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This is a photograph from the first running of the Trim AC Bewley's 10 Mile Road Race which was held on Sunday 1st February 2015 at 12:00 in Trim, Co. Meath, Ireland. This race also incorporated the 2015 Meath 10 Mile Road Championships. For the first staging of this event this was an incredible success with almost 800 runners, joggers and walkers talking to the start line. The weather was perfect for running despite the bitter cold temperatures with air temperature of 4C recorded at the start. Some beautiful Spring sunshine helped brighten the day and the roads were clear and dry for racing.
Want to use this photograph or share it? Please read/scroll down a little further to find out how - it's very easy!
The race started on the Trim Athboy Road (the R154) and headed towards the town before making a left turn onto the Trim Dunderry road. The one mile mark comes just after a Y-junction which the race joins back to before the final 600 meters to the finish. Heading north to Dunderry the route takes a left in the middle of the village and heads west for 2 miles on the Dunderry Athboy road. At the next major junction the race takes another left turning south towards Trim town again. One of the only significant hills/drags of the course happens at around the 6.5 mile marker. Miles 7 - 9 are ran on winding roads with nice hedgerows and shelter from any breeze. During these miles you will begin to see the spire of Trim church in the distance. At the Y-Junction from mile one you have 600 meters to go with a final right turn into the industrial estate and the finish line.
The success of today's race is not an accident. Trim AC, and their army of volunteers and help from other Meath athletic clubs, put in huge work to make this race a success.
Today's race adds significantly to Trim AC's reputation for top quality organisation of race events. The 10 mile road race today follows on from the Braveheart 5KM Trail Race which is held annually in June around the beautiful and historical fields of Porchfields and Trim Castle. Today's race could be the begining of one of the region's largest and most popular 10 mile road races.
Are there more photographs from this race? This photograph is part of a larger set of photographs from the Trim AC 10 Mile Road Race 2015. They are available on our Flickr photostream in the album set here www.flickr.com/photos/peterm7/sets/72157650166189770
Trim 10 Mile 2015 Event Page on Facebook: www.facebook.com/events/1519629891656513/?fref=ts (may require Facebook logon)
Trim Athletic Club on Twitter twitter.com/trimathletic
Trim Athletic Club Internet Homepage www.trimac.ie/
GPS Trace of the 10 Mile Route 2015 www.mapmyrun.com/routes/fullscreen/590734250/
Boards.ie Athletics Forum Discussion Thread: www.boards.ie/vbulletin/showthread.php?t=2057321634
Precision Timing Results from the Trim 10 Mile 2015: www.precisiontiming.net/result.aspx?v=2381
Sponsors: Bewley's 1840: bewleys.com/
Read about Bewley's company on Wikipedia: en.wikipedia.org/wiki/Bewley%27s
Trim Athletic Club on Facebook: www.facebook.com/trimathleticclub?fref=ts (may require Facebook logon)
Google Streetview - St. Loman's Hall Registration and Refreshments www.google.ie/maps/place/St+Loman%27s+St,+Trim,+Co.+Meath...
Our photographs from the Trim AC Braveheart 5KM 2014 www.flickr.com/photos/peterm7/sets/72157645195984413/
USING OUR PHOTOGRAPHS - A QUICK GUIDE
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Remove idler #2. (not shown but very simple)
Then remove the water pump fasteners...(5 bolts, 2 studs, 1 nut, shown circled in red).
This video shows the removal of a 3D printed propeller from the build plate of a MakerBot Replicator 2X 3D printer and removal of support structures.
The 3D printer: makerbot.creativetools.se
The 3D model: www.thingiverse.com/thing:30284
The YCC Crew was able to do a three day spike camp at Ouray National Wildlife Refuge. While there the team helped to remove invasive plants. Seasonal Rob, taught the crew how to remove and prevent both salt cedar, and russian olive from coming back.
Photo Credit: USFWS
I admit that lately I haven't been very good about updating Flickr - but that will change soon! I have been working hard on this project, which is admittedly a little out of character. It is a digital medium format "scanner" camera, producing 1024 x 768 (0.8 MP) images. More details on the project page, here:
hackaday.io/project/12058-spud-a-self-contained-scanner-c...
I also removed the two upper screws, and popped the upper dash/vent panel up. Turns out I didn't really need to do this, but it did make it easier to snake the aux cable down to the ashtray compartment.
3/8" drive-17mm socket, used with an extension and a ratchet wrench.
There is only a fill plug and no drain plug.
The plug is difficult to see, it is easier found by touch.
Fill through the hole using either a small hand pump or a large irrigation syringe .
Fill with transmission fluid unit oil dribbles out.
The brake only holds a few ounces of oil so check it regularly.
If it runs out of oil and seizes, the brake can destroy the rear of the transmission, costing up to $8000 to repair.
It's worth checking occasionally.
When checking, the oil level should be right at or within a 1/2" below the level of the fill hole, checking using your finger..
Any lower level than that should be topped off.
This check is done by touch, you cannot see the oil level.
How do you remove a concrete bridge deck? One big chunk at a time. On the southbound I-5 Stillaguamish River Bridge, a concrete saw was used to cut old 8½-inch thick deck into roughly six-foot by eight-foot pieces weighing 4½ tons each, which then were lifted out with a track hoe and removed. The new bridge deck reopened in November 2014.
