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A Marina di Pietrasanta in Versilia.
L’aquilone è definito come oggetto più pesante dell'aria vincolato a terra da un filo. Può volare sfruttando la forza di portanza generata dal vento che può anche essere virtuale, cioè prodotto dalla camminata di chi lo conduce.
Sebbene non ci siano prove materiali indiscutibili è probabile che gli aquiloni furono inventati otto secoli prima di Cristo in Cina, paese dove erano presenti i materiali più adatti alla costruzione: il tessuto di seta per la velatura, la seta intrecciata per i fili di ritenuta, il legno di bambù elastico e resistente per il telaio.
The kite is as an heavier than air object bound to the ground by a wire which can fly by exploiting the lift force generated by the wind that can also be virtual, produced by the walking of the person who conducts.
Although there is no irrefutable material evidence, it is likely that the kites were invented eight centuries before Christ in China, where there are the most suitable materials for the building: silk for sail, silk braided for restraint wires, elastic and resistant bamboo wood for the frame.
Use without permission is illegal.
Please don't use this image on websites, blogs or other media without my explicit permission.
This is what Aroe calls "A Job" as opposed to proper graffiti but he says he likes it so that must be good enough. Done for The Body Shop's 40th.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2671 (BL-445-JA)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Véhicule parmis les premiers Citelis à passer en livrée TBM pour le changement d'identité du réseau.
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1811
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
02/07/2016 21:28
Rue du Vergne ; F-33 BORDEAUX
Exploitant : CAB Solution
Réseau : Navette Substitution SNCF Île-de-France
Ligne : Navette Transilien J
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/36803
Exploitant : Cars Lacroix
Réseau : Valoise
Ligne : 95-19
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/24578
Véhicule : INDCAR Wing (Iveco Daily A65C17) €3
Identification : 8403 (8235 TA 33)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : Bassens
Réseau : Région Nouvelle-Aquitaine (Région Nouvelle-Aquitaine)
Ligne : 303
Service : n.a.
Destination : n.a.
Véhicule : IVECO BUS Crossway Pop (13m.) €6
Identification : 4471 (EP-184-QL)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : n.c.
Réseau : Région Nouvelle-Aquitaine (Région Nouvelle-Aquitaine)
Ligne : 073
Service : 08
Destination : n.a.
Véhicule : IRISBUS IVECO Récréo II (12,80m.) EEV
Identification : 4232 (CG-200-MJ)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : n.c.
Réseau : Région Nouvelle-Aquitaine (Région Nouvelle-Aquitaine)
Ligne : n.c.
Service : n.c.
Destination : n.a.
Véhicule : OTOKAR Navigo U (8,40m.) €6
Identification : 8504 (FJ-287-NF)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : Bassens
Réseau : Région Nouvelle-Aquitaine (Région Nouvelle-Aquitaine)
Ligne : 303
Service : n.a.
Destination : n.a.
18/10/2020 13:46
Route de Taillefer ; F-33 MONTUSSAN
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Beggary is primarily caused by widespread poverty, lack of access to education and employment opportunities, natural disasters, exploitation by begging syndicates, disability, and sometimes, social stigma, leading individuals, particularly children, to resort to begging as a means of survival.
New York City and Los Angeles are the US cities with the largest homeless populations. Other cities with high rates of homelessness include San Diego, Denver, San Jose, and Seattle.
the child on the ground is obviously handicapped
and will probably never get help for it; instead the family will
use his infirmity as a means for financial support.
These children might not even be hers.
Khilkhet
Dhaka
Photography’s new conscience
"To pose"
Toucan à carène
(Ramphastos sulfuratus) Sarapiqui - Réserve Selva Verde Rainforest (COSTA RICA 2019)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved.
Navette P1 - Arrêt : Village Vendée Globe
Exploitant : CTO / CTY
Réseau Navettes Vendée Globe - Les Sables-d'Olonne
***Calumet CC401W + Novar inversé + filtrage "home made"
-(rendre à César ce qui est à César, merci Yael P)
*** Plan film shanghaï 4x5" + traitement sur la base de kodak HC-110
Tout comme les GP3/120 ce plan film shanghaï 100 iso offre un excellent rapport qualité/prix très au dessus du "fomapan" , produit phare d'une certaine boutique tristement connue par son forum de serviles névrosés et autres pervers ...
Après il faut savoir se situer ... ceux qui ne veulent pas payer le prix en ont pour leur argent ... Je suis complètement mort de rire !!!
Ce forum de la désolation, est sous l'emprise d'une poignée de nullards bons à rien mais prêts à tout ....Après quelques uns sont très très valables .... -(voire même excellents !!) Que font t-ils donc dans un endroit aussi puant, peuplé de pervers et de maniaco-dépressifs obèses, de décérébrés .... et de quelques perroquets sans plumes ni réel savoir ??? Que font t-ils à part se faire exploiter, ou combler le vide d'une vie "désespérément" vide !!! Peut-être est-ce cette pulsion de l'irrépréhensible besoin de reconnaissance ??? Va savoir .... Va savoir .... Triste endroit en voie de décomposition .... parce que trop peuplé des "malades" , évidemment !!
