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Explain differentiation This third module of the Teaching series we investigate the planning and design of classes. Professor Eamon Murphy of the Department of Social Sciences at Curtin University devotes an entire chapter of Lecturing at University (1998) to emphasise his view that careful planning is the most important aspect of lecturing.
Do Not Use Elvis Limousine And Charters.
My Wife and I booked a limo threw Elvis Limousine for our trip to and from the O'Hare Airport on our trip to Puerto Vallarta Mexico.
The Elvis Limousine pickup for the Airport went something like this.
******* Naperville to O'Hare ********
Time 6:30 AM
No Limo. Patiently waiting.
Time 6:50 AM
Called Elvis Limousine main phone number, no one answered.
So we called the emergency number and left a message.
Time 7:00 AM
Started looking up numbers for cap companies.
Time 7:05 AM
About to call a cab when the Limo Driver calls and said he is on his way.
Tells me he will be arriving soon.
Time 7:15 AM
Called to ask where he is says he read the paper wrong and went to O'Hare Airport to pick us up instead of the our house.
Time 7:40 AM
Limo Driver arrives he takes full responsibility for being over an hour late. Seems like a nice honest person. My wife and I decide to let it go and even tipped a small amount when we arrived at O'Hare Airport.
Time 8:15 AM
Arrived at O'Hare Airport. Almost 2 hours after the scheduled pickup time.
******* O'Hare to Naperville ********
When the Elvis Limousine was supposed to pick us up from O'Hare Airport after our trip it went something like this.
Time 6:30 PM
Flight Lands
Time 7:00 PM
Finished getting our luggage and going threw customs.
No limo is waiting for us so we called "Elvis Limousine & Charters" Main number and emergency number. No one answered either number so we left a message, no one ever called us back.
Time 7:15 PM
We called the driver from last time who was nice enough to give us his number.
He said no one was scheduled to pick us up because of a computer problem.
He said he was not doing anything and he would come pick us up.
Time 7:45 PM
"Elvis Limousine" Party Bus Arrives to pick us up. I saw the driver taking purses from inside the bus and putting them in the front seat. I thought someone had forgotten them and he had not had a chance to properly clean the vehicle. The driver threw our language on the floor.
We got and it was clear someone was in the middle of a bachelorette party. There was half drank bottles of beer, wine coolers, gifts, and comers the girls had left on the party bus. It was a mess and a complete violation of those girls trust to use their charter vehicle to pick us up.
Time 8:15 PM
Driver drops us off and demands a tip. Said that the tip we gave him last time was inadequate.
He then swore at my wife and myself. I explained to him that I had overlooked the first incident but I would not be able to over look both incidents. I explained to him that he had not provided the services that had been paid for and I would be needing a refund. He laughed and said we would never get a refund.
Time 8:30 PM
Called the Credit card company and explained how the services I had paid for had not been rendered as promised and asked to have the charges for "Elvis Limousine And Charters" disputed.
******* Conclusion about "Elvis Limousine & Charters" ********
Elvis Limousine And Charters seems to be a completely incompetent company that does not care about its customers or its obligations. An emergency line no one answers or returns calls on is very frustrating. And a limo driver should never arrive in a vehicle you did not order full of ether peoples personal positions.
I suggest if you promote this company you should stop.
If you are counting on this company for services you should reconsider.
For the sake of the employees and the customers this company sould just close its doors.
Elvis Limousines & Charter Co.
Burr Ridge and Bridgeview Illinois
Phone: 1-800-331-9923
Elvis Limousine & Charter
15w320 N Frontage Rd
Willowbrook, IL 60527 Map
(630) 455-1122
Elvis Limousine Service Chicago
Bridgeview, IL 60455
(773) 583-5466
Finally, I'm back. The norovirus got me. Despite a gorgeous sunny weekend, I was no good to anyone...and no where near the camera. :(
But, now that we're on the mend, Phoebe thought she should explain exactly why she needs to use lip balm. (Yep, she's three, and she likes lip balm.) Is this normal?
Normal or not, I'm glad I've documented it!
Happy Sunday...and good health to all!
On 1-12-15 I wrote this description to the pictures I labeled as #1 to “#34 D of nukes, VJ day & 911”. It's because the Sweet and Low T-shirt I'm wearing led to a “theory of relativity” revelation that I explained in class #4 vimeo.com/116519992, here's the title:
#4 has a Sweet & Low "theory of relativity" explanation of Pearl Harbor, the 911 disaster and a “Heal The World” Christmas present from heaven.
The best Christmas present seemed to be class L123 (2-2013) because it has the most divine signs to assure us that there will be no nuclear war on earth. It includes the warning I gave on 12-18-02 that the USA was in danger of a nuclear war and the letter I wrote to six states on 9-21-04 saying we’d been delivered from the threat of the nuclear war. I got more confirmations of that on 12-7-04 at Pearl Harbor at pictures #23 to 32. Like #31 is a picture of a rainbow going through “the Christmas tree” on the USS Missouri. That was just like pictures #23, 24 & 25 at the Bowfin submarine museum of nuclear warheads pointed at a kid standing by a Christmas tree. These were big confirmations of the signs I got that we had been delivered from the threat of nuclear war especially because of another example when heaven took away our fears and gave us a Merry Christmas in it's place in 1993.
From class 216 www.youtube.com/watch?v=sfKJYXCgGNg&index=14&list....
In this video I explained that people were afraid of all the end of the world signs that were so obvious by December 1993, (it started with Desert Storm in January 1991). I was eating dinner at a restaurant in Waikiki when I heard a Christmas song and realized the answer to those “end of the world” fears was to get into the spirit of Christmas, it was a Christmas present from heaven to trade fear for a merry Christmas that year. This starts with a view of Waikiki where I was eating that dinner and the Christmas song I heard called “It’s The Most Wonderful Time of Year”.
These pictures at Flickr started when I was called, (loud and clear from heaven), to go to Pearl Harbor about four times a year from 1999 to my last visit on 9-2-05. One reason why is what I wrote at Pearl Harbor picture #2 at Flickr.
In my hotel room in Olgalala Nebraska in 1994 I saw cartoon of how much Porky pig hated history, (it was my worst subject in school), and the spirits of the founding fathers were teaching him that it's worth learning about. It's like the picture (#5 D of nukes) of me having a drink with a cigar, (because I needed two cigar breaks to get through a day at Pearl Harbor). After my third visit to Pearl Harbor at my cigar break I noticed on the cans of Nestea a snowman and a sign that said “it cools you to the core”. I knew it was a sign so I said to God, “I’m not getting anything out of this but I'll keep coming if you say it's going to cool me to the core”. I finally got up to speed on Pearl Harbor just before the 9/11 disaster which was like the saying “those who do not learn from history are condemned to repeat it” and that is main reason why we got a repeat of Pearl Harbor on 9/11/01. In other words it was the founding fathers teaching Pearl Harbor to the rest of the Porky pigs in the United States. I just realized that might be in the Beatles song, Come together, right now
Over me.
He roller coaster
HE GOT EARLY WARNING
He got muddy water
He one mojo filter
He say one and one and one is three
Got to be good looking
'Cause he's so hard to see [that’s don't exceed your 15 minutes of fame(?)]
Come together, right now
Over me
There's too much to write on this so I'll just provide links to the classes where talked about this before, like at this last paragraph at class L112 vimeo.com/50116128 or see my patriotic playlist at YouTube www.youtube.com/playlist?list=PLVDkjTNqYqh0ylmTqlRo-H5dVl....