YCC crew members Noah S. and Cameron L. helped to remove overgrown weeds from around the hunt blind area.
Photo Credit: BRMBR YCC
Deboxing my It's a Small World England doll. The seals are broken, and the doll is removed from the box, still attached to the tray like cardboard backing.
I bought 3 of the 7 It's a Small World dolls in my local Disney Store on their release day, October 1, 2013. They were the European dolls: England, France and Holland. They are dressed in traditional outfits, have rooted hair, and they have the Animators' dolls bodies. They all sing ''It's a Small World,'' in two languages, English and their own, when you press a large button on their belly. I will photograph them boxed, during deboxing, and fully deboxed.
England 16'' Doll - It's a Small World
Disney Animators' Collection
US Disney Store Product Page
Released online and in stores: October 1, 2013
Product information:
''It's a Small World'' England Doll - 16''
$29.95 US
Item No. 6070040900929P
''Hello!''
A smile means friendship for everyone when sharing our Disney Animators' Collection ''It's a Small World'' Dolls. Our lively English lad in finely detailed traditional folk costume also sings in his native language!
Magic in the details...
Celebrate a world of laughter and hope with a new collection of dolls inspired by Walt Disney's classic Fantasyland attraction and one of the best-known Disney tunes of all time, ''It's a Small World,'' composed by Richard M. and Robert B. Sherman (Mary Poppins).
Drawing from designs and illustrations by the legendary Disney Studios artist and Imagineer Mary Blair, each doll is dressed in traditional folk costume and sings in their native language. Songs were recorded by children from around the world for authenticity. Collect them all to love and share!
• Authentic, highly detailed costume inspired by the English ''Beefeater''
• Red twill tunic with golden trim and sheer ruffled collar
• Black leggings with golden garter and molded shoes
• Golden medallion with ribbon
• Hat with molded stars
• Black and gold staff with golden glitter detailing
• Rooted hair and eyelashes
• Press tummy to hear the doll sing ''It's a Small World'' in English
• Includes an On/Off switch located on the doll's left side
• Comes in collector's display box
• Look for all our Disney Animators' Collection ''It's a Small World'' Dolls, each sold separately
The bare necessities
• Ages 3+
• Requires 3 x LR44/AG13 button cell batteries, included
• Plastic / polyester
• 16'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
GB Railfreight's class 66/7 (JT42CWR) number 66724 . Here it is photographed hauling empty gypsum containers mounted on flat wagons from Mountfield Sidings (GBRf) East Sussex to Doncaster Down Decoy (4E19) on 18 March 2015. To comply with gas emission regulations limestone (CaCO3) delivered to the power station (by other trains) is used to remove sulfur dioxide (SO2) from the flue gasses, by converting it into gypsum (CaSO4·2H2O). The waste product (gypsum) is then delivered to British Gypsum's Robertsbridge Works by train where it is used to manufacture plaster and plasterboard.
According to Realtime Trains the route and timings were;
Mountfield Sidings [XMX]....1130..........................1116...........................14E
Mountfield Tunnel.................1132..........................1118...........................14E
Robertsbridge [RBR].............1134 1/2....................1124 1/2....................10E
Wadhurst [WAD]....................1147...........................1135...........................11E
Tunbridge Wells [TBW] 1.....1156/1158.................1154/1156 1/2.............1E
Tonbridge [TON] UF.............1215..........................1209 1/2....................5E
Sevenoaks [SEV] 1.................1225.........................1219 3/4.....................5E
Chelsfield [CLD].....................1231 1/2....................1225...........................6E
Orpington [ORP] 2.................1233.........................1226 1/2....................6E
Petts Wood Junction............1234 1/2...................1230 3/4....................3E
Bickley Junction[XLY]..........1252.........................1248 1/2.....................3E
Bromley South [BMS]...........1257.........................1252 1/2....................4E
Shortlands [SRT]....................1300.........................1254 3/4....................5E
Shortlands Junction..............1301..........................1255 1/2....................5E
Bellingham [BGM].................1304 1/2...................1257 1/2.....................6E
Nunhead [NHD] 1...................1308.........................1303 3/4....................4E
Peckham Rye [PMR] 3..........1309 1/2...................1305...........................4E
Crofton Road Junction.........1310 1/2....................1309 1/4......................1E
Denmark Hill [DMK] 1............1311 1/2.....................1309 1/2....................2E
Voltaire Road Junction........1317...........................1315............................2E
Clapham Junction [CLJ] 5...1330 1/2...................1330 1/2....................RT
Wandsworth Town 2............1332 1/2...................1333 1/4......................1L
Putney [PUT] 4.......................1335.........................1336 1/2......................1L
Barnes [BNS] 4.......................1337 1/2...................1339 3/4....................2L
Barnes Bridge [BNI] 2...........1339 1/2...................1341 1/2......................2L
Chiswick [CHK] 2...................1342.........................1343 1/4......................1L
New Kew Junction................1344 1/2...................1345 1/2......................1L
Kew East Junction................1347 1/2...................1346 1/2....................RT