Pas de recette de forum dit "argentique" à la "concon", pas de pré-mouillage, pas d'agitation selon un timing à la "concon", pas de bain d'arrêt, pas de trucs de prouts, mais des résultats acceptables ... pour juste le plaisir d'en faire et celui de ne pas parler de ce qu'on connaît pas .... Juste sans se prendre au sérieux !! Démarche au demeurant, bien plus saine que celle de voler des photographies des petites filles des autres à F:2,8 et à l'ombre avec un appareil trop discret, et ... parfois même à la plage, comme certains pervers de forum -(connus)...
***Lorsque le regard du photographe sent mauvais,
ses photos puent !!
"L'intelligence, c'est comme les parachutes, quand t'en as pas : tu t'écrases" Pierre Desproges.
A bientôt sur flickr pour partager, apprendre, transmettre :o))
Go-Go for a wild ride with the action girls! Russ Meyer, the king of exploitation, directs this lurid thrill-ride starring Tura Satana, Haji, and Lori Williams as a trio of dancers who turn to murder and mayhem on a road trip from hell. Varla is well-endowed, beautiful, physically powerful, savvy and conniving. She lives for kicks, but she's also got a serious mad on for the world, and anyone who crosses her finds out the hard way. Her job as a go-go dancer, supplemented by a part time career in petty crime has afforded her a sleek and fast sports car, which she enjoys riding in the desert with her fellow dancers. One of them, Rosie, has a crush on Varla, which she happily encourages, even if Varla is really more interested in the control it gives her over Rosie than in Rosie herself. The other dancer, Billie, is a little harder for Varla to manage, but Billie isn't bright enough to outmaneuver Varla.
When the little gang run into a square drag racer, he winds up getting into a fight with Varla, losing of course. Varla makes sure he never talks back again, then kidnaps his girlfriend and makes a run for it. BIllie and Rosie tag along, and they soon become involved in intrigue with an old letch in the desert rumored to have a stash of cash hidden away somewhere. When Varla starts to lose control of the situation, things (again) become violent, leading to a revved-up climax! Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own.
synopsis
Exploitation maven Russ Meyer created a cult classic with this turbo-charged action film. Three curvaceous go-go dancers in a cool sports car go on a desert crime spree, led by Varla (the amazing Tura Satana), a busty, nasty woman dressed entirely in black. Varla's lesbian moll, Rosie (Haji) -- who has an extremely overwrought accent -- and reluctant bimbo Billie (Lori Williams) are along for the ride. When they meet a naïve young couple, Tommy and Linda (Ray Barlow and Sue Bernard), Varla challenges the man to a race then kills him by breaking his back. They take Linda hostage and drive to a house owned by a crippled old lecher (Stuart Lancaster) and his muscular but retarded son, Vegetable (Dennis Busch). Varla discovers that the old man has money hidden on the property, so the girls try to find it. Meanwhile, Vegetable's perverted father tries to trick him into assaulting one of the girls as he watches, but his other son (Paul Trinka) finally shows up to save the day. A great deal of bloodshed, campy catfighting, and funny dialogue fills the bulk of this fast-paced comic book of a movie.
Born 1946 Quebec,Canada
Passed on 2013
Birth Name - Barbarella Catton Nickname - Haji
Haji was a Cando-American actress renowned for starring in Russ Meyer's sexploitation classic Faster, Pussycat! Kill! Kill! (1965), in which she made her theatrical film debut. Barbarella Catton was born in Quebec City, Quebec on January 24, 1946, and at the age of 14, began dancing topless. The renamed Haji caught the eye of cinema's "King Leer" while performing as an exotic dancer.
He also cast her as one of three go-go dancers who turn into avenging furies in "Pussycat", which was her theatrical film debut as it was released before Motor Psycho (1965). She also appeared in Meyer's potboiler Good Morning... and Goodbye! (1967), his big budget Hollywood sextravaganza Beyond the Valley of the Dolls (1970), and his cartoonish amalgamation of sex and violence, Supervixens (1975).
Haji died on August 10, 2013 at the age of 67.
Was a fervent supporter of animal rights and environmentalism. Interviewed in the book "Invasion of the B-Girls" by Jewel Shepard. Began as an exotic dancer. Moved to California at the age of fourteen and was discovered by filmmaker Russ Meyer performing in a topless bar. Her only child, a daughter she had at age 15, is named Cerlette. Haji was of British and Filipino descent, and her nickname was bestowed on her by an uncle. Was a friend and co-star of former stripper and long-time Russ Meyer paramour Kitten Natividad.
Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67
By DANIEL E. SLOTNIK
Published: August 17, 2013
Haji, a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.
Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience.Later that year Haji appeared in “Faster, Pussycat! Kill! Kill!,” the tale of three dancers who beat a young man to death, kidnap his girlfriend and flee into the desert. She played the lesbian paramour of the lead character, Varla, played by Tura Satana. The film has acquired a devoted following and has been embraced by the filmmakers John Waters and Quentin Tarantino and even some feminists, including the film critic B. Ruby Rich, who praised it in The Village Voice as a “female fantasy.”“You just didn’t see women taking over and beating up men in those days,” Haji said in an interview posted on Russ Meyer’s Ultravixens, a Web site devoted to Meyer, who died in 2004, and his films. “Russ did something no one else had the imagination to do. And he was smart to use three bodied-up women, so whether the picture’s good or not, you still sort of stare at it.”Haji played a scantily clad bartender in Meyer’s “Supervixens” in 1975 and appeared in “Beyond the Valley of the Dolls,” the story of an all-woman rock band’s descent into debauchery. It was the first of Meyer’s films produced by a mainstream studio. She also acted in John Cassavetes’s gritty drama “The Killing of a Chinese Bookie” in 1976.
