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To celebrate International Archives Day 2015, we asked a representative from our offices to explain their role & select their favourite record. You can see the selections on our Flickr account and check our Twitter account for further International Archives Day celebrations. For more information on International Archives Day check out the International Council on Archives website www.ica.org/1561/international-archives-day/about-the-int...
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Historical Life Imitating Art – HBO’s Deadwood and Eleanor Catton’s The Luminaries come to life in Archives New Zealand’s holdings
Kia ora tātou. My name is Geordy Muir. I’m an archivist at Archives New Zealand’s Dunedin Regional Office.
I love gritty historical drama in any medium, be it television, literature, film, or best of all, real life. I’m fascinated by historical examples of vitriolic ranting. Ned Kelly’s Jerilderie Letter, held by the National Museum of Australia, is a really fantastic example. For me, it’s the language Kelly uses that’s so captivating. His anger is so raw that it oozes out of all 50 pages. But, we hold some gems too.
For the last few years, I’ve spent a lot of time with records generated by the various Wardens’ Courts that were set up throughout the Goldfields of Otago and Southland during the rushes of the 1860s and 70s. These are frontier records. The majority are made up of various mining applications, plaint files and licences. Often only a page or two in length and spattered with mud and who knowns what else, occasionally crinkled and tattered from spending the first phase of their lives in a miner’s back pocket, these scraps of paper are artefacts – time travellers travelling towards us at a speed of one day at a time.
But, while the content of the mining applications illustrates the industriousness of the men and women that worked the fields, and their physical condition occasionally gives us clues about the nature of life on those fields, generally, they’re literally gritty, not figuratively gritty. What I really love is plaint and criminal files, where you can stumble across a succinct and complete gritty little narrative – something that takes you all the way back to the muddy streets of these frontier (and sometimes temporary) gold towns. We witness drunks cussing at each other under a veranda as a fight spills out of one of the countless pubs and into the street as a local eccentric exposes himself within. Many of the stories are violent and harrowing, some of them are funny, and the best are both.
Criminal File – Police v William Maclarn- 1879
Archives Ref: AEPG 20967 D568/51 66 68
Transcript:
"You bloody lowe (sic) life son of a whore,
you bloody son of a bitch,
you god damn bugger of hell I will
do for you"
"’Morton you bloody low thief you son of a whores bitch
you god damned bugger of hell I will do for you yet’
and continued making use of that language in the hearing of
several children on the public road at 4:30pm on 5.8.79
E. Morton
Sergeant of Constabulary”
Material from Archives New Zealand
how long "Little Guy" was when he was rescued in 1997 and really was a "little guy" only about 10 inches long. "Little Guy" is a Great Basin rattlesnake (Crotalus oreganus lutosus). Photo of Frank and "Little Guy" at Boise State University Reptile and Amphibian Workshop September 17 - 18, 2016 by Scott..
Dr Stuart Clark performing at the Universe Explained at Gorilla, Manchester, on Saturday 20th July 2013
A Fruitland farmer explains a watering method he is using for the first time on a crop of onion seed that he is soon to plant. Because the soil in which onion seed is planted must never dry out, he has has burried a drip line just underneath the soil. This method will keep the soil constantly wet w ith a minimal amount of water. Fruitland, Idaho
7/20/2012 Photo by Kirsten Strough
Wikipedia explains that: "It was painted by Veronese for the rear wall of the refectory of the Basilica di Santi Giovanni e Paolo, a Dominican friary, as a Last Supper, to replace an earlier work by Titian destroyed in the fire of 1571.
However, the painting led to an investigation by the Roman Catholic Inquisition. Veronese was called to answer for irreverence and indecorum, and the serious offence of heresy was mentioned. He was asked to explain why the painting contained "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period; instead, he simply changed the title to The Feast in the House of Levi, still an episode from the Gospels, but less doctrinally central, and one in which the Gospels specified "sinners" as present. After this, no more was said."
Ahhhh, yes, the PC crashed. Really. 4 weeks ago during my week of house-sitting with no internet. Then, I set off on more trips, gatherings, then work again, and finally... I am back at the odd post. Now Elements has been reinstalled, yahoo passwords recovered... may the posting continue now.
This was from shortly after the crash... reuinion with my friends Natascha and Juergen in Berlin. A great day, topped off with a faboulous concert at the Komische Oper - but of course no photos of that.
40 years in the game - Victor Hernandez Cruz at the 9th Annual Voices for the Voiceless Poetry Concert.
“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
A nurse explains the importance of nutrition to new parents at a clinic in Accra, Ghana. Through its partners and the Ministry of Health, the Maternal and Child Survival Program (MCSP) is supporting clinics like this one to improve survival rates of mothers and their families.
Photo Credit: Kate Holt/MCSP
Jon Magnuson, Executive Director of the nonprofit Cedar Tree Institute in Marquette Michigan th
906-2285494
magnusonx2@charter.net
EarthKeepers II (EK II) Project Coordinator Kyra Fillmore Ziomkowski explains creating 30 interfaith community gardens (2013-2014) across the Upper Peninsula of Michigan that include vegetables and native species plants that encourage and help pollinators like bees and butterflies.
The video was shot on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, MI during a meeting of EK II representatives.
