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I attended BA Stores Tractor Pulling Event at Broomhill Farm today Sunday 16th September 2018, what a great day, I captured as many of the Tractors taking part in the event , posting on my Flickr to archive the day .
The Scottish Tractor Pullers Club (STPC) was formed in 1985 and consists today of around 40 members who all strive to put on the very best tractor pulling events in Scotland. The STPC are the only club in the United Kingdom to own and operate a fully licensed ETPC sledge, complete with all relevant safety features. The STPC, together with the Cumbrian Tractor Pulling Club (CTPC), Midlands Tractor Pullers Club (MTPC) and the North West Tractor Pullers Club (NWTPC) are affiliated to the British Tractor Pullers Association (BTPA) who, along with a number of other European tractor pulling clubs, make up the European Tractor Pullers Committee (ETPC).
The ETPC defines all safety and performance rules for all member countries, such as tractor classes and sledge rules. This enables tractors from all over Europe to pull together against each other in different countries. Although the STPC hold their own points championships, many Scottish Tractors compete in the BTPA championships alongside teams from the CTPC, the MTPC and the NWTPC. BTPA championship winners then have the option of travelling to the ETPC's European Championships, a two day event held in a different ETPC member country each year, for the chance to become a European Champion! The STPC are available to hire either as a stand alone event or as part of a larger agricultural show, ideal if you are looking for that extra attraction for your event.
Truck and Tractor pulling, also known as power pulling, is a motorsport competition, popular in the United States, Canada, Europe (especially in the Netherlands, Belgium, Denmark and Germany), Australia and Brazil, and New Zealand which requires modified tractors to pull a heavy sled along a 35 foot wide, 330 foot long track, with the winner being the tractor that pulls the sled the farthest. The sport is known as the world's most powerful motorsport, due to the multi-engined modified tractor pullers.
All tractors in their respective classes pull a set weight in the sled. When a tractor gets to the end of the 100 metre track, this is known as a "full pull". When more than one tractor completes the course, more weight is added to the sled, and those competitors that moved past 300 feet will compete in a pull-off; the winner is the one who can pull the sled the farthest.
The sled is known as a weight transfer sled. This means that as it is pulled down the track, the weight is transferred (linked with gears to the sled’s wheels) from over the rear axles and towards the front of the sled. In front of the rear wheels, there is a "pan". This is essentially a metal plate and as the weight moves over this the resistance builds. The farther the tractor pulls the sled, the more difficult it gets.
The most powerful tractors, such as those in the 4.5 modified class in Europe, can produce over 10,000 horsepower.
On June 3, 2016, Lieutenant Governor Hochul attended the STRIVE Women's Empowerment graduation in New York City.
Strivers' Row was a speculative townhouse development in Harlem that became home to several influential African Americans. Despite being in New York, the development was initially segregated, but famous later residents included musicians Fletcher Henderson and W. C. Handy. The gates lead to a paved courtyard between the rows of houses.
"Why? What makes us do this? What makes us wear hard soled shoes, carry heavy backpacks, gasp for breath the way up, what makes us keep moving on, to climb, what? ..."
peak Sinanitsa
Pirin National Park, Bulgaria
Make a picture that strives to demonstrate empathy for a subject you may not have necessarily felt a sense of emotional connection to before.
— Zun Lee
I try not to write explanation's with my 26 submissions, however with this fortnights describe how I arrived at my final outcome.
I think this fortnights challenge has been hard. I was a few days in and I hadn't a clue where I was going with this, when I had the most almighty row with my 12 year old son. My friends all have children hitting that 'teenage' bracket (It is a stage in my child's development I have never experienced before) and when we get together over a cup of tea and cake, we re-tell tales of parent/ child battles. The general gist is never very positive but the row got me thinking; this is a stage that must be so hard for the child. Not only are they coping with physical changes but emotional ones too. They are striving to find a sense of self, so with that in mind I asked for volunteers (and parental permission) to photograph teenagers that I did not know very well. I asked that I photograph them in their space, somewhere where they felt comfortable. I wanted to make a set of portraits that reflected the person, not hinting at the turmoil they must at times be experiencing as they reach out towards adulthood.
The officers of the student-run Investment Management Group (supervised by Dr. David Myers) are putting on a talk about financial markets for some high school students who are in the Strive Program (website: striveyouth.com/) today - Feb 27th at 5:15PM in the FSL.
CAPE TOWN\SOUTH AFRICA, 05MAY11 - Strive Masiyiwa, Group Executive Chairman, Econet Wireless Group, South Africa, during the Development Partnerships plenary at the World Economic Forum on Africa 2011 held in Cape Town, South Africa, 4-6 May 2011.
Copyright (cc-by-sa) © World Economic Forum (www.weforum.org/Photo Eric Miller emiller@iafrica.com
I strive to bring up my children in a caring, sharing kind of way.
It doesn't work most of the time.
But I keep trying.
And today it happened.
My daughter shared something with me - her cold.
I am feeling shivery and sore.
My throat hurts and my bones ache.
I thought a shower would help.
Whatever these playful pictures may tell you the truth is that after I blogged I went to bed.
I wore..
