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Starring Christopher Lee, Barbara Shelley, Andrew Keir, Francis Matthews, Suzan Farmer, Charles 'Bud' Tingwell, Thorley Walters, Peter Cushing, and Philip Latham. Directed by Terence Fisher.
www.youtube.com/watch?feature=player_embedded&v=udqm1...
Dracula: Prince of Darkness (BluRay Review)
Posted by Nathan_E on September 9th, 2013
I’m fairly eclectic when it comes to horror films. I enjoy the whole spectrum of fright flicks, from the Universal Classics to the atomic age monsters, from Eurohorror to American slashers, I am a fan of all kinds of terror tales on the silver screen. But when I want to evoke the feeling of gothic horror or chilly autumn nights, I can always rely on Hammer Horror for that magical mix of horror, sexuality, and a heaping spoonful of the red stuff… and when looking for the quintessential Hammer Horror film, you might just find it in Dracula: Prince of Darkness, new to BluRay from Millennium Entertainment.
In this sequel to 1958′s The Horror of Dracula, four English tourists travel through the Carpathians, bound for Karlsbad. After ignoring a warning from Father Sandor (Andrew Keir), the travelers find themselves at Castle Dracula, where manservant Klove (Philip Latham) welcomes them for dinner and offers them lodging for the night. It seems the master of the castle, Count Dracula (Christopher Lee), has passed away, but has ordered the castle be ready to take visitors at a moments notice. Of course, Klove dispatches one of the Englishmen and, in a blood sacrifice, resurrects Dracula, who promptly creates a vampire bride and stalks the surviving travelers. Will Father Sandor be able to rescue the vampire’s house-guests, or will Dracula claim them for his army of the undead?
Dracula Blu Ray.While it is not quite as entertaining as The Horror Of Dracula, there is a lot to like with Dracula: Prince of Darkness. Hammer Horror is well-represented in this gothic thriller; blood flows in technicolor rivets, Dracula’s bride adds the requisite lesbianism, and the film is full of 1895-via-1966 fashions and hair-styles. They really don’t make ‘em like this anymore. Christopher Lee is amazingly menacing as Dracula, complete with blood-red eyes and constantly bared fangs. Dracula has no lines in the film, and, according to whichever story is told, that is a result of no lines being written, or the lines being so atrociously bad that Christopher Lee refused to speak them (the truth seems to fall in the middle, with Lee mostly likely thinking of one of the modern-day Hammer Dracula films he made – but I digress). Whatever the case may be, the silent, hissing Dracula is still frightening, and proves to be a memorable element in a highly enjoyable film.
Millennium’s BluRay of Dracula: Prince of Darkness in nothing short of a labor of love, presenting some beautiful video, satisfying audio, and a decent amount of supplements. The new HD transfer is stunning, and that’s an understatement. Visuals are crisp, blacks are true, and those deep reds are solid and gorgeous. The audio is also great — effects, music, and voices mixed properly enough so that the dialogue doesn’t drown in the effects.
The array of supplements is great, too, starting with a commentary with Christopher Lee, Barbara Shelley, Suzan Farmer, and Francis Matthews. Up next is an episode of “The World of Hammer,” focusing on the Hammer films starring Christopher Lee (and narrated by Oliver Reed!). A brand new documentary, “Back To Black” is also included, featuring some of the stars and crew of Dracula: Prince of Darkness, as well as film historians. This is a fantastic documentary, but would have been slightly more helpful if it had included identifying graphics naming the contributors. This is a small issue with an amazing set of extras, which are rounded out by an exclusive still gallery, the restored original trailer, and Super 8mm behind-the-scenes footage. I’d also be remiss not to mention the restoration comparison included, showing how much love actually went into bringing this amazing package to life.
Dracula: Prince of Darkness is an entertaining entry into Hammer’s Dracula canon – not the most vital film in the series, but definitely one that provides a great deal of entertainment. Millennium’s presentation of the film is gorgeous, with serviceable audio and a great array of special features. Even in a year where many films have seen decent high-definition releases, Millennium’s release of Hammer’s Dracula: Prince of Darkness will easily top many a top ten list for 2013′s releases. Highly recommended. Christopher Lee dons the evil Count's cloak once again after an 8-year hiatus for this first "authentic" sequel to Hammer Studios' Horror of Dracula (the literal 1960 follow-up Brides of Dracula did not feature Lee). The story begins when two stuffy vacationing couples make an ill-fated stopover at Castle Karlsbad in the Carpathian mountains -- despite the warnings of the mysterious Fr. Sandor (Andrew Keir) and the near-destruction of their coach when the terrified driver runs for his life. After a slightly tedious stretch, one of the men (Charles Tingwell) is sacrificed in a bloody Satanic ritual, orchestrated by the Count's loyal manservant Klove (Philip Latham) to bring the legendary vampire back to life. The revived Count immediately sets his sights on the man's wife (Barbara Shelley), making her his undead bride; the surviving pair seek refuge in Fr. Sandor's abbey, with the undead bloodsuckers in hot pursuit. This stylish and chilling production is imbued with Gothic atmosphere by director Terence Fisher (one of his last films for the studio) and remains one of the classier entries from Hammer's heyday. Also known as Revenge of Dracula.