An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes such as Keweenaw Bay Indian Community
10 faiths: Roman Catholic" "Episcopal" "Jewish" "Lutheran" "Presbyterian" "United Methodist" "Bahá'í" "Unitarian Universalist" "American Friends" "Quaker" "Zen Buddhist" "
EK II website
Nonprofit Cedar Tree Institute
Marquette, MI
Great Lakes Restoration Initiative
Deborah Lamberty
Program Analyst
U.S. Environmental Protection Agency
Great Lakes National Program Office
Chicago, IL
Lamberty.Deborah@epa.gov
312-886-6681
Pastor Albert Valentine II
Manistique, MI
Manistique Presbyterian Church of the Redeemer
Gould City Community Presbyterian Church
Presbytery of Mackinac
Rev. Christine Bergquist
Bark River United Methodist Church
First UMC of Hermansville
United Methodist Church Marquette District
Rev. Elisabeth Zant
Eden Evangelical Lutheran Church
Munising, MI
Evangelical Lutheran Church in America (ELCA) Northern Great Lakes Synod
Heidi Gould
Marquette, MI
Marquette Unitarian Universalist Congregation
Rev. Pete Andersen
Marquette, MI
ELCA
Helen Grossman
Temple Beth Sholom
Jewish Synagogue
Rev. Stephen Gauger
Calvary Lutheran Church
Rapid River, MI
ELCA
Jan Schultz, Botanist
U.S. Forest Service (USFS)
Eastern Region 9
EK II Technical Advisor for Community Gardens
Milwaukee, WI
USFS
www.fs.fed.us/wildflowers/nativegardening
Pollinator photos by Nancy Parker Hill
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
Messiah Lutheran Church
Evangelical Lutheran Church in America
Marquette, Michigan
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
NMU EK II Student Team
Katelin Bingner
Tom Merkel
Adam Magnuson
EK II social sites
www.youtube.com/EarthKeepersII
www.facebook.com/EarthKeepersII
www.twitter.com/EarthKeeperTeam
pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...
pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...
Lake Superior Zendo
Zen Buddhist Temple
Marquette, Michigan
Rev. Tesshin Paul Lehmberg
906 226-6407
plehmber@nmu.edu
Dr. Michael Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
906-475-4009 (hm)
906-475-4127 (wk)
www.templebethsholom-ishpeming.org
www.templebethsholom-ishpeming.org/tikkun
www.templebethsholom-ishpeming.org/aboutus
Wild Rice: 8 videos
www.learningfromtheearth.org/video-interviews/wild-rice-m...
Birch – 2 videos
www.learningfromtheearth.org/video-interviews/paper-birch...
Photos (click on each name or topic to see the respective photo galleries):
www.learningfromtheearth.org/photo-gallery
www.picasaweb.google.com/Yoopernewsman/JonReport?authuser...
www.picasaweb.google.com/100329402090002004302/JonReport?...
“Albert Einstein speculated once that if bees disappeared off the surface of the earth, then humans would have only four years of life left.”
the late Todd Warner, KBIC Natural Resource Director
Links:
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
www.cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-pr...
www.cedartreeinstitute.org/2009/01/wings-seeds-the-zaagki...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
www.webb.nmu.edu/Centers/NativeAmericanStudies/SiteSectio...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
www.mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
www.nativetimes.com/index.php?option=com_content&view...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
www.gather.com/viewArticle.action?articleId=281474978040745
2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
www.flickr.com/photos/zaagkiiproject
www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
Zaagkii on word press:
www.zaagkiiproject.wordpress.com
Zaagkii on Blogger:
www.zaagkiiproject.blogspot.com
Zaagkii on Photobucket:
www.photobucket.com/ZaagkiiProjectWingsSeeds
www.photobucket.com/ZaagkiiProjectWingsSeeds/?start=all
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-project
cedartreeinstitute.org/2009/01/wings-seeds-the-zaagkii-pr...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
indiancountrytodaymedianetwork.com/ictarchives/2008/08/15...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay indiancountrytodaymedianetwork.com/ictarchives/2008/09/03...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
webb.nmu.edu/Centers/NativeAmericanStudies/SiteSections/A...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
nativetimes.com/index.php?option=com_content&view=art...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
www.gather.com/viewArticle.action?articleId=281474978040745
2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
www.flickr.com/photos/zaagkiiproject
www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
Zaagkii on word press:
Zaagkii on Blogger:
Zaagkii on Photobucket:
Lt. Kamber, Croatian Volcano Battery platoon commander, explains trajectory and targeting to U.S. Army officers of the Battle Group Poland prior to the Croatian Volcano Battery Live Fire Exercise, the first outside of Croatia and with the Battle Group Poland near Bemowo Piskie Training Area, Poland, on November 29, 2017.
Blutgasse
Basic Information
Location Vienna
District Innere Stadt
Created in the 14th century at the latest
Historical name Kotgässel, Kotgässel at the German gentlemen (Teutonic Knights), alley behind the German gentlemen, Kergässel, Milchgasse
Intersecting streets Domgasse, Singerstraße
Buildings Trent yard, Domherrenhaus, German religious house, Fähnrichshof
Use
Usergroups pedestrians
Road design pedestrian precinct
Specifications
Road length of about 115 meters
Blood Alley is located in the first district of Vienna Inner City. The area, called Blutgasse district, is one of the oldest and most picturesque of the city.
