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Title: It! The Terror From Beyond Space
Year Of Release: 1958
Running Time: 69 minutes
DVD Released By: MGM Home Entertainment
Directed By: Edward L. Cahn
Writing Credits: Jerome Bixby
Starring: Marshall Thompson, Shawn Smith, Kim Spalding, Ann Doran, Dabbs Greer, Paul Langton, Robert Bice
Taglines:
1. It breathes, it hunts…It Kills!
2. IT!...Reaches through space!...Scoops up men and women!...Gorges on blood!
3. The revelation shocker of things to come!
Alternate Titles:
It! The Vampire from Beyond Space (1958)
The Terror from Beyond Space (1958).
Review Date: 12.12.04 (updated 1.1.10)
The film opens with a thundering musical theme and a title that threatens to bust out of the screen and into our third spatial dimension. After the credits end, we get a view of the Martian surface. In the distance we see the wreckage of a crashed rocket ship. A voice belonging to Colonel Edward Carruthers begins to narrate, relating how the ship he commanded cracked up on landing six months previously and how he is now the only survivor from that doomed expedition, the crew encountering some strange force on the Red planet they came to know only as death. The camera slowly pans over the landscape and a second rocket ship is revealed, albeit intact and standing erect. Carruthers says that he will now be going back to face his superiors on Earth and possibly another kind of death.
Now we see the capitol building in Washington D.C., which quickly fades to a door marked, “Science advisory committee. Division of interplanetary exploration.” No doubt down the hall are the offices for the division on Radiation-Enlarged Insects and Lizards. Inside this room a government official is conducting a press conference and releasing information on the second rocket ship sent to Mars. He talks about how Colonel Carruthers has been found alive, but is the only survivor from the initial expedition. The Colonel will be returned to Earth to face trial for the murders of the rest of the first ship’s crew.
Back on Mars, we see the Challenge-142 preparing to lift off. Before they can depart, Van Heusen notices an open compartment. It seems Lt. Calder was dumping some crates (littering) and forgot to close it. The open hatch is closed remotely, but as it slides shut, an ominous shadow moving about nearby alerts us to the fact that something has managed to get aboard while it was open. We hear a few growls and even get a close up of IT’s feet as it moves about. I gotta say, this guy needs some serious corrective footwear. Talk about a slewfoot! What is even more hilarious is that the shadow we see on the wall seems to be made by the actor in the monster suit, but not the monster mask. His facial features seem pretty clear in silhouette.
After a name check, Van Heusen begins the launch countdown at ten, while strapped into what appears to be a lawn chair! Where was the budget blown for this ship? No trash recycling systems and cheap chairs! The contractor must have spent it somewhere, but it obviously wasn’t on this ship!
Once in space and safely on the way home, Van Heusen (who will henceforth be referred to simply as Van – some of the characters did it, why not me) begins acting like an asshole, ridiculing Carruther’s story of a monster. He tells Carruthers (seemingly with great delight) that they have enough evidence to put him in front of a firing squad. They head up one level and Van shows him a human skull they found on the surface of Mars. Dental records revealed it to be a Frank Kenner, one of Carruther’s crew. The skull has an obvious bullet hole in it and Van says, “There’s only one kind of a monster that uses bullets.” There is an ominous musical cue. Carruthers walks away and the film fades out.
Sometime later the crew is cleaning up after a meal. Correction: the women are cleaning up after a meal. Yes, in this futuristic year of 1973, women – despite being doctors and presumably vital members of the crew – are still assigned the laborious task of cleaning up after meals and making sure all the lazy, fat-ass males have fresh, hot coffee in their cups and are supplied with cigarettes. I wonder if these guys made them cook the meal as well.
So this group has finished a meal and are relaxing. The usual light banter is exchanged before the topic of Colonel Carruthers and his monster comes up. Royce (the other Royce will always be referred to as Doctor Royce for purposes of this review) says that he doesn’t disbelieve or believe the story. Along about that time Carruthers arrives and is greeted with a smart-ass comment from Van. He gets some coffee from Ann and retreats back up one level. Van then states that before they reach Earth, he will have Carruthers’ confession on tape. What is he going to do, beat it out of him?
Some more time passes and Ann brings Carruthers a plate of food. She admits that she has only heard the story of what happened to the crew of the Challenge-141 from Van and would like to hear it straight from Carruthers. He relates to her how they landed, went out exploring and then got caught in a sandstorm. Something in the storm began taking the crew and in the confusion shots were fired, one apparently killing Kenner by mistake. Carruthers was the only one who made it back to the ship. Subsequent searches turned up no signs of his crew or the thing that took them.
Van continues to act like a dick. Ann - with whom he seems to have some sort of relationship beyond work - tells him that he owes it to Carruthers to treat him like a fellow officer and not an animal, and that it is not his place to decide whether he is guilty.
More time passes. Royce and Carruthers are playing chess while Van looks on, smoking a cigarette. Calder is nearby scribbling in a notebook – probably “I won’t leave outer hatches open before lift-off” a hundred times, enforced by Van for his lamebrain mistake. Elsewhere, Keinholz is sitting alone at a desk, looking bored. He hears their stowaway bumbling around the cargo hold. He goes to investigate and is killed, the attack shown as shadows on a wall. The monster lifts Keinholz over his head and brings him smashing to the floor, where he proceeds to pelt the unfortunate crewmen with a barrage of blows…or in this case, cartwheeling its arms and bitch-slapping the guy to death.
Above, Carruthers has heard the commotion and wonders what is going on. No one else seems to have heard anything. He still insists on performing a head count and when Keinholz comes up missing, everyone begins searching the ship for him. While everyone is split up, Gino Finelli is captured by the beast when he stops to pilfer some cigarettes from a storage locker.
Everyone convenes again and Van is in disbelief as there just isn’t a place on the ship a man could hide. Carruthers asks where Gino is and Bob says that he was right behind him. He looks back down the ladder to the deck below and calls out to Gino, but all is silent below. He, Van and Carruthers all go back down where they find Gino’s unused cigarette on the floor, but no Gino. Now everyone is calling out for Gino in addition to Keinholz. Soon after, Keinholz’s body is located in an air duct.
Everyone comes running and arrives as Keinholz is removed from the duct. Bob wonders if Gino is inside the duct, but Carruthers looks and sees nothing. Major Purdue volunteers to go in to look for Gino as he claims to know the layout. He crawls on in, but doesn’t see anything at first. Then he re-orients himself and sees Gino at the end of the passage. Gino is looking pretty bad, like he was in a fight with an Avon lady who applied her make-up samples to him. Purdue yells out that he found Gino and begins to crawl toward him. He shakes Gino, trying to rouse him but Gino just shakes his head limply. Then there is a shadowy movement nearby and IT arrives on the scene, no doubt pissed to find someone playing with his food. IT growls and claws at Purdue, who screams before pulling out a revolver and squeezing off a few shots. This makes the monster roar and outside in the storage room, Carruther’s face is one of dread – he knows that roar all too well, it seems.
Purdue comes barreling out of the duct and Carruthers sneaks a glance inside before he and Van replace the cover over the entrance. Bob, naturally has a fit, upset that his brother is being left behind. He is removed by Royce and Carruthers yells to the cowering women to run and get a head start. A head start for where? You’re on a spaceship, not the open plains of Iowa. Carruthers then spots a crate of grenades and suggests that they wire them up to the hatches, thus blowing IT up if it decides to leave the duct. So Van, Carruthers and Calder wire up these grenades, then gather up Keinholz’s body (which seemed to magically aid them in picking itself off the floor) and retreat to one of the upper levels.