Shoes - Clarks
Jeans - Gap
Striped t-shirt - my daughter
Blazer - overdyed French Connection jacket
Scarf, sunglasses and rose - Tesco
Strivers' Row was a speculative townhouse development in Harlem that became home to several influential African Americans. Despite being in New York, the development was initially segregated, but famous later residents included musicians Fletcher Henderson and W. C. Handy. These signs are a nice relic and refer to the former courtyard area between the rows of houses.
“.....; and tho’
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield."
“Ulysses” by Alfred, Lord Tennyson
Harlem, Manhattan, New York City, New York, United States
The St. Nicholas Historic District, consisting of four rows of houses built by David H. King, Jr., appears much the same as it did when it was built, more than 70 years ago, in 1891. Both then and now, it has been a source of pride not only to its own residents, but to all the people living in its vicinity.
These houses are a fine example of Nineteenth Century urban design, influenced by English antecedents. The sense of forethought and consideration in land development seen here is much sought after today, and often today's results arc not as successful. A high degree of architectural continuity is maintained, while taking into consideration even such problems as house service.
This problem is successfully resolved by the use of a main cross alley extending through the block, from avenue to avenue, with two shorter transverse alleys between the streets.
The District, designed by three of the most prominent architectural firms of the day, was one of the most prestigious sections of Harlem and is still considered as such. The fact that these houses have been well maintained through the years is most unusual in New York City. Obviously its reputation as a fashionable area has contributed to the residents' desire to preserve their homes and to their tremendous sense or pride in them.
Harlem Background
In 1658 Peter Stuyvesant named this area we now know as Harlem, Nieuw Haarlem. Up to the middle of the Nineteenth Century this part of Manhattan remained very much the same as it had been in the Seventeenth Century. Farms, and some large estates, comprise most of the land holdings. Many of the most prominent colonial families: the Delanceys, Beekmans, Bleeckers, Rikers, Coldens and Hamiltons had estates in Harlem.
The St. Nicholas Historic District lies within the estate of Cadwallader D. Colden, an early Mayor of New York, whose grandfather was a colonial governor.
In Lloyd Morris' book "Incredible New York" there is an illustration of Commodore Vanderbilt racing horses on Harlem Lane near 137th Street. The Harlem Lane of that day extended up to 168th Street. Morris also notes that when General Grant visited the City at the end of the Civil War, one of his first requests was to be taken out to Harlem Lane.
In 1831, the Harlem Railroad was chartered, and by 1837 it was extended to Harlem changing it from a rural to a suburban community—one of New York's first suburbs. By 1981, the elevated rapid transit lines extended up to 129th Street, and by 1884 to 145th Street. Thus, Harlem had become a vary desirable and fashionable neighborhood by the 'eighties'.
During the last quarter of the Nineteenth Century, with a rise of Harlem as a "convenient" residential suburb, there was great land speculation and a construction fever such as had rarely been seen in New York. It was in this climate of speculative activity that the D. H. King houses were built.
Early History
The property was purchased by D.H. King and in 1891 commissioned the architectural firms of Bruce Price, James Brown Lord, Clarence S. Luce and McKim, Mead & White to design four rows of houses. King was a member of the Knickerbocker Trust and was a well-known builder .
A period of Victorian gentility had led to the creation of the houses which comprise the District. They represented what was possibly the apex of that disastrous spurt of over-investing which occurred at the end of the Nineteenth Century. It is reported that in a society whose working class families paid an average of $10-18 monthly for rent, rents for these dwellings started at just below $60 and ranged somewhere between $900 and $1700 a year.
King wished to erect high-quality housing for well-to-do buyers, who wished to make a sound, profitable investment. Almost prophetic of the principles of today's Landmarks Preservation Commission, he wanted to be able to assure a purchaser that no nuisances could spring up near these buildings and that one need have no fear of a stable, factory, tenement or over-shadowing hotel rising beside his home.
"The interests of each property owner are carefully protected by stipulations against the building of additions or altering any house...." .
Recent History
The building fever that had overtaken Harlem investors came to an abrupt end with the panic of 1904. A wave of selling followed, and owners sold buildings at losses ranging from one-third to two-thirds of their original cost. Many of these buildings had never been inhabited.
Negro realtors, such as Philip A. Payton and John M. Royall, persuaded many property owners to sell or rant their houses to Negroes who wished to move to Harlem. The northward movement of Negro families from the South and immigration from the West Indies were the catalysts which caused the move to uptown Manhattan.
The houses and apartments were by far the best available to Negro families at that time. It is stated in Gilbert Osofsky's "Harlem: The Making of a Ghetto" that Harlem's "name was a symbol of elegance and distinction.... its streets and avenues were broad, well-paved, clean and tree-lined.... its homes were spacious, with the best of modem facilities...."
Finally, by 1919; the D. H. King houses were made available to Negroes and were already being acquired by well established professionals, a few of whom are still living there today. Many of Harlem's most prominent doctors have lived there. L. T. Wright, Surgical Director of Harlem Hospital from 1938-52, lived at 218 West 139th Street.
He was an eminent brain surgeon, and was the only Negro member of the American College of Surgeons at one time. P. M. Hurray, of 200 West 138th Street, was the Dean and Professor of Surgery at Howard University and was one of the first Negroes to be appointed to the staff of a private hospital.