This is a list of my patriotic classes at vimeo.com/user8696549 and www.viddler.com/channel/Mikeoverson.
#186a vimeo.com/32431850 & b vimeo.com/32431994 were first then 169 and 161, (the links are below). Class 161 is about The Pentagon Wars and classes 99, 103 and L109 have nearly an hour patriotism. I condensed L109 into L112 and made L113 vimeo.com/50390744 to go with it then I summed it all up in class L123 vimeo.com/60109388. Class 171 vimeo.com/43436258 is how America needs to get the magic of patriotism back. Class L97 vimeo.com/45990216 shows the difference in human rights and freedom in the USA verses in Europe. I tell a sweeter version of that at my YouTube
playlist PL11 www.youtube.com/playlist?list=PLVDkjTNqYqh1adV--hsXO4URt4..., it's at the fourth video, class L127C or read my patriotic playlist
PL7 www.youtube.com/playlist?list=PLVDkjTNqYqh0ylmTqlRo-H5dVl....
PL6 has similar info and so does PL1 to PL5 at www.youtube.com/channel/UC3-RWtlOIS_k_TbVkYj_c5Q/playlists.
A video plays on page 1 & 2 at MikeOversonEndTimes.org to explain why you need to be tolerant of a teacher, prophet and "the one" who is a disabled mess on welfare, (it's because this is the best your money and applause would pay for). It's also where I have more patriotic classes like on page 3 at #182a1 is 1776 & Vietnam @ 38 to 54 min.
Here's what I wrote at Pearl Harbor picture #1 here at Flickr.
Pearl Harbor picture #7 is nearly the same view as this picture #1 except it's from the other side of the Arizona and the Mo. I think only God could arrange for that aircraft carrier and crew to provide a perfect completion and balance of these pictures. It's just another example of how magic our military is like I said at class 161 vimeo.com/33034450, (after the first three paragraphs the rest is just extra info).
When I was trying to find out why this 161 was such a special class it seemed to be due to how much I paid attention to military, (=rq704pm on vets day 11-11-13 is a big confirmation). When it happened again in classes 99 vimeo.com/36995187 and L109 vimeo.com/49352072 I finally gave proper credits in L123 vimeo.com/60109388 when I said "the most magic in my classes always comes from touching base with the greatness of the US military, so here's the the American Revolution and World War II" @ 54 min. If the US military is this much good luck and magic when when you're doing bad, (the first 11 minutes of 161 is about corruption in the military), imagine what it would be like when you're doing good, (read 206 vimeo.com/76811342).
From class 169 vimeo.com/30629125.
I was hoping that God would bless us with a visit from heaven in this 169 if I put America’s heros first (@ 1 to 15 min) and that’s exactly what happened. One reason that is so important to God is because it’s impossible to comprehend all that God has done for us but a very good parallel is to pay proper respect to the sacrifices of America’s heros, (or any heros of faith like Ghandi or Bible heros). This 169 was the start of the AWESOME military magic in classes 161, 99, L109, L112 & L123 and all because I loved porn so much that I thought up a new angle to beg God to bless us with a visit. See how impressed God was with me @ 8 min in L5b vimeo.com/35772901.
The best two 15 minute summaries of this military magic and US history are in classes L112 vimeo.com/50116128 and L127c vimeo.com/107209155. I watch them both on a regular basis because it's such a good refresher course.
From class 194 @ vimeo.com/90080993.
The Eagles reunite CD titled "Hell Freezes Over" was also a prophetic "see (c//) parallel" confirmation sign and combined with my "rhythm nation" drive, (& many other c// signs), it all added up to a loud and clear sign to the USA and the world that everyone is going to heaven when they die. Another big proof of it is class 161 because it covers the next 16 years of my life to 2011. It includes when my "Rhythm Nation drive" ended and I flew back to Hawaii on 1-11-95, then it explains why I had to pray at least eight hours a day from March to September of 1995, (the #955 means "stay alive in 95" and only those long prayers could've kept me from being killed). Then I tell about "the powers that be" who persecuted me up to the 9-11 disaster and then backed off, here's a summary of it from the comments at
L99 vimeo.com/46238993.
Next was my way of mocking THE FBI ON 8-28-01, we were both saying that each other would die except MY PREDICTION CAME TRUE and theirs didn't. It's in class 161 @ 40 minutes where I said “Squirm you (powerless) worms I won big-time and you know it. Except I didn’t know HOW BIG I WON until after the 9/11 disaster”. Then I put it in class L127 vimeo.com/105315202 at 4 to 8 minutes, here's the title:
L127 is Walt Disney's 1948 prophecy of me as Pecos Bill saying to the powers that be “squirm you powerless worms!”
I could do that mainly due to how powerful prayer is to conquer evil and how important prayer is to God at 20 to 32 minutes in this 161.
From class 167:
I made #167 after Vimeo deleted 53 of my videos over copyright violations. I explained the apparent wrath of God that followed when 36 people were shot in New York over the Labor Day weekend in the 9-5-11 news, in other words Vimeo should watch class 167 before deleting messages from heaven over copyright violations, (this video #161 sums it up much better at 39 to 55 minutes).
My rock'n roll playlist PL11, (& PL2, 3, 5 & 9), at www.youtube.com/channel/UC3-RWtlOIS_k_TbVkYj_c5Q/playlists might best sum up the end of these classes or read L112 vimeo.com/50116128.
The Bottom Line of my classes is THE POWER OF PRAYER in L124 @ vimeo.com/63452028.
It is some years, maybe 5 or more, since we last visited the cathedral in Canterbury. In the spring, I found the entrance to St Augustine's Abbey, so the plan yesterday was to visit them both.
I arrived just after ten, soon after it opened its doors, and was shocked to find that the multi-entry you used to get after paying your entrance fee had been discontinued. When I tried to ask the young man at the ticket office, he wasn't really able to speak much English to explain this to me, repeatedly holding one finger up at me as I asked the questions. £10.50, is not bad, I guess, especially as photography is allowed everywhere, except in the crypt, so I don't mind paying.
The site has been a place of worship probably since Roman times, and in the grounds of St Augustine's, just a short distance away, remains of a 7th century church still remain. What we see now in the cathedral is largely Norman, but with many improvements over the centuries.
-------------------------------------------------
Canterbury Cathedral in Canterbury, Kent, is one of the oldest and most famous Christian structures in England and forms part of a World Heritage Site. It is the cathedral of the Archbishop of Canterbury, leader of the Church of England and symbolic leader of the worldwide Anglican Communion; the archbishop, being suitably occupied with national and international matters, delegates the most of his functions as diocesan bishop to the Bishop suffragan of Dover. Its formal title is the Cathedral and Metropolitical Church of Christ at Canterbury.
Founded in 597, the cathedral was completely rebuilt from 1070 to 1077. The east end was greatly enlarged at the beginning of the twelfth century, and largely rebuilt in the Gothic style following a fire in 1174, with significant eastward extensions to accommodate the flow of pilgrims visiting the shrine of Thomas Becket, the archbishop who was murdered in the cathedral in 1170. The Norman nave and transepts survived until the late fourteenth century, when they were demolished to make way for the present structures.