Next we see a table loaded with guns, rifles and ammunition. It looks like a NRA convention! It is at this point that I must point out the sheer stupidity of these people. They are on a spaceship, which is traveling through the vacuum of space. Rupturing the hull of the ship in any way would be extraordinarily bad. I’d imagine that great pains would be taken to minimize the chances that such an event ever took place. Yet these fools insist on firing projectile weapons within the confines of the ship. Not only that, but they have grenades ready to detonate below. Now, what kind of tests did these people have to pass in order to be selected for this mission? Cuz smarts don’t seem to be a requisite. Not once does any one of them stop to consider the chances that such an explosion might actually harm the bloody ship! No, they just fire away. Either these people are colossal idiots, or they are confident in the construction and engineering of the ship – but given the lawn chairs adorning the place, I would not exactly be willing to bet my life on the latter possibility.
So the men are taking stock of the weapons while the ladies apply the most idiotic looking bandage to Purdue’s head. Royce tries to console Bob by telling him there was nothing they could have done for Gino, but Bob is pissed that they didn’t even try to rescue his brother.
Meanwhile, Van is asking Carruthers if he knows what IT is. This must have just galled the guy to no end. Here he was all ready to break Carruthers and get a confession, and now he must admit that the other man was right all along. Time passes and the gang is pacing up and down, waiting for IT to leave the ducts and trip the grenade trap. They all gather around the intercom and listen as IT busts through the grate covering the duct and sets off the grenades. All those grenades detonate and we are treated to an explosion that looks like it was made by a box of firecrackers.
They still hear the monster growling, so they know that the plan has failed. Without a word, they hoist their firearms, open the central stair hatch and head down to investigate further…well, all the guys do. The women stay up above, no doubt prepping coffee. The guys gather around the door to C and open it up. A lot of smoke passes through the doorway, obscuring their vision. Calder, who is carrying the biggest gun, goes in first. Well, actually Van was in the lead, but when he couldn’t get the lights activated, he motions for Calder to go first. Chickenshit bastard. Calder barely gets through the door when IT lunges out of the smoke, grabs his rifle and bends it, Superman-style, over its head. Calder, Royce and Bob then run like hell up the stairs while Van and Carruthers fire their pistols at the beast. They retreat up the stairs, firing all the way, while IT tears the door to C compartment open wide enough to get through. Once safely up the stairs, the crew closes the central stair hatch.
Next gas grenades are used in an attempt to kill the beast. This fails to work as well and Van comes out of the engagement with an injured foot, scraped up something bad when the monster grabbed him.
Dr. Royce has completed the autopsy on Keinholz, discovering that “there is not a molecule of oxygen or a drop of water” left in his body. Blood, bone marrow, glandular secretions – everything, is gone. She theorizes that since there are no puncture marks on the body, that this was accomplished through some type of osmosis process. Keep in mind that the Human body is sixty to seventy percent water. Now, we got a pretty good view of the dead Keinholz earlier. Sure, his body was shriveled, but if all the moisture in his body had been removed, then would not he have looked more like a dried up prune, and been the size of a cabbage patch doll? Van Heusen hasn’t joined the cadaver club yet, though his wound is infected and nothing Dr. Royce can do helps it any.
They open the central hatch and peer down. IT is two levels down, but they can see it breaking through the center hatch onto the level directly below them, which will grant it access to the next level. They realize that if IT can get through the center hatches, they are royally SCREWED. Ann approaches Carruthers and tells him that he was right and they were all wrong. They hold hands and share a Kodak moment.
Royce pipes in about now with an idea he and Bob have worked out. He proposes that two men exit through the control room airlock and then space walk down the side of the ship and re-enter through the airlock on the motor level – below the current location of the creature. This would enable them to surprise the monster, but they aren’t sure what to surprise it with. Carruthers says he’s been thinking and has an idea, so he and Calder suit up and make their way down the hull to the bottom of the ship. They reach the airlock on the motor level and the others above begin talking loud at the proper time, distracting the monster from what is occurring below it. Carruthers and Calder sneak out onto the motor level and set an electrical trap on the stairs that lead to the upper level where IT is located.
The two then take cover behind some induction pumps and open the center hatch, which is noticed by the creature. It begins to descend the stairs and when it gets to the appropriate spot – ZAP. Nothing. The monster is not affected. Carruthers is able to make it safely to the airlock, but Calder takes a blow to the head that tears his vinyl “helmet” and stumbles back, his foot getting caught and the fall breaking his leg. He fires up an acetylene torch and uses it to fend off the monster every time it gets to close to his hiding spot.
Carruthers returns to the others where they try and think of a way to rescue Calder, who can be heard over the radio. Meanwhile the Doctor approaches Royce and tells him that the alien bacteria are attacking bone marrow, resulting in a leukemia-type condition. The drugs she has been using are working too slowly and she needs fresh blood to keep Van and Purdue alive – but there is no more on this level. They will need to descend to the cargo level and retrieve some more.
Royce is preparing to make a run for the blood and Bob decides that it his “turn” now to go. What is this, a ride? I suppose he feels the need to do something in helping kill the monster that murdered his brother. Carruthers decides to accompany them. Calder promises to keep them apprised of the creature’s movements via the intercom. A shadow on the wall tells us that IT is still dragging dead Gino around, and has wandered into the reactor room. After Calder reports this, it gives Carruthers an idea. He remotely closes the reactor room door and asks Calder what the monster does. When no odd behavior is reported, the three men make their descent in search of the blood supply.
Meanwhile Van has awoken again and is trying to get up from his cot. The women try to restrain him but he yells and pushes past them. He has an idea – by unsealing the reactor, the radiation will kill the monster. He flips some controls while the ladies still try and talk sense into him. In the reactor room, the creature is banging on the door to get out when the reactor is unsealed and it gets a face full of radiation. The women call down to warn the men what has happened, inciting Carruthers and Royce to speed things up. Below, Bob is helping Calder up the stairs when IT breaks out of the reactor room. Calder dives back into his hiding spot and Bob fires off his pistol at the beast. He then tries to run up the stairs, but IT is too fast. The monster reaches up and grabs him, pulling him down to the floor and bitch-slapping him to death. Royce and Carruthers haul ass back up the stairs with the blood, having to leave Bob behind. They get back to the laboratory level and then everyone heads on up to the topmost level – the control room.
Everyone is now huddled on the highest level. For some IDIOTIC reason, Carruthers is carrying a bazooka. A bazooka! They pile some heavy crates over the hatch in the floor, hoping to keep IT from busting up through the opening. Nearby Ann and Van are talking and the ever more disconcerted Colonel is remarking on Ann is now “with” Carruthers and how it happened out of the blue. She tries to dismiss it and wants to talk about it later, but he insists that there may be no later considering how their situation is degenerating rapidly. She walks off to help Carruthers and Van continues to mutter to Dr. Royce.
They contact Calder down below, who is still alive. He can see the monster still bumbling around on the motor level. About now IT has decided to find out where everyone else has gone. IT ascends the stairs to the first storage level and begins banging around. Calder warns Carruthers that IT is on its way up. The gang up top makes ready, turning the lights off and preparing for the last fight. Carruthers tells Calder to make his way to the airlock now that IT is no longer nearby and hide there. Then Carruthers picks up the bazooka again and aims it at the hatch.
While waiting, Carruthers happens to glance at a dial on a nearby instrument panel and notices that the oxygen consumption on the ship is far in excess of what it should be. He points this out to Royce and the two theorize that it is due to the monster. With the thin air on Mars it would need a gigantic lung capacity and has thus been hogging all the oxygen on the ship with its Darth Vader breathing style. Carruthers suggest letting all the air out of the ship to kill it. Royce agrees, saying they can build it back up for themselves later.
A mad rush is on now, everyone trying to get into his or her space suit. The monster tears his way up onto the laboratory level, doesn’t even hesitate and then heads up the latter to the top level. IT bangs on the hatch, causing all the boxes sitting atop it to topple over, and then IT peels back the metal of the hatch like wrapping paper and pokes up through the opening like a jack-in-the-box. Everyone has their spacesuits on now, but Carruthers cannot reach the controls to release the air because the monster is in the way. He calls to Royce, who is now holding the bazooka, to drive it back down so he can make his way to the proper control panel. Royce fires the bazooka, but the rocket just bounces off the monster before bouncing around the floor some. No detonation at all! It must have been a dud. Carruthers is trying to reach the controls, but the monster is preventing him from getting too close. Van then jumps up, runs to the controls and hits the correct button. The airlock doors open and the air begins rushing out. The monster has grabbed Van and no doubt given him the squish treatment, as when next we see Van, he is stretched out on the floor.
