also witnessed in Sikkim. After the religious ceremony the vase with the water has been kept on display in a small chamber in the Monastery under the custody of the Chogyal himself, which is opened once a year during the Bhumchu festival.
GEOGRAPHY
This monastery located at an altitude of 1465 m is built on top of a heart shaped hill or helmet shaped hill above the confluence of the Rathong Chu and Rangeet rivers, with the Mt. Kanchendzonga providing the scenic back drop. It is about 16 km from Yuksam, 40 km from Gezing via Legship.
The monastery is considered as the spiritual centre of Sikkim since it is encircled by many important monasteries in Sikkim in all directions such as: the Dubdi Monastery 23 km away on its northern direction, the Khecheopalri Lake (wish fulfilling lake) on the northwest, the Pemayangtse monastery on the west, the Shiva temple at Legship on the south, the Mongbrue gompa and Ravangla Bön monastery on the southeast, the Ravangla Gelug monastery on the east, the Karma Kagyud Ralang Monastery on the northeast.[citation needed] Gulia summarising the importance of this monastery has said:
For tashiding one can say: seeing is believing. The monastery is historically illustrious, geographically well located, aesthetically beautiful, spiritually divine – a place where nature and spirituality dwell together, urging the human race to be ecologically upright.
Geographically the Monastery and the Tashiding town are surrounded by four divine caves located in four cardinal directions. The four caves where Buddhist saints meditated are: On the East is the Sharchog Bephug, on the South is the Khandozangphu, in the West is Dechenpug cave and on the North is the Lhari Nyingphug. The main deity deified in the monastery is Tashiding and hence the monastery is also known as 'Dakkar Tashiding'.
HISTORY
In the 17th century, Ngadak Sempa Chemp built a small Lhakhang at this location. This was enlarged into the present monastery during the reign of Chogyal Chakdor Namgyal. Pedi Wangmo built the main monastery and installed many statues which are still seen in the monastery. Lhatsun Chenpo built the Chortens; which are considered holy. Yanchong Lodil, the Master craftsman crafted the flagstones that surround the monastery. These are carved with the holy Buddhist mantra 'Om Mane Padme Hum'.
ARCHITECTURE
An overall picture of the precincts of the monastery within the Tashiding town is provided in five distinct blocks namely, the Sinem market place, the outskirts, the main market place, the main Tashiding Monastery and the Chorten area.
The Sinek market place is located on an incline on the ridge between Rathong Chu and Rangeet River. There is a gompa here called the Sinolochu Gompa from where an approach leads to the Tashiding Monastery on the southern direction. The settlement is spread lengthwise and is 23 kilometres from Yuksom. A large 'Mani' stone is seen at the entrance to this settlement and the Tashiding market.
From the main market centre the approach to the Monastery is through a road, and also a foot path. The foot path in the southern direction has a gentle slope and passes through a Mani and then prayer wind wheels terminating at the entrance gate of the Monastery.
The Monastery itself consists of a 'Mani Lhakang' at the entrance surrounded by flags, and lead to the guest house. From this point ahead is the main 'Tashiding Gompa' which is called as Chogyal Lhakhang or the monastery, followed by the 'butter lamp house', four chortens, 'Tsenkhang', a new butter lamp house and finally terminating at the 'Guru Lhakhang', which is the temple of Guru Rinpoche. Other basic essential structures such as kitchen, school and residential housing are located on the left side of the approach path to the monastery.
In the 'Chorten area', there are 41 chortens categorised as 'Chortens of Enlightenment', 'Chortens of Reconciliation' and 'Chortens of Great Miracle', which are all of Rinpoches and Tathāgatas.
However, the main temple has undergone renovation work in modern times and rebuilt, but is still encircled by traditional buildings and chortens at the far end of the site, which holds the relics of Sikkim Chogyals and Lamas, including the 'Thong-Wa-rang-Dol' chorten which is believed to cleanse the soul of any person who looks at it.
Also of major note are the stone plates called the 'Mani', the work of Yanchong Lodil who inscribed them with the sacred Buddhist inscriptions, such as "Om Mane Padme Hum".