Acton Central [ACC].............1355.........................1354 3/4...................RT
Acton Wells Junction...........1357 1/2...................1356 3/4...................RT
Willesden Junction 4............1359 1/2...................1359............................1E
Kensal Green Junction........1403 1/2...................1401 1/2.......................1E
Brondesbury Park [BSP] 1....1407..........................1404 1/4.....................2E
West Hampstead 2...............1409 1/2...................1407...........................2E
Hampstead Heath 2.............1413...........................1411 1/4........................1E
Gospel Oak [GPO].................1415..........................1413 1/4.......................1E
Alexandra Palace [AAP] 3...1443 1/2...................1440 1/2.....................2E
New Southgate [NSG] 4......1446.........................1444 1/2......................1E
Oakleigh Park [OKL] 4..........1450.........................1448 1/2......................1E
New Barnet [NBA] 4..............1451 1/2....................1450 1/4....................RT
Hadley Wood [HDW] 4.........1454.........................1453 1/2....................RT
Potters Bar [PBR] 4................1458.........................1458 1/4....................RT
Brookmans Park [BPK] 4......1501..........................1501...........................RT
Welham Green [WMG] 2......1503.........................1503 1/4....................RT
Hatfield [HAT] 3.....................1507.........................1507..........................RT
Welwyn Garden City 3.........1511 1/2.....................1510 1/2....................RT
Digswell Junction..................1513 1/2/1525..........NoRep/1525...........RT
Welwyn North [WLW] 2........1526 1/2...................1526 3/4...................RT
Woolmer Green Junction....1529.........................1529..........................RT
Knebworth [KBW] 4...............1530.........................1530 1/2...................RT
Stevenage [SVG] 4................1532 1/2...................1532 3/4...................RT
Hitchin [HIT] 2........................1540 1/2...................1537 3/4....................2E
Arlesey [ARL] 2......................1544 1/2...................1544 3/4...................RT
Biggleswade [BIW] 4............1548.........................1548 1/2....................RT
Sandy [SDY] 2........................1550 1/2...................1550 1/2...................RT
St Neots [SNO] 1....................1556 1/2...................1557..........................RT
Huntingdon [HUN] 3.............1602 1/2...................1603..........................RT
Holme Junction [XHO].........1611 1/2.....................1611 1/4......................RT
Fletton Junction.....................1617 1/2....................1617...........................RT
Peterborough [PBO] 4.........1620 1/2/1632 1/2..1621 1/4/1629 3/4....2E
Helpston Junction.................1640.........................1639 1/4....................RT
Tallington Junction...............1644 1/2...................1644 1/2....................RT
Stoke Junction.......................1702/1710................NoRep/1704 1/4......5E
Grantham [GRA] 2.................1716 1/2....................1711.............................5E
Claypole Loop........................1725.........................1724 1/4....................RT
Newark North Gate 3...........1730/1734 1/2.........1735/NoRep.............5L
Newark Crossing East Jn....1737..........................1738 3/4.....................1L
Gainsborough Lea Road ....1819..........................1818 1/2.....................RT
Gainsborough Trent Jn........1827 1/2...................1820...........................7E
Bessacarr Junction...............1849 1/2...................1837 3/4...................11E
Doncaster Down Decoy......1854.........................1845...........................9E
After removing 3 pop rivets the motherboard tray slides out easily. I like how open the case looks now!
Tim Frank, historian, History Office; holds a directory of Washington D.C. in the Memorial Amphitheater Lower Chapel at Arlington National Cemetery, Arlington, Virginia, April 9, 2020. The directory was removed from the Memorial Amphitheater memorabilia box, which was placed in the cornerstone of the Memorial Amphitheater over a century ago. (U.S. Army photo by Elizabeth Fraser / Arlington National Cemetery / released)
These projects will restore connections of streams to regional river systems, enhance fish passage and reduce the risk of flooding and dam failure during future storm events. Two dams will be removed and one fishway will be repaired or replaced on the Pawcatuck River in Rhode Island and Connecticut. One dam will be removed from the Mattatuxet River in North Kingstown, Rhode Island where 0.5 mile of stream access will be restored and a new natural riparian area will be created in a former water impoundment. This will benefit river herring and American eel.
More project details: www.fws.gov/hurricane/sandy/projects/CTRIDamRemoval.html
Photo credit: Lia McLaughlin/USFWS
Like us on Facebook: facebook.com/usfwsnortheast
Follow us on Twitter: twitter.com/usfwsnortheast
Cover removed.
Open the ZIF connector for the E-Ink screen (be careful, it's quite fragile) and detach the cable. After removing the last screw you can take out the board.
Verne Harper, fifth-generation grandson of Hereditary Chief Mistawasis (Big Child) removed his hat and bowed his head on this solemn occasion of prayer and purification.
en.m.wikipedia.org/wiki/Vern_Harper
By JOE FIORITO Columnist. Fri., Oct. 25, 2013
Vern Harper is an aboriginal urban elder; for the past ten years or so, he has worked at the Centre for Addiction and Mental Health, helping native people who suffer from alcohol or drug addictions. But Vern hasn’t worked at CAMH for months.