The ship begins diving. Well, not really…but given that the emergency klaxon blaring away to warn everyone of decompression and air loss sounds just like the diving bell in some old WWII movie, and one can see why it seems like the ship is diving. Everyone hangs on for dear life. Papers start flying around the room, but very few actually get blown out the airlock. The monster growls, writhes around and finally stops moving as the last of the air is removed. Carruthers checks on both IT and Van, but both are still and quiet. I have to wonder how Van didn’t get blown out. Everyone was hanging on, but Van was out cold (or dead). It seems the monster is finally dead. Everyone seems relieved, and the camera zooms in on Ann and Carruthers as they hold hands before fading out…
…Into ANOTHER freakin’ shot of the ship flying through space (number nine). This fades into the room in Washington D.C. that we saw at the very beginning of the film. The same government official is conducting another press release. He has more information to add to the story he gave to the reporters the previous evening. He reads a message from the Challenge-142 received less than an hour ago:
“This is Eric Royce talking. Of the nineteen men and women who have set foot upon the planet Mars, six will return.”
Six? Let’s see…Carruthers, Ann, Royce, Dr. Royce, Purdue and…Calder, I suppose. Calder was hiding in the airlock on the motor level while Van Heusen got beat up by the monster and was laying there pretty still at the end, so I guess he was the one who died. The message continues:
“There is no longer a question of murder, but of an alien and elemental lifeforce. A planet so cruel, so hostile, that man may have to find it necessary to bypass it in his endeavor to explore and understand the universe.”
Well, at least Carruthers has been cleared, but Royce makes out like the planet Mars is so damn dangerous. Excuse me, but were not you guys all safe until you got back on the ship? The planet seemed pretty harmless. It is the native life that proved to be so deadly. Big difference. The message (and the movie) concludes:
“Another name for Mars…is death.”
Fade out. The End.
Structurally, this movie is most similar to The Thing From Another World in that it deals with a small group of people trapped struggling to prevail against a deadly organism from another planet bound and determined to make a snack of them all. Aside from the opening and closing segments set on Earth (which most people conclude were added in order to stretch out the film’s running time) the movie never leaves the crew of the Challenge-142. Once things get rolling, the movie rarely lets up and moves along at a brisk pace, rapidly pushing its characters through one bad situation and into another. While not as intense as later films would be, the approach taken works very well and the viewer begins to detect the sense of danger and desperation that builds as the film progresses.
Sadly, the character development that was so well executed in the Howard Hawk’s The Thing From Another World, is sorely and quite obviously lacking here. We are quickly introduced to a number of people, who for the most part, will be expanded upon very little and examined only long enough to form the vaguest of impressions. With the exception of Carruthers and Van Heusen, who these people are and what motivates them was just not important to the producers. Those two are plainly set up to be at odds with each other, though the conflict is really all on the part of Van Heusen, who is resolute in his belief of Carruther’s guilt. Yet, the film sets up this adversarial dynamic and goes no where with it. Early on during the monster’s rampage, Van Heusen takes a hit and is restricted to bed for the rest of the film, offering up only smartass remarks and a failed attempt at killing the creature thereafter. I suppose one could say that Van Heusen was shown to be in error when it came to the veracity of Carruthers’ story, and that he was pushed aside to make room for latter to take the lead and redeem himself. There could not be two leaders, so one was removed.
While the characters might not be the most fleshed out in film history, they certainly make up for it with their actions. After viewing this movie, one has to wonder what kind of idiots these people truly were. How they ever graduated from some type of training program and granted a position on a ship to Mars is beyond me. In fact, the entire organization seems lacking. There is just so much that betrays them as morons. Like smoking. These people are nicotine fiends who are lighting up non-stop. Someone missing? Have a smoke. The monster kills someone? Have a smoke. Time running out and death looking certain? Have a freaking smoke! I must say that the Challenge-142 must have one HELL of an air recycling system. These folks have the oxygen scrubbers working overtime with all the smoke they exhale.
On top of that, these guys are gun toting, trigger-happy morons who make the Montana militia groups look like the boy scouts. They start squeezing off rounds at the drop of a hat, no worries about ricocheting bullets or friendly fire. I guess the ship, on top of having a first rate air recycling system, also has the sturdiest hull ever manufactured by mankind. It must have, as these guys don’t give a single thought to accidentally rupturing the hull. And they don’t stop with guns! They haul out grenades by the dozen and detonate them and then move on up to firing a bazooka in their ship’s control room!
As far as visual FX are concerned, this film doesn’t have too many. What we do see is adequately done by the standards of the day. The most ambitious shot is the view of Carruthers and Calder walking down the side of the ship as it traverses the stars. Back then it might have looked awesome, but now it is very easy to notice that the actors don’t seem to be covering any ground, despite taking numerous steps as well as the obvious signs of matting them into the footage of the rocket. I’d venture to say that the best looking thing we see, though it is just for a few seconds at the film’s beginning, is the painting that represents the surface of Mars. Sure, it looks nothing like what Mars really looks like, but it is still executed pretty darn well.
Now we come to the one aspect that is both one of the best as well as one of the worst things about the movie: The monster. The monster costume is a glaring source of both potential embarrassment and possible fun. The costume is a rather bulky, rubber affair that bends in all the wrong places, heightening the “cheese” factor and lending a certain air of ridiculousness to the film. The way it lumbers, stumbles and plods around the ship is laughable considering the dire circumstances and danger it supposedly represents. The face is static, except for the tongue that is often protruding from the sizable mouth. This effect was produced by the actor’s chin pushing the “tongue” through the creature’s maw.
Since the movie was filmed on a mere handful of sets, with a single set used to represent the various central chambers of the ship – just re-dressed for each one, director Cahn makes good use of the limited space he has. Thanks to the camera work and the set dressing, the ship comes across as being fairly good sized. Another thing he does rather well in conjunction with cinematographer Kenneth Peach is to hide the monster and utilize shadows to create an atmosphere of dread and creepiness. Whether this was done for artistic reasons or to help hide the often silly-looking monster suit is open for debate, but since the creature is shown quite well on several occasions, and the suit holds up pretty darn well to scrutiny, I personally believe it was the former. There are numerous occasions where all we see is the beast’s shadow on the wall, or a foot moving across the floor. More than one assault on a Human is shown as nothing more than shadows on a wall, which, while lessening the onscreen violence, only makes the attacks more horrifying. This method really helps in firing the imagination, as what the mind conjures up is almost always more frightening than what we ultimately see on screen.
Still, despite all the apparent flaws...indeed, perhaps because of those very flaws, this film has a sizable “fun” quotient. Taking it too seriously will only lessen the enjoyment derived from the proceedings. An enormous grain of salt, along with a large suspension of disbelief will come in handy here, and will help transform the film from an “old 50’s monster movie” into a “classic B-Movie experience.”
The 2000s saw two major developments relating to transport which affected Dundrum greatly. Firstly, a road bypass was built behind the west side of the village, taking most of the traffic away from the main street. Secondly, the old railway line has been converted to a tram line, running the new Luas tram system. Since the railway embankment was cleared away in the 1970s to make room for a major road junction at the north end of the village, the tramway designers now had the problem of getting the trams across a very wide crossing without any place for supporting pillars.
The solution was innovative: a suspension bridge.
Title: Roll call votes relating to the impeachment of President Andrew Johnson on Articles II, III, and XI., 05/26/1868
Production Date: May 26, 1868
Creator(s): U.S. Senate. (03/04/1789 - )
Roll call votes relating to the impeachment of President Andrew Johnson on Articles II, III, and XI., 05/26/1868 ; Senate Papers Pertaining to the Impeachment of Andrew Johnson, ca. 1867 - ca. 1869; Records of the U.S. Senate, 1789 - 2005; Record Group 46; National Archives.