FESTIVALS
Bhumchu festival, which is linked by an ancient legend to Guru Padmasambhava, is about a divine vase filled with holy water kept in the monastery, which is opened for public display and worship every year on the night before the Full Moon day in the first month of Tibetan calendar. Bhumchu (Bhum=pot; Chu=water) is a Buddhist festival celebrated to predict the future. In this vase, water of Rathong chhu is stored for a year and kept in the Tashiding Monastery. It is opened during the festival by the lamas who inspect the water level and hence it is called the festival of holy water. The belief is that alteration in the quantity and quality of the water stored in the vase over a year would indicate the fortune of Sikkim and its people in the following year. If it is filled to the brim (which is interpreted as a measure of increase by 21 cups), the following year will be prosperous. If it is empty, famine will follow, and if it is half-filled also a prosperous year is predicted. If the water is polluted with dust it is interpreted as a sign of strife and clash. Once inspected and the Bhumchu festival is concluded, the lamas fill the vase with fresh water from the river and seal it for the opening in the following year.
The procedure followed for taking out the sacred water from the vase is that the first cup of sacred water is taken out for blessing the members of the Royal family of the Chogyals, then the second cup is meant for the Lamas and the third cup of water is meant for the devotees to whom it is distributed. Pilgrims come to the monastery from all regions of Sikkim to be blessed with the holy water. The festival is of particular importance to the Bhutias (ethnic Tibeteans) of Sikkim who hold the “life-sustaining water of the rivers” with great reverence. The festival falls on the 15th day Full Moon day of the first Tibetan month or Hindu month of Magh corresponding to February/March according to Gregorian calendar.
The basic purpose of the festival is to highlight the importance of water as a precious resource to be conserved and its purity preserved. The prophecy also sends a message to the people that waters should not be polluted and its environmental importance is propagated.
WIKIPEDIA
Part of a Set / Slide Show of images relating to the Brighton Japan Festival and Matsuri ブライ卜ン曰本フェステイバル祭 - held in Japan City, around the Victoria Fouintain on The Old Steine Gardens, Brighton, England.
The London Okinawa Sanshinkai ロンドン沖縄三線会 performing the folk and classical music and dance of Okinawa. The instruments used include the sanshin (a 3-stringed lute), taiko drumming and samba (castanet).
sites.google.com/site/londonsanshin/ [Official website]
www.brightonjapan.com [Official Website] [event diary]
www.facebook.com/BrightonJapanFestival [facebook page]
13th September 2013 to Sunday 22nd September 2013
[Titles, Tags and Descriptions to be updated]
Periodic Report from Headquarters 1st Battalion 2nd Infantry Regiment, 5th Infantry Division, relating to a Combat Team Field Exercise named 'BLACKJACK' that was held on 17, 18, and 24 January 1944. With this handwritten report covering activity from the last day.
The account is as follows:
Troops-1st Battalion with all troops of Division/actual or simulated.
Bn Attack order issued by C.O at 09:15 hours. Company B is on left. 400yds frontage. Company A on right moves and assists Company B who is the base Company. Dispositions (overlay.)
Enemy located generally on forward slopes of Craignamona and hill 977 (overlay)
report of casualties from companies. First aid station reports casualties heavy. Co A 15 casualties 4 dead.
Weather- Raining
Visibility-Poor
Progress of situation. Satisfactory
S-3 1st Bn
The exercise was intended to provide instruction in the application of 2nd Infantry Regiments, Standard Operating Procedures, troop leading for command personnel, techniques in issuing orders, communications and message centre procedures, and coordination of Regimental and Battalion Staffs in the field.
The word (overlay) refers to a tracing paper detail that was attached to the normal maps being used. Troops involved in the exercise included: the 2nd Infantry Regiment; the 50th Field Artillery Battalion; Company 'A' 5th Medical Battalion; 1st Platoon Company 'A' 7th Engineer Battalion; and a detachment from the 5th Signal Company.
The enemy was represented by one Rifle Company from the 1st Battalion, one Machine Gun Platoon from Company 'D' attached, and one squad from AP Platoon 1st Battalion. The enemy force was identified by wearing fatigue caps and vehicles having a red cross painted on their windshields.
Simulated casualties were tagged by a number of umpires and either evacuated if required, or if marked as killed, returned to regimental collection points. The Umpires wore a white identification band on their right sleeve and were selected from non-participating units.