Christianity had started to become powerful in the Roman Empire around the third century. Following the conversion of Augustine of Hippo in the 4th century, the influence of Christianity grew steadily .[2] The cathedral's first archbishop was Augustine of Canterbury, previously abbot of St. Andrew's Benedictine Abbey in Rome. He was sent by Pope Gregory the Great in 596 as a missionary to the Anglo-Saxons. Augustine founded the cathedral in 597 and dedicated it to Jesus Christ, the Holy Saviour.[3]
Augustine also founded the Abbey of St. Peter and Paul outside the city walls. This was later rededicated to St. Augustine himself and was for many centuries the burial place of the successive archbishops. The abbey is part of the World Heritage Site of Canterbury, along with the cathedral and the ancient Church of St Martin.
Bede recorded that Augustine reused a former Roman church. The oldest remains found during excavations beneath the present nave in 1993 were, however, parts of the foundations of an Anglo-Saxon building, which had been constructed across a Roman road.[5][6] They indicate that the original church consisted of a nave, possibly with a narthex, and side-chapels to the north and south. A smaller subsidiary building was found to the south-west of these foundations.[6] During the ninth or tenth century this church was replaced by a larger structure (49 m. by 23 m.) with a squared west end. It appears to have had a square central tower.[6] The eleventh century chronicler Eadmer, who had known the Saxon cathedral as a boy, wrote that, in its arrangement, it resembled St Peter's in Rome, indicating that it was of basilican form, with an eastern apse.[7]
During the reforms of Dunstan, archbishop from 960 until his death in 988,[8] a Benedictine abbey named Christ Church Priory was added to the cathedral. But the formal establishment as a monastery seems to date only to c.997 and the community only became fully monastic from Lanfranc's time onwards (with monastic constitutions addressed by him to prior Henry). Dunstan was buried on the south side of the high altar.
The cathedral was badly damaged during Danish raids on Canterbury in 1011. The Archbishop, Alphege, was taken hostage by the raiders and eventually killed at Greenwich on 19 April 1012, the first of Canterbury's five martyred archbishops. After this a western apse was added as an oratory of St. Mary, probably during the archbishopric of Lyfing (1013–1020) or Aethelnoth (1020–1038).
The 1993 excavations revealed that the new western apse was polygonal, and flanked by hexagonal towers, forming a westwork. It housed the archbishop's throne, with the altar of St Mary just to the east. At about the same time that the westwork was built, the arcade walls were strengthened and towers added to the eastern corners of the church.
The cathedral was destroyed by fire in 1067, a year after the Norman Conquest. Rebuilding began in 1070 under the first Norman archbishop, Lanfranc (1070–77). He cleared the ruins and reconstructed the cathedral to a design based closely on that of the Abbey of St. Etienne in Caen, where he had previously been abbot, using stone brought from France.[9] The new church, its central axis about 5m south of that of its predecessor,[6] was a cruciform building, with an aisled nave of nine bays, a pair of towers at the west end, aiseless transepts with apsidal chapels, a low crossing tower, and a short choir ending in three apses. It was dedicated in 1077.[10]
The Norman cathedral, after its expansion by Ernulf and Conrad.
Under Lanfranc's successor Anselm, who was twice exiled from England, the responsibility for the rebuilding or improvement of the cathedral's fabric was largely left in the hands of the priors.[11] Following the election of Prior Ernulf in 1096, Lanfranc's inadequate east end was demolished, and replaced with an eastern arm 198 feet long, doubling the length of the cathedral. It was raised above a large and elaborately decorated crypt. Ernulf was succeeded in 1107 by Conrad, who completed the work by 1126.[12] The new choir took the form of a complete church in itself, with its own transepts; the east end was semicircular in plan, with three chapels opening off an ambulatory.[12] A free standing campanile was built on a mound in the cathedral precinct in about 1160.[13]
As with many Romanesque church buildings, the interior of the choir was richly embellished.[14] William of Malmesbury wrote: "Nothing like it could be seen in England either for the light of its glass windows, the gleaming of its marble pavements, or the many-coloured paintings which led the eyes to the panelled ceiling above."[14]
Though named after the sixth century founding archbishop, The Chair of St. Augustine, the ceremonial enthronement chair of the Archbishop of Canterbury, may date from the Norman period. Its first recorded use is in 1205.
Martyrdom of Thomas Becket
Image of Thomas Becket from a stained glass window
The 12th-century choir
A pivotal moment in the history of the cathedral was the murder of the archbishop, Thomas Becket, in the north-west transept (also known as the Martyrdom) on Tuesday, 29 December 1170, by knights of King Henry II. The king had frequent conflicts with the strong-willed Becket and is said to have exclaimed in frustration, "Who will rid me of this turbulent priest?" The knights took it literally and murdered Becket in his own cathedral. Becket was the second of four Archbishops of Canterbury who were murdered (see also Alphege).
The posthumous veneration of Becket made the cathedral a place of pilgrimage. This brought both the need to expand the cathedral and the wealth that made it possible.
Rebuilding of the choir
Tomb of the Black Prince
In September 1174 the choir was severely damaged by fire, necessitating a major reconstruction,[15] the progress of which was recorded in detail by a monk named Gervase.[16] The crypt survived the fire intact,[17] and it was found possible to retain the outer walls of the choir, which were increased in height by 12 feet (3.7 m) in the course of the rebuilding, but with the round-headed form of their windows left unchanged.[18] Everything else was replaced in the new Gothic style, with pointed arches, rib vaulting and flying buttresses. The limestone used was imported from Caen in Normandy, and Purbeck marble was used for the shafting. The choir was back in use by 1180 and in that year the remains of St Dunstan and St Alphege were moved there from the crypt.[19]
The master-mason appointed to rebuild the choir was a Frenchman, William of Sens. Following his injury in a fall from the scaffolding in 1179 he was replaced by one of his former assistants, known as "William the Englishman".
The shrine in the Trinity Chapel was placed directly above Becket's original tomb in the crypt. A marble plinth, raised on columns, supported what an early visitor, Walter of Coventry, described as "a coffin wonderfully wrought of gold and silver, and marvellously adorned with precious gems".[22] Other accounts make clear that the gold was laid over a wooden chest, which in turn contained an iron-bound box holding Becket's remains.[23] Further votive treasures were added to the adornments of the chest over the years, while others were placed on pedestals or beams nearby, or attached to hanging drapery.[24] For much of the time the chest (or "ferotory") was kept concealed by a wooden cover, which would be theatrically raised by ropes once a crowd of pilgrims had gathered.[21][23] Erasmus, who visited in 1512–4, recorded that, once the cover was raised, "the Prior ... pointed out each jewel, telling its name in French, its value, and the name of its donor; for the principal of them were offerings sent by sovereign princes."[25]
The income from pilgrims (such as those portrayed in Geoffrey Chaucer's Canterbury Tales) who visited Becket's shrine, which was regarded as a place of healing, largely paid for the subsequent rebuilding of the cathedral and its associated buildings. This revenue included the profits from the sale of pilgrim badges depicting Becket, his martyrdom, or his shrine.
The shrine was removed in 1538. Henry VIII summoned the dead saint to court to face charges of treason. Having failed to appear, he was found guilty in his absence and the treasures of his shrine were confiscated, carried away in two coffers and twenty-six carts.