Hammer’s other Dracula films are:– The Brides of Dracula (1960), Dracula – Prince of Darkness (1966), Dracula Has Risen from the Grave (1968), Taste the Blood of Dracula (1970), Scars of Dracula (1971), Dracula A.D. 1972 (1972), The Satanic Rites of Dracula/Count Dracula and His Vampire Bride (1973) and The Legend of the 7 Golden Vampires/The Seven Brothers Meet Dracula (1974). Christopher Lee appears in all except Brides of Dracula and Legend of the 7 Golden Vampires. Peter Cushing plays Van Helsing again in Brides of Dracula, Dracula A.D. 1972, Satanic Rites of Dracula and Legend of the 7 7 Golden Vampires. Countess Dracula (1970) is a Hammer film but not a Dracula film and in fact tells the legend of Countess Elizabeth Bathory.
Terence Fisher’s other genre films are:– the sf films The Four-Sided Triangle (1953) and Spaceways (1953), The Curse of Frankenstein (1957), The Revenge of Frankenstein (1958), The Hound of the Baskervilles (1959), The Man Who Could Cheat Death (1959), The Mummy (1959), The Stranglers of Bombay (1959), The Brides of Dracula (1960), The Two Faces of Dr Jekyll (1960), The Curse of the Werewolf (1961), The Phantom of the Opera (1962), The Gorgon (1964), Dracula – Prince of Darkness (1966), Frankenstein Created Woman (1967), The Devil Rides Out/The Devil’s Bride (1968), Frankenstein Must be Destroyed (1969) and Frankenstein and the Monster from Hell (1973), all for Hammer. Outside of Hammer, Fisher has made the Old Dark House comedy The Horror of It All (1964) and the alien invasion films The Earth Dies Screaming (1964), Island of Terror (1966) and Night of the Big Heat (1967).
Around the Lenin statue there was a lot of stuff embedded into the sidewalk. I didn't get any decent pictures of the whole thing, but this detail of a very finely decorated hammer embedded in the concrete did turn out pretty well I thought.
Copyright © John G. Lidstone, all rights reserved.
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I knew I had to take a picture of this driftwood when I saw it, and I wasn't sure why I loved it so much until I realized later on that it reminds me of a photo I took in Yellowstone back in early Summer 2015 of some trees killed by geothermal water from a nearby geyser. (That photo is also posted on my Flickr account, by the way)
Installed in 1898, the A. E. Woolley Memorial stained glass window looks out onto the small south garden of St. Mark the Evangelist Church of England in Fitzroy.
The window is very tall, almost reaching the apex of the church. Possibly designed by British born, German trained, Melbourne stained glass artist William Montgomery, it is full of beautiful examples of brightly coloured and hand-painted stained glass panels. There are also several lozenges embedded throughout the window, representing flowers in bloom. In addition to very stylised Art Nouveau flowers, the window depicts a crown at the top, the nails and crown of thorns worn by Jesus in a quadrofoil of blue, a stylised cross and the letters IHS intertwined in a monogram half way down the lancet window. These letters are a contraction for "Iesus Hominum Salvator"; "Jesus, Savior of Men".
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
William Montgomery (1850 - 1927) was an artist who specialised in stained glass painting and design. He was born in England in 1850, and studied at the School of Art in Newcastle-on-Tyne. In his final year William was awarded one of only three National Art Scholarships that year to study at South Kensington School of Art (now the Royal College of Art). He was employed by the leading London stained glass firm, Clayton and Bell, before joining Franz Mayer and Company in Munich, Germany. Over the next seven years he not only designed windows he also trained others in the English style of glass painting. William arrived in Melbourne, Australia, in 1886 during the Boom Period provided by the Gold Rush. Melbourne was at the time one of the wealthiest cities in the world, and was in the throes of a building boom. He quickly set up his studio at 164 Flinders Street in the heart of Melbourne, bringing with him the latest in European style and design and achieving instant success amongst wealthy patrons. He worked equally for Catholic and Protestant denominations, his windows being found in many churches as well as in mansions, houses and other commercial buildings around the city. This extended to the country beyond as his reputation grew. A painter as well as stained glass window designer William was a founding member of the Victorian Art Society in Albert Street, Eastern Hill. William became President of its Council in 1912, a position he held until 1916. He was a trustee of the National Gallery of Victoria. His commissions included; stained glass windows at Christ Church, Hawthorn: St. John's, Heidelberg, St. Ignatius', Richmond: Christ Church, St Kilda: Geelong Grammar School: the Bathurst Cathedral and private houses "Tay Creggan", Hawthorn (now Strathcona Baptist Girls Grammar), and "Earlsbrae Hall", Essendon (now Lowther Hall Anglican Grammar School). The success of William Montgomery made Melbourne the leading centre of stained glass in the Southern Hemisphere. William Montgomery died in 1927.