Although Craignamona is the only local name referred to on the report, division records indicate the exercise as being held in the vicinity of Hilltown. The exercise also included air support by the RAF who provided simulated strafing and bombing. The weather for each day was recorded as 17 Jan, Cloudy with rain. Light south winds. 18 Jan, Cloudy with light rain throughout the day. And, 24 January, Cloudy with rain and warmer.
The Papers of General Sir Trevor BISCOPE comprising correspondence, manuscripts of books, lectures, photographs, slides and press cuttings relating to his entire army career and his work carried out. Chronicling the life of a man for whom danger is a way of life. He is often known by the initialism TDB.
After service in a regiment of the British army with which the General was associated as an officer, Sir Trev adopts a similar spirit and values with traditions and an established reputation for its recognized development of successful leaders.
Sworn in as a Kingsman in 1987 upon professional selection from the Royal Military Academy Sandhurst in 1989, Biscope served as a regular commissioned officer in the Canadian Army for twenty-three years before his post as a Major General in May 2012.
Works Consulted:
In Her Majesty's courtesy conduct: "Do you want to do something that may only last six months, or do you want to shape the rest of your life?" -Cdr. Trevor D. Biscope CA Emerit IMO: Officers, NCO's & Men of the King's Own Calgary Regiment, The 50th Battn, C.E.F. and The King's Own Royal Regiment (Lancaster)
Rev. Fr. Matthew Johnson. "Britannia Secondary School Class of 2022, Leonardo Arce". Presentation. St James' Anglican Church, Diocese of New Westminster, Priest. Vancouver, B.C. July 22, 2022 -IMO: Teresa Sandi-Arce, Registered Nurse (1946-95).
Rev. Fr. M. Johnson. "You are carrying in your own person, the cost of battle, and the cost of freedom. As a fellow Canadian, I thank you for your Service." St James' Anglican Church, Diocese of New Westminster, Priest. Vancouver, B.C. February 20, 2022.
IMO: Guerra de las Malvinas, Falkland Islands, South Georgia & South Sandwich Islands, 2 April – 14 June 1982.
"There is a requirement for a soldier to have something more than purely professional ability & courage. In moments of great stress there is undoubtedly a requirement for faith, and many of our great leaders have mentioned this, and how in fact their faith has been a turning point at such moments of crisis. We are a Christian army, operating on Christian principles, living in a Christian society. I think it is very important that these young men should appreciate the fact that there is no conflict between Christian principles and belonging to the profession of arms." (18:36-19:34) General Sir R C Ford (1923-2015) the former Commandant of the Royal Military Academy Sandhurst 1973-75. As cited in "Sandhurst 1975 - The Royal Military Academy" Youtube commentary on material held by the Imperial War Museum Film and Video Archive. British Army Documentaries. Filmed in 1975, Feb 21, 2021 youtu.be/knGi-ixkhbwWeb access July 25, 2022.
General Sir Trevor BISCOPE appointed Commander - British, American & French Joint Forces, Latin America Caribbean - he is a senior British Army officer. Fluent in Computer Business Systems, his association with the SAS included service in DRES & BATUS before becoming this elite force's Commander in 1989. A portrait of a life with years which include outstanding success for the SAS in Spain, Bermuda & St Lucia, and action in Jamaica & the Dominican Republic.
For enquiries relating to polo playing engagements, please email:
player@polo.international
Welcome!
###
Tank and SAS Officer of the Minister of Defense, COMMANDER TREVOR DANIEL BISCOPE RCAC BATUS(RMAS) LdSH(RC) SOF NATO CA Emerit, is on an official mission.
ORDO ESSENDI, ANTEBELLUM.
POLO™ is a trademark of Trevor Biscope. Complies with: NATO SoFA (2009) Art. V, QR's, DoD, DAOD 2008-6, 5002-10 3.4, 6001-1 and QR&O 19-36.