History
The houses of the Blutgasse in their foundations go back to the Middle Ages; the area is considered one of the oldest in Vienna. 1368 it is for the first time mentioned as Kotgässel at the Teutonic Knights, in 1392 described as Kotgässel. More mentions of the street speak of the alley behind the German Men (1394), from Kergässel (1406 and 1411), from the blood alley (since 1547) and Milchgasse (1600 ); since 1862 the official name Blutgasse is valid. The interpretation of these names is considered unclear, although the name Kotgässel (faeces) with the condition of the road seems to be related. To explain the name Blutgasse there is a tradition that speaks of slaughter houses in the area, it is said that whereby spilled blood to have run through the alley; another tradition brings the name of the Knights Templar into context, it is said that they have been massacred in 1312 in Fähnrichhof, whereupon the alley was full of their shed blood. Both stories are not considered by historians as valid. After the area after the Second World War was very run down, there were 1960-1965 by Herbert Thurner and Friedrich Euler a first revitalization of the neighborhood, which was, however, associated with far-reaching changes in the interior. 1989-1991 the facades have been renovated and restored their Baroque appearance.
Blutgasse south
Blutgasse
Location and characteristics
The blood alley runs from Domgasse in a southwesterly direction to the Singer Road. It is a narrow old town street that was designed as a pedestrian zone. At the end at Singerstraße span arches (Schwibbögen) the alley. Here are consistently sprawling building complexes with picturesque courtyards and access galleries, some of which are interconnected. Their outer appearance dates from the 16th and 17th centuries, the building fabric usually being older. As a result of the revitalization measures the houses are inhabited today. Mostly tourists love to visit this area. All buildings are national monuments.
Buildings
No. 1 Trent Court
The also as the Domherrenhof, Old Choir mansion or Strudenhof known building originally goes back to two different medieval buildings. The name Trent Court dates from one of the owners, Konrad Hinderbach, who 1470-1488 was a canon of Trent. 1753-1755 the current rental house with two courtyards of Johann Enzenhofer was built. In 1733-1736 in the predecessor building the builder Francesco d' Allio was living, in the present building before 1850 the musician Georg Hellmesberger senior. The house is situated at the main address Domgasse 4
# 2 Domherrenhof
At the Blutgasse lies the simple rear front of the Domherrenhofes (Canons house), which was built in 1837-1842 by Leopold Mayr in late Classicist style as a passageway with two courtyards. The main address is located at Stephansplatz 5
Pawlatschenhof in the house Blutgasse # 3
No. 3 Medieval Mansion
The core of the building dates from the first half of the 13th century. It originally consisted of three parts and was then joined and 1558-1560 extended with an additional courtyard wing. Finally, after 1733 followed an increase and fitting of a new facade and the installation of a staircase and galleries. The Baroque facade is repeatedly bent and changed on the ground floor. The two-storey upper zone is merged by plaster frames and has stone-framed windows. Of particular note are the two consecutive irregular Pawlatschenhöfe that lead as a passage to the Grünangergasse. In the rear area there is a late gothic respectively ground floor window from the Renaissance period. A stone arched doorway leads to the basement. There is still to be found a significant late Romanesque building fabric from the first half of the 13th century with rubble masonry and 5 arched slit windows. In the house there is a groin-vaulted foyer, on the ground floor a lunette ton.
# 4 German religious house
In Blutgasse is the back of the House of the German Order, after which the street originally was named (Kotgässel at the German men). The facade at the corner toward Singer road is divided corresponding to the main facade by pilasters in the Baroque style, in its continuation followed by a six-axis early Baroque façade, which is characterized by triangular and segmental arched gable roofings and cordon cornices. At the right end follows another, simpler facade from the 4th quarter of the 16th century, which is structured by cornice strips. The main address of the German monastic house is located at Street Singer number 7
Blutgasse 5
# 5 To the Green Raith panel
The late classical rental house in 1819 above an older core was built. The facade is simply divided by cordon and window ledge moulding cornices. Inside is to be found a curved two pillar staircase with original preserved banister. As well preserved in its original state is the truss. In the barrel-vaulted cellar partially stone quarry masonry is visible.
Small Fähnrichshof left and look into the Blutgasse in the direction of Domgasse
Nos. 7 and 9 Great and Little Fähnrichshof
The as the Great and Little Fähnrichshof known buildings are part of a building complex, going back to the Middle Ages and including the houses Blutgasse 5, 7 and 9 and Singerstraße 11. According to unauthenticated reports, here the Templars should have possessed a court. Anyway, the houses were owned by the neighboring Cistercian monastery of St. Nicholas and were 1534/35 separated, divided into house plots and rented. Here gathered one of the four citizens militias, namely the one of the Carinthia district, with their flag. A 1566 mentioned mural of a sergeant gave the houses the name. 1684 acquired the bookbinder and exterior Council Johann Konrad Ludwig the extensive building. 1702-1703 followed the rebuilding by the neighboring Poor Clares. Its present form the houses got in 1819, now seven houses being situated around a large courtyard. Here the humanist Johannes Cuspinian and the composer Wenzel Müller lived.
The No. 7 is referred to as the Great Fähnrichshof. It is one of the rare high medieval town houses in Vienna from the first half of the 13th century. 1559-1563 was an addition of another storey and the construction of a spiral staircase on the courtyard side and of the vestibule. After 1664 the cellar was built, from 1675 to 1679 a further increase and a new paneling made, which on the courtyard side still is preserved. In 1743, the street facade was re-made and and more basements storeys added. The street facade upstairs has contracted window axes. The stair tower shows slanted windows. In a room on the ground floor the rare example of a rising masonry from the 1st half of the 13th century can be seen.
The No. 9 is as Little Fähnrichshof denominated and is located on the corner to Singer Road. It originates in the core from the 16th century and was a Renaissance house, the present façade is baroque and stems from the first quarter of the 18th century. A middle bay is located at the Singer Road. Upstairs by plaster fields vertically contracted window axes are to see. The baroque wooden door in a bracket-arched portal partially has original fittings.