Paul Collins, also of 200 West 138th Street, was a staff member in the Eye Clinic of Harlem Hospital.
In February, 1920, a front page article in the "New York Age" described the move to 260 West 139th Street of William Pickens, a former Dean and Vice-President of Morgan College, Baltimore, Maryland, and an Associate Field Secretary of the NAACP.
Several famous entertainers have also lived in the St. Nicholas Historic District. W. C. Handy, internationally known and considered the father of popular jazz, lived at 232 West 139th Street. Hubie Blake, the musician, lived at 236 West 13 8th Street. Floumay Miller, of 200 West 139th Street, and Noble Sissle, of 264 West 139th Street, were members of the "Shuffle Along Company", extremely successful, which played to a wide range of audiences.
In 1933, Abram Hill, one of the collaborators on the play, "Anna Lucasta", and a founder of the American Negro Theatre, wrote a play about the Historic District, called "On Striver's Row". Popular use of the name "Striver's Row" developed in the 1920's and 30's and indicated the great desirability of living in this two-block area.
Comments on the District
Montgomery Schuyler, in the "Architectural Record" of April-June 1899, praised the King project for "the employment of three architects of the first rank to compete with each other, net on paper, but in actual brick and mortar.... in the most extensive building operation that has been carried out on the West Side."
His only criticism was that "they have supplied but a small fraction of the demand that exists for such dwellings."
style, by respecting each others conventions, by keeping to a uniform cornice line, the architects achieved an unusual unity rarely seen in this City. For this reason the...rows which make up this Historic District arc probably the finest of their kind in any of the five boroughs."
And the Rev. John J. Hicks, pastor of St. Mark's Methodist Church and chairman of the West 139th Street Block Association, testified, "This area should be preserved in our City because it will aid us in keeping capable citizens and adequate indigenous leadership within the community. The present weakness in the inner city is that we have flights to the hinterlands that siphon off respectable and capable citizens and leave the community bereft of neighborhood leadership and respect."
ARCHITECTURE IMPORTANCE
The D. H. King Houses, though the rows vary in design and detail, were planned in order to create a unified, distinct "neighborhood within a neighborhood." The use of uniform block fronts of equal heights provides a strong cohesive element, while individuality of approach prevents the area from succumbing to monotony. The basic simplicity and elegance of the houses supports this dominating sense of quiet refinement.
The unobstructed view of the buildings of New York's City College, high on the heights overlooking St. Nicholas Park, contributes to a feeling of openness surrounding the St. Nicholas Historic District. Builder D. H. King wanted the residents of his houses to benefit from their location on land which was "high, healthful and accessible, swept by the westerly breezes from the Hudson."
The planning of ornamental, wrought-iron gateways for access is likened by Montgomery Schuyler to the cutting of the Gordian Knot of house service. The gateways were at once decorative .and functional. Ostensibly designed to act as entrances to serve the houses at the rear, they also led to attractive hidden accessways for private use by the residents. Circular flower beds and fountains were planned for the intersections of these interior "cross-streets". Agreements were made between King .and the various buyers concerning the privileges of ownership and use of these "streets" at the rear.
The comprehensiveness of King's undertaking involved more than an interest in the sale-ability of his properties. The very scale of the project and the resources available to him, the financing and retaining the services of three well-known architectural firms permitted King to concern himself, to a great degree, with the everyday needs of residents within the area as a whole. The air of exclusiveness that resulted is still highly valued today.
Rows in the District South Side of 139th Street
The houses designed by Janes Brown Lord, on the south side of West 138th Street, are without pretension and are relatively modest in design and detail. They derive from the Georgian tradition and are constructed of red brick with brownstone trim, in exceedingly good taste.
This row is composed of twenty-five houses, and is broken into three major groups, separated by two handsome wrought-iron gateways. Being the shortest block-front of the four, it stops east of Eighth Avenue at 250 West 136th Street. Lord also designed, at the east end, the four adjoining row houses facing Seventh Avenue. Lord's three-story houses, with basement, are the widest houses in the Historic District. The entrances to adjoining houses are adjacent to each other. Of interest, is the use of a common stoop, serving both entrances, with beautiful wrought-iron railings The illusion of a single, wider more elegant house facade is thus created, in lieu of the compartmented effect of narrow houses side by side.
There is a restrained use of detail within the row. This raw house concept evinces an over-all concern with the unity of the facade, which is treated as a. single mass, and the uniformity of the detail serves to create a pleasing rhythm, carrying the eye along the street and maintaining visual interest. The Jajr.es Brown Lord row is reminiscent of the Eighteenth Century English development of the palace facade and in its comprehensiveness reminds us of John Weeds' work in the City of Bath, England.
North Side of 138th Street & South Side of 139th Street
The block located between West 138th Street and West 139th Street and Seventh and Eighth Avenues was the work of architects Bruce Price and Clarence S. Luce. This block was designed in the Georgian style of the Eclectic period. Here, there is a greater reliance on detail than in the Lord houses, and the profusion of decorative elements, and their numerous variations, are most attractive. The use of buff colored brick with Indiana limestone detail acts as a contrast both to the Lord houses to the south, and to the McKim, Mead and White houses to the north.