He said, “They told me they were sailing in a different direction.” When I called, a spokesperson for CAMH said Vern is still on staff as a casual employee, and they have taken on two other elders and are offering additional services, based on client feedback.
That may be, but Vern hasn’t worked since April; sounds to me like he’s been dumped and that’s between him and them.
He said, “They told me they were sailing in a different direction.” When I called, a spokesperson for CAMH said Vern is still on staff as a casual employee, and they have taken on two other elders and are offering additional services, based on client feedback.
That may be, but Vern hasn’t worked since April; sounds to me like he’s been dumped and that’s between him and them.
But I was curious to know why Vern was doing that sort of work in the first place. He said, “I was deprived of my culture, growing up. I want to keep our men and women out of prison and to work with our youth so they don’t go into prison.”
In essence, he has been trying to counter the cultural isolation many native people feel. How? In addition to working with people at CAMH he said, “I have a sweat lodge in Guelph. I’m an unusual lodge keeper; there are lodges for women, and lodges for men; mine is for families.”
That’s both modern, and apt; periodically, he would bring people to his lodge as a way of reintroducing them to their culture.
The purpose of the sweat lodge? “You sweat the poison out of your body. You purge spiritually, mentally and physically.” I have never been to a sweat.
He said, “I sit in the eastern door, facing west. My wife is on the left; the women sit on that side. On this side, the men; the boys sit with the men.”
Why do the boys sit with the men? “Because that’s what they’re going to be.” Why sit in a circle? “Because no one’s in front and no one is in back. That’s the beauty of the circle — no one above, no one below. When people step into the circle, they’re all equal.”
And then? “We do smudging, to purify. The most important medicine we have is tobacco, natural tobacco; we also use sage, cedar and sweetgrass.”
Some refer to the experience of the sweat lodge as “Burn With Vern.” It is powerful, by all accounts, especially for those who have problems with substance abuse and who suffer the effects of cultural oppression.
Vern said, “The sweat lodge is on some Jesuit property. I have a relationship with the Jesuits — I leave them alone, they leave me alone. I’ve been down in the bush 30 years, running my lodge.”
You might like to know that the rocks heated for use in the lodge are called grandfathers; the rocks must be carefully chosen so that they don’t split or crack or explode.
Vern said, “The quarries, when they found out we were willing to pay for the grandfathers ...” The going rate for a grandfather is $350.
I can’t quite figure out why CAMH isn’t letting its aboriginal clients burn with Vern any more, but I can tell you that he has more back-story than most people, and it’s easy to see that his life experience has given him a certain credibility.
He was born in Regent Park; according to the records he was born in 1936, but his aunties said he was born in 1932. When he was a boy, he was taken from his family and raised in foster care. He was told his family did not want him; that was a brutal lie.
His experience in foster care was gothic in its horror and the scars are still painful to him; it is a miracle that he remains both wise and gentle.
It was not always so.
When he left foster care, he enlisted and fought in Korea. He also became a professional boxer. He said, “If you could get past me, you could go somewhere. The bell would ring and I’d come out in a hurry. They called me Hurricane Harper. I separated the men from the boys.”
I could see the effects of boxing on his hands, but his nose is perfectly straight. He smiled and said he had good doctors.
All along, he struggled with his demons, and he flirted with radical politics. At one point in his life, Vern considered seeking asylum in another country but, at the last minute, it occurred to him that the real battle was here at home.
“They say I’m an activist. No. I’m a dissident. The thing with dissidents is to build.”
What will he do, now that he is no longer serving at CAMH? He said, “One door closes and another opens. I just got one day a week at NaMeRes.”
Beyond this, he is unsure.
I burn for Vern.
Joe Fiorito appears Monday, Wednesday and Friday. jfiorito@thestar.ca
Story and photos by Danny Beaton | www.dannybeaton.ca
VernHarper
A sweat lodge ceremony was the reason for my very first visit to Guelph around 1988. The skins in Toronto suggested that I contact Vern Harper, a Cree ceremonial elder way back, when I was looking for my culture and healing. When I look back in my mind, someone said, “Catch a Greyhound to Woolwich and Woodlawn. There is a Canadian Tire store near the corner—you cant miss it—then walk up the hill, then down, and you will see a house with a barn with horses; that is where elder Vern Harpers camp is.”
Twenty years have gone by or more since we gathered at Vern’s camp. I remember his wife Geraldine, his daughter Cody, and Lionel Whitebird who I ran into at a protest in Toronto when our people occupied Revenue Canada. Lionel had aids; he was wrapped in a colorful Indian blanket; he had lost over 100 pounds, but he came to support our struggle and show solidarity for our Native rights and culture. Lionel died not long after, but I can say he worked with Vern for many years in the prison system to help our Native brothers who were incarcerated, as many of our people are. Lionel’s wife Wanda still continues the work for our people and culture, healing and helping. Wanda was a great person, and they had a son, as far as I remember.
Thinking back to our first sweat lodge ceremony. I remember I was told by someone to bring a pouch of tobacco as an offering to Vern for his role in leading our ceremony. Bring a towel, shorts, a bottle of water, and the bag of tobacco.