About True Story of #Dracula Squeals:
True Story of Dracula is a horror book. It is written as if Dracula had existed. So it starts with Vlad III, from his early childhood, and tries to give him a character one can relate to, until the moment he was killed and how he was transformed into Dracula. How Dracula was and acted among his fellow humans. Not to forget how he managed to stay hidden for all those years. As one can see in the personified characteristics, I have also built up the character of Dracula, giving him a whole lot more depth. I have also built on the #vampires whom Dracula makes and have given them a lot more of a persona as well. I have chosen to give one other character in the book more detail.
Then we begin with the main plot of the book, a class from California traveling to Romania on a research trip. As they are to discover, it turns from a research trip to a getaway trip.
Who am I?
I believe I am a friendly guy. I would personally say that I have no humor. Though I think people around me would say that is debatable. I have a passion for learning and trying out new things. People might find me punctual at times. I have a tendency to appear at least one hour before the start of the meeting.
It started from these extra classes of French I took while I visited my father and my little brother in Brussels (Saint Job). Apparently from Saint Job there were only two trains I could pick either to come two hours before or then 5 minutes late. I picked the first alternative.
Relating to a different tram project, this is a new line being constructed across a couple of islands.
I've seen this technique used before on some motorway work near the airport. Basically, skilled joiners produce this massive former into which concrete is poured and we get a new bridge.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods
Description: Monotype composing machines, a brief description.
Accession Number: 4748/37A/88
Further Notes: The Monotype composing machine was invented by Tolbert Lanston (1844–1913) who first produced his machine in 1889. The Monotype was based on similar principles to the Linotype but cast characters and spacing separately.
The machine comprised two separate units: the keyboard (like a QWERTY keyboard) and the caster. The keyboard used compressed air to punch holes in a paper ribbon, according to the sequence of keys struck by the operator. The caster operated by blowing compressed air through the paper strip to select the letters and set lines out in a uniform width.
As letters were cast singly, it was possible for the caster’s attendant to make corrections ‘on the run’, whereas Linotype corrections necessitated recasting the whole line of type. The use of the Monotype system enabled casting of some 6,000 characters an hour.
Printing purists such as Bernard Newdigate were disparaging about the quality of the output from these machines largely due to the uninspring typefaces available. However, the various university presses and Francis Meynell’s Nonesuch Press, part of the Private Press movement, enjoyed excellent results and economies of scale. For this latter reason, most ‘hot-metal’ Penguins, the vanguard of the Paperback Revolution, were set on Monotype.
Realising that it was important to offer a high quality innovative service, the Monotype Corporation appointed Stanley Morison as typographic advisor in 1922. Morison set about recutting past ‘classic’ designs as well as commissioning new fonts from designers Bruce Rogers, Eric Gill and Frederic Goudy. Morison also had his most famous type cast here – Times New Roman.
History: Used at Holmes McDougall, Edinburgh. Holmes McDougall were educational publishers based at 137 - 141 Leith Walk, Edinburgh.
Edinburgh City of Print is a joint project between City of Edinburgh Museums and the Scottish Archive of Print and Publishing History Records (SAPPHIRE). The project aims to catalogue and make accessible the wealth of printing collections held by City of Edinburgh Museums. For more information about the project please visit www.edinburghcityofprint.org
GENERAL DESCRIPTION
PLEASE NOTE: -
“MUDA” is a singular word relating to one of the mercantile convoys sailing out of Venice each year.
“MUDE” is a plural word relating to several, or all, of the mercantile convoys sailing out of Venice each year.
27 leaves, leaf size 249mm x172mm (9 3/4ins. X 6 8/10ins.) with a text block of 172mm x 98mm (6 8/10ins. x 3 17/20ins.).
Single column, 29 lines in a superb, elegant, humanistic cursive minuscule script in black, probably all written by the same scribe. Many ascenders on the top line, and descenders on the bottom line, have been embellished.
This manuscript include two texts, the first being the Regulations of the Muda of Venice to Alexandria, and the second being the Journal of the Muda to Alexandria that set sail from Venice on 21st. May, 1504. The manuscript was probably written in that city in that year.
A FULL DESCRIPTION IS ATTACHED TO THE OVERVIEW.
Folio 4 verso (Original Folio 5 verso)
TRANSCRIPTION
(35)
commissarum si rectem, et legaliter solverint nabula de suo have -
re capselle, quod portabunt cum ipsis Galeis.