This complete block of houses, executed in a uniform style of architecture, consists of thirty-five houses along each street. On Eighth Avenue, two apartment houses close the end with entrances on the cross streets.
On Seventh Avenue, there are two groups of five story houses on cither side of the inner accessway. The houses on these two block fronts are narrower than those at the south side of 138th Street, averaging about seventeen feet in width, except for the end houses, Which, ore twenty feet wide.
Although the stoops arc adjacent to each other, serving the adjoining houses, one senses here that they arc distinct, as they run up straight from the street, separated by handrails. The basic street elevation consists of a flush masonry basement, whose entrance is under the front stoop of each house, and three stories of handsome buff colored brick, undefined by any horizontal string course. Instead, the uniformity of the brick work provides a uniform ground to set off decorative motifs. The window sizes vary, and there are several different window treatments.
The first story windows and the narrow ones at the second story have terra cotta splayed lintels with elongated keystones. The wider second story window has a cornice-like lintel above with a semi-circular panel above that. The two third story windows are narrow and have simple lintels with keystones.
The second story of the houses on either side of the handsome iron gateways display an interesting pseudo-Palladian window treatment in terra cotta. Here, a triply divided window is separated by handsome Ionic columns supporting, above its garlanded horizontal lintel, an arch-form above the columns. This arch has alternate voussoirs elongated with a blind tympanum with wreath design within. The triple square-headed windows on the floor above these complement the arched window, at the second story.
An element of movement is added to the row by projecting forward some of the facades of the houses, which are adjacent to each other. This difference in alignment also adds interest and apparent depth to the row. The doorway is slightly recessed and its round arched head has an elongated, console-like keystone the arch springs from Greek-fret motif impost blocks similar to those used for some of the third story windows.
Delicate wrought-iron balconies extend from the base of the full-length first story windows, and similar wrought-iron work is to be found at the top platforms of the stoops and used as handrails for the steps.
A delicate garland pattern is employed in the fascia of the cornice, signalizing the windows below it. A horizontal moulding at the base of the fascia displays a tiny, continuous swag motif. These decorative elements unify the individual, attached buildings as does the overhanging cornice surmounted by a handsome stone balustrade topping the whole.
Distinctive stone quoins delineate the corners of the houses whore breaks in the wall occur.
The diversity of window treatment and the decorative motifs of the cornice ere at-; an interesting variation against the over-all pattern of the windows and doors.
North Side of 139th Street
Finally, there are the houses designed by McKim, Mead and White, situated on the north side of West 139th Street. They represent basically the Italian Renaissance style, which this firm was among the first to absorb, modify, and then transform into that distinctive product of American architecture which we so readily associate with them.
Thirty-two houses, approximately nineteen feet wide, contrast wall with the other houses by their generally darker tone. They are built of handsome dark brown mottled brick. The over-all design of this exceptionally handsome row of houses reminds one of a Sixteenth Century Italian palace. The center house of the block, 233 West 139th Street, acts as a central feature of the raw. Its elegant first floor English Basement, entered at ground floor, is deeply rusticated and is similar to that of all the houses in this row, except that in place of the simple rectangular doorway of the other houses, there is an attractive arcade effect, seen through two rectangular openings on cither side of a round arched doorway. A deeply recessed porch lies behind this arcade, with the doorway set to one side. On Eighth Avenue there is an apartment house, and there are five row houses on Seventh Avenue. The ground floors of the buildings on the avenues have been extensively altered to serve as store fronts.
Most of the residences on the north side of 13 9th Street have a single platform step, with simple railings leading to the entrance doors.
The window arrangement of these houses is very unusual. The first story, in each case, is handsomely rusticated, with simple elongated keystones over each of the two windows and the door, which is set off unsymmetrically to one side. The rest of the facade is of brick, separated by a delicate string course at the third floor sill level. The second story displays two,, narrow side windows on either side of a largo central window, from which an iron railed balcony extends, supported by stone brackets . Above this central window is a medallion with a floral rosette. The medallion acts as a focal print for this window grouping and punctuates the row of houses at regular intervals. The medallion was widely used in Italian Renaissance architecture; an early example was to be found on Brunelleschi's Foundling Hospital, in Florence, 1445 A.D.). The upper portion ofvthe front elevation contains the third and fourth stories exhibiting an unusual wide-eyed appearance with the two windows at each floor set well apart.
The fourth story windows have simple lintels with keystones. The frames of the other windows above the basement are surmounted by small-scale, distinct cornices.
The four houses on either side of the gateways (Nos. 217, 219, 247 and 249 West 139th Street' vary the second story window treatment. Here a round-arched pediment is used, instead of the usual medallion, producing a handsome note of emphasis en these terminal houses. An attractive cornice with modillions crowns the row of houses and unifies the whole composition. The variation in window treatment lends interest and to some extent signalizes the individual units, while brick quoins on the end buildings emphasize the corners and the breaks in the main wall.
- From the 1967 NYCLPC Historic Distric Designation Report
PRESENTING EARTH'S GREATEST DEFENDER - MR. SATAN!
I love Mr. Satan (or if you've never seen the Japanese version of DBZ, Hercule). He is a caricature of basically every popular athlete there ever was. Despite being an extremely competent martial artist and actually being crowned the Champion of Earth, he still wants more, striving to get deals and endorsement and increase his street rep.