My memory of Vern’s camp and sweat lodge are strong, and what happened before the ceremony was sacred, and everything before and after the sweat was sacred. Vern had several helpers who sometimes would ask us to help to gather wood or stones or to go to the stream to bring back water. At times, someone would show up with a truckload of wood or stones, which Vern taught us were grandfathers. The grandfathers had to be heated up in a sacred fire to be brought into the lodge later, and this would take hours and prayers. We would stand around the sacred fire burning on the rocks, and we were taught to honor the fire and grandfathers by putting tobacco sage or cedar into the fire with our prayers. This part of the ceremony become very important for me, as I grew up with this teaching and today I have the highest respect and love for the stones, the grandfathers, and the sacred fire. Vern taught us all that the fire and grandfathers had to be respected and honored in the Indian way of life, and that this is how he was taught by his elders—one whom I remember was Crow Dog, an elder from South Dakota.
Vern was like a grandfather, too. We were in our thirties (some of us were older, some of our group were mothers and fathers) being brought back to our culture with the help of our Native Cultural Center in Toronto or by word of mouth about this sacred place we were all at. We were like a healing family now, all of us talking about our past before arriving, our past abuse and the abuse to ourselves through alcohol, drugs, and violence. There was domestic violence growing up and the pain that never went away. We all were healing just being on the land, being out of Toronto, being near like-minded people—as many say now, we were attracted to each other in a healing way, a healing way of life.
Our first visit to Vern’s camp became a healing journey which none of us can ever forget. I kept going for several years and learned so much from Vern. There are not enough words of gratitude, thanks, and blessings I and anyone who has attended “Grandfather Vern Harper’s Purification Ceremony” as Vern sometimes called it. Vern said we were coming out clean; sometimes he would say we were reborn after the purification, and the sweat was for honoring our ancestors and the spirit world and Creation. But most of all, the sweat was a purification ceremony. We were taught how to see in a sacred way, how to walk in a sacred way. We learned to give thanks to the forces that gave us life. The ones who attended Vern’s camp were healing big, and we all were happy on the land with Mother Earth and learning to humble ourselves with thanks. Many of us became life long friends.
I remember Fernando Hernandez. He had come from Southern Mexico or El Salvador, and he had a wife Monique Mohicia. They had joined the ceremony to heal and give thanks with us. Sometimes as we all gathered up and we were waiting for late arrivals, we would sit and talk, or we would stand by the fire and make offerings until it was time to go inside the lodge. This process was a powerful healing in itself: just waiting. Vern said we were entering Mother Earth’s Womb. We all shared stories of intense discovery and pain while healing with the heat coming from the fire heating the stones. We talked about being clean for the first time because for many of us this was our first sweat lodge. We were learning to live a clean life, learning to think clean, we were cleaning our minds bodies, and spirits. Later I heard Fernando had become a famous actor and he starred in Mel Gibson’s film Apocalypto.
Many years have gone by since our first sweat. We have recovered as we all learned after the healing; we were all very wounded people at one time, maybe when we were younger. Vern always said our sweats were “four direction sweats” or “four colored” because all races of people were allowed in his lodge. Here in Toronto, these days Vern has become a great leader. As far as I know, he is the Spiritual Leader of Toronto simply because he will pray for all people, his own people, and helps anyone who needs healing or to purify themselves. Vern is recognized for his relentless work in the prison system, giving his good energy wherever he can for his people and all people. Vern’s camp is still in Guelph, and he maintains the Sacred Sweat Lodge Ceremony. Vern said he has lived 83 winters now.
I have learned over the years that all the cities and reservations across Ontario have camps like Vern’s, and all the provinces across Canada and all across North America. We have spiritual camps and elders in the prison system, public schools and universities, and suburbs where urban and traditional Native elders share our sacred culture and teachings to people who want to heal, learn, and purify. Our healing and the healing of Mother Earth must work together because Mother Earth gives us so much—in fact, Mother Earth gives us everything we as humans need to survive.
Many of our group have become urban elders ourselves because we continue the way of life our elders have taught us; this way of life was passed onto our elders by their elders, so it is now many winters, and we continue to give thanks to the natural world, the universe, the cosmos the way we were instructed. Thank you all for listening.
Vern speaks out from the Book of Elders
Courtesy of Sandy Johnson
A hundred years before the Europeans came, a Cree prophecy said a time would come when Rainbow People and the People of Color would appear and be like children. The prophecy talked about how the people would be very innocent and childlike, and that would be one of the signs for the great changes to come. This would be known as the Seventh Fire, I’ve talked to many of my uncles and aunts, and we believe the hippie movement was part of the prophecy. Maybe that’s why a lot of Indians identified with the hippie movement in the sixties.
Everyone has a responsibility to find out what they’re here for. There’s only one way you can do that: with a sober mind, through mediation and ceremony. There’s no other way that I’ve found, and it’s taken me four decades to find this out. Traditionally, Cree men were not allowed to do community work or speak on behalf of anyone until we were over fifty because up until that point our teachings instructed us to learn and listen. And when we reached fifty years of age, we would be able to say something for the people. But things have changed because of the need to teach others, and the world is out of balance. When I crawl into the lodge, I do it unselfishly. I crawl in there and think about my brothers and sisters. I think about Mother Earth, and I suffer and give thanks in the lodge. Our life here is part of a journey to the sprit world and preparation means everything. That’s why I keep my teachings simple. When I teach the children, I tell them to make life a good journey and then work to prepare your self. We must all prepare ourselves, so when our time comes, our spirit journey is a good one.