The first Senate vote in the impeachment of President Andrew Johnson was taken on May 16, 1868. Article XI was called the “omnibus article” because it combined all of the charges against the President. As a result of 19 voting “Not Guilty” and 35 voting “Guilty” the Senate fell 1 vote short of the two-thirds majority required for removal. After a 10-day recess, the Senate reconvened and voted on Articles II and III. In each case, the result was identical: Johnson was not guilty by a single vote. The Senate then voted to end the trial.
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=306275
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2020. "Gli studiosi scoprono un libro perduto su tombe antiche a Roma di Giovanni Battista Piranesi" = "Scholars discover lost book on ancient tombs in Rome by Giovanni Battista Piranesi." Telegraph U.K. & Heather Hyde Minor / Carolyn Yerkes (02/08/2020). wp.me/pbMWvy-rP
Scholars discover lost book by master 18th-century printmaker Giovanni Battista Piranesi - The sketches appear on the back of printed texts relating to ancient tombs in Rome. Telegraph U.K. (02/08/2020).
Evidence of a lost book created by Giovanni Battista Piranesi, one of the greatest printmakers of the 18th century, has been discovered through previously-unpublished drawings that were created on the back of fragments of printed texts.
Scholars have been taken aback by the discovery after reconstructing what they describe as the Italian master’s “trash”-irregular scraps cut from printers’ proofs bearing quotations from ancient writings, including the Roman poet Juvenal.
Paper was by far the most expensive component of an early modern book, and Piranesi did not waste this resource. On bits and pieces of recycled paper, he created two exquisite drawings depicting printers hard at work, perhaps feverishly sketched in a workshop.
The drawings, in pen and brown ink, appear on the back of printed texts relating to ancient tombs in Rome, a subject that fascinated Piranesi in the early 1750s. He even became directly involved with excavations of ancient sites.
Errors in the printed text-such as “qui” instead of “quid” (the Latin words for who and why)-indicate that this was from a printer’s proof rather than a finished copy ready to be bound.
www.flickr.com/photos/imperial_fora_of_rome/50185541666
The discovery was made by Carolyn Yerkes, associate professor of Early Modern Architecture at Princeton University, and Heather Hyde Minor, professor of art history at the University of Notre Dame, Indiana. They will include it in their forthcoming book, titled Piranesi Unbound, to be published by Princeton University Press on September 1.
Professor Hyde Minor told the Telegraph: “The research felt like a murder mystery. We kept finding new clues, but they didn't come together until the end when we could conjure up this lost book. Each individual piece of evidence, each drawing that we discovered, fit like another piece in the puzzle.”
Professor Yerkes added: “We had to consult experts from forensic-type specialists to print experts to be able to interpret what we were seeing. It's incredibly exciting as art historians working together to reach a conclusion that answers so many questions about Piranesi.” They concluded that what is preserved on these drawings is the trace of a book that never was offered for sale, at least not in the form in which it exists on these drawings. Piranesi, a draftsman, printmaker and architect, is revered for his captivating, atmospheric representations of antiquity, ranging from grandiose buildings of classical Rome to the then newly-discovered ruins of Pompeii.The British Museum is currently staging an exhibition of Piranesi’s drawings to celebrate the 300th anniversary of his birth in 1720, and Princeton is planning a major show next year.
Fonte / sources:
--- Heather Hyde Minor / academia.edu. (02/08/2020).
"Scholars discover lost book by master 18th-century printmaker Giovanni Battista Piranesi" Telegraph U.K. & Heather Hyde Minor (02/08/2020).
www.academia.edu/43770407/_Scholars_discover_lost_book_by...
--- Telegraph U.K. (02/08/2020).
www.telegraph.co.uk/news/2020/08/02/scholars-discover-los...
S.v.,
www.flickr.com/photos/imperial_fora_of_rome/50185541686
Carolyn Yerkes and Heather Hyde Minor, Piranesi Unbound. Princeton: Princeton University Press (2020): 1-140 / 193 color illus.
A draftsman, printmaker, architect, and archaeologist, Giovanni Battista Piranesi (1720–78) is best known today as the virtuoso etcher of the immersive and captivating Views of Rome and the darkly inventive Imaginary Prisons. Yet Carolyn Yerkes and Heather Hyde Minor argue that his single greatest art form—one that combined his obsessions most powerfully and that he pursued throughout his career—was the book. Piranesi Unbound provides a fundamental reinterpretation of Piranesi by recognizing him, first and foremost, as a writer, illustrator, printer, and publisher of books.
Featuring nearly two hundred of Piranesi’s engravings and drawings, including some that have never been published before, this visually stunning book returns Piranesi’s artworks to the context for which he originally produced them: a dozen volumes that combine text and image, archaeology and imagination, erudition and humor. Drawing on new research, Piranesi Unbound uncovers the social networks in which Piranesi published, including the readers who bought, read, and debated his books. It reveals his habit of raiding the wastepaper pile for cast-off sheets upon which to draw and fuse printed images and texts. It shows how, even after his books were bound, they were subject to change by Piranesi and others as pages were torn out and added.
The first major exploration of the lives of Piranesi’s books, Piranesi Unbound reimagines the full range of the artist’s creativity by showing how it is inextricably bound to his career as a maker of books.
Fonte / source:
--- Princeton: Princeton University Press (2020).
press.princeton.edu/books/hardcover/9780691206103/piranes...
Foto / fonte / source:
--- Giovanni Battista Piranesi Italian (1720 - 1778), Veduta degli avanzi di alcune camere sepolcrali, esistenti sull'antica Via Appia fuori di Porta S. Sebastiano. Plate XLVII from The Roman Antiquities Vol II; Medium: Etching on laid paper;
Year: Plate date 1756.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
this photo relates to the ‘ancient and modern’ assignment because of the history of this photo. below is the town of Herculaneum, which was destroyed by mount Vesuvius in a volcanic eruption, along with Pompei. Once uncovered, trees and flowers started to blood surrounding it. i love the contrast of an ancient town in ruins and new, young nature intertwining.
A micro-injector is used to place a droplet of known volume of Bacillus thuringiensis (Bt) material on a hemlock needle. The apparatus is used in feeding studies on the western hemlock looper to relate Bt deposit with looper mortality. Corvallis, Oregon.
Photo by: Wally C. Guy
Date: November 1963
Credit: USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection.
Collection: Portland Station Collection; La Grande, Oregon
Image: PS-2853
For additional information see: archive.org/details/CAT92272778
Carolin, V.M. and C.G. Thompson. 1967. Field testing Bacillus thuringiensis for control of western hemlock looper. Research Paper PNW-38. Portland, OR: USDA Forest Service, Pacific Northwest Forest and Range Experiment Station. 26 p.
For additional historic forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources
Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth
While I cannot find any information relating to this metal object located at Clontarf Bus Garage I can supply some information relating to Conquer Hill.
Following the granting of Catholic Emancipation in 1829, Daniel O’ Connell planned a monster Repeal Rally to be held at Conquer Hill, Clontarf, on the 8th of October 1843.About 100,000 persons were expected to attend but the Crown Authorities banned the rally and sent several military regiments into the area to enforce the ban. They also aimed their big guns from the Pidgeon House, across the bay at Ringsend, directly at Clontarf.
Fearing consequences for the thousands of innocent people, O’ Connell cancelled the rally.
Documents from the early 1990s relating to blood plasma transfusion by Henan provincial government and military blood plasma collection stations that led to the spread of HIV to many people who sold blood. The blood collection stations were closed in the mid 1990s though some continued this very profitable business underground.
HIV Blood Transfusion Disaster Documents For more information see: en.wikipedia.org/wiki/Plasma_Economy The Wound by He Aifang on the history of blood disaster museums.cnd.org/CND-Global/CND-Global.01-01-25.html
Links to US Embassy website mentioned at the end of the report above are archived on the Internet Archive web.archive.org/web/20010809150226fw_/http://www.usembass...