Blutgasse
Angelegt spätestens im 14. Jahrhundert
Historische Namen Kotgässel, Kotgässel bei den Deutschen Herren, Gasse hinter den Deutschen Herren, Kergässel, Milchgasse
Querstraßen Domgasse, Singerstraße
Bauwerke Trienter Hof, Domherrenhaus, Deutschordenshaus, Fähnrichshof
Nutzung
Nutzergruppen Fußgänger
Straßengestaltung Fußgängerzone
Technische Daten
Straßenlänge ca. 115 Meter
Die Blutgasse befindet sich im 1. Wiener Gemeindebezirk Innere Stadt. Die Gegend, genannt Blutgassenviertel, zählt zu den ältesten und malerischsten der Stadt.
Geschichte
Die Häuser der Blutgasse gehen in ihren Fundamenten bis ins Mittelalter zurück; die Gegend gilt als eine der ältesten Wiens. 1368 wird sie als Kotgässel bei den Deutschen Herren erstmals genannt, 1392 nur als Kotgässel bezeichnet. Weitere Nennungen der Gasse sprechen von der Gasse hinter den Deutschen Herren (1394), vom Kergässel (1406 und 1411), von der Blutgasse (seit 1547) und der Milchgasse (1600); seit 1862 gilt die amtliche Bezeichnung Blutgasse. Die Deutung dieser Namen gilt als unklar, obwohl der Namen Kotgässel mit dem Zustand der Straße in Zusammenhang zu stehen scheint. Um den Namen Blutgasse zu erklären gibt es eine Überlieferung, die von Schlachthäusern in der Gegend spricht, wobei das dabei vergossene Blut durch die Gasse gelaufen sein soll; eine andere Überlieferung bringt den Namen mit den Tempelrittern in Zusammenhang, die 1312 im Fähnrichhof niedergemetzelt worden sein sollen, worauf die Gasse voll mit ihrem vergossenen Blute gewesen sei. Beide Geschichten werden von Historikern nicht als stichhaltig erachtet. Nachdem die Gegend nach dem Zweiten Weltkrieg sehr heruntergekommen war, kam es zwischen 1960 und 1965 durch Herbert Thurner und Friedrich Euler zu einer ersten Revitalisierung des Viertels, die allerdings mit weitreichenden Veränderungen im Inneren verbunden war. 1989 bis 1991 wurden die Fassaden renoviert und ihre barocke Gestalt wiederhergestellt.
Blutgasse nach Süden
Blutgasse
Lage und Charakteristik
Die Blutgasse verläuft von der Domgasse in südwestlicher Richtung bis zur Singerstraße. Es handelt sich um eine schmale Altstadtgasse, die als Fußgängerzone gestaltet ist. Am Ende bei der Singerstraße überspannen Schwibbögen die Gasse. Hier liegen durchwegs weitläufige Gebäudekomplexe mit malerischen Innenhöfen und Pawlatschengängen, die teils untereinander verbunden sind. Ihr äußeres Erscheinungsbild stammt aus dem 16. und 17. Jahrhundert, wobei die Bausubstanz meist älter ist. Infolge der Revitalisierungsmaßnahmen sind die Häuser heute bewohnt. Vorwiegend Touristen besuchen gerne diese Gegend. Alle Gebäude stehen unter Denkmalschutz.
Bauwerke
Nr. 1 Trienter Hof
Das auch als Domherrenhof, Altes Chorherrenhaus oder Strudenhof bekannte Gebäude geht ursprünglich auf zwei verschiedene mittelalterliche Gebäude zurück. Der Name Trienter Hof stammt von einem der Besitzer, Konrad Hinderbach, der 1470–1488 Domherr von Trient war. 1753–1755 wurde das heutige Miethaus mit zwei Innenhöfen von Johann Enzenhofer errichtet. Im Vorgängerbau wohnte 1733–1736 der Baumeister Francesco d'Allio, im jetzigen Gebäude vor 1850 der Musiker Georg Hellmesberger senior. Das Haus liegt an der Hauptadresse Domgasse 4.
Nr. 2 Domherrenhof
An der Blutgasse liegt die schlichte Rückfront des Domherrenhofes, der 1837–1842 von Leopold Mayr im spätklassizistischen Stil als Durchhaus mit zwei Innenhöfen erbaut wurde. Die Hauptadresse liegt am Stephansplatz 5.
Pawlatschenhof im Haus Blutgasse Nr. 3
Nr. 3 Mittelalterliches Bürgerhaus
Der Kern des Gebäudes stammt aus der 1. Hälfte des 13. Jahrhunderts. Es bestand ursprünglich aus drei Teilen und wurde dann zusammengefasst und 1558–1560 mit einem zusätzlichen Hoftrakt erweitert. Schließlich erfolgte nach 1733 eine Aufstockung und Neufassadierung sowie der Einbau einer Treppe und von Pawlatschen. Die barocke Fassade ist mehrfach geknickt und im Erdgeschoss verändert. Die zweigeschossige Oberzone ist durch Putzrahmen zusammengezogen und besitzt steingerahmte Fenster. Besonders beachtenswert sind die zwei hintereinanderliegenden unregelmäßigen Pawlatschenhöfe, die als Passage bis zur Grünangergasse führen. Im hinteren Bereich gibt es ein spätgotisches bzw. renaissancezeitliches Erdgeschossfenster. Ein steinernes Rundbogenportal führt zum Keller. Dort findet sich noch bedeutende spätromanische Bausubstanz aus der 1. Hälfte des 13. Jahrhunderts mit Bruchsteinmauerwerk und 5 rundbogigen Schlitzfenstern. Im Haus befindet sich ein kreuzgratgewölbtes Foyer, im Erdgeschoss eine Stichkappentonne.