Pikmin Flower / Bacopa Cabana / Schneeflocke (Sutera cordata) - Large On Black
in our garden - Frankfurt-Nordend
Explored: 20.07.2008
Well-formed copper crystal embedded in an irregular copper mass from the Precambrian of Michigan, USA. (public display, Carnegie Museum of Natural History, Pittsburgh, Pennsylvania, USA)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5500 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
Elements are fundamental substances of matter - matter that is composed of the same types of atoms. At present, 118 elements are known. Of these, 98 occur naturally on Earth (hydrogen to californium). Most of these occur in rocks & minerals, although some occur in very small, trace amounts. Only some elements occur in their native elemental state as minerals.
To find a native element in nature, it must be relatively non-reactive and there must be some concentration process. Metallic, semimetallic (metalloid), and nonmetallic elements are known in their native state as minerals.
Copper is the only metallic element that has a "reddish" color - it’s actually a metallic orange color. Most metallic elements, apart from gold & copper, are silvery-gray colored. Copper tends to form sharp-edged, irregular, twisted masses of moderately high density. It is moderately soft, but is extremely difficult to break. It has no cleavage and has a distinctive hackly fracture.
The copper crystal shown above comes from northern Michigan's Portage Lake Volcanic Series, an extremely thick, Precambrian-aged, flood-basalt deposit that fills up an ancient continental rift valley. This rift valley, analogous to the present-day East African Rift Valley, extends from Kansas to Minnesota to the Lake Superior area to southern Michigan. Unlike many flood basalts (e.g., Deccan Traps, Siberian Traps, Columbia River), the Portage Lake only filled up the rift valley. The unit is exposed throughout Michigan’s Keweenaw Peninsula, in the vicinity of the towns of Houghton & Hancock.
The Portage Lake succession thickens northward through the Keweenaw, up to >5.5 km worth of section in places. The dominant rock type is basalt - vesicular basalts, for the most part. Most of the original vesicles (gas bubbles) have since been filled up with a wide variety of different minerals. A vesicular basalt that has had its vesicles filled up with minerals is called an amygdaloidal basalt (try saying that five times quickly). Keweenaw amygdaloidal basalts have long had significant economic importance because native copper (Cu) is one of the more common vesicle-filling and fracture-filling minerals. Copper mineralization occurred during the late Mesoproterozoic, at 1.05 to 1.06 billion years ago. The Portage Lake host rocks are 1.093 to 1.097 billion years old.
Locality: copper mine at Ahmeek, Upper Peninsula of Michigan, USA
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Photo gallery of copper:
SONG:
www.youtube.com/watch?feature=player_embedded&v=KLpQ_...
Listen Carefully....
"You should know there's a time of year,
When the witches and ghosts appear.
They come at night
when there's no more light,Halloween is almost here!"
Dear Second Life,
I am so excited!
Halloween is one of my favorite holidays with its chills and thrills
and all that super scary stuff. Last year I had so much fun finding haunted and scary places for you.
This year, it's no exception.
I will try and post for you at least one scary place for you to visit each day. No promises though but I'll try my best ;)
THE HAUNTED
maps.secondlife.com/secondlife/Darkness/238/176/27
is the first one I have for you.
Haunted House,
The Dungeon,
The Pirate Bay,
Creepy Carnival,
VooDoo Island,
Pet Sematary,
Blood Beach,
Haunted Playground,Zombies, ghosts, skeletons, wolves, Loch Ness Monster, and much more!
There are two hunts going on in this location that I am sure you will enjoy.
DESCRIPTION:
Fabulous interactive experience frightening fun! A whole Sim of Horror!
Most items in Haunted are for sale, a lot is interactive, so please look at everything closely! There are free items around too!
By the way,
The opening text for this post are the lyrics to a song
I used to sing to my kids every Halloween when they were little ;)
LET THE FUN BEGIN!
Forever Yours,
~ Lori Novo ~
rachel acquired a new camping tent c/o kat & juls. sequoia is dancing barefoot to help break it in here.
copyright © 2009 sean dreilinger
view sequoia performing a rain dance inside our new tent - _MG_7013 embed on a black background.
April 18, 2013 - Washington DC., 2013 World Bank / IMF Spring Meetings. Girl Rising: A Rally For Girls and Women. World Bank Group; Jim Yong.Kim, Ban Ki-moon, actress Freida Pinto, UK Sec. of State for Int'l Development Justine Greening join Girl Rising film's call for gender equality in education. Photo: Simone D. McCourtie / World Bank
WATCH: Highlights of the event
Photo ID: 041813-GirlsRising020f
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En la fotografia: Àngels i la zona cremada del terme de Malet a Simat de la Valldigna on tot és gris i sec.
EMBED. El moment final del foc, quan sols queda el carbó.
.....
Àngels y la zona quemada de Simat de la Valldigna donde todo es gris y seco.
EMBED. El momento final del fuego, cuando solo queda el carbón.
[Alby]