It was actually going quite well until Cell casually smacked him into the side of a mountain. Poor guy - he survived, which is impressive on its own, but his world was never the same. He knew there were people and beings in the world that completely overshadowed his abilities.
I've actually been on the lookout for a Mr. Satan Figuart for a while now, but last I checked because he was an exclusive he was a bit harder to find at sane pricing. It seems that prices have finally come down on the figure, so I was able to get one at what I would deem a reasonable price point.
Retailing for 6,200 Yen, the contents of the set are reasonable. You get the figure complete with cape and Worlds Championship Belt, along with four faces (neutral, yelling, excited, and of course scared out of his mind), two additional belts (another gold belt and his combat worn simple cloth belt), Bee the puppy (whom he befriends during the Buu Saga) and of course a variety of posing hands.
Oh right - he also comes with this ridiculously easy to lose piece that plugs into the hole where the cape sits, so try to hang on to that.
Mr. Satan may be a fighter, but he's definitely not packaged as so in his Figuarts.. not that I mind. This is definitely comic relief Mr. Satan - his head is giant, his shoulders aren't as squared, and the vast majority of his hands are for the purposes of grandstanding or cowering in fear.
The overall silhouette for Mr. Satan is very much perfect, especially the size of the face and his Afro. Limbs are appropriately sized. The only thing I would have liked to see is to keep the squareness of the shoulders on his outfit, but for the sake of articulation I understand the hit. Great detailing can be found all over the figure, including those hairs on his chest and forearms.
The usual array of Figuarts joints are present on this body, namely toes, ankles, double jointed knees, hips with thigh twist, waist, mid torso, shoulders with chest compress, bicep swivel, double jointed elbows, wrists, neck, and head. What you will find, however, is that due to bulk and, to be completely honest that lack of need, you'll find that range of motion of the elbows, knees, , and hips, isn't as extreme as say on your typical fighter - you can't even pull the hips down for extra motion.
Not that it matters, with the giant rubber skirt of front and back motion of the legs. Furthermore, based on the way the skirt is cut on the sides, there's no real room for give so any motion beyond what is currently allotted would result in a torn outfit for Mr. Satan.
The good news, however, is that his bulk allows for the concealment of joints, even when bent, quite well. So all poses with bent limbs will still look quite nice.. perfect for flexing to the audience.
Bee, the dog, can swivel its head side to side.
Paint job is nice and crisp. It's not exactly high art, even by Dragonball character standards, but it is nicely done. No paint oversprays, crisp masking, very nice detail paint apps and decal application. It's nice to see that the detailing in the hair was not lost despite being basically drowned in matte black paint.
Finally, there's build quality. As you can probably guess, not an issue here to report. All parts have a good finish on them, with no QC issues to report. Joints hold poses just fine, and everything fits together nicely.
So overall, The Champ is everything I expected of him. Some would complain that he should be able to pose as dynamically as the rest of the Z fighters, but for me, the inability to do that basically expected anyway. It's only proper the guy who can't fight to Z levels shouldn't be able to pose to those levels. If you collect figures of all the greats, then look no further.
There's no greater man than Mr. Satan.
So the next little while will be exciting. I've got some leftovers I've still got to get to, but there's also a shipment of stuff I've been dying to get my hands on for quite some time. I'm pretty much going to have to flip a coin to see which comes next.
See you next time!
Built in 1921. t was the fourth day of the Fifth Zionist Congress in Basel, Switzerland in 1901. The delegates had spent the day debating a proposal for the establishment of a national fund to purchase land in Ottoman Empire-controlled Palestine, as had been suggested at the first Congress four years earlier by mathematics professor Zvi Hermann Schapira. Although Schapira had died in the summer of 1898, the idea of a fund had won a large following. Yet three congresses had passed without any practical decision being taken. At times it seemed that the dream of a Jewish state was destined to remain just that--only a dream. But Theodor Herzl, a Viennese journalist, was unwavering--it was time to take action, and he was determined that before the Congress came to an end, a national fund would be established.
Herzl stood before the delegates and delivered a passionate plea for the immediate establishment of the fund: "After striving for so many years to set up the fund, we do not want to disperse again without having done anything." His speech turned the delegates around, the motion passed and the congress resolved that a fund to be called Jewish National Fund (Keren Kayemeth LeIsrael) (JNF-KKL) should be established, and that "the fund shall be the property of the Jewish people as a whole." JNF's first undertaking was the collection of £200,000. One of the delegates immediately pledged £10 in memory of Zvi Hermann Schapira. Herzl made the second donation and his aide, the third. And with this, the dream of a national fund--to be used to build the foundations of a Jewish state--became a reality.One month after the fund was established, Yona Krementzky was appointed to head JNF-KKL, headquartered in Jerusalem, and he set to work immediately.
Krementzky initiated the Golden Book, which records special moments in the lives of inscribers, or those they wish to honor, with paid inscriptions which to this day remain a coveted badge throughout the Jewish World. These beautiful books are housed at JNF-KKL headquarters in Jerusalem for all to see. The very first inscription was that of Theodor Herzl.