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Ikoflex II (852/16)
German 6x6 TLR made by Zeiss Ikon from 1938-1951.
Focus Knob removed and lying upside-down.
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WARNING :
This image is intended as a reference for the more experienced camera service man. If you have no experience in camera repair please do yourself a favor and send your camera to a professional service shop. It would be a pity to lose a vintage camera in a failed repair attempt !
Removed from the North Devon fleet which now only has weeks left this Dart has made its way to Plymouth to join numerous other ex London cousins.
The concrete roof is removed for maintenance. The roof is made of two layers of special radiation proof concrete so that no radiation can leak out.
Description: Ellen Dwight Eaton was a first cousin once removed of Elizabeth Cady Stanton, suffragist and women's rights activist. Eaton was the daughter of Stanton's cousin, Amos Beale Eaton, and granddaughter of Stanton's aunt, Sally Cady Eaton.
This collection consists of letters written between 1857 and 1868, nearly all to Eaton, most from Stanton. A few mention the founding of the suffrage periodical, The Revolution, while others concern Stanton's travels and activities for suffrage. Other notable correspondents include Susan B. Anthony and Dr. Elizabeth Blackwell. The collection includes 20 complete letters, a fragment, a picture postcard of Susan B. Anthony's home, and descriptive notes by Elizabeth Selden Rogers.
Repository: Schlesinger Library on the History of Women in America.
Collection: Ellen Dwight Eaton papers
Call Number: A/E14
Catalog Record: id.lib.harvard.edu/aleph/001928160/catalog
Questions? Ask a Schlesinger Librarian
Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern. The yarns are then dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with another colour. This process may be repeated multiple times to produce elaborate, multicolored patterns. When the dyeing is finished all the bindings are removed and the yarns are woven into cloth. In other resist-dyeing techniques such as tie-dye and batik the resist is applied to the woven cloth, whereas in ikat the resist is applied to the yarns before they are woven into cloth. Because the surface design is created in the yarns rather than on the finished cloth, in ikat both fabric faces are patterned.
A characteristic of ikat textiles is an apparent "blurriness" to the design. The blurriness is a result of the extreme difficulty the weaver has lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth. The blurriness can be reduced by using finer yarns or by the skill of the craftsperson. Ikats with little blurriness, multiple colours and complicated patterns are more difficult to create and therefore often more expensive. However, the blurriness that is so characteristic of ikat is often prized by textile collectors.
Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called "kasuri"), Africa and Latin America. Double ikats - in which both the warp and weft yarns are tied and dyed before being woven into a single textile - are relatively rare because of the intensive skilled labour required to produce them. They are produced in Okinawa islands of Japan, the village of Tenganan in Indonesia, and the villages of Puttapaka and Bhoodan Pochampally in Telangana and Gujarat in India.
TYPES
In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour. The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.
In weft ikat it is the weaving or weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds. Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design.
Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. ouble ikat is only produced in three countries: India, Japan and Indonesia. The double ikat made in Patan, Gujarat in India is the most complicated. Called "patola," it is made using fine silk yarns and many colours. It may be patterned with a small motif that is repeated many times across the length of a six-meter sari. Sometimes the Patan double ikat is pictorial with no repeats across its length. That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east Bali in Indonesia reflects the influence of these prized textiles. Some of the Tenganan double ikat motifs are taken directly from the patola tradition. In India double ikat is also woven in Puttapaka, Nalgonda District and is called Puttapaka Saree. In Japan, double ikat is woven in the Okinawa islands where it is called tate-yoko gasuri.
ETYMOLOGY
Ikat is an Indonesian language word, which depending on context, can be the nouns: cord, thread, knot and the finished ikat fabric as well as the verbs "to tie" or "to bind". It has a direct etymological relation to Javanese language of the same word. Thus, the name of the finished ikat woven fabric originates from the tali (threads, ropes) being ikat (tied, bound, knotted) before they are being put in celupan (dyed by way of dipping), then berjalin (woven, intertwined) resulting in a berjalin ikat- reduced to ikat.
The introduction of the term ikat into European language is attributed to Rouffaer. Ikat is now a generic English loanword used to describe the process and the cloth itself regardless of where the fabric was produced or how it is patterned.
In Indonesian the plural of ikat remains ikat. However, in English a suffix plural 's' is commonly added, as in ikats. This is true in other some other languages. All are correct.
DISTRIBUTION
Ikat is a weaving style common to many world cultures. It is probably one of the oldest forms of textile decoration. However, it is most prevalent in Indonesia, India and Japan. In Central and South America, ikat is still common in Argentina, Bolivia, Ecuador, Guatemala and Mexico.
In the 19th century, the Silk Road desert oases of Bukhara, Samarkand, Hotan and Kashgar (in what is now Uzbekistan and Xinjiang in Central Asia) were famous for their fine silk Uzbek/Uyghur ikat.