Monastic buildings
Cloisters
A bird's-eye view of the cathedral and its monastic buildings, made in about 1165[27] and known as the "waterworks plan" is preserved in the Eadwine Psalter in the library of Trinity College, Cambridge.[28] It shows that Canterbury employed the same general principles of arrangement common to all Benedictine monasteries, although, unusually, the cloister and monastic buildings were to the north, rather than the south of the church. There was a separate chapter-house.[27]
The buildings formed separate groups around the church. Adjoining it, on the north side, stood the cloister and the buildings devoted to the monastic life. To the east and west of these were those devoted to the exercise of hospitality. To the north a large open court divided the monastic buildings from menial ones, such as the stables, granaries, barn, bakehouse, brew house and laundries, inhabited by the lay servants of the establishment. At the greatest possible distance from the church, beyond the precinct of the monastery, was the eleemosynary department. The almonry for the relief of the poor, with a great hall annexed, formed the paupers' hospitium.
The group of buildings devoted to monastic life included two cloisters. The great cloister was surrounded by the buildings essentially connected with the daily life of the monks,-- the church to the south, with the refectory placed as always on the side opposite, the dormitory, raised on a vaulted undercroft, and the chapter-house adjacent, and the lodgings of the cellarer, responsible for providing both monks and guests with food, to the west. A passage under the dormitory lead eastwards to the smaller or infirmary cloister, appropriated to sick and infirm monks.[27]
The hall and chapel of the infirmary extended east of this cloister, resembling in form and arrangement the nave and chancel of an aisled church. Beneath the dormitory, overlooking the green court or herbarium, lay the "pisalis" or "calefactory," the common room of the monks. At its north-east corner access was given from the dormitory to the necessarium, a building in the form of a Norman hall, 145 ft (44 m) long by 25 broad (44.2 m × 7.6 m), containing fifty-five seats. It was constructed with careful regard to hygiene, with a stream of water running through it from end to end.[27]
A second smaller dormitory for the conventual officers ran from east to west. Close to the refectory, but outside the cloisters, were the domestic offices connected with it: to the north, the kitchen, 47 ft (14 m) square (200 m2), with a pyramidal roof, and the kitchen court; to the west, the butteries, pantries, etc. The infirmary had a small kitchen of its own. Opposite the refectory door in the cloister were two lavatories, where the monks washed before and after eating.
[27]
Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a monk of the priory) and William Chillenden, (elected 1264, previously monk and treasurer of the priory).[29] The monastery was granted the right to elect their own prior if the seat was vacant by the pope, and — from Gregory IX onwards — the right to a free election (though with the archbishop overseeing their choice). Monks of the priory have included Æthelric I, Æthelric II, Walter d'Eynsham, Reginald fitz Jocelin (admitted as a confrater shortly before his death), Nigel de Longchamps and Ernulf. The monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the archbishop was nominally their abbot, but this could lead to clashes with the king and/or pope should they put forward a different man — examples are the elections of Baldwin of Forde and Thomas Cobham.
Early in the fourteenth century, Prior Eastry erected a stone choir screen and rebuilt the chapter house, and his successor, Prior Oxenden inserted a large five-light window into St Anselm's chapel. [30]
The cathedral was seriously damaged by an earthquake of 1382, losing its bells and campanile.
From the late fourteenth century the nave and transepts were rebuilt, on the Norman foundations in the Perpendicular style under the direction of the noted master mason Henry Yevele.[31] In contrast to the contemporary rebuilding of the nave at Winchester, where much of the existing fabric was retained and remodelled, the piers were entirely removed, and replaced with less bulky Gothic ones, and the old aisle walls completely taken down except for a low "plinth" left on the south side. [32][6] More Norman fabric was retained in the transepts, especially in the east walls,[32] and the old apsidal chapels were not replaced until the mid-15th century.[30] The arches of the new nave arcade were exceptionally high in proportion to the clerestory.[30] The new transepts, aisles and nave were roofed with lierne vaults, enriched with bosses. Most of the work was done during the priorate of Thomas Chillenden (1391–1411): Chillenden also built a new choir screen at the east end of the nave, into which Eastry's existing screen was incorporated.[30] The Norman stone floor of the nave, however survived until its replacement in 1786.
From 1396 the cloisters were repaired and remodelled by Yevele's pupil Stephen Lote who added the lierne vaulting. It was during this period that the wagon-vaulting of the chapter house was created.
A shortage of money, and the priority given to the rebuilding of the cloisters and chapter-house meant that the rebuilding of the west towers was neglected. The south-west tower was not replaced until 1458, and the Norman north-west tower survived until 1834, when it was replaced by a replica of its Perpendicular companion.[30]
In about 1430 the south transept apse was removed to make way for a chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The north transept apse was replaced by a Lady Chapel, built in 1448–55.[30]
The 235-foot crossing tower was begun in 1433, although preparations had already been made during Chillenden's priorate, when the piers had been reinforced. Further strengthening was found necessary around the beginning of the sixteenth century, when buttressing arches were added under the southern and western tower arches. The tower is often known as the "Angel Steeple", after a gilded angel that once stood on one of its pinnacles.
I saw pics of the UCS imperial shuttle, and got mega exited over this head, because it doesn't have a twisted mouth, I was going to buy this set just for the head! I looked for the figure on Bricklink, and pictures show him with just a regular twisted mouth head. I look in the heads section, to see this head doesn't appear to exist. Is this a prototype head? I really want it! but it doesn't seem to exist. I looked for reviews of the set on youtube, but due to crap video quality, I can't tell what headpiece is on this fig. On the box, it shows him with the not twisted mouth, can someone explain this to me?
Can't explain...
Anything...
Not even how im feeling...
My emotions are so messed up lately...
Im not myself, But sometimes im more than myself.
I don't sleep.
Im just not me, Then who am i?
I act stuck up and mean, But thats not me.
Whats gotten into me...
I need to find myself, But i can't.
I push everyone close to me away...
I need them more than ever rightnow.
sometimes i feel like my heart
is beating extremlyy fast like im having
a heart attack, almost like im dying,
i've been told these are panic attacks
bah i get them most frequently grr
Random Fact: that peace sign headband i wear that almost everyday. :)
A Photo A Day For A Year
Day 15 / 365
I almost died the other day. For once, there is actually no hyperbole in that statement. I really did come that close. Allow me to explain.
Thanks to you guys, I was able to take that long, treacherous journey from southeast Iowa to Pittsburgh, Pennsylvania to pick the girl up. And oh my god if that drive wasn't the most perilous and difficult one that I have ever made. I've been through the Rocky Mountains at the tail end of winter. I've driven the twenty-six hours to New Orleans and back in a single go, and just about every crevice of interstate in between and never have I experienced what I did on the drive here. I type this from Pittsburgh, actually, two days after my intended date of departure. I'm kind of scared to leave to be honest with you.
I made it through Illinois without much to write about. It was a little blustery, a little windy, but the drive was pretty standard fare. In fact, I was quite elated to get through the entire state without seeing even a single police officer. That was a first. But then I hit Indiana and the snow really started to fall.
This was a huge problem because my windshield wipers are pretty much inoperative. They don't do their job well without the aid of wiper fluid and my nozzle has been completely frozen solid since winter began. Even when I poured hot water over the thing at my first gasoline stop, it refroze within minutes. The wind chill outside was a staggering -27 degrees Fahrenheit and I realized pretty quickly that the effort to keep the port open was a fool's errand. Semi-trucks kept kicking up dirty slush and rendered my windshield obscured to the point where it was very hard to see through it. And it kept happening over and over and over again. By the time I hit the Ohio border (nine hours into what is usually a ten hour drive in total), I was exhausted.
And then the heavy snow turned whiteout.