Haji was born in Quebec on Jan. 24, 1946. Ms. Natividad said that Haji’s last name at birth was Catton, and that she thought her given name was Cerlette. (The name Haji, she said, was a nickname given to her by an uncle.) Haji left school before finishing the sixth grade and began stripping at 14. She had a daughter, also named Cerlette, at 15. She lived in Oxnard, Calif. Her survivors include her daughter and a granddaughter. Haji’s last screen role was in the 2003 comedy “Killer Drag Queens on Dope.”
www.nytimes.com/2013/08/18/arts/haji-an-actress-featured-...;
Billboards can be interesting, fun, or artistic. They tend to reflect our popular culture. BUT ... Does this billboard for Calvin Klein Jeans, on Houston Street in New York City, constitute youth exploitation in advertising? This model looks a bit young to me. You be the judge. Post your comments below.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2690 (BV-087-EG)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : Lianes 2
Voiture : 0203
Destination : EYSINES Le Sulky
17/04/2019 15:45
Cours du Maréchal Foch ; F-33 Bordeaux
The grand scenery of Skagen, impressionist painters took advantage of 150 years ago lie adjacent to the merchants' harbour, industry and factory plants. - Not so different to the fishermen exploiting and working on the beaches in many of those paintings.
Véhicule : IRISBUS Agora L GNV
Identification : 2278 (DD-352-KR)
Exploitant : Keolis Bordeaux Métropole
Réseau : TBM (Bordeaux Métropole)
Dépôt : Centre d'Exploitation du Lac (CEL)
Ligne : 14 NAVETTE RELAIS TRAM C
Voiture : 1411
Destination : LE BOUSCAT Place Ravezies
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2601 (BC-416-WN)
Exploitant : Keolis Bordeaux Métropole
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2667 (n.c.)
Exploitant : Keolis Bordeaux Métropole
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2666 (n.c.)
Exploitant : Keolis Bordeaux Métropole
Du Lundi 15 au Jeudi 25 Avril 2019, 2 phases d'interruptions se sont succédé sur la ligne Tram C, pour que les équipes de maintenance effectuent des travaux sur les voies.
Durant la première phase, la ligne était coupée entre les stations "Grand Parc" et "Gare Saint-Jean". Lors de la seconde phase, l'interruption a été réduite à la section de "Quinconces" à "Gare Saint-Jean".
17/04/2019 15:56
Allée de Bristol ; Bordeaux
Exploitant : Cars Hourtoule
Réseau : SQY Terre d'Innovations
Ligne : 10
Lieu : Gare de Plaisir – Grignon (Plaisir, F-78)
Lien TC Infos : tc-infos.fr/id/41511
Police and partner agencies have been focusing on young people who run away or go missing from home and those that may exploit them during a week of action that began across Greater Manchester on Monday 14 March.
The focus of the campaign during this year’s week of action has been raising awareness around the strong link between child sexual exploitation and children who go missing.
Going missing can mean bunking off school, staying out overnight, or running away from home for a few days or longer. Whatever the context, the reality is that 95% children at risk from child sexual exploitation have gone missing at least once.
GMP Assistant Chief Constable Rob Potts said: “The statistics speak for themselves – there is a clear correlation between young people at risk of child sexual exploitation and their inclination to run away or go missing.
“More often than not, the young people who do run away do so regularly. This not only places a significant strain on policing but also increases the chances of that person coming to harm.
“Young people are often unaware of the dangers that are posed when they stay away from home without telling anyone and we urge them to keep in touch somehow, whether that’s through a friend, relative or anyone you trust.
“If you have concerns about your child’s whereabouts or don’t know where they are, please contact the police. With our partners in Project Phoenix we are doing all we can to work with these young people to get to the root of the problem, and keep them safe.
“Child sexual exploitation is a horrific crime and we will continue to work hard to both locate and protect those vulnerable to abuse, working with missing children on their return to break the cycle. Officers are patrolling around the clock, and will take robust action to tackle anyone who seeks to exploit these young people.”
Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Greater Manchester is leading the fight against child sexual exploitation. We’re engaging with local people to raise awareness of the abuse and how to spot the signs, and partner agencies are working together to tackle the issue, bring perpetrators to justice, and provide much-needed support to victims and those at risk, including children who run away or go missing.
“Child sexual exploitation is child sex abuse, plain and simple. We must come down heavily on those who exploit and manipulate vulnerable children for their own sexual pleasure, and arm our young people with the means to keep safe and recognise unhealthy, abusive relationships.”
Paul Maher, Greater Manchester Area Manager at The Children’s Society, which works with children and young people who go missing or are at risk of going missing, said: “Children and young people who go missing are among the most vulnerable children in our society.
“Some may be running from neglect and abuse, family breakdown or drug and alcohol misuse by their parents - while others go missing under the influence of predatory adults seeking to exploit them.