See also article Dr. Gao Yaojie Human Rights China at www.hrichina.org/content/4754
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.
Mini Biography
Juliette Lewis is recognized as one of Hollywood's most talented and versatile actors of her generation. She first stunned mass audiences and critics alike with her Oscar-nominated performance as 'Danielle Bowden' in Cape Fear (1991). To date, she has worked with some of the most revered directors in the industry: Martin Scorsese, Woody Allen, Lasse Hallström, Oliver Stone, and Garry Marshall. Most recently, she received an Emmy nomination for her performance in My Louisiana Sky (2001) (TV). Whether lending dramatic authenticity or a natural comedic flair, Lewis graces her roles with remarkable range and an original and captivating style.
Lewis recently co-starred opposite Jennifer Lopez in the thriller Enough (2002/I) directed by Michael Apted. Lewis played the best friend of an abused woman who must reclaim her life from her dangerous husband. The part appealed to her because she got to play a "sweet, vibrant, regular gal," she offers. The poignant drama Hysterical Blindness (2002) (TV) debuted on August 25, 2002, on HBO, in which Lewis stared with Uma Thurman and Gena Rowlands. Set in the 1980s, the story follows two single, working-class New Jersey women on a bittersweet quest for love and meaning. Based on the play by Laura Cahill, the film is directed by acclaimed filmmaker Mira Nair and the executive producer is Thurman.
Hysterical Blindness (2002) (TV) was the centerpiece premiere at the 2002 Sundance Film Festival. "I've never seen this female perspective told before with such a true voice," says Lewis, who plays a single mother in Hysterical Blindness (2002) (TV). "It's raw, heartbreakingly honest and real."
Lewis went blond for her role in the DreamWorks comedy Old School (2003), co-starring opposite Luke Wilson, Vince Vaughn, and Will Ferrell in this story of disenchanted men who try to recapture their college days by starting a fraternity. "The script was a laugh-out-loud page-turner," says Lewis, who plays Wilson's seemingly innocent girlfriend. "If I was going to be in a rip-roaring boy's comedy, I knew I didn't want to play straight man. I love doing comedy and doing characters, and I made this one a pampered California girl. My scenes with Luke Wilson are very situational--and that's where the comedy lies. I'm naturally kind of ridiculous. I don't take myself or others too seriously." Old School (2003)) was released in 2003.
Lewis is currently filming the feature Blueberry (2004), based on the French comic book adventures of Western hero Mike Blueberry. She stars alongside Michael Madsen and French film star Vincent Cassel in this project directed by Jan Kounen. For her role as a rancher's daughter, Lewis is on horseback for much of the film. "I used to ride years ago, but I can only hope the fearlessness I had when I was 11 still lives," she says. The production is shooting on location in Mexico, Spain, France, and Britain.
Lewis recently received an Emmy nomination for her performance in Showtime's My Louisiana Sky (2001) (TV), a coming-of-age drama set in rural Louisiana in the early 1950s. Lewis plays Dorie Kay, an urbanized working woman who tries to help her 12-year-old niece come to terms with the girl's developmentally challenged parents. Based on the Kimberly Willis Holt novel, the acclaimed film was directed by Adam Arkin, who won an Emmy for Outstanding Directing, and produced by Anthony Edwards.
One of Lewis' most challenging roles to date was Carla Tate, a mentally challenged woman on a journey of independence and self discovery in Garry Marshall's The Other Sister (1999). "I wanted to capture her honesty so people could relate to her," says Lewis, who starred with her longtime friend Giovanni Ribisi, as well as Diane Keaton and Tom Skerritt. "I was playing a character who was full of life and determination, and it really had an effect on me. I connected very deeply to Carla and her feelings."
Other recent projects include the colorful European comedy release of Room to Rent (2000), in which Lewis sings and dances as a Marilyn Monroe impersonator; the crime thriller The Way of the Gun (2000), starring Benicio Del Toro and Ryan Phillippe; and Picture Claire (2001), a mockumentary about the making of a big-budget film, with Gina Gershon.
Lewis was born in Hollywood to Glenis Batley, a graphic designer, and actor Geoffrey Lewis, a regular in Clint Eastwood's films and frontman of the musical group Celestial Navigations. By the age of 6, she knew she wanted to be a performer and found inspiration in musicals like Fame (1980) and Grease (1978). At 12, Lewis landed her first leading role in the Showtime miniseries Home Fires (1987) (TV). After appearing in the sitcoms "The Wonder Years" (1988) and "I Married Dora" (1987), she went on to star with Chevy Chase in National Lampoon's Christmas Vacation (1989) and with Jennifer Jason Leigh in the drama Crooked Hearts (1991). At 16, Lewis starred in the critically acclaimed telefilm Too Young to Die? (1990) (TV), based on the true story of Amanda Sue Bradley, a sexually abused runaway who was the first minor to receive the death sentence. Lewis' performance caught the attention of Martin Scorsese, who cast her in the thriller Cape Fear (1991). Her powerful scenes with Robert De Niro captured the quiet complexities of adolescence and earned her an Oscar nomination and Golden Globe nomination for Best Supporting Actress. Her auditorium scene with De Niro goes down in movie-making history as one of cinema's classic scenes. Lewis next worked with Woody Allen in Husbands and Wives (1992), playing a self-assured college coed who has a penchant for older men, particularly her married professor. She then went on to star in the bittersweet love story That Night (1992), with C. Thomas Howell. In 1993, Lewis starred as Adele Corners, a dysfunctional innocent on a cross-country journey with her psycho-killer boyfriend (Brad Pitt) in Kalifornia (1993). She also played a waitress from Queens opposite Gary Oldman in Romeo Is Bleeding (1993) and a wise and worldly young drifter in What's Eating Gilbert Grape (1993) with Johnny Depp and Leonardo DiCaprio. In 1994, Lewis starred alongside Woody Harrelson in Natural Born Killers (1994), Oliver Stone's controversial media satire about two mass murderers who become legendary folk heroes. Lewis's other credits include the Nora Ephron comedy Mixed Nuts (1994) with Steve Martin and Adam Sandler; the sci-fi action film Strange Days (1995) with Ralph Fiennes and Angela Bassett; and Quentin Tarantino's vampire tale From Dusk Till Dawn (1996) with George Clooney. In 1996, Lewis appeared as Shirley MacLaine's granddaughter in The Evening Star (1996). She went on to star in the independent film Some Girl (1998), with Michael Rapaport and Giovanni Ribisi, and the thriller The 4th Floor (1999) with William Hurt. Lewis has been married since 1999 to professional skateboarder Stephen Berra but has filed for divorce.
IMDb Mini Biography By: Anonymous
Spouse
Stephen Berra (9 September 1999 - 11 December 2005) (divorced)
Trivia
Sister of Lightfield Lewis and Brandy Lewis. Half-sister of Dierdre Lewis and Matthew Lewis.
Legally emancipated from her parents at age 14.
Dropped out of high school just three weeks after starting.
Arrested for being underage in an underground dance club at age 16. The arresting officer, who recognized her dad when he picked her up at the station, gave Juliette her mug shot (the charges were dropped), which now hangs, poster-size, in her home (this picture can be seen at Fan Page)
Drove without driver's license until she was 21. She owned a car bought under a friend's name and had been driving illegally since age 15. Eventually got a license after she got caught not stopping at a stop sign.
Father almost named her Snow Lake.
Daughter of Geoffrey Lewis and Glenys Batley, a graphic designer.
Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#75). [1995]
Played a suicidal mental patient in the music video for the Melissa Etheridge song "Come to my Window." Lewis' erratic behavior frightened the director to the point where he yelled "Cut!" several unnecessary times for fear that Lewis had truly suffered a mental/emotional breakdown.
Her song from Natural Born Killers (1994) was used in another song, "Bad Brother" by The Infidels.
Auditioned for the role played by Winona Ryder in Beetle Juice (1988).