Krementzky also began publishing JNF stamps, the proceeds of which went into the fund. These stamps were affixed to official Zionist documents as well as personal letters, and many people collected them. The first stamp was issued in 1902 and showed the Star of David and the name "Zion."
Krementzky also adopted the suggestion of a small-town Galician bank clerk, Haim Kleinman, who had written to the Zionist movement's newspaper Die Welt, proposing that a collection box be placed in every Jewish home so that contributions could be made to JNF at every opportunity. In the period between the two World Wars, about one million Blue Boxes could be found in Jewish homes throughout the world.In the spring of 1903 JNF-KKL purchased its first parcel of land: 50 acres in Hadera with funds given as a gift by the well-known philanthropist Isaac (Yitzhak Leib) Goldberg. In 1904, JNF-KKL was called upon to carry out its first mission: financing the expenses of Jewish scientists, which was the start of JNF-KKL's work in research and development.
By 1905, JNF-KKL's land holdings had expanded to include land near the Sea of Galilee, and at Ben Shemen in the center of the country.
JNF-KKL bought yet another area in the center of the country at Hulda. The land at Hulda was bought for a very special purpose -- the planting of olive groves in memory of Herzl -- and with this, JNF-KKL embarked on a new venture: afforestation.
In this first decade of its existence, land acquisition was not JNF-KKL's only concern; JNF-KKL played a central role in establishing the first modern Jewish city -- Tel Aviv -- acquiring land for the first collective community (known today as kibbutzim) and first workers' community. JNF-KKL also set up and administered farms; continued its afforestation programs, which laid the foundation for JNF-KKL to become the leading environmental agency in the land of Israel; and was instrumental in founding secondary schools and pioneering higher education -- an impressive record of achievement in a country whose Jewish population at the time numbered only 85,000. It was also in this period that JNF-KKL set up an experimental agricultural station at Ben Shemen under the direction of Yitzhak Wilkansky, whose work in mixed farming, or crop diversification, remains the basis of most Israeli agriculture to this day.
The Postcard
A postally unused postcard bearing an early image of Trafalgar Square. The card does not record the publisher's name.
On the back is printed:
"Designed between 1829 and 1840. The Square was
once described as the 'Finest site in Europe'. The
imposing Nelson Monument rises 193 feet and the
figure of Nelson is 17 feet high".
"Let us strive without failing in faith or duty".
Winston Churchill
The quotation is from Winston Churchill's speech that was broadcast by the BBC on the 14th. July 1940. The speech calls men from every country to fight Nazism and runs:
"This is no war of chieftains or of princes,
of dynasties or national ambition; it is a war
of people and causes.
There are vast numbers, not only in this
island but in every land, who will render
faithful service in this war but whose names
will never be known, whose deeds will never
be recorded.
This is a war of the Unknown Warriors; but
let all strive without failing in faith or duty,
and the dark curse of Hitler will be lifted
from our age".
Nelson's Column, Trafalgar Square
Nelson's Column is a monument in Trafalgar Square in the City of Westminster, Central London, built to commemorate Vice-Admiral Horatio Nelson's decisive victory at the Battle of Trafalgar over the combined French and Spanish navies, during which he lost his life.
The monument was constructed between 1840 and 1843 to a design by William Railton at a cost of £47,000 (equivalent to £4,909,000 in 2021). It is a column of the Corinthian order built from Dartmoor granite.
The statue of Nelson was carved from Craigleith sandstone by sculptor Edward Hodges Baily. The four bronze lions around its base, designed by Sir Edwin Landseer, were added in 1867.
The pedestal is decorated with four bronze relief panels, each 18 feet (5.5 m) square, cast from captured French guns. They depict the Battle of Cape St. Vincent, the Battle of the Nile, the Battle of Copenhagen and the death of Nelson at Trafalgar.
The column was refurbished in 2006 at a cost of £420,000, at which time it was surveyed and found to be 14 feet 6 inches (4.42 m) shorter than previously supposed. The whole monument is 169 feet 3 inches (51.59 m) tall from the bottom of the pedestal to the top of Nelson's hat.
Construction and History of Nelson's Column
In February 1838, a group of 121 peers, Members of Parliament (MPs) and other gentry formed a committee to raise a monument to Lord Nelson, funded by public subscription, and the Government agreed to provide a site in Trafalgar Square, in front of the newly completed National Gallery.
A competition was held for designs with an estimated budget of between £20,000 and £30,000. The deadline for submissions was the 31st. January 1839.
The winning entry, chosen by the sub-committee headed by the Duke of Wellington, was a design by William Railton for a Corinthian column, surmounted by a statue of Nelson, and flanked by four sculpted lions. Flights of steps would lead up between the lions to the pedestal of the column.
Several other entrants also submitted schemes for columns. The second prize was won by Edward Hodges Baily, who suggested an obelisk surrounded by sculptures.
The original plan was for a column 203 feet (62 m) high, including the base and statue, but this was reduced to 170 feet (52 m) with a shaft of 98 feet (30 m) due to concerns over stability. The base was to have been of granite and the shaft of Craigleith sandstone, but before construction began it was decided that the shaft should also be of granite.