I arrived in Columbus, Ohio at about ten-thirty and was greeted by a six lane interstate that was 100% unplowed. The roads were slick and the cars on either side of me didn't seem to mind that fact much. They were flying by at speeds that I couldn't even dare climb to even if I wanted to reach them. I kept my speedometer needle hovering at around 60 MPH (what I deemed to be a safe speed given the circumstances) and tried to inch my way through the city. I still couldn't see much through that obscured windshield and it was ten times worse now that there was so much snow involved. I thought back to the morning when my brother Dakota scolded me for even considering the drive in such conditions.
"The roads are straight shit, dude." He told me.
"Nah, they aren't so bad." I replied, then promptly left.
I took the exit to Wheeling, West Virginia and hit a patch of black ice as I was coming off of it. This is normal even in Iowa and I'm well aware of how to correct such an event, so I turned in the direction of my spin and, upon correcting myself, immediately hit another patch of black ice. My car spun out, then kept spinning through all six lanes of traffic, and landed less than eight inches from the embankment on the left side. Somehow, something that I can't rationalize or explain, I didn't hit a single car. I didn't hit the edge of the embankment. Instead, I was momentarily stuck on the edge of the road with a body so full of adrenaline that I was still shaking when I finally did arrive to Pennsylvania some five hours later.
Now, I'm not a believer in miracles or divine intervention or anything like that. In fact, I'm pretty damn skeptical of anything even remotely resembling supernatural activity. I used to go ghost hunting with my buddy Joel, an avid believer in the supernatural, and I would crack wise-ass jokes and upset him greatly in the middle of the night at various cemeteries or basements. To me, when you die, you simply become worm food. There is no more you. You are extinguished, you are a dead light-bulb, you are a decaying corpse that no longer exists in any capacity beyond the cadaver. I've long maintained that position and I still do believe that. So, when I'd ghost hunt with Joel, the whole thing just reeked of silliness to me. I couldn't take it seriously.
But god damn if I don't have a hard time rationalizing the piling coincidence of this. How did I spin through so much traffic and avoid hitting a single car? How did I land so conveniently close to an embankment and not slam into it? How was I able to simply put my car in a different gear to get myself unstuck? The whole thing really put my head for a loop and even now, even right here in Pennsylvania retelling the event, I can't get over just how lucky I was in that moment. In all, the whole thing happened in probably six seconds. It wasn't the kind of thing where time slowed down and I was able to make sense of it before it ended. Everything happened so fast and then it was over. Cars continued to fly by me at rapid pace. The world kept spinning. The snow kept falling. My windshield was still madly obscured.
I'm a little nervous to get back on the road tomorrow morning, though I have so much work to get through that it makes me a little nauseous to think about. I know I need to get back. I know I gotta get back to the grind, start the videos again, etc; etc. I have to do this. But it scares me.
So I apologize for the last couple days with no output on these custom Patreon posts, but I haven't had access to a computer and I didn't particularly want to create posts that didn't have much graphical content. But I felt like I owed you guys an explanation as to my whereabouts and this story was too much to not share.
I will update you again (this time with photos) tomorrow evening when I arrive back to my house in Iowa. Wish us luck. I'll see you guys on the other side. Love you.
I saw him standing at the information kiosk in the university Student Learning Centre building on a dark, rainy Tuesday. I was intrigued by his appearance and approached him to introduce myself and ask if I could photograph him for my Human Family project. His response was friendly interest and he agreed, even though it meant leaving the building to get sufficient light on the front steps. Meet Daisujke who is from Tokyo.
The front steps of the Student Learning Centre were filled with students seeking shelter from the rain, taking smoke breaks from study, and checking their cell phones. Taking the photos was rather straightforward once I “claimed” some space on the steps and the flow of students started diverting themselves behind me instead of between me and Daisujke. It was a busy place.
Daisujke was very polite and his English was quite good. He explained that he is 31 and just arrived in Toronto five days ago from a visit to Jamaica. I quickly gained the impression that Daisujke is a committed traveler who has seen many places. His passion is calligraphy which he practices wherever he goes. His Instagram account @hiratabi which means “Writing on the Road.” He plans to return to Tokyo briefly after seeing Canada and then heads for the Philippines where he has a job lined up at a language school that teaches Japanese. I assumed he is a teacher but he told me his job will not be teaching but managing the program at the school. After the Philippines he has his sights set on South America.
When I asked what he had been doing at the information booth inside, he said he was discussing his calligraphy. Since I had told him I would only delay him a few minutes, we exchanged contact information and I walked him back into the building where I thanked him for his time and wished him safe travels. He said he would look forward to receiving his photo.
When Daisujke had completed his business at the information booth, I approached the students at the booth who had witnessed my “recruiting” Daisujke for my project and asked for clarification of what his purpose had been with them. They smiled and said he was just leaving off information about his calligraphy services for any students who wanted to have him do a calligraphy for them. “Is it like a small business?” I asked. “No” they replied. “It seems to be a gesture of good will” and they showed me the square of paper he had left on their desk with a sample of his calligraphy and contact information on the reverse. Intrigued by this travelling calligrapher, I asked if I could borrow the paper to photograph outside in the light and then return to them. They happily agreed. I was left with the impression that Daisujke and I are doing something rather similar - using what skills we have to make a friendly connection with strangers as we go about our daily lives. He uses calligraphy, I use photography.
When I returned the paper to the desk, one of the students asked how my project was going. I explained how well it was going and she said she was asking because I had photographed two of her student friends on campus in the past and it seemed like a fantastic project. It is.
It was time to finish my coffee and venture out into the rain. The day had turned so dark that it was starting to look like night even though it was mid-day.
Thank you Daisujke for taking a few minutes to meet and tell me about your fascinating lifestyle on the road. You are a real citizen of the world and your good will makes you a perfect subject for the Human Family project.
This is my 40th submission to the Human Family group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
Follow-up: I received the following nice email from Daisujke:
"Hi, Mr. Jeff. Thank you for your kind mail. And I am sorry, my reply was late. By the way, finally I came back to Japan.
I really glad to met you in Toronto.
My motivation of travel is having fun. I like to know and to see things that I do not know. And my motivations of calligraphy are having fun, communicate with local people and to show Japanese culture to foreign people.
Now I am trying to write familys name for Japanese people. It is also exciting for me.
I saw your page and felt very happy.
Thank you for your nice essay.
I hope your act makes a lot of people very happy !!
See you someday.
Dasuke Hirata from Japan
P.S.I send your name in Japanese for you.
Your name means YOU HAVE RICH SMILE !!"
I hadn't been able to take out the M4 and 35mm Nikkor in awhile, so brought it with me on several occasions. Was trying to focus on the pictures in my mind rather than what was in front of me, basically to construct things differently. I had seen a number of flickeranians who really impressed me with their work where I could feel what they were doing, from images in Los Angeles to the tri-state area to South East Asia. I keep trying and thank those who keep inspiring!
Researcher explaining points on the operations of palm oil extractor to participants. (file name: ISS_170a)
March 18, 1999. I looked at the paper, and what did I see? A sad boy, looking at me. His father had been killed by the "Serb forces". The article explained that NATO would probably soon attack to protect the ethnic Albanians in Kosovo (an action that I did not oppose).