Nr. 4 Deutschordenshaus
In der Blutgasse liegt die Rückfront des Deutschordenshauses, nach dem die Gasse ursprünglich benannt war (Kotgässel bei den Deutschen Herren). Die Fassade ist an der Ecke zur Singerstraße entsprechend der Hauptfassade durch Pilaster im Barockstil gegliedert, daran anschließend folgt eine sechsachsige frühbarocke Fassadengliederung, die durch dreieckige und segmentbogige Giebelverdachungen und Kordongesimse gekennzeichnet ist. Am rechten Ende folgt eine weitere, schlichtere Fassade aus dem 4. Viertel des 16. Jahrhunderts, die durch Gesimsbänder gegliedert ist. Die Hauptadresse des Deutschordenshauses befindet sich an der Singerstraße 7.
Blutgasse 5
Nr. 5 Zur grünen Raith-Tafel
Das spätklassizistische Miethaus wurde 1819 über einem älteren Kern errichtet. Die Fassade ist schlicht durch Kordon und Sohlbankgesimse gegliedert. Im Inneren findet sich eine gewendelte Zweipfeilerstiege mit original erhaltenem Geländer. Ebenfalls teilweise original erhalten ist der Dachstuhl. Im tonnengewölbten Keller ist teilweise Bruchsteinmauerwerk sichtbar.
Kleiner Fähnrichshof links und Blick in die Blutgasse Richtung Domgasse
Nr. 7 und 9 Großer und Kleiner Fähnrichshof
Die als Großer und Kleiner Fähnrichshof bekannten Gebäude sind Teil eines Baukomplexes, der bis ins Mittelalter zurückgeht und die Häuser Blutgasse 5, 7 und 9 sowie Singerstraße 11 umfasste. Nach nicht beglaubigten Berichten sollen hier die Templer einen Hof besessen haben. Jedenfalls standen die Häuser im Besitz des angrenzenden Zisterzienserinnenklosters St. Nikolai und wurden 1534/35 abgetrennt, in Hausparzellen aufgeteilt und vermietet. Hier versammelte sich eine der vier Bürgerkompanien, nämlich die des Kärntner Viertels, mit ihrer Fahne. Ein 1566 erwähntes Wandgemälde eines Fähnrichs hat den Häusern den Namen gegeben. 1684 erwarb der Buchbinder und Äußere Rat Johann Konrad Ludwig das weitläufige Gebäude. 1702–1703 erfolgte ein Umbau durch die benachbarten Klarissen. Ihre heutige Gestalt erhielten die Häuser 1819, wobei nunmehr 7 Häuser um einen großen Innenhof liegen. Hier lebte der Humanist Johannes Cuspinian und der Komponist Wenzel Müller.
Die Nr. 7 wird als Großer Fähnrichshof bezeichnet. Es handelt sich um eines der seltenen hochmittelalterlichen Bürgerhäuser Wiens aus der 1. Hälfte des 13. Jahrhunderts. 1559–1563 erfolgte eine Aufstockung und die Errichtung einer hofseitigen Wendeltreppe und des Hausflurs. Nach 1664 wurde der Keller gebaut, 1675–1679 eine weitere Aufstockung und eine neue Fassadierung vorgenommen, die hofseitig noch erhalten ist. 1743 wurde die Straßenfassade neu gemacht und weitere Kellergeschosse dazugebaut. Die Straßenfassade besitzt im Obergeschoss zusammengezogene Fensterachsen. Der Treppenturm zeigt schräge Fenster. In einem Raum im Erdgeschoss ist das seltene Beispiel eines aufgehenden Mauerwerks aus der 1. Hälfte des 13. Jahrhunderts zu sehen.
Die Nr. 9 wird als Kleiner Fähnrichshof bezeichnet und liegt an der Ecke zur Singerstraße. Er stammt im Kern aus dem 16. Jahrhundert und war ein Renaissance-Bürgerhaus, die heutige Fassade ist barock und stammt aus dem 1. Viertel des 18. Jahrhunderts. Ein Mittelerker liegt an der Singerstraße. Im Obergeschoss sind durch Putzfelder vertikal zusammengezogene Fensterachsen zu sehen. Die barocke Holztüre in einem Schulterbogenportal weist teilweise originale Beschläge auf.
To be fair I couldn't explain Newtonian Mechanics to kids because I'd want to jump straight into the maths. There were a couple of demos which did cover the topics as long as you remembered that they were a simplified view.
Things like this I'd want to use energy equations and ignore loss (A-Level mechanics). If loss is important you start getting complex. Ignoring loss, the kinetic energy of the ball at any point is equal to the change of potential energy due to loss of height. This technique also works for the toy elephant launcher and is easier than integrating Newton's second law.
½mv² = mg(H-h) - where (H-h) is height lost , g the acceleration due to gravity, and m, the mass of the ball, cancels
The explanation did give the forces on the balls as "Gravity" and "Friction". I've drawn gravity as "mg", but my other force is "Reaction" which is perpendicular to the ramp. The resultant force is the accelerating force on the ball. My arrows were not drawn to scale so may or may not line up.