Excavations for the brick foundations had begun by July 1840. On the 30th. September 1840, the first stone of the column was laid by Charles Davison Scott, honorary secretary of the committee (and son of Nelson's secretary, John Scott), at a ceremony conducted, according to the Nautical Magazine:
"In a private manner, owing to the
noblemen and gentlemen comprising
the committee being absent from town."
Construction of the monument progressed slowly, and the stonework, ready for the installation of the statue, was not completed until November 1843.
In 1844, the Nelson Memorial Committee ran out of money, having only raised £20,485 in public subscriptions, and the Government, in the form of the Office of Woods and Forests, took over the project.
Installation of the bronze reliefs on the pedestal did not begin until late 1849, when John Edward Carew's depiction of the death of Nelson was put in place on the side facing Whitehall.
This was followed early the next year by William F. Woodington's relief of the Battle of the Nile on the opposite side. The last to be made, The Battle of Cape St. Vincent, became the subject of legal action, when it was discovered that the bronze had been adulterated with iron. The partners in the foundry were jailed for fraud, and the relief was completed by another firm. It was finally put in place in May 1854.
The 5.5-metre (18 ft 1 in) statue at the top was sculpted by Edward Hodges Baily R.A. from three pieces of Craigleith sandstone donated by the Duke of Buccleuch, former chairman of the Nelson Memorial Committee, from his own quarries.
The statue stands on a fluted column built from solid blocks of granite from the Foggintor quarries on Dartmoor.
The Corinthian capital is made of bronze elements, cast from cannon salvaged from the wreck of HMS Royal George at the Woolwich Arsenal foundry. The bronze pieces, some weighing as much as 900 pounds (410 kg) are fixed to the column by means of three large belts of metal lying in grooves in the stone.
The four identical bronze Barbary lions at the column's base were not added until 1867. At one stage, they were intended to be of granite, and the sculptor John Graham Lough was chosen to carve them. However, in 1846, after consultations with Railton, Lough turned down the commission, unwilling to work under the restrictions imposed by the architect.
The lion sculptures, which were commissioned in 1858, were designed by Sir Edwin Landseer in collaboration with Baron Marochetti. Landseer was paid £6,000 for his services, and Marochetti £11,000.
The column was renovated and cleaned by sandblasting in 1968. It was refurbished again in 2006, during which time it was scaffolded from top to bottom for access. Steam cleaning was used together with gentle abrasives to minimise any harmful impact on the bronze and stonework.
The £420,000 cost was covered by Zurich Financial Services, which advertised on the scaffolding for the duration of the work. Before restoration began, laser surveys were taken, during which it was found that the column was significantly shorter than the usually quoted 185 ft (56.4 m). In fact, it measures 169 ft (51.5 m) from the bottom of the first step to the tip of the admiral's hat.
In 2011, consultants for the Greater London Authority reported that tourists climbing onto the backs of the lions have caused considerable damage, and recommended banning people from climbing them.
The column also had a symbolic importance to Adolf Hitler. If Hitler's plan to invade Britain, Operation Sea Lion, had been successful, he planned to move it to Berlin.
Publicity Stunts and Protests
John Noakes of the BBC TV children's programme Blue Peter climbed the column in 1977.
Television presenter and entertainer Gary Wilmot climbed the column in 1989 in order to recreate the 'topping out' ceremony of 1843. Dressed in Victorian attire and sporting a boater hat, Wilmott enjoyed tea and sandwiches at the top of the column before climbing down.
The column has also been climbed on several occasions as a publicity stunt in order to draw attention to social or political causes._
-- Ed Drummond made the first such climb in 1978 for the Anti-Apartheid Movement, making use of the lightning conductor en route.
-- On the 30th. March 1988, Joe Simpson and John Stevenson climbed the column as part of a Greenpeace Campaign against Acid Rain.
-- On the 14th. June 1992, it was climbed by Martin Cotterrel, Joe Simpson and John Stevenson on behalf of Greenpeace to protest against the first Earth Summit meeting in Brazil.
-- On the 13th. April 1995, Simon Nadin free-climbed Nelson's Column with Noel Craine, Jerry Moffatt and Johnny Dawes following on top rope, and graded the climb as "E6 6b/5a". Their protest was to publicize the plight of Canadian Inuit.
-- On the 13th. May 1998, the column was climbed by Al Baker, Peter Morris and John Cunningham to protest against Old growth logging activity in British Columbia.
-- In May 2003, BASE jumper and stuntman Gary Connery parachuted from the top of the column, in a stunt designed to draw attention to Chinese policies in Tibet.
-- In December 2015, Disney paid £24,000 to cover the column in lights to make it resemble a giant lightsaber, to promote Star Wars: The Force Awakens.
-- On the 18th. April 2016, Greenpeace activists climbed the column and placed a breathing mask on Admiral Lord Nelson in protest of dangerous air pollution levels.
Models: STRIVE STAFF!
Graphic Designer: Mike Strive! myspace.com/strive_clothing
Photographer: Johnnylace
I have so many ideas for this project! I want to be more creative, hope I can keep up with this challenge. :)
Documentation of 'Works From Faraway + Works From Home', a Residency-in-Your-Room project by Elizabeth Kezia Widjaja, Spring 2020. She writes:
Distance - both physically & mentally - has built a comfortable nest for my solitude. While I'm striving towards self reconciliation, what's happening in the recent weeks has brought into surface (...of the phone screen) the urgency of human connection. People scramble to the search bar, finding accounts and slide into dm(s). We now acknowledge 'social connection' more than anything, maybe by writing about it or making a podcast as it's becoming a prominent issue now. While I'm still confused about my lack of urge to seek these connections, I thought that it's the best time to give something to my friends. Rather than fulfilling my needs of human interaction, it is as if paying hommage and being grateful for the past relationships that I've had in my life.