Fronts a rock band called "Juliette and the Licks" which is touring on Van's Warped Tour in 2004.
Wears a size 7 1/2 shoe.
Posed for a portrait in US Magazine, by Peggy Sirota, which featured nothing but an extreme close-up of the soles of her bare feet.
Although she is now divorced, she remains good friends with her ex-husband, Stephen Berra.
She was introduced to her future husband Stephen Berra by her younger sister Brandy Lewis.
Ranked #7 on Tropopkin's Top 25 Most Intriguing People [Issue #100]
Sister-in-law of Ethan Suplee.
Personal Quotes
"Fame can be just so annoying because people are so critical of you. You can't just say 'hi'. You say hi and people whisper 'Man, did you see the way she said Hi. What an attitude.'"
"Just 'cause I'm in the same age bracket as Johnny Depp and Leo Dicaprio doesn't mean we all screw together."
"Just to buck the system in California, I bought a Mazda for $6,000 when I was 15 without even bothering to get a license."
Where Are They Now
(May 2006) London, England, in rehearsal to star as May (alongside Martin Henderson as Eddie) in the upcoming revival of Sam Shepard's 'Fool for Love' which opens at the Apollo Theatre on 13th June.
(July 2007) Performed in Finnish rock music festival Ruisrock.
(October 2007) She was in Buenos Aires, Argentina only for one day (October 26), where she acted with her band The Licks in a private event.
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.
Rental Homes in Phoenix, Arizona
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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.
Marakoopa Cave is a wet cave and contains spectacular decoration, sediment deposits relating to past periods of glaciations and significant communities of cave fauna – including the largest glow-worm display in any public-access cave in Australia.
Typical of a wet cave, Marakoopa Cave displays signs of former stream activity in its upper levels, including stratified deposits of sand, clay and conglomerate.
Marakoopa Cave contains numerous attractively decorated chambers on different levels, extensive areas of flowstone and a variety of other interesting formations.
Marakoopa Cave has four surface openings associated with the entrance and exit of the two creeks which run through the cave, three of which are navigable. These two streams, known as Long Creek and Short Creek, begin as runoff from the slopes of Western Bluff, some 100 metres above the cave, and have created two independent cave passages.
A little background on the development of Marakoopa Cave
Like King Solomons Cave, Marakoopa Cave was first discovered in 1906 and it was initially known as Byards Cave. Two boys, James and Harry Byard, are believed to have originally entered the cave via its top entrance. The boys kept their discovery a secret, returning to the cave in 1910. James Byard obtained a land grant which included the cave area and its discovery became common knowledge in 1911, by which time a track had been cut to the river entrance, which is currently in use, and a heavy iron door covered the entrance.
In 1912 Marakoopa Cave was opened to the public, lit by 24 handheld carbide bicycle lamps which were carried by James, Harry and their younger siblings. In 1921 the cave was purchased from James Byard by the Tasmanian Government Tourist Bureau, but Harry stayed on as a guide for a number of years and helped with the installation of the first electric lighting system, switched on in May 1940 by the then Premier of Tasmania.
El Comisionado Rodrigo Escobar Gil, Relator de la CIDH sobre los Derechos de las Personas Privadas de Libertad, junto al Presidente de Honduras, Porfirio Lobo, en la residencia del mandatario. En dicha reunión, el Relator y el Presidente discutieron las conclusiones y recomendaciones del Informe sobre la Situación de los Derechos de las Personas Privadas de Libertad en Honduras, que fue entregado en mano al Presidente Lobo. 2 de agosto de 2013
Colonial Williamsburg is the historic district of the independent city of Williamsburg, Virginia. It consists of many of the buildings that, from 1699 to 1780, formed colonial Virginia's capital. The capital straddled the boundary of two of the original shires of Virginia, James City Shire (now James City County), and Charles River Shire (now York County). For most of the 18th century, Williamsburg was the center of government, education and culture in the Colony of Virginia.
Colonial Williamsburg is meant to be an interpretation of a Colonial American city, with exhibits including dozens of authentic or accurately-recreated colonial houses and relating to American Revolutionary War history. Prominent buildings in Colonial Williamsburg include the Raleigh Tavern, the Capitol, The Governor's Palace, and Bruton Parish Church. However, rather than simply an effort to preserve antiquity, the combination of extensive restoration and thoughtful recreation of the entire colonial town facilitates envisioning the atmosphere and understanding the ideals of 18th century American revolutionary leaders. It was here that Thomas Jefferson, Patrick Henry, James Monroe, James Madison, George Wythe, Peyton Randolph, and dozens more helped mold democracy in the Commonwealth of Virginia and the United States.
The Historic Area is located just east of the College of William and Mary, founded at Middle Plantation in 1693, just prior to the establishment of the town as capital of Virginia and its renaming. The university's historic Wren Building stands at the west end of Duke of Gloucester Street.
Colonial Williamsburg is a major source of tourism to Williamsburg, as well as a touchstone for many world leaders and heads of state, including U.S. Presidents. The United States hosted the first World Economic Conference at Colonial Williamsburg in 1983. It is the centerpiece of the surrounding Historic Triangle of Virginia area, which has become a popular tourist destination for visitors domestic and foreign. The other two points of the Historic Triangle are Jamestown and Yorktown.
Contents
Early in the 20th century, the restoration and recreation of Colonial Williamsburg, one of the largest historic restorations ever undertaken, was championed by the Reverend Dr. W.A.R. Goodwin and the patriarch of the Rockefeller family, John D. Rockefeller, Jr., along with the active participation of his wife, Abby Aldrich Rockefeller, who wanted to celebrate the patriots and the early history of the United States.
Many of the missing Colonial structures were reconstructed on their original sites during the 1930s. Other structures were restored to the best estimates of how they would have looked during the eighteenth century, with all traces of later buildings and improvements removed. Dependency structures and animals help complete the ambiance. Most buildings are open for tourists to look through, with the exception of several buildings that serve as residences for Colonial Williamsburg employees.
Notable structures include the large Capitol and the Governor's Palace, each carefully recreated and landscaped as closely as possible to original 18th century specifications, as well as Bruton Parish Church and the Raleigh Tavern.
The major goal of the Restoration was not to merely preserve or recreate the physical environment of the colonial period, but to facilitate education about the origins of the idea of America, which was conceived during many decades before the American Revolution.
In this environment, Colonial Williamsburg strives to tell the story of how diverse peoples, having different and sometimes conflicting ambitions, evolved into a society that valued liberty and equality.
this photo relates to the ‘ancient and modern’ assignment because of the relationship between the subject and what they are doing to get a view of the Colosseum. Belle uses Leah to get a better view of the inner circle of the Colosseum, an ancient place in Rome. i chose this photo because of the ‘tourist-iness’ this photo captures.
Un-inspiration creates frustration.
Wanted to do some a photo relating to me giving my sister lifts but the light fades so fast now. So thought I would take a long exposure on the motorway bridge near her work but forgot a tripod. I then tried a bokeh ball shot of the car lights on the motorway, thought it worked but saw some horrible bits of noise when on the computer screen. All this accumulated in me running out of ideas of things to shoot so did a self of me venting my frustration.
This photo actually helped calm me down because I'm happy I got a fairly good photo in the end.
Love the shadows but think the composition could be better. I chose this in the end because in the better composed/ centred ones my expression looks too fake because its not my actual venting.
Shot on self-timer with Yongnuo YN-560 flash-gun bouncing off ceiling.
Co-sponsored by Bitch Media and Museum of Contemporary Craft, this event is a two-fold investigation into conversations relating to women in the field of design, both as creators and as consumers.
First, a panel will discuss the role of women in the design industry and how a female perspective helps to define design today. Portland-based designers Julie Beeler, Kate Bingaman-Burt, Sara Huston, and architect Carrie Strickland will give voice to their experience in a male-dominated field and articulate how the gender landscape has changed since the start of their own careers. Plus, a reading on Architect Barbie: How do pink and blue toys influence gender stereotypes for future designers?