India, Japan, Indonesia and many other Southeast Asian nations including Cambodia, Myanmar, Philippines and Thailand have weaving cultures with long histories of ikat production.
Double ikat weaving is still found in India, Japan and Indonesia. In Indonesia, it is still woven in Bali, Java, Kalimantan or Borneo and Sumatra.
HISTORY
As textiles do not last well through history, scholars have so far been unable to determine where the technique of ikat originated. Nevertheless, some parts of Asia demonstrates strong ikat traditions which suggest its possible origin; they are Maritime Southeast Asia, Indian subcontinent and Central Asia. However, it probably developed in several different locations independently, since ikat was known to be produced in several pre-Columbian Central and South American cultures.
The term "ikat" has Indonesian origin, and it was introduced into European textile vocabulary back in early 20th century, when the Dutch scholars begin to study the rich textile traditions of East Indies archipelago (today Indonesia).
Uyghurs call it atlas (in IPA [ɛtlɛs]) and use it only for woman's clothing. The historical record indicates that there were 27 types of atlas during Qing occupation. Now there are only four types of Uyghur atlas remaining: Qara-atlas (Darayi, black ikat used for older women's clothing), Khoja'e-atlas (yellow, blue, purple ikat used for married women), Qizil-atlas (red ikat used for girls) and Yarkant-atlas (Khan-atlas). Yarkant-atlas has more diverse styles; during Yarkant Khanate (16th century), there ten different styles of Yarkant-atlas.
PRODUCTION
WARP IKAT
Ikat created by dyeing the warp are simpler to make than either weft ikat or double ikat. First the yarns - cotton, silk, wool or other fibres - are wound onto a frame. Then they are tied into bundles. The bundles may be covered with wax, as in batik. (However, in making batik, the craftsperson applies the resist to the finished cloth rather than to the yarns to be woven.) The warp yarns are then wrapped tightly with thread or some other dye-resistant material to prevent unwanted dye permeation. The procedure is repeated, depending on the number of colours required to complete the design. Multiple coloration is common, requiring multiple rounds of tying and dyeing. The newly dyed and thoroughly washed bundles are wound onto the loom to produce the warp (longitudinal yarns). Warp threads are adjusted for the desired alignment for precise motifs.
Some ikat traditions, such as Central Asia's, embrace a blurred aesthetic in the design. Other traditions favour a more precise and more difficult to achieve refinement in the placement of the ikat yarns. South American and Indonesian ikat are known for a high degree of warp alignment. Weavers must adjust the warp repeatedly to maintain pattern alignment.
Patterns result from a combination of the warp dye and the weft thread colour. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group. Patterns can be created in the vertical, horizontal or diagonal.
WEFT IKAT
Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to weave. The weft yarn must be adjusted after each passing of the shuttle to preserve the pattern.
Nevertheless, highly skilled artisans can produce precise weft ikat. Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu script in weft ikat. In Thailand, weavers make very fine silk sarongs depicting birds and complex geometrical designs in seven colour weft ikat.
In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.
As the weft is commonly a continuous strand, aberrations or variation in coloration are cumulative. Some weft ikat traditions incorporate this affect into their aesthetic. Patterns become transformed by the weaving process into irregular and erratic designs. Guatemalan ikat is well-noted for its beautiful "blurs."
DOUBLE IKAT
Double Ikat is created by resist-dyeing both the warp and weft prior to weaving.This form of weaving requires the most skill for precise patterns to be woven and is considered the premiere form of ikat. The amount of labour and skill required also make it the most expensive, and many poor quality cloths flood the tourist markets. Indian and Indonesian examples typify highly precise double ikat. Especially prized are the double ikats woven in silk known in India as patola (singular: patolu). These are from Gujarat (Cambay). During the colonial era, Dutch merchants used patola as prestigious trade cloths during the peak of the spice trade.
In Indonesia double ikat is only woven in the Bali Aga village of Tenganan. These cloths have high spiritual significance. In Tenganan they are still worn for specific ceremonies. Outside Tenganan, geringsing are treasured as they are purported to have magical powers.
The double ikat of Japan is woven in the Okinawa islands and is called tate-yoko gasuri.
Pochampally Sari, a variety from a small village in Nalgonda district, Andhra Pradesh, India is known for silk saris woven in the double Ikat.
The Puttapaka Saree is made in Puttapaka village, Samsthan Narayanpuram mandal in Nalgonda district, India. It is known for its unique style of silk saris. The symmetric design is over 200 years old. The Ikat is warp-based. The Puttapaka Saree is a double ikat.
Before the weaving is done, a manual winding of yarn, called Asu, needs to be performed. This process takes up to 5 hours per sari and is usually done by the womenfolk, who suffer physical strain through constantly moving their hands back and forth over 9000 times for each sari. In 1999, a young weaver C Mallesham developed a machine which automated Asu, thus developing a technological solution for a decades-old unsolved problem.
OSHIMA
Oshima ikat is a uniquely Japanese ikat. In Oshima, the warp and weft threads are both used as warp to weave stiff fabric, upon which the thread for the ikat weaving is spot-dyed. Then the mats are unravelled and the dyed thread is woven into oshima cloth.