But suddenly I noticed that the boy in the photo was not truly holding the picture of his father. A man's hand is reaching in to the bottom of the photo, holding up the picture frame. And a woman's hand, arm hidden behind the boy's hood, holds the top. It's a staged photo! Yet many US newspapers devoted the majority of their news space "above the fold" on the front page to this photo, which elicits a strong emotional response and is not news. It did wonderfully prepare the hearts and minds of the American people for the upcoming invasion. I was shocked and saved that newspaper. A week later, NATO bombing began.
How does this happen? The media inform the people, the people elect the government, the government runs the country, and the media adapt their messages to the government's desires? Unlike Noam Chomsky, I don't believe that there is a vast government/corporate advertiser/media conspiracy, but in this case, the American media was clearly manufacturing consent among the public. Why, and what processes led to so many papers selecting this AP photo for their front pages?
My best answer is a statement I overheard in 1998. I was walking past the DoubleClick headquarters in Manhattan. A well-dressed man walking in front of me explained to his eight-year-old son that the son owned stock in DoubleClick. What is DoubleClick, the son asked? An on-line advertising network, the executive explained. There is content and there are advertisements. The advertisements provide the revenue. "The reason we have news in the newspaper is because otherwise no one would look at the advertisements."
With that perspective, the objective of the news media is not to inform but rather to entertain. The worst possible effect of a piece would be to annoy the reader/viewer, causing them to change channels or stop reading the paper. Thus, do not take chances, do not present material that makes people uncomfortable, that questions whether our country is on the right path, or that is at all complicated. Importance be damned, attract the most eyeballs without offending anyone.
Explaining the pros & cons of a new lens a 58mm f1.4. Only thing in common was mine was 58mm as well.
1/5
Members of the American High School Theatre Festival presenting excerpts of their show "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" on and around one of the Virgin Money free stages on The Mile
Sentimental Typology is a project I did in 1997 - that's already 10 years. It is one of these funny coincidences when you do something on the edge of your proper activities (whole that year I was focused on doing cartoons) and it turns to be a main work of the time. Almost the whole set was taken at the same place - old uniform shop in Mexico City. I was always interested in the variation inside of homogeny (each smile, mouth, vagina is different and so on) The main proposal of the project was to talk about a small details, differences that detonate your fantasy - lets say one of this mouths transport me into new Orleans bars, other to renaissance Venice another to German military hospital. The project had a lot of reception although the critics in Poland prized it attributing to it "the critic of female vanity" that was not at all my goal - well people use to explain things the way betters suits them. "Sentimental Typologies" been shown at the exhibitions in Warsaw, Mexico City, Moscow, St. Petersburg, Tallinn, NY, Paris and somewhere in Belgium.
This edition of the series was published in Delta Print house / Mango Models 2006 calendar. Also some of this photos appear in ABCDF - visual dictionnary of Mexico City under "Lips". The original set consist from 19 pictures of which here appear 12.
Picture from the original set - Mexico City, 1997
35 mm, Nikon F-301, 55 mm macro lens, Velvia 50
For a variety of reasons, not all of them rational, I have decided to mess around in Facebook. You can find me at:
Mia explains why it is so much fun to be in Ms. Cephus' class. "She is always funny, but you learn a lot!"
“No reason explains war”
From the 10th to the 13th November, our socio-cultural partners and friends in the AfroReggae Band from Rio de Janeiro, will be in and around the state of São Paulo to launch their latest show, “No reason explains war”. Formed by youth from the infamous shanties of Rio de Janeiro, the AfroReggae Band has been an important inspiration and motivation for the actions of our own youth group and especially the Beija-Flor Band.
São Paulo was chosen by the group for the launching and tour of their latest show, which will be passing through the cultural centres of SESC Pompéia (10/11), SESC Bauru (11/11), SESC Ribeirão Preto (12/11) and SESC Itaquera (13/11). The images in this series are from the show at SESC Pompéia. The relationship between AfroReggae and the SESC of São Paulo began in 2001 and extends further than just their circuit of shows and cultural presentations. This year, the choice by AfroReggae to realize the premier viewing of their prize-winning film Favela Rising, in São Paulo at the SESC Pinheiros, was no mere coincidence, not to mention all the other social, cultural and artistic activities already realized in partnership with the group.
The show coincides with the launching of their latest CD at the end of November. The CD, “No reason explains war”, unites 10 songs – most of which are unpublished – composed by diverse members of AfroReggae in partnership with some of the grand names in Popular Brazilian Music, such as Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina and Liminha, besides a new version of Caetano Veloso e Gilberto Gil’s music “Haiti”. With their unique sonority in the track titled “No reason explains war”, AfroReggae also counts on the special participation of the English Rappers, TY and Estelle.
The performances in São Paulo – directed by José Junior e Johayne Hidelfonso – brings us songs from the new álbum like "Negro Affairs", "I only want you" and “Another Chance”, besides great successes from their first album, like "I’m annoyed" and "Front Cover". Also acclaimed songs such as “Let’s Escape”, by Gilberto Gil and Liminha, “Fly In My Soup” by Raul Seixas, and “What country is This” by Renato Russo, are in the selection.
The AfroReggae Band surfaced in 1995, as a result of the dance and percussion workshops that were held by the NGO in the Vigário Geral Shanty. During the São Paulo tour, the band is made up of Ando (vocals); LG (vocals); Dinho (vocals); Altair Martins (percussion); Dada (percussion); Wallace (percussion); Juninho (percussion); Jairo Cliff (bass guitar); Joel Dias (guitar); Magic Julio (DJ); Cosme (drums); Maílson (keyboards) and Mariana Rangel (backing vocals).
With the passing of time, AfroReggae has also changed and gained new dimensions, increasing the sounds of the drums, bass and guitar. The presence of a DJ put final touches on the songs being composed by the band. In 1998, the first International invitiation delivered AfroReggae to Europe and in 2001 the banda launched their first album called “New Face”.
Portuguese Text:
“Nenhum motivo explica a guerra”
Entre os dias 10 e 13 de novembro, a banda AfroReggae estará em São Paulo para lançar o seu novo show, “Nenhum motivo explica a guerra”. O estado foi escolhido pela banda para começar a turnê de shows que passará pelas unidades do Sesc Pompéia (em 10/11), Sesc Bauru (11/11), Sesc Ribeirão Preto (12/11) e Sesc Itaquera (13/11). A relação entre o AfroReggae e o SESC-SP começou em 2001 e vai além do circuito de shows e apresentações. Neste ano o AfroReggae fez questão de fazer a primeira exibição do premiado filme Favela Rising, em São Paulo, para a direção do SESC-SP, na unidade de Pinheiros. Além de inúmeras ações sociais, culturais e artísticas.
Com lançamento marcado para o fim de novembro, o cd “Nenhum motivo explica a guerra” reúne 10 canções - a maioria inédita - compostas pela turma do AfroReggae em parceria com alguns dos grandes nomes da música popular brasileira como Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina e Liminha, além de uma versão para a música “Haiti”, de Caetano Veloso e Gilberto Gil. Com sonoridade única, a banda AfroReggae conta com participação especial dos rappers ingleses TY e Estelle, na faixa título “Nenhum motivo explica a guerra”.
A apresentação em São Paulo – com direção de José Junior e Johayne Hidelfonso - traz músicas do novo cd como "Coisa de negão", "Quero só você" e “Mais uma chance”, além de sucessos do primeiro disco como "Tô bolado" e "Capa de revista". Canções consagradas como “Vamos fugir”, de Gilberto Gil e Liminha, “Mosca na sopa” de Raul Seixas e “Que Pais é este”, de Renato Russo também estão na seleção.