So I asked my dear friends to send me a picture of objects that they would like to see up close, but couldn't because of the current situation. I myself am curious of what they are seeing and what they are doing, but couldn't as well (even before this, I couldn't because these people are all living in lands far far away from me!). I initially intend to reproduce the pictures by zooming in, but the concept kinda leans towards voyeurism. I thought I want to stay true to my friends' intentions in each of their photos, but it is impossible because my act of taking their pictures and modifying them is definitely an intervention towards their belongings.
The name of each file is the location of where my friends at when they took the original photo.
Credits of original photographs belong to:
Illinois, Chicago - Stanley Junus
Discovery Bay, Hong Kong - Shakira Burton
Duisburg, Germany - Michelle Espranita
Leeds, London - Farid Renais
Melbourne, Australia & Tangerang, Indonesia - Vanessa SP & Adeline Permata
Morewood Gardens, Pittsburgh - Elizabeth Kezia
Please join us for an international conference with senior opinion makers, policy makers, and officials to look in-depth at the prospects for regional cooperation among the major powers of East Asia, in advance of the White House summit between the United States and the Republic of Korea. A light lunch will be served. For RSVP questions, please email us at KoreaChair@csis.org
Featuring
Dr. Zbigniew K. Brzezinski
Counselor and Trustee, CSIS;
The 10th U.S. National Security Advisor
In Discussion With
Dr. John Hamre
President & CEO and Pritzker Chair, CSIS;
Director, Brzezinski Institute on Geostrategy
Agenda
9:15 AM Registration and Check-in
9:45-9:55 AM Welcoming Remarks
Dr. Victor Cha, Senior Adviser & Korea Chair, CSIS; Professor and Director, Asian Studies Program, Georgetown University
9:55-10:00 AM Introductory Remarks
Ambassador Ahn Ho-Young, Embassy of the Republic of Korea to the United States
10:00-10:40 AM Spotlight Conversation
Dr. Zbigniew K. Brzezinski, CSIS Counselor and Trustee and the 10th U.S. National Security Advisor
Dr. John J. Hamre, CSIS President and CEO, the Pritzker Chair, and Director, Brzezinski Institute on Geostrategy
Moderated by Dr. Victor Cha, CSIS and Georgetown
10:40-10:45 AM Coffee Break
10:45-12:00 PM The Challenges and Opportunities of Northeast Asian Cooperation
Moderator: Dr. Victor Cha, CSIS and Georgetown
Dr. Kurt Campbell, Chairman and CEO, The Asia Group; Former Assistant Secretary of State for East Asian and Pacific Affairs, U.S. Department of State
Dr. Evan Medeiros, Former Special Assistant to the President and SeniorDirector for Asian Affairs, National Security Council
Dr. Jin Canrong, Professor and Associate Dean, School if International Studies, Renmin University of China
Dr. Narushige Michishita, Director of Security and International Studies Program, National Graduate Institute for Policy Studies, Japan
Dr. Shin, Beomchul, Director General for Policy Planning, Ministry of Foreign Affairs, Republic of Korea
Dr. Choi, Kang, Vice President for Research, Asan Institute for Policy Studies; Former National Security Council Staff, The Blue House
12:00-12:20 PM Lunch and Coffee Break
12:20-1:00 PM Northeast Asian Peace and Cooperation Initiative
Dr. Choi, Kang, Asan Institute for Policy Studies
Mr. Scott Snyder, Senior Fellow for Korea Studies and Director of the Program on U.S.-Korea Policy, Council on Foreign Relations
1:00 PM Adjournment
This event is co-hosted by CSIS and the Korea Foundation.
The "Korea Going Forward" series of events is made possible by the generous support of Grosvenor Capital Management L.P. and Amkor Technology.
Programs
Korea Chair, Korea Going Forward, South Korea as a Global Power, U.S.-ROK Alliance
Topics
Regional Analysis
Regions
Asia, China, Japan, Korea
048
Friday, December 8th, 2017
Fortune Global Forum 2017
Guangzhou, China
9:45 AM–10:25 AM
JOBS FOR THE 21ST CENTURY
Today’s backlash against globalization could be just the beginning as emerging technologies radically reshape the workforce. Champions of the innovation revolution say it will create more jobs than it destroys; but nearly everyone agrees that along the way there will be unsettling mass disruption to work, incomes, and lives. How can global business leaders continue to create new jobs and build a “life script” that enables workers to reskill and evolve in fast-paced and always-changing workplaces?
Mark Hoplamazian, President and CEO, Hyatt Hotels
Tomson Li, Founder, Chairman, and CEO, TCL Corp.
Strive Masiyiwa, Founder and Executive Chairman, Econet Group
Moderator: Geoff Colvin, Fortune
Photograph by Stefen Chow/Fortune