Friction is significant because it will cause the balls to rotate. Energy equations would still work, only now we must include the rotational energy of the ball. Interestingly the mass cancels out again, as does the radius:
Moment of Inertia for sphere around centre = I = 2/5 mr²
Rotational Energy = ½Iω²
Rotation ω = speed along ramp / radius = v/r
Rotation Energy = 1/5 m r² v² / r² = 1/5 mv²
So the speed of the ball at any point, ignoring loss and assuming no slippage, comes out as
speed = √(10/7 g (H-h))
Which means that it doesn't matter what size ball you roll down the ramp as long as it doesn't fall through the gap or hit the other part of the loop or is so large and light or rough that loss becomes significant.
For the kids though - a chance to roll some balls down a ramp and hear a loud clang as they hit a metal plate hidden in a suitcase on stage.
Dad was asked a lot of questions. It was a blast sharing information with the boys who listen to every word. One of the joys of being a parent.
Arthur Kinoy, a civil rights attorney and Rutgers University professor, is shown August 17, 1966 in Washington, D.C. explaining to journalists how he was ejected from a hearing of the House Un-American Activities Committee (HUAC) earlier in the day and arrested.
,
Kinoy was debating a legal issue with committee chair Rep. Joe Pool (D-TX) when he was seized by U.S. marshals and dragged choking and screaming from the hearing room and charged with disorderly conduct.
Attorneys for other witnesses denounced the arrest as “terror and intimidation” and walked out of the hearing creating a legal problem for the committee since witnesses were guaranteed legal counsel “of their own choice” and cannot be forced to testify in the absence of counsel.
A witness friendly to the committee, Phillip A. McCombs, assistant editor of the right-wing National Review, began testifying about pro-National Liberation Front figures in the anti-Vietnam War movement and mentioned the name of Walter Teague, an organizer of the U.S. Committee to Aid the National Liberation Front.
Kinoy and his law partner William Kunstler objected saying they were entitled to cross-examine the witness because the testimony would otherwise “defame” Teague.
Pool ruled against the objections, but Kinoy kept pressing the point and that’s when the marshals seized him.
Other attorneys denounced the “brutal,” “inexcusable,” “unprecedented” treatment of Kinoy.
Kinoy was found guilty August 19, 1966 and addressed the judge before sentencing “I make no plea for mercy. I have no regrets or remorse for what I have done. I would do it again and again and again.” Kinoy was fined $50.
It took two years and three court-proceedings, but Kinoy was exonerated by the U.S. Court of Appeals August 6, 1968. Over 1,000 lawyers had earlier submitted a friend-of-court brief on Kinoy’s behalf.
The Court ruled that Pool had violated the committee’s own rules by ordering the ejection on his own rather than obtaining concurrence from a majority of the committee.
The Court further held that the committee had not pursued a case against Kinoy at any stage for contempt and therefore it was “difficult to understand how or why an independent tribunal can lawfully proceed.”
The court noted that Kinoy had been charged under a statute that prohibits congregation and assembly and the “use of loud and boisterous talking.” However, the court said, “whatever groups may be included in the definition of unlawful assembly, a lawyer permitted to represent his clients at a hearing of a House subcommittee is not one of them.”
Arthur Kinoy biography:
Arthur Kinoy (September 29, 1920-September 19, 2003) was brought up in Brooklyn by Jewish immigrants. He graduated with honors from Harvard University in 1941 and served with the U.S. Army in North Africa and Italy where he was among the troops at Anzio that were nearly pushed back into the sea by German Nazi forces.
After the war, he graduated from Columbia University law school in 1947 where he was editor of its law review. He went to work for the United Electrical Workers (UE), a union that left the Congress of Industrial Organizations rather than be expelled as the Second Red Scare heated up.
Kinoy had a long career as a civil rights and civil liberties attorney from the early 1950s until shortly before his death in 2003.
He made the last legal appeal for Julius and Ethel Rosenberg in 1953. Kinoy lost and the Rosenberg’s were executed. He claimed he won the appeal legally, but was defeated by the judge’s cowardice.
He remembered that case in a 1982 interview, “We found some statutes that said even if a person were found guilty of espionage, capital punishment could not be applied unless the espionage was committed in a time of war. The judge, Jerome Frank, who was a liberal, a New Deal supporter, said, ‘I cannot go over the heads of my bosses.’ We were furious…And later we were listening to the car radio as the Rosenbergs were taken to the electric chair. This was just disastrous.”
He defended communists and others charged with advocating the overthrow of the U.S. government during the McCarthy era and represented clients before the HUAC and the Senate Internal Security Committee.
He became law partners with William Kunstler, another prominent defender of radical causes and civil rights.
Kinoy established an important legal principle in the struggle for Black civil rights when he persuaded a reluctant Virginia judge that plaintiffs could take civil rights complaints to federal court under laws passed after the U.S. Civil War.
He argued six cases before the U.S. Supreme Court, winning five.
These included a reversal of U.S. Rep. Adam Clayton Powell’s expulsion from Congress and a bar against U.S. President Richard Nixon from eavesdropping on antiwar activists for alleged national security reasons without a warrant.
In 1965 he successfully argued the case of Dombrowski v. Pfister before the Supreme Court establishing that federal district judges could stop enforcement of laws that had a “chilling effect” on free speech.
Perhaps his most famous case was that of the Chicago 7 where five of the defendants had been convicted for crossing state lines to incite a riot at the 1968 Democratic Convention. Kinoy won a reversal of the convictions on appeal.