Formada pelos integrantes Ando (voz); LG (voz); Dinho (voz); Altair Martins (percussão); Dada (percussão); Wallace (percussão); Juninho (percussão); Jairo Cliff (baixo); Joel Dias (guitarra); Magic Julio (Dj); Cosme (bateria); Maílson (teclado) e Mariana Rangel (backing vocal), a banda AfroReggae surgiu em 1995, a partir de oficinas de dança e percussão que eram realizadas em Vigário Geral.
Com o passar do tempo, o AfroReggae mudou e ganhou novas formas, acrescentando em suas melodias naipes de bateria, baixo e guitarra. A presença de um DJ deu um toque final às músicas que a banda começava a compor. Em 1998 surge o primeiro convite internacional, que levou o AfroReggae para Europa. Em 2001 a banda lança o primeiro Cd chamado “Nova Cara”.
More AfroReggae Images
At the AIC, there were young students giving lessons on some of their favorite paintings. They were doing a great job and even fielding questions from their classmates.
Thanks for watching the show!
“No reason explains war”
From the 10th to the 13th November, our socio-cultural partners and friends in the AfroReggae Band from Rio de Janeiro, will be in and around the state of São Paulo to launch their latest show, “No reason explains war”. Formed by youth from the infamous shanties of Rio de Janeiro, the AfroReggae Band has been an important inspiration and motivation for the actions of our own youth group and especially the Beija-Flor Band.
São Paulo was chosen by the group for the launching and tour of their latest show, which will be passing through the cultural centres of SESC Pompéia (10/11), SESC Bauru (11/11), SESC Ribeirão Preto (12/11) and SESC Itaquera (13/11). The images in this series are from the show at SESC Pompéia. The relationship between AfroReggae and the SESC of São Paulo began in 2001 and extends further than just their circuit of shows and cultural presentations. This year, the choice by AfroReggae to realize the premier viewing of their prize-winning film Favela Rising, in São Paulo at the SESC Pinheiros, was no mere coincidence, not to mention all the other social, cultural and artistic activities already realized in partnership with the group.
The show coincides with the launching of their latest CD at the end of November. The CD, “No reason explains war”, unites 10 songs – most of which are unpublished – composed by diverse members of AfroReggae in partnership with some of the grand names in Popular Brazilian Music, such as Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina and Liminha, besides a new version of Caetano Veloso e Gilberto Gil’s music “Haiti”. With their unique sonority in the track titled “No reason explains war”, AfroReggae also counts on the special participation of the English Rappers, TY and Estelle.
The performances in São Paulo – directed by José Junior e Johayne Hidelfonso – brings us songs from the new álbum like "Negro Affairs", "I only want you" and “Another Chance”, besides great successes from their first album, like "I’m annoyed" and "Front Cover". Also acclaimed songs such as “Let’s Escape”, by Gilberto Gil and Liminha, “Fly In My Soup” by Raul Seixas, and “What country is This” by Renato Russo, are in the selection.
The AfroReggae Band surfaced in 1995, as a result of the dance and percussion workshops that were held by the NGO in the Vigário Geral Shanty. During the São Paulo tour, the band is made up of Ando (vocals); LG (vocals); Dinho (vocals); Altair Martins (percussion); Dada (percussion); Wallace (percussion); Juninho (percussion); Jairo Cliff (bass guitar); Joel Dias (guitar); Magic Julio (DJ); Cosme (drums); Maílson (keyboards) and Mariana Rangel (backing vocals).
With the passing of time, AfroReggae has also changed and gained new dimensions, increasing the sounds of the drums, bass and guitar. The presence of a DJ put final touches on the songs being composed by the band. In 1998, the first International invitiation delivered AfroReggae to Europe and in 2001 the banda launched their first album called “New Face”.
Portuguese Text:
“Nenhum motivo explica a guerra”
Entre os dias 10 e 13 de novembro, a banda AfroReggae estará em São Paulo para lançar o seu novo show, “Nenhum motivo explica a guerra”. O estado foi escolhido pela banda para começar a turnê de shows que passará pelas unidades do Sesc Pompéia (em 10/11), Sesc Bauru (11/11), Sesc Ribeirão Preto (12/11) e Sesc Itaquera (13/11). A relação entre o AfroReggae e o SESC-SP começou em 2001 e vai além do circuito de shows e apresentações. Neste ano o AfroReggae fez questão de fazer a primeira exibição do premiado filme Favela Rising, em São Paulo, para a direção do SESC-SP, na unidade de Pinheiros. Além de inúmeras ações sociais, culturais e artísticas.
Com lançamento marcado para o fim de novembro, o cd “Nenhum motivo explica a guerra” reúne 10 canções - a maioria inédita - compostas pela turma do AfroReggae em parceria com alguns dos grandes nomes da música popular brasileira como Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina e Liminha, além de uma versão para a música “Haiti”, de Caetano Veloso e Gilberto Gil. Com sonoridade única, a banda AfroReggae conta com participação especial dos rappers ingleses TY e Estelle, na faixa título “Nenhum motivo explica a guerra”.
A apresentação em São Paulo – com direção de José Junior e Johayne Hidelfonso - traz músicas do novo cd como "Coisa de negão", "Quero só você" e “Mais uma chance”, além de sucessos do primeiro disco como "Tô bolado" e "Capa de revista". Canções consagradas como “Vamos fugir”, de Gilberto Gil e Liminha, “Mosca na sopa” de Raul Seixas e “Que Pais é este”, de Renato Russo também estão na seleção.
Formada pelos integrantes Ando (voz); LG (voz); Dinho (voz); Altair Martins (percussão); Dada (percussão); Wallace (percussão); Juninho (percussão); Jairo Cliff (baixo); Joel Dias (guitarra); Magic Julio (Dj); Cosme (bateria); Maílson (teclado) e Mariana Rangel (backing vocal), a banda AfroReggae surgiu em 1995, a partir de oficinas de dança e percussão que eram realizadas em Vigário Geral.
Com o passar do tempo, o AfroReggae mudou e ganhou novas formas, acrescentando em suas melodias naipes de bateria, baixo e guitarra. A presença de um DJ deu um toque final às músicas que a banda começava a compor. Em 1998 surge o primeiro convite internacional, que levou o AfroReggae para Europa. Em 2001 a banda lança o primeiro Cd chamado “Nova Cara”.
Who Must Fast?
Fasting is compulsory for those who are mentally and physically fit,
past the age of puberty, in a settledsituation (not traveling), and
are sure fasting is unlikely to cause real physical or mental injury.
Exemptions from Fasting(some exemptions are optional)
*. Children under the age ofpuberty (Young children are encouraged to
fast asmuch as they are able.)
*. People who are mentallyincapacitated or not responsible for their actions
*. The elderly
*. The sick
*. Travelers who are on journeys of more than about fifty miles
*. Pregnant women and nursing mothers
*. Women who are menstruating
*. Those who are temporarily unable to fast must make up the missed
days at another time or feed the poor.
Special Events
*. Special prayers, called taraweeh, are performedafter the daily
nighttime prayer.
*. Lailat ul-Qadr ("Night of Power" or "Night of Destiny") marks the
anniversary of the night on which the Prophet Muhammad first began
receiving revelations from God, through the angel Gabriel. Muslims
believe Lailat ul-Qadr is one of the last odd-numbered nights of
Ramadhan.