The Oshima process is duplicated in Java and Bali, and is reserved for ruling royalty, notably Klungkung and Ubud: most especially the dodot cloth semi-cummerbund of Javanese court attire.
OTHER COUNTRIES
CAMBODIA
The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.
By the 19th century, Cambodian ikat was considered among the finest textiles of the world. When the King of Thailand came to the US in 1856, he brought as a gift for President Franklin Pierce fine Cambodian ikat cloth. The most intricately patterned of the Cambodian fabrics are the sampot hol - skirts worn by the women - and the pidans - wall hangings used to decorate the pagoda or the home for special ceremonies.
Unfortunately, Cambodian culture suffered massive disruption and destruction during the mid-20th century Indochina wars but most especially during the Khmer Rouge regime. Most weavers were killed and the whole art of Cambodian ikat was in danger of disappearing.
Kikuo Morimoto is a prominent pioneer in re-introducing ikat to Cambodia. In 1995, he moved from Japan and located one or two old lady weavers and Khmer Rouge survivors who knew the art and have taught it to a new generation.
THAILAND
In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi'). Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.
This type of cloth is the favourite silk item woven by ethnic Khmer people living in southern Isaan, mainly in Surin, Sisaket and Buriram.
LATIN AMERICA
Ikat patterns are common among the Andes peoples, and native people of Argentina, Bolivia, Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru, and Venezuela. The Mapuche shawl or poncho of the Huaso cowboys of Chile is perhaps the item best known in the West. Wool and cabuya fibre are the most commonly used.
The Mexican rebozos can be made from silk, wool or cotton and are frequently ikat dyed. These shawls are seen as a part of the Mexican national identity and most women own at least one.
Latin American ikat (Jaspe, as it is known to Maya weavers) textiles are commonly woven on a back-strap loom. Pre-dyed warp threads are a common item in traditional markets- saving the weaver much mess, expense, time and labour. A Latin American innovation which may also be employed elsewhere is to employ a round stick around which warp threads are wrapped in groups, thus allowing more precise control of the desired design. The "corte" is the typical wrap skirt used worn by Guatemalan women.
ACCREDITATION
As of 2010, the government of the Republic of Indonesia announced it would pursue UNESCO Intangible Cultural Heritage accreditation for its ikat weaving, along with songket, and gamelan having successfully attained this UNESCO recognition for its wayang, batik and the kris.
WIKIPEDIA
I walked this section before and I'd say 90% of the insulators are common Dominion 42s, there were a few CD 152s and spools etc. Someone picked the downed poles clean except for the rubber insulators.
No CD 143s at all, they were removed decades ago.
Removing tree debris
Hurricane Michael tore through the Panhandle leaving destruction in its wake. Its powerful winds downed countless trees onto and around homes, businesses and roadways. One of the ways our officers are providing relief to impacted areas is by removing debris so that residents can better access their homes and navigate through their communities.
Caption: A team of FWC officers clearing roads and driveways in rural Jackson County, near Alford, 10-15-2018.
FWC photo by Tim Donovan
ATLANTIC OCEAN (Oct. 15, 2017) Sailors remove chocks and chains from an MH-60R Sea Hawk helicopter assigned to the "Grandmasters" of Helicopter Maritime Strike Squadron (HSM) 46 during flight operations aboard the Arleigh Burke-class guided-missile destroyer USS Oscar Austin (DDG 79). Oscar Austin is on a deployment supporting U.S. national security interests in Europe, and increasing theater security cooperation and forward naval presence in the U.S. 6th Fleet area of operations.
Deboxing LE Maleficent. Removed from the cardboard backing, and laying down. There are still packaging restraints that have to be removed from her. Her skirt is raised so we can remove the wires attaching her to the display stand.
I got the Limited Edition Maleficent 17'' doll at my local Disney Store on release day, October 7, 2014. She is #1998 of 4000. I show her boxed, during deboxing, and fully deboxed. I never uploaded these photos, so here they are, 2 1/2 years later.
Limited Edition Maleficent Doll - Sleeping Beauty - 17''
$119.95
Item No. 6070040901141P
US Disney Store
Released in stores 2014-10-07
Released online 2014-10-08
Purchased in store 2014-10-07
#1998 of 4000
Mistress of Evil
Our Maleficent Limited Edition Doll is a wicked beauty. The iconic evil fairy is draped in a dramatic black velvet gown, exquisitely embellished with jet black gems and embroidered thorns to complement her signature horned headdress.
Magic in the details...
Please Note: Purchase of this item is limited to 1 per Guest.
• Limited Edition of 4000
• Includes Certificate of Authenticity
• Dramatic black velvet gown with plunging neckline
• Jet black gem stones and embroidered thorn filigree
• Cascading pleated skirt
• Structured three-layer collar of faux leather and satin
• Satin trim and cape lining
• Rooted eyelashes
• Sculptured golden staff encrusted in gems, topped by Diablo the Raven
• Fully poseable
• Display stand included
• Comes in elegant window display packaging
• Celebrating the return of Walt Disney's Sleeping Beauty to DVD and Blu-ray disc
• Look for our Limited Edition Aurora and Prince Phillip Dolls, each sold separately
The bare necessities
• Ages 6+
• Plastic /polyester
• 17'' H
• Imported
• Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.