He was a law professor at Rutgers from 1964-1991 and when he reached mandatory retirement age, his students waged a campaign to keep him on. When he was finally forced out Henry Furst, an attorney and former student, said “Over his 25 years he is the reason many students came to Rutgers—to study with him, it’s like killing Socrates.”
He was a co-founder of the Center for Constitutional Rights and his last case was a victory over New York City police on a racial profiling issue.
Kinoy, a man of small stature, was known for his aggressiveness in the courtroom.
He explained in a 1992 interview in the Progressive:
“When people are fighting back or fighting to extend their own immediate rights, we learned that when you took the offensive in the courtroom, you were saying, ‘We’re not running away!’ When people saw that you were challenging the conspiracy of the establishment against them and we said, ‘They’re going to be the defendants! They’re the ones who are violating the fundamental laws of the land.’ It had a morale effect. What mattered to the leaders was not whether we ultimately won, but whether it made the people fight harder and begin to demonstrate. That would have an effect upon the courts.”
Kinoy was active in attempting to establish a third party to challenge the establishment Democratic and Republic Parties and described himself as a “scientific socialist.” In 1983 he published a book on his life entitled Rights on Trial, The Odyssey of a People’s Lawyer.
For more information and related images, see flic.kr/s/aHsk72YVXD
The photographer is unknown. The image is an Associated Press photograph housed in the D.C. Library Washington Star Collection.
The Membranes performing at the Universe Explained at Gorilla, Manchester, on Saturday 20th July 2013
Digital camera sbap of Sacredness
www.flickr.com/photos/psychoactivartz/4536712083/sizes/l/
www.flickr.com/photos/psychoactivartz/4275957066/sizes/l/...
It is da dedication of its use to da pursuit of da Divine ......
.......which renders it a catalyst to worship
...............~~~~~~~~~
"Da inherent imagination and spiritual receptivity is definitely influenced by dis differential chemical endowment.".
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.
Explainer: While I wish I could fully dress, wig-up and make-up regularly, those days are rare. So I post these AI renderings. FYI: the photos are AI generated, from actual photos of me, enhanced slightly with FaceApp and then dressed from outfits I see and love on the interweb. Enjoy them or not! I do, that's all that matters! Love, Crystal
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!
The Postcard
A postcard that was published by the Stecher Lithographic Co. of Rochester, New York. There is no reference on the card to explain the presence of what look like very large aerials behind the houses in the drawing.
The card was posted in Lowell, Massachusetts on Friday the 27th. August 1920 to:
Mrs. V. E. Williams,
Madison,
Maine.
Lock Box 1184.
The message on the divided back of the card was as follows:
"Dear Sister,
How are you today?
We are fine, and having
some great weather, why
don't you come down!
Love and best wishes
to all.
Sister Idris".
Sociedad Radio Argentina
So what else happened on the day that Idris posted the card to her sister?
Well, on the 27th. August 1920, the first radio broadcast from what one source describes as "The oldest radio station in the world" began at 9:00 in the evening.
The Sociedad Radio Argentina aired a live performance of Richard Wagner's opera Parsifal from the Teatro Coliseo in Buenos Aires. Only about 20 homes in the broadcast area had radios at the time.
A Guatemalan Election
Also on the 27th. August 1920, four days of voting began in Guatemala for a new president, and Carlos Herrera, the acting president since April, was approved for a six-year term.
However, Herrera served only 15 months before being overthrown in a coup d'état.
The Jailing of Cork Mayor MacSwiney
Also on that day, Irish-American longshoremen in New York City, and many of their co-workers, showed their disagreement with the jailing of Cork Mayor Terence MacSwiney by refusing to work on freight ships that were coming from or going to Great Britain.
Terence James MacSwiney (28th. March 1879 – 25th. October 1920) was an Irish playwright, author and politician. He was elected as Sinn Féin Lord Mayor of Cork during the Irish War of Independence in 1920.
He was arrested by the British Government on charges of sedition, and imprisoned in Brixton Prison. His death there in October 1920 after 74 days on hunger strike brought him and the Irish Republican campaign to international attention.
Terence MacSwiney - The Early Years
Born at 23, North Main Street, Cork, Ireland, MacSwiney was one of eight children. His father, John MacSwiney, had volunteered in 1868 to fight as a papal guard against Garibaldi. John became a schoolteacher in London, and later opened a tobacco factory in Cork.
Following the failure of this business, John MacSwiney emigrated to Australia in 1885, leaving Terence and the other children in the care of their mother and his eldest daughter.
MacSwiney's mother, Mary Wilkinson, was an English Catholic with strong Irish nationalist opinions. Terence was educated at the North Monastery school in Cork city, but left at fifteen to help support the family.
Terence became an accountancy clerk, but continued his studies and matriculated successfully. He continued in full-time employment while he studied at the Royal University (now University College Cork), graduating with a degree in Mental and Moral Science in 1907.
In 1908 he founded the Cork Dramatic Society with Daniel Corkery, and wrote a number of plays for them. His first play 'The Last Warriors of Coole' was produced in 1910. His fifth play 'The Revolutionist' (1915) took the political stand made by a single man as its theme.
In addition to his work as a playwright, Terence also wrote pamphlets on Irish history.
Terence MacSwiney's Political Activity
MacSwiney's writings in the newspaper 'Irish Freedom' brought him to the attention of the Irish Republican Brotherhood. He was one of the founders of the Cork Brigade of the Irish Volunteers in 1913, and was President of the Cork branch of Sinn Féin.