(36)PAtroni galearum nostrarum a mercato tenetur levare mercimonia
mercatorum nostrorum Iuxta mandatum, et bulletas nostrorum Capitaneo -
rum sub penis solitis : Verum si aliquis patronus Galearum nostrorum
de mercato recustabit recipere in galeis merces mercatorum ut nollet
iux mandatum, et bulletas Capitaneorum vt dictum est tunc ipse
mercationes remaneant ad risicum ipsorum patronorum in terram d
quibus teneatur respondere ad reditum gelearum mercatoribus in to -
tum sicut venderentur in venetiis.
(37)NUllus Ciuis vel fidelis noster ullo modo audeat per se vel alios mit -
tere, vel portare, seu portari facere de prohibitis p eccliam ad par -
tes Alexandrie, sub pena perdendi totum, et tantundem de suo
proprio, Et comisimus in Venetiis officialibus contrabannorum
et extra Venetias tibi Capitaneo, & Consuli nostro Alexandrie
q inquiratis de bis q mitterent vel portarent de dictis prohibitis
p eccliam cum Galeis Alexandrie, vel aliis namquis q haberet
gratia eundi, & penas exigas hndo tertium. Accusator si fuerit
tertium, & sit de credentia. & Commune reliquum. Et si non fuerit
Accator, pena dividatur p medium. De qua pena non possit fieri
gratia, nec loqui de faciendo gratiam sub pena libr mille per quo -
libet ponente vel que facient partem in contrarium. Et commissum est
extraordinariis, et aliis officialibus qui faciunt bulletas pro carri -
cando in galeis ut Namqiis Alesandrie. Qui omnibus volentibus
carricare ut dictum est accipiant sacramentum qui nullo modo
carricabunt, nec mittent vel portabunt aliquid de prohibitis p
eccliam ad dictis terras vel Loca Alexandrie ut dictum est.
(38)ALiquis ciuis fidelis vel districtualis Venetiarum millo modo possit
adducere, nec adduci facere, mittere, nec mitti facere aliquod
Folio 4 verso (Original Folio 5 verso)
POSSIBLE ENGLISH TRANSLATION
35. ….......................... as they are committed, and lawfully have paid early to send the caskets which they carry with them in the galleys.
36. Patrons of our galleys, the market is bound to pick up merchandise from our merchants according to our mandate and our captains being armed with the usual penalties. But if someone were to advocate that our market refuses a galley and accept galleys rewarding merchants that want to resist the instructions of the captains, as stated above, then the trade risk will remain with the patrons ground which is bound to respond to the return of the galley merchants with goods in their holds all being sold in Venice.
37. Either by the faithful without express permission of a citizen and no one, either personally or to send others to, or carry, to make to be carried, to the forbidden parts of the of Alexandria, under the pain of the destruction of the whole, and as much of his own property, and the officials of the contraband in Venice armed your captain and outside Venice our consul in Alexandria is to inquire about twice that sending or carrying forbidden words to Alexandria with the galleys or by other means available, and penalties reflect the three situations. The accuser, if there has been a third, and it is of about those who belong and who are in common with the rest, and if it is not pressed, the middle penalty is to be divided. The grace of the punishment that cannot be determined, or unable to talk the construction of the grace assumed, or which they do under the penalty of part of a thousand to the contrary. And the commitment was extraordinary, and other officials load the arms for the galleys that are for Alexandria. Those willing to receive the verdict who have never, as has been said and carried before, and do not bare any part of those who are forbidden, in the lands or places of Alexandria, as we have explained to the said parties.
38. Any citizen is able to bring every believer from the districts of Venice, in no way, and not to be brought to do this, to send, do not send any …......................
Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
I choose a light source and/or subject, set my camera for a long exposure (typically around 4 seconds), focus on my subject and push the shutter button. When the shutter opens I move the camera around with my hands...large, sweeping, dramatic movements. And then I will literally throw the camera several feet up into the air, most times imparting a spinning or whirling motion to it as I hurl it upward. I may throw the camera several times and also utilize hand-held motion several times in one photo. None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
And to see more of my Kinetic Photographs please visit my set, “Flux Velocity:”
www.flickr.com/photos/motorpsiclist/sets/72157622224677487/
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Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
.
My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.