Traditional Practices
*. Breaking the daily fast with a drink of water and dates
*. Reading the entire Quranduring Ramadhan
*. Social visits are encouraged.
Eid ul-Fitr ("Festival of Fast-Breaking") Prayers at the End of Ramadhan
*. Eid begins with special morning prayers on the first day of
Shawwal, the month following Ramadhan on the Islamiclunar calendar.
*. It is forbidden to performan optional fast during Eid because it is
a time for relaxation.
*. During Eid Muslims greet each other with the phrase "taqabbalallah
ta'atakum," or "may God accept your deeds" and"Eid Mubarak"
(eed-moo-bar-ak), meaning"blessed Eid."
Ramadhan Questionsand Answers
Q: How did the fast during Ramadhan become obligatory for Muslims?
The revelations from God to the Prophet Muhammadthat would eventually
be compiled as the Quran began during Ramadhan in the year 610, but
the fast of Ramadhan did not become a religious obligation for Muslims
until the year 624. The obligation to fast is explained in the second
chapter of the Quran: "O yewho believe! Fasting is prescribed to you
as it wasprescribed to those before you, that ye may (learn)
self-restraint...Ramadhan isthe (month) in which was sent down the
Quran, as a guide to mankind, also clear (Signs) for guidance and
judgment (between right and wrong). So everyone of you who is present
(at his home) during that month should spend it in fasting..."
(Chapter 2, verses183 and 185)
Q: What do Muslims believe they gain from fasting?
One of the main benefits of Ramadhan are an increased compassion for
those in need of the necessities of life, a sense of self-purification
and reflection and a renewed focus on spirituality. Muslims also
appreciate the feeling of togethernessshared by family and friends
throughout the month. Perhaps the greatest practical benefit isthe
yearly lesson in self-restraint and disciplinethat can carry forward
to other aspects of a Muslim'slife such as work and education.
Q: Why does Ramadhan begin on a different day each year?
Because Ramadhan is a lunar month, it begins about eleven days earlier
each year. Throughout a Muslim's lifetime, Ramadhan will fall both
during winter months, when the days are short, and summer months, when
the days are long and the fast is more difficult. In this way, the
difficulty of the fast is evenly distributed between Muslims living in
the northern and southernhemispheres.
Q: What is Lailat ul-Qadr?
Lailat ul-Qadr ("Night of Power") marks the anniversary of the night
on which the Prophet Muhammad first began receiving revelations from
God, through the angel Gabriel. An entire chapter in the Quran deals
with this night: "We have indeed revealed this (Message) in the Night
of Power: and what will explain to thee what the Night of Power is?
The Night of Power is better than a thousand months. Therein come down
the angels and the Spirit by God's permission, on everyerrand.
Peace!...This until the rise of morn." (Chapter 97) Muslims believe
Lailat ul-Qadr is one of the last odd-numbered nights of Ramadhan.
Q: Is it difficult to perform the fast in America?
In many ways, fasting in American society is easier than fasting in
areas where the climate is extremely hot. This year atleast, the
number of daylight hours will be less than when Ramadhan occurs during
the spring orsummer. In Muslim countries, most people are observing
the fast, so there are fewer temptations such as luncheon meetings,
daytime celebrations and offers of food from friends.....
A talk on Barcode Wales - Beyond the Visible for Chongqing Two River Volunteer Service Development Centre - a local NGO, dedicated to environmental action through education, community projects and citizen science.
I start with some background on DNA barcoding and the Barcode Wales project and Andrea continues with an explanation about her artwork and the Barcode Wales - Beyond the Visible exhibition. We then discuss the links between the art and the science.
Andrea's photographs illustrate some of the plant species DNA barcoded as part of the Barcode Wales project. She takes a different approach to her subjects. Instead of photographs that look 'at' the world around us, she wants us to be part of that landscape and involved with it. Instead of 'pictures of plants' she asks us to imagine being part of their world, like a bee foraging through their habitat. Her photographs give equal value to all plants not just the rare or conventionally beautiful.
Below the photographs is a visual representation of the plants DNA barcode. The Barcode Wales project is also about giving value to every plant species and its DNA barcode allows us to understand their habitats in new ways. The name of the species is not given on the photographs, instead the DNA barcode represents the signature of the species, as it is the DNA code locked up in every cell of the plant's body. The DNA barcode visualisations use the actual rbcL DNA barcode of the species with the A,G,C,Ts of the DNA bases each having a different colour and shape. The shapes are the Morse code for that letter. The visualisations were designed by Col Ford who wrote a software script to generate the visualisations from the Barcode Wales database. The Barcode Wales - Beyond the Visible exhibition is a collaboration between art, science and software engineering.
The Barcode Wales Paper: dx.plos.org/10.1371/journal.pone.0037945
I did this diagram in 2002 to get my head around all the players and politics in the interactive television business.
Rohingya Refugees in Bangladesh: Limiting the Damage of a Protracted Crisis
www.crisisgroup.org/asia/south-east-asia/myanmar-banglade...
Rohingya Refugee Crisis Explained
www.unrefugees.org/news/rohingya-refugee-crisis-explained/
Six Years of Rohingya Refugee Crisis in Bangladesh: From Here to Where?
www.spf.org/apbi/news_en/b_240627.html
The Rohingyas are a Muslim minority from the North Rakhine State in western Burma. Over the past forty years, the Burmese government has systematically stripped over 1 million Rohingya of their citizenship. Recognized as one of the most oppressed ethnic groups in the world, the Rohingya are granted few social, economic and civil rights. They are subjected to forced labor, arbitrary land seizure, religious persecution, extortion, the freedom to travel, and the right to marry. Because of the abuse they endure in Burma, hundreds of thousands of Rohingya have fled Burma to seek sanctuary in neighboring Bangladesh. In the refugee camps along the south east coast where they settle, most are not recognized as refugees and are considered illegal economic migrants. Unwanted and unwelcome, they receive little or no humanitarian assistance and are vulnerable to exploitation and harassment. In recent years, the Rohingya have paid brokers to smuggle them by boat from Bangladesh to Malaysia and even beyond to Australia, sparking the attention of governments throughout the region.
The Association of Southeast Asian Nations (ASEAN) has confirmed that the statelessness of the Rohingya is not just a Burma-related problem, but a problem with larger regional implications.
pulitzercenter.org/reporting/burma-bangladesh-muslim-mino...
pulitzercenter.org/reporting/rohingya-bangladesh-burma-my...
pulitzercenter.org/reporting/rohingya-burma-bangladesh-st...
www.doctorswithoutborders.org/publications/reports/2002/r...
blogs.mediapart.fr/edition/les-invites-de-mediapart/artic...
pulitzercenter.org/blog/week-review-inside-burma-presiden...
Ioannina, Epirus, Greece. Shot with a Canon F1 with Canon FD 50mm 1.2L lens, on Kodak Trix 400 at f1.2 1/60. Developed with D76 and scanned using a Minolta Dimage Multi II.
this conspiracy against me? & tell me how i've lost my power..
Tomé todo mi dinero y me escapé, directo hacia el valle de la Gran División, allí donde se esconden todos los sueños. Ahí donde el viento no sopla, Ahí donde las buenas chicas mueren & no caerá nieve del cielo..
Ahí donde los pájaros no cantan
Ahí donde los campos no crecen
Ahí donde las campanas no suenan.. ♥
Un sucio cuento de hadas- the killers.