Second, a women in design pecha kucha organized in collaboration with LAWD, (the League of Awesome Women Designers), will feature work being done across the field in rapid-fire sequence.
The entire program will be moderated by Namita Gupta Wiggers.
Additional information on our panelists:
Julie Beeler: www.secondstory.com
Kate Bingaman-Burt: katebingamanburt.com
Sara Huston: www.sara-huston.com
Carrie Strickland: www.worksarchitecture.net/who.html
October 10, 2013. Photos by Micah Fischer '13.
A repository of images relate to Banana (Musa spp) shared by members of MusaNet. The album depicts images from different African, Asian and countries from the Americas where collaborative work on Banana research is done.
©CIAT
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: alliance-comms@cgiar.org
The world stereoviews seen here are from the Charles Nelson Dietz collection of 1259 images that is held by the Omaha Public Library, Omaha, Nebraska.
Established in 1872, Omaha Public Library provides unlimited opportunities for information, education, inspiration and imagination. The Omaha Public Library’s collection includes many books, original materials, maps and images relating to the history of Omaha.
Copyright statement: www.omahapubliclibrary.org/earlyomaha/copyright.html
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
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. 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
THE NATIONAL ADVOCACY AND TRAINING PROGRAMME ON HIV, TB, SRH AND HUMAN RIGHTS
After being trained by KELIN as a CHA in September and November 2017, I have been able to conduct sensitisation meetings to various groups of people on HIV and AIDS, sexual reproductive health and health-related human rights.
This community-based advocacy has brought about positive change in the community I work in based on the way people relate to people living with HIV. It has reduced the level of stigmatisation and has done away with myths on HIV and AIDS.
Working with like-minded organisations both county-based and NGOs has been the best experience. This is because this approach has brought more ideas on board. The continuous sensitisation between these periods has resulted in positive behaviour change within the communities. For example, cases of sexual abuse are no longer rampant in my area. Women have become confident in seeking family planning services at health care facilities. This shows they have done away with myths about family planning methods.
My continuous sensitisation on HIV prevention, care and treatment has seen increased the number of people visiting health care facilities for HIV testing, referrals and further management.
My involvement and linkages with the area Community Health Volunteers (CHVs) in my work has made my work easy since the CHVs are knowledgeable of the issues I address. Entry into the community with them has been easier because they are already known in their respective communities. This has enhanced synergy in my work with them.
The county dialogue forum organised by KELIN in February 2018, which brought together different partners, was the best activity. At least it allowed participants to interact widely with various categories of people. Though these networks, I have been invited to several meetings to sensitise people on health rights and more so to talk about the need to embrace the key populations in promoting and protecting their human rights, health, personal dignity and privacy without discrimination.
Just after the county dialogue forum held by KELIN in Migori County in February 2018, I received several invitations from different organisations to sensitise people on SRH, TB and HIV.
This also includes an invitation from an SDA church pastor who invited me to speak to the church congregation after the service. I also received an invitation from the area Chief to speak during the chief’s weekly community baraza (council) scheduled every Tuesday and Friday. I used the same platforms to even distribute condoms.
Community advocacy has strengthened my network with organisations like LVCT Health, NYARAMI VCT, University of Maryland, Migori County Referral Hospital and other NGOs operating in the area.
KELIN in partnership with the Kenya Sex Workers Alliance (KESWA) and Lwala Community Alliance with financial and technical support from ARASA launched the Kenya National HIV, TB and Human Rights Training and Advocacy Country Programme. This programme was implemented in five counties of Nairobi, Mombasa, Kisumu, Homa Bay and Migori, through the Community Health Volunteers otherwise referred to as Community Health Advocates (CHAs). The five counties were selected due to the high prevalence rates of HIV, TB and human rights violations concerning key populations (sex workers, men who have sex with men and injecting drug users).
The programme undertook to realise the following objectives. To enhance the capacity of CSOs, CBOs and communities to advocate and create demand for HIV, TB and SRH services in five Kenyan counties by March 2019; advocate for an enabling legal environment through a review of laws, policies and practices that act as barriers to access to HIV, TB and SRH services in Kenya by March 2019; facilitate access to justice in respect of human rights violations affecting persons living with and those affected by HIV and TB in Kenya by March 2019; and strengthen networks of CSOs, CBOs and communities that will hold duty bearers accountable in the provision of HIV, TB and SRH services in Kenya by March 2019.
Clare is among the 30 Community Health Advocates (CHAs) from the five counties recruited and taken through the basic and advanced training by KELIN and the partners. After the training in September 2017, the CHAs were commissioned and tasked to raise awareness on HIV and TB rights, increase treatment literacy, and demand for quality health care services among the community members within their counties. Being natives of their communities, the CHAs understood the social dynamics of their localities. This enabled them to provide objective counselling and education that helped to shape the opinions of the community with limited resistance and contributed to the strengthening of community health facility linkages. They also provide facts to demystify myths and misconceptions associated with HIV, TB, SRH and issues of key populations.
Through these efforts, stigma and discrimination and other forms of human rights violations of persons living with HIV, TB and other vulnerable populations have significantly reduced. The CHAs have also been instrumental in advocating for strengthened linkages between communities and health services on HIV and TB testing, care and treatment as well as sexual reproductive health. They hold regular feedback meetings and conduct community outreaches by leveraging on existing community platforms including chief’s barazas (councils), community dialogue forums, social gatherings, seminars/workshops, trainings and in health facilities. These outreaches target the duty bearers, community members in general but with more attention to persons living with and affected by HIV and TB, key populations, Civil Society Organizations (CSOs), Community Based Organizations (CBOs) and the media
A repository of images relate to Banana (Musa spp) shared by members of MusaNet. The album depicts images from different African, Asian and countries from the Americas where collaborative work on Banana research is done.
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From one of the mosaics installed on columns of the Allmendinger Park pavillion. Per a plaque on the building, this would be one of the student portraits contributed by Slauson middle schoolers in 2012.
Tracy Tran @tracytran shares a tip on recruiting Millennials.
T2: Talent Tomorrow
SHRM 2012 Talent Management Conference & Exposition in Washington D.C.
For more recruiting tips, visit the Security Clearance Jobs Resource Center:
This picture is #311 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Finally, the last in the series of six Strangers. One week after meeting, and photographing Lori, I revisited the location to see if the police dept. again had a booth and if Lori was there. Well, yes and no. The booth was in exactly the same spot, but Alfreda was 'manning' the booth, and the topic was accreditation for the department. Since 2002, the department has been accredited by the Commission for Florida Law Enforcement Accreditation, Inc. Alfreda was making the public aware that the department was again seeking accreditation and was keeping up with current standards. Many people (like me) are unaware that police departments, like schools, can be accredited.
So when I introduced myself to Alfreda, she was quite interested in 100 Strangers, and the interaction with new people. She took my MOO card and vowed to check out the site. She smiled throughout the session, and said that she is the smiling police officer. She said, “people like to be arrested by me because I smile so much (laugh).” Actually, she left the force four years ago and was just helping out for the weekend.
She left the force to study in Asbury Theological Seminary, in Orlando. Having spent time on the streets with the police department, she feels that religion is needed there, as opposed to organized churches. She and I agreed that meeting strangers and forming a quick bond is somewhat spiritual in itself. I have a cousin who studied in an Orlando seminary, so I assumed that it was the same one. Not so, as there is also the Reformed Theological Seminary in Orlando. One of my cousin's instructors wrote a book, “Leaving Egypt.” As a councilor, the author relates clients difficulties in leaving bad situations to metaphors in the Book of Exodus. www.amazon.com/Leaving-Egypt-Finding-Wilderness-Places/dp...
I found the book on my cell phone, and Alfreda wrote down the specifics. She said, “See? This is a good day. Meet new people, learn about an interesting project, and about a new book, all at one time.” She strongly feels that all encounters are for a purpose, not just chance. I just get the feeling that Alfreda and I will cross paths again, somewhere.
Thank you, Alfreda, for allowing me to photograph you for the 100 strangers Flickr group.