“Whatever the reason for them going missing, we know these children are at particular risk of being sexually exploited or falling victim to other types of harm. Our research has shown that around a quarter are either hurt or harmed in some way.
“That is why it is vital they receive more support at an early stage to help address the issues that cause them to go missing and protect them from the risks of sexual exploitation or becoming a victim of other crimes.”
The week of activity is the latest from Project Phoenix’s ‘It’s Not Okay’ campaign, and will be publicising resources and support related to child sexual exploitation.
‘It’s Not Okay’ was created as part of Project Phoenix, the Greater Manchester response to tackling child sexual exploitation - a collaboration of public and third sector partners throughout Greater Manchester working together to protect young people.
Since the campaign launched in September 2014, public awareness and understanding of child sexual exploitation in Greater Manchester has increased considerably amongst young people and parents and carers, as well as professionals.
In the 18 months since the launch of the ‘It’s Not Okay’ campaign, Project Phoenix has undertaken substantial work with schools, healthcare providers and support services to ensure that vulnerable young people are helped at every stage - from prevention through to support and rehabilitation.
Regular weeks of awareness-raising have included direct engagement with young people and those who care for them; police targeting and disruption, dedicated days of publicity focusing on key trends and close collaboration across Greater Manchester authorities means that hundreds more young people are being identified, educated and safeguarded than ever before. Visit www.itsnotokay.co.uk to find out more.
For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk
To report crime call police on 101 the national non-emergency number.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
The Arctic tern (Sterna paradisaea) is a seabird of the tern family, Sternidae. This bird has a circumpolar breeding distribution covering the Arctic and sub-Arctic regions of Europe, Asia, and North America (as far south as Brittany and Massachusetts). The species is strongly migratory, seeing two summers each year as it migrates along a convoluted route from its northern breeding grounds to the Antarctic coast for the southern summer and back again about six months later.
Recent studies have shown average annual roundtrip lengths of about 70,900 km (44,100 mi) for birds nesting in Iceland and Greenland and c. 90,000 km (56,000 mi) for birds nesting in the Netherlands. These are by far the longest migrations known in the animal kingdom. The Arctic tern flies as well as glides through the air, performing almost all of its tasks in the air. It nests once every one to three years (depending on its mating cycle); once it has finished nesting it takes to the sky for another long southern migration.
Arctic terns are medium-sized birds. They have a length of 28–39 cm (11–15 in) and a wingspan of 65–75 cm (26–30 in). They are mainly grey and white plumaged, with a red/orangish beak and feet, white forehead, a black nape and crown (streaked white), and white cheeks. The grey mantle is 305 mm, and the scapulae are fringed brown, some tipped white. The upper wing is grey with a white leading edge, and the collar is completely white, as is the rump. The deeply forked tail is whitish, with grey outer webs.
Arctic terns are long-lived birds, with many reaching fifteen to thirty years of age. They eat mainly fish and small marine invertebrates. The species is abundant, with an estimated one million individuals. While the trend in the number of individuals in the species as a whole is not known, exploitation in the past has reduced this bird's numbers in the southern reaches of its range.
The Arctic tern was known as sea swallow describing their slender shape as they swoop over the water.
This image was taken in Skagway, Alaska
Antisocial personality disorder signs and symptoms may include:
Disregard for right and wrong
Persistent lying or deceit to exploit others
Being callous, cynical and disrespectful of others
Using charm or wit to manipulate others for personal gain or personal pleasure
Arrogance, a sense of superiority and being extremely opinionated
Problems with the law, including criminal behavior
Repeatedly violating the rights of others through intimidation and dishonesty
Impulsiveness
Hostility, significant irritability, agitation, aggression or violence
Lack of empathy for others and lack of remorse about harming others
Unnecessary risk-taking or dangerous behavior with no regard for the safety of self or others
Abusive relationships
Failure to consider the negative consequences of behavior
Being consistently irresponsible and repeatedly failing to fulfill work or financial obligations
L’Athénée libertaire est un espace associatif et militant créé dans les années 60 par des militant·es anarchistes bordelais·es. Ce lieu héberge des activités libertaires à Bordeaux. Il favorise des rencontres, des initiatives, des débats, des échanges sur d’autres bases que celles du fric, de la consommation, de l’aliénation, de l’exploitation et de la domination.
L’Athénée libertaire maintient une autonomie morale et financière à l’égard de l’Etat, des partis, des syndicats… Toutes les activités sont organisées de manière bénévole.
They said if I add some cute animals to my pictures I'd get more likes. Lets put this to the test! :D
View from the top platform of the Elevador de Santa Justa (in English: "Santa Justa Lift"), with Lisbon’s Castle, the Castelo de São Jorge, in the distance, Lisbon, Portugal
Some background information:
The Elevador de Santa Justa, also called Elevador do Carmo, is an elevator in the civil parish of Santa Maria Maior in the historic center of Lisbon. Situated at the end of Rua de Santa Justa, it connects the lower streets of the Baixa with the higher Carmo Square. Since its construction the lift has become a tourist attraction for Lisbon as, among the urban lifts in the city, Santa Justa is the only remaining vertical one. Others, including Elevador da Glória and Elevador da Bica, are actually funicular railways, and the second lift of the same style, constructed around the same time, the Elevator de São Julião, has since been demolished.
In 1874, the civil and military engineer Roberto Arménio presented a project to the Lisbon municipal council In order to facilitate the movement between the city of Lisbon’s lower and upper town. Based on the plans of the engineer Raoul Mesnier de Ponsard, the distinctive cast iron structure was completed in 1902. Originally, the cabins were powered by a steam engine, but the steam engine was replaced by electric motors in 1907.
The structure consists of a base with access to the lower-lying district of Baixa, a metal tower housing the elevator cabins, and a 25-meter-long metal walkway providing access to the Chiado district. The height difference between the two levels is 45 meters. On the top floor, there is an observation deck offering spectacular views over the city, including Baixa, Chiado, and Lisbon’s Castle, the Castelo de São Jorge. Inside the tower, there are two cabins, decorated with original wood paneling, glass panes, mirrors, and brass fittings, each accommodating 24 people.
With an estimated population of almost 568,000 within its administrative limits and 2,961,177 within its metropolitan area, Lisbon is the capital and largest city of Portugal. It is mainland Europe's westernmost capital city and the only one along the Atlantic coast. Situated on the northern shore of the Tejo river near its estuary, Lisbon’s port can be called at by ships of any size.
Lisbon is one of the oldest cities in the world and the second-oldest European capital city (after Athens). Although the first fortifications on Lisbon's castle hill are known to be no older than the 2nd century BC, recent archaeological finds have shown that Iron Age people already occupied the site from the 8th to 6th centuries BC. The Phoenicians and later the Carthaginians, are said to have called the place Alis Ubbo and used it as the only major natural harbor on the Iberian Atlantic coast. There are also evidences that Lisbon once was a Greek city, but its Greek name is unknown.
Under Roman rule, starting around 205 BC, the city was initially called Olisipo. In 48 BC, the town was granted Roman municipal rights and subsequently became known as Colonia Felicitas Iulia, growing into a larger town in the province of Lusitania. From 409 AD, barbarian tribes advanced onto the Iberian Peninsula from Gaul. During the late antique migration period, Alans, Suebi, Vandals, and Visigoths tried to occupy Lisbon.
In 719, Lisbon was conquered by Muslim Moors and later became part of the Emirate of Córdoba. The city, now known as al-Ushbuna, experienced its first major boom. During the Caliphate of Córdoba, the city was one of the most important ports, while Christian Galicians and Leonese repeatedly attempted to seize it. In 844, Vikings ravaged Lisbon and its surroundings.
In the 11th century, Lisbon was part of the Moorish Emirate of the Aftasids from Badajoz. Starting in 1093, Count Raymond of Armous, a younger son of Duke William I of Burgundy, was given rule over Galicia by King Alfonso VI of León. From there, he launched campaigns against the Moors in the south, temporarily managing to occupy Lisbon.
At the beginning of the 11th century, the south of the Iberian Peninsula was still under Moorish control. But in 1147, in the course of the so-called Reconquista, the Siege of Lisbon led to the city's final capture by the Portuguese under Alfonso I. In 1255, Lisbon became the capital city of the new Portuguese territory and in 1290, the first Portuguese university was founded in the town. During the last centuries of the Middle Ages, Lisbon expanded substantially and became an important trading post with both Northern European and Mediterranean cities.
When the Spaniards had expelled the Jews from Spanish territory, many of them fled to Lisbon. But even in Portugal they either had to convert to Christianity or leave. In 1506, an anti-semitic movement among the Old Christians of Lisbon culminated in a massacre lasting four days in which some 1,000 to 4,000 New Christian residents, converted descendants of Sephardic Jews, are estimated to have been killed.
Most of the Portuguese expeditions of the Age of Discovery set out from Lisbon during the period from the end of the 15th century to the beginning of the 17th century, including Vasco da Gama's expedition to India in 1498. In the 16th century, Lisbon’s golden era began: The city was the European hub of commerce between Africa, India, the Far East and later, Brazil, and acquired great riches by exploiting the trade of spices, slaves, sugar, textiles and other goods. This period also saw the rise of the exuberant Manueline style in architecture, which left its mark in many 16th-century monuments, including the Belém Tower and the Jerónimos Monastery.
The succession crisis of 1580 initiated a sixty-year period of dual monarchy in Portugal and Spain under the Spanish Habsburgs. In 1589, Lisbon was the target of an incursion by the English Armada led by Francis Drake. The Portuguese Restoration War, which began with a coup d'état organised by the nobility and bourgeoisie in Lisbon in 1640 amd ended with the Treaty of Lisbon in 1668, restored Portuguese independence.
In the early 18th century, gold from Brazil allowed King John V to sponsor the building of several Baroque churches and theatres in the city. Prior to the 18th century, Lisbon had experienced several significant earthquakes: eight in the 14th century, five in the 16th century, and three in the 17th century. But the earthquake of 1755 was the most davastating one. It destroyed 85 percent of the city's structures, including the Ribeira Palace and the hospital Real de Todos os Santos. An an estimated 30,000 to 40,000 Lisbon residents of a total population estimated of 200,000 to 275,000 wer killed. And in the coastal areas north of Lisbon even more people were killed by the following tsunami.
This catastrophic event shocked the whole of Europe and left a deep impression on its collective psyche. However, the city was rebuilt quickly and largely according to the plans of prime minister Sebastião José de Carvalho e Melo, the 1st Marquis of Pombal. He decided to demolish what remained after the earthquake and rebuild the city centre in accordance with principles of modern urban design. It was reconstructed in an open rectangular plan with two great squares: the Praça do Rossio and the Praça do Comércio.
In the first years of the 19th century, Portugal was invaded by the troops of Napoléon Bonaparte, forcing Queen Maria I and Prince-Regent John to flee temporarily to Brazil. By the time the new King John VI returned to Lisbon, many of the buildings and properties were pillaged, sacked or destroyed by the invaders. The development of industry and commerce determined the growth of the city and Lisbon grew farther from the Tejo river.
In 1911, Lisbon refounded its university after centuries of inactivity. In the 20th century, the city was also the site of three revolutions. The first ond of 1910 brought an end to the Portuguese monarchy and established the highly unstable and corrupt Portuguese First Republic. The second one of 1926 ended the first republic and firmly established the Portuguese Second Republic. And the third revolution of 1974, the so-called Carnation Revolution, put an end to the right-wing regime and reformed the country to what it is still today, the Portuguese Third Republic.
Modern Lisbon is the political centre of the country and hosts the government, the National Assembly, the Supreme Court of Justice and the Armed Forces. It is also the residence of the head of state and the centre of Portuguese diplomacy, with ambassadors from 86 countries residing in the city, as well as representations from Taiwan and Palestine. About 2.96 million people, who live in the Lisbon metropolitan area (representing almost 28 % of the Portugal's population), make Lisbon the third largest metropolitan area in the Iberian Peninsula after Madrid and Barcelona.
Cotton
Loan from the Gary Westford Collection, L2024.12.30
Designers exploited bright colors and intricate patterns to
signal their creativity and defiance of the staid sartorial norms of the previous generation. Starburst and vortex patterns were particularly popular, perhaps because they mimic the effects of the light shows that accompanied rock concerts
and suggest a prismatic (and drug-fueled?) view into a new world.
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Portland Art Museum
Psychedelic Rock Posters and Fashion of the 1960s
Overview
Psychedelic Rock Posters and Fashion of the 1960s reveals the passion and creativity of the era through the iconic rock posters of San Francisco and beyond. The Haight-Ashbury neighborhood of San Francisco was an incubator for ideas, expression, social thought, and, above all, music. Young people from across the nation gathered there to explore alternative ways of living and to challenge contemporary paradigms. At the heart of it all was the psychedelic experience, or an altered state of consciousness.
To capture the heady experience of life and music at this time, poster artists invented a graphic language to communicate the excitement of rock concerts, which featured liquid light shows and film projections. They drew on disparate historical precedents such as Art Nouveau, Wild West posters, and Victorian engraving and combined them with vibrating color, inventive lettering, and witty and provocative design. The exhibition brings together more than 200 rock posters, including work by the “big five” designers of the day—Rick Griffin, Alton Kelley, Victor Moscoso, Stanley Mouse, and Wes Wilson—as well as other superb talents, such as Bonnie MacLean and Bob “Raphael” Schnepf.
Fashion both reflected and influenced the psychedelic look of the posters. The exhibition showcases approximately 20 eclectic vintage styles ranging from embroidered denim and hippy fringe to crochet and velvet.
Psychedelic Rock Posters and Fashion of the 1960s draws from the collection of the Portland Art Museum, most of which comes from a major donation from Gary Westford, who serves as a consultant on the project. Key loans round out the visual story of the psychedelic era.
The exhibition is curated by Mary Weaver Chapin, Ph.D., Curator of Prints and Drawings. Supported in part by Exhibition Series Sponsors.
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..Don't forget to Comment . Favorite . Add a Note and be Inspired!
- Thank You!
Here is a couple of images from a shoot I did earlier this week to help a friend with her graded unit which is a campaign against sexual exploitation. The shoot itself as a disaster! Pushed for time with them being late and me having work later in the night we only got about 20 minutes shooting time and right at the beginning a light blew over in the wind luckily only the reflector crumpled in and the light was still working. Glad I managed to pull a few good shots from it though. :)
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I was originally enrolled as a SHUTTERSTOCK contributor on January 28th 2019. Shutterstock is an American stock photography company with headquarters in New York City, founded in 2003 by Photographer Jon Oringer. With a library in excess of 200 million royalty free stock photographs, I am delighted, and most grateful to have been accepted into the fold.
Having been passionate about photography since the age of seven years old, with a box brownie and black and white 120 roll film, these days I take a far more leisurely approach to my photographic exploits, a Nikon D850 FX Pro body as my trusted companion, I travel light with less constraints and more emphasis on the pure capture of the beauty that I see, more akin to my original persuits and goals some five decades previously when starting out. I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, SHUTTERSTOCK, and the 28.385+ Million visitors to my FLICKR site.
***** Selected for sale in the SHUTTERSTOCK COMMERCIAL COLLECTION Image ID:1312671641 on February 15th 2019.
This photograph became my 152nd frame to be selected for sale on SHUTTERSTOCK, and I am very grateful to them for this wonderful opportunity.
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Photographs taken at an altitude of Eighteen metres in the golden hour around sunset at 18:09pm on March 24th 2012, off undercliff Drive and opposite Menzies East Cliff Court on the golden sands of Boscombe Beach in Bournemouth, in the ceremonial county of Dorset, England.
The end of a wonderful day having driven hundreds of miles for a daytrip to Bournemouth. I'd been taking shots of the beach as the golden sunlight streamed into the lens and noticed the young guy and his girlfriend kicking the football about. A stray shot had him coming into my frame and so I waited and composed a few frames as he gathered up the ball.This is a merged version of all four frames that I shot, using Adobe Photoshop Elements 8 software.
I used the 'Scene cleaner' tool and had to induividually draw the pencil over each silhouette and shadow and merge into the final finished frame. So now we have the entire sequence as the young man gathered up the ball from the sea and headed back up the beach to his girlfriend.
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Nikon D7000 Focal length 78mm/85mm Shutter speed 1/400s Aperture f/20.0 iso200 -0.3EV RAW (14-bit) uncompressed. Size L 4984 x 3258 pixels. Manual exposure. Auto white balance. RGB Photometric interpretation. Exposure Compensation EV -0.3 step.
Nikkor AF-S 55-300mm f/4.5-5.6G ED. Jessops UV filter. Nikon MB-D11 battery grip. Hoodman H-EYEN22S Hood eye eye cup. My memory 32GB class 10 20MB/s SDHC. Nikon GP-1 GPS unit
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LATITUDE: N 50d 43m 1.83s/1.84s
LONGITUDE: W 1d 51m 47.98s
ALTITUDE: 13.0m/14.0m
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
(BEST SEEN INFAMOUSLY LARGE... "STAND ASIDE, I TAKE LARGE STEPS!")
“To the last, I grapple with thee; From Hell's heart, I stab at thee; For hate's sake, I spit my last breath at thee”
(Captain Ahab. Moby-Dick, by Herman Melville/ Also quoted by Khan Noonien Singh. in Star Trek II: The Wrath Of Khan)
Actor Ricardo Gonzalo Pedro Montalbán y Merino (born Mexico City, November 25, 1920) died on January 14th, 2009.
His seventy year career in both the United States of America and Mexico spanned radio, television, movies, and theatre. A champion of U.S/Mexican friendship and active in the cause of raising the profile of latino actors. Montalbán often, during his early career in Hollywood at least, played Asian, Arab and Native American characters, as well as "Latin Lovers", particularly in musicals, where he also showcased his talents as a song and dance man. (Khan Singh? Yes. He. Can! The Powers That Be wanted him to change his name to "Ricky Martin"....a bullet he fortunately dodged!)
To science fiction and fantasy fans he was famous for his roles as Star Trek's villainous Khan Noonien Singh and Fantasy Island's Mr Roarke.
Montalbán played the 20th Century genetically engineered 'superman', Khan, twice, in the 1967 episode of classic Trek, "Space Seed" (written by Gene L. Coon and Carey Wilber, based on a story by Carey Wilber, and directed by Marc Daniels) and fifteen years later in the second Star Trek movie, "The Wrath Of Khan". (Written by Nicholas Meyer and Jack B. Sowards, Directed by Nicholas Meyer) He was Mr Roarke in the Fantasy Island television series from 1977 to 1984. Ironically, Montalbán was replaced in the revival of Fantasy Island by Malcom McDowell, the actor whose character in the film Star Trek: Generations WOULD infamously succeed where Khan failed in bringing about the death of Captain James T. Kirk.
Genre buffs may also recall that Montalbán played the circus owner in Escape From The Planet Of The Apes (1971) and Conquest Of The Planet Of The Apes (1972).
Other movies he acted in included The Saracen Blade, Across The Wide Missouri, The Queen of Babylon, Sayonara, Madame X, The Singing Nun, Fiesta, Santa, La Fuga, The Naked Gun, The Kissing Bandit, Cannonball Run II and of course the Spy Kids series. It was during the filming of the 1951 Western, Across The Wide Missouri that Montalbán was reportedly injured in a riding accident, which left him with back and leg pain that would trouble him for the rest of his life, ultimately resulting in him becoming wheelchair bound after an operation in 1993. His disability does not seem to have slowed his career much, as he was still playing an action hero grandfather in a rocket assisted wheelchair in the 21st Century's Spy Kids series!
Apart from a notable roles in The Colbys and Dynasty he also appeared in person or as a voice actor on television in genre shows like Wonder Woman, Kim Possible, Heaven Help Us, Mission Impossible, Freakazoid!, The Man From Uncle, Buzz Lightyear Of Star Command and Dora The Explorer. One of his final roles was playing a genetically Engineered cow in an episode of Family Guy, where he satirised his Khan character.
I first saw Montalbán in The Saracen Blade, and kept spotting him in both movies and television, finally catching up with his Khan role in Star Trek sometime in the 1970s. It became a favourite episode and I was quite chuffed when the actor reprised his role in the second Star Trek movie. Although I was very much impressed by the first Star trek film's mix of upbeat futurism and spectacular special effects I also welcomed the more traditional space opera approach of the second film in the long running series and thought that Khan was a terrific villain, so effectively played by Montalbán exploiting his commanding voice and physical presence (still serious buff in his sixties...and apparently into his seventies as well!).
I saw both films far more times than I did Star Wars, and those first two movies helped consolidate what I expect will be a lifelong love of Star Trek. Happily, Star Trek was also instrumental in helping to give me an enduring interest in general literature, supplementing my passion for science fiction and fantasy. Captain Kirk was always quoting this or that book, which, with the help of Bjos Trimble's Star Trek Concordance I would then dutifully track down and devour. (Trivia note: Ironically, I would later go on to contribute Khan related illustrations, amongst other artwork, to a later edition of the Concordance.)
The Wrath Of Khan, famously, contains a shuttlecraft full of references, from the copy of A Tale of Two Cities that Spock gives as a birthday gift to Kirk, to the ramshackle bookshelf of titles that Chekov discovered in the cargo containers that Khan and his followers made as their home when marooned on the doomed Ceti Alpha V. (Incidentally, Khan's original spaceship was the S.S Botany Bay, a name guaranteed to make any Aussie sit up and take notice..)
The books were chosen for the film to reflect Khan's vengeful, arrogant mindset, and he quotes extensively from that epic Whale's Tail of obsessive revenge, Moby-Dick. There's also a couple of copies of Milton's "Paradise Lost" (qouted in Space Seed), King Lear, Dante's Inferno and a Bible.
I had copies of most of these books from the 1980s and coupled with some Micromachines Star Trek starships (U.S.S Enterprise and the hijacked U.S.S Reliant) I thought these would make an appropriate setting to display the 6 inch Art Asylum Khan Action Figure. There's a couple of books that I left out, such as what looks to be 'mundane' Federation guide to Statutes Governing Commerce and what may be a Complete Works Of Shakespeare. I've never been religious so it's charitable of me to include the Bible, but it seems to me that Khan, if anything, soaked up all the 'wrathful' content ("An eye for an eye"). Setting them up as monolithic steps seemed to work well, and for the base how could I possibly bypass a length of "Soft Corinthian leather...." (To quote one of R.M's automobile commercials)
Photoshop was my ally for eliminating assorted rigging and providing a suitably dark and stormy spacescape as well as creating firey phaser blasts for Khan to smite poor Enterprise, harpooning his nemesis in best Ahabian tradition...
Ricardo Montalbán was, by all accounts, a remarkably chivalrous and unfailingly polite old school gentleman so it does him something of a disservice to memorialise him by referencing the tyrannical Khan.
Still, what a great role for an actor!
And what a great inspiration for the young Trekker that I was back then. I fondly recall writing a long fan story about Khan's adventures on Ceti Alpha V, where he fought and defeated the survivors of a Klingon shipwreck...collecting an old Klingon proverb or two as a trophy. ("Reveng is a dish best served cold"...is actually Sicilian, but what's an attribution amongst enemies!) Little did I know back then that Greg Cox would expand splendidly on the whole Khan saga in his trilogy "The Rise & Fall Of Khan Noonien Singh" or that the supermen/augments would later feature in Star Trek: Enterprise. Vonda McIntyre also did a wonderful job expanding upon the movie script and Khan's character. amongst others, in her sophisticated novelization.
But it all started with Ricardo, and his masterful turn as Khan.....
Robert O'Hara Burke:
Robert O'Hara Burke (1821-1861), explorer, was born at St Clerans, County Galway, Ireland, second of the three sons of James Hardiman Burke and his wife Anne, née O'Hara. The Burkes were Protestant gentry and landowners, and the father and all his sons were soldiers. Burke was educated at Woolwich Academy, entered the Austrian army and served as lieutenant in a cavalry regiment. Discharged at his own request in June 1848, he took up a command in the Irish Mounted Constabulary until he migrated to Australia in 1853. In April he entered the Victoria police as an acting inspector stationed at Carlsruhe. Next January he was appointed senior inspector at Beechworth; soon afterwards he took leave to go to Europe in the hope of serving in the Crimean war but was too late. He returned to Beechworth and in 1858 became superintendent of police in the Castlemaine district. In 1860 he was given leave to take command of the exploring expedition to cross the continent from south to north organized by the Royal Society of Victoria and supported by the government.
Burke was impulsive, quick-tempered, arbitrary, generous, tender-hearted and charming, and those who did not quarrel with him loved him. He was recklessly brave, a dare-devil with a thirst for distinction as yet unsatisfied. His career seemed likely to peter out in humdrum police duties in Castlemaine. Although 'a well-bred gentleman and quite at home among people of the best class', at 39 he was slipping downhill into slovenly, eccentric habits. There is a strong tradition that he was also infatuated with Julia Matthews, a young siren of the Melbourne light theatre, but she was unresponsive to the ardour of the untidy, middle-aged country policeman with 7s. 8d. in his bank account. Leadership of the expedition was probably Burke's last chance of achieving distinction in his own, the world's and the divine Julia's eyes. He was very anxious for the appointment and admitted that he had used 'every fair, honourable and straightforward means' to get it.
The Burke and Wills expedition, as it has since been called, is a puzzling affair because there seems to have been no sufficient reason for it beyond the desire of the colonists of Victoria