He founded a newspaper, 'Fianna Fáil', in 1914, but it was suppressed after only 11 issues. In April 1916, he was intended to be second in command of the Easter Rising in Cork and Kerry, but stood his forces down on the order of Eoin MacNeill.
Following the rising, he was imprisoned by the British Government under the Defence of the Realm Act in Reading and Wakefield Gaols until December 1916. In February 1917 he was deported from Ireland and imprisoned in Shrewsbury and Bromyard internment camps until his release in June 1917.
It was during his exile in Bromyard that he married Muriel Murphy of the Cork distillery-owning family. In November 1917, he was arrested in Cork for wearing an Irish Republican Army uniform, and, inspired by the example of Thomas Ashe, went on a hunger strike for three days prior to his release.
In the 1918 general election, MacSwiney was returned unopposed to the first Dáil Éireann as Sinn Féin representative for Mid Cork.
After the murder of his friend Tomás MacCurtain, who was the Lord Mayor of Cork, on the 20th. March 1920, MacSwiney was elected as Lord Mayor in his place.
On the 12th. August 1920, Terence was arrested in Cork for possession of “seditious articles and documents", and also for possession of a cipher key. He was summarily tried by a court on the 16th. August and sentenced to two years' imprisonment at Brixton Prison in South London, England.
Terence MacSwiney's Hunger Strike and Death
In prison Terence immediately started a hunger strike in protest at his internment and the fact that he was tried by a military court. Eleven other Irish Republican prisoners in Cork Jail went on hunger strike at the same time.
On the 26th. August, the British Government stated that:
"The release of the Lord Mayor would have
disastrous results in Ireland, and would
probably lead to a mutiny of both military
and police in the south of Ireland."
MacSwiney's hunger strike gained world attention. The British Government was threatened with a boycott of British goods by Americans, while four countries in South America appealed for the Pope to intervene.
Protests were held in Germany and France as well. An Australian politician, Hugh Mahon, was expelled from the Australian parliament for "seditious and disloyal utterances at a public meeting", after protesting against the actions of the British Government.
Food was often placed near Terence to persuade him to give up the hunger-strike. Attempts at force-feeding MacSwiney were undertaken in the final days of his strike, however to no avail.
On the 20th. October 1920 Terence fell into a coma, and died five days later after 74 days on hunger strike. He was 41 years of age when he died. His body lay in St. George's Cathedral, Southwark in London where 30,000 people filed past it.
Fearing large-scale demonstrations in Dublin, the authorities diverted his coffin directly to Cork, and his funeral in the Cathedral of St. Mary and St Anne on the 31st. October attracted huge crowds.
MacSwiney is buried in the Republican plot in Saint Finbarr's Cemetery in Cork. Arthur Griffith delivered the graveside oration.
Bobby Sands
Sixty years later, another Irish Republican died following a hunger strike.
Robert Gerard Sands (9th. March 1954 - 5th. May 1981) was a member of the Provisional Irish Republican Army who died on hunger strike while imprisoned at HM Maze Prison in Northern Ireland.
Sands helped to plan the 1976 bombing of the Balmoral Furniture Company in Dunmurry, which was followed by a gun battle with the Royal Ulster Constabulary. Sands was arrested while trying to escape, and sentenced to 14 years for firearms possession.
He was the leader of the 1981 hunger strike in which Irish republican prisoners protested against the removal of Special Category Status. During Sands' strike, he was elected to the British Parliament as an Anti H-Block candidate.
Bobby's death at Maze Prison in Northern Ireland at the age of 27, and those of nine other hunger strikers, was followed by a new surge in IRA recruitment and activity. International media coverage brought attention to the hunger strikers, and the republican movement in general, attracting both praise and criticism.
This is an odd photo, but let me explain what it is. When I lived in Las Vegas I was on a bowling league for a few years and this is one of my trophies. Her arm was supposed to be bowling, but it was broken off in the move. I do believe she fills the frame and I believe this photo looks better because of the white background (uncluttered), and her face is the focal point and is in the middle of the first rectangle and the middle (rule of thirds). This picture is improved because the focus is not in the middle as well as the background being simple.
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.
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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.
OSAN AIR BASE, Republic of Korea (Jan. 21, 2014) - Capt. Edward Ellingson, 35th Air Defense Artillery Brigade public affairs officer, explains the U.S. Patriot missile system to Republic of Korea Air Force cadets. Nearly 100 cadets attended the trip to learn about the U.S. Patriot missile and Army air defense. (U.S. Army photo/Staff Sgt. Heather A. Denby)
140122-F-XX000-084
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Decided to post in full resolution for your enjoyment and readability purposes...
Oh and look carefully - there are three artifacts in this photo!
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Enjoy this picture of the Insitu ScanEagle UAV. This one helped rescue Captain Phillips in 2009 from Somali pirates by providing from the USS Bainbridge real-time aerial footage of the lifeboat Captain Phillips was kept hostage in.
Decided to post this drone picture on 18 February because the day before, the Washington State House passed drone regulation legislation. If my State Senate passes EHB 2789, the drone industry will dramatically expand in a safe, thoughtful way.
One might like the Insitu website on this fine UAV.
Explainer: While I wish I could fully dress, wig-up and make-up regularly, those days are rare. So I post these AI renderings. FYI: the photos are AI generated, from actual photos of me, enhanced slightly with FaceApp and then dressed from outfits I see and love on the interweb. Enjoy them or not! I do, that's all that matters! Love, Crystal
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. :)
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!