Olympus OM-D E-M5
Zuiko 45mm f1.8 @ f2.2
1/640 sec.
ISO 200
In optics, particularly as it relates to film and photography, the depth of field (DOF) is the portion of a scene that appears acceptably sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on each side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.
In some cases, it may be desirable to have the entire image sharp, and a large DOF is appropriate. In other cases, a small DOF may be more effective, emphasizing the subject while de-emphasizing the foreground and background. In cinematography, a large DOF is often called deep focus, and a small DOF is often called shallow focus.
The DOF is determined by the camera-to-subject distance, the lens focal length, the lens f-number, and the format size or circle of confusion criterion.
For a given format size, at moderate subject distances, DOF is approximately determined by the subject magnification and the lens f-number. For a given f-number, increasing the magnification, either by moving closer to the subject or using a lens of greater focal length, decreases the DOF; decreasing magnification increases DOF. For a given subject magnification, increasing the f-number (decreasing the aperture diameter) increases the DOF; decreasing f-number decreases DOF.
When the “same picture” is taken in two different format sizes from the same distance at the same f-number with lenses that give the same angle of view, and the final images (e.g., in prints, or on a projection screen or electronic display) are the same size, the smaller format has greater DOF.
Many small-format digital SLR camera systems allow using many of the same lenses on both full-frame and “cropped format” cameras. If the subject distance is adjusted to provide the same field of view at the subject, at the same f-number and final-image size, the smaller format has greater DOF, as with the “same picture” comparison above. If pictures are taken from the same distance using the same f-number, and the final images are the same size, the smaller format has less DOF. If pictures taken from the same subject distance are given the same enlargement, both final images will have the same DOF. The final images will, of course, have different sizes.
Cropping an image and enlarging to the same size final image as an uncropped image taken under the same conditions is equivalent to using a smaller format under the same conditions, so the cropped image has less DOF.
When focus is set to the hyperfocal distance, the DOF extends from half the hyperfocal distance to infinity, and the DOF is the largest possible for a given f-number.
The advent of digital technology in photography has provided additional means of controlling the extent of image sharpness; some methods allow extended DOF that would be impossible with traditional techniques, and some allow the DOF to be determined after the image is made.
A repository of images relate to Banana (Musa spp) shared by members of MusaNet. The album depicts images from different African, Asian and countries from the Americas where collaborative work on Banana research is done.
©CIAT
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: alliance-comms@cgiar.org
Correspondence with the Chief Mechanical Engineer, Royal Arsenal, Woolwich, and various military establishments, relating mainly to the supply of lead piping and flanges.
Dated 21st May 1940
Cheshire Archives and Local Studies ZCR 245/19
A second photo album relating to the Valdes Scott Family. The first album can be viewed here www.flickr.com/photos/runninginsuffolk/albums/72157665423... This album also turned up at a car boot sale but a year later than the other in 2017. Seems to date from 1951 and the birth of Roselle in Chile.
Interesting article relating to a failed planning application for this site ( www.thisisbradford.co.uk/bradford__district/archive/2001/... ):
First published on Thursday 12 July 2001:
Planners reject the renovation of 17th century former Cromwell stopover
PLANS to renovate an historic farm where Oliver Cromwell once stayed overnight in the 17th century have been rejected.
Proposals would have seen Low Hall Farm in Low Hall Road, Horsforth converted into three houses and offices. Councillors welcomed the restoration of the farm house, but said that building an extra 11 houses elsewhere on the site, which is in the Green Belt, were unacceptable.
Councillor Brian Cleasby (Lib Dem, Horsforth) said: "We are certainly not unhappy with changing the use and restoring the existing building but we have difficulty with the new buildings. There is enough profit for the developer in the existing properties without adding more houses. There are no exceptional circumstances to warrant this." Coun Clive Fox (Con, Otley and Wharfedale) agreed and added: "This development is over the top."
A repository of images relate to Banana (Musa spp) shared by members of MusaNet. The album depicts images from different African, Asian and countries from the Americas where collaborative work on Banana research is done.
©CIAT
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: alliance-comms@cgiar.org
The description and specifications relate to the Pitts Special as this is an identical aircraft to the S1 and S2S.
The Pitts Special is a light aerobatic biplane designed by Curtis Pitts. It has accumulated many competition wins since its first flight in 1944. The Pitts Special dominated world aerobatic competition in the 1960s and 1970s and, even today, remains a potent competition aircraft and is a favourite for many an aerobatic pilot.
General characteristics
•Crew: Two
•Length: 18 ft 9 in (5.71 m)
•Wingspan: 20 ft 0 in (6.10 m)
•Height: 6 ft 7⅓ in (2.02 m)
•Wing area: 125 ft² (11.6 m²)
•Empty weight: 1,150 lb (521 kg)
•Max takeoff weight: 1,625 lb (737 kg)
•Powerplant: 1× Textron Lycoming AEIO-540-D4A5 flat-six air cooled piston engine, 260 hp (194 kW)
Performance
•Never exceed speed: 182 knots (210 mph, 338 km/h)
•Cruise speed: 152 knots (175 mph, 282 km/h) (max cruise)
•Stall speed: 52 knots (60 mph, 97 km/h)
•Range: 277 NM (319 mi, 513 km)
•Service ceiling: 21,000 ft (6,400 m)
•Rate of climb: 2,700 ft/min (13.7 m/s)
•Wing loading: 13.0 lb/ft² (63.6 kg/m²)
•Power/mass: 0.16 hp/lb (0.26 kW/kg)
Text and specifications based on Wikipedia article under the Creative Commons License for non-profit use.
The performance relates the shorter version of the epic Ramayana Saga with dancers playing as Rama, Shinta (Sita), Lakshmana, Rahwana (Ravana), Hanoman (Hanuman), Sugriwa (Sugriva), and other characters. The storyline starts when Prince Rama wanders into the woods with his wife Shinta and brother Lakshmana. There, the giant Rahwana kidnaps Shinta and holds her in his palace. Rama then seeks help and sends Lakhsmana to find his friend Sugriwa, the King of the Monkey Kingdom. Sugriwa sends his commander the white monkey, by the name of Hanoman, to check on Shinta in Rahwana’s Palace.
A dramatic scene is portrayed when Hanoman is captured by Rahwana’s troops and put inside a circle of fire to burn him alive. Instead of burning to crisp, the white monkey warrior remains unharmed and breaks out only to burn Rahwana’s palace instead. Thus, began the battle between the two forces.
At first, Rahwana and his troops manage to overrun Rama. However, Sugriwa and Hanoman then come to Rama’s aid along with the rest of the monkey troops, defeat the evil king once and for all
Taken @Bali, Indonesia
Track and Field archives
The National Athletics Archive is held at the Cadbury Research Library, University of Birmingham, and comprises an extensive volume of archival materials. These papers primarily relate to the history and development of athletics in the United Kingdom throughout the 1800s and 1900s. In addition to organisational collections, such as the papers of the Amateur Athletics Association, the National Athletics Archive includes various discrete collections of individual athletes. These include papers relating to Sydney Wooderson MBE, 1914-2006. Wooderson was an English athlete who was dubbed ‘The Mighty Atom’. His athletics career peaked in the 1930s and 1940s and he set the world mile record of 04:06:40 at London’s Motspur Park on 28 August 1937. This record stood for nearly five years.
The collection also includes ephemeral and grey literature relating to various athletics clubs, meetings and events. Papers relating to major athletics championships include material generated during the 1958 British Empire and Commonwealth Games held in Cardiff. These Games introduced the ‘Queen’s Baton Relay’ which has been conducted as a prelude to every British Empire and Commonwealth Games since.
Programmes and manuscript results compiled by the athlete and coach, Dennis Cullum, 1913-1985.
Reference: ATH/DC/2/1
Photo credit: UNDP Bangladesh
Relates to the UNDp-supported GEF-LDCF-funded ICBA-AR Project www.bd.undp.org/content/bangladesh/en/home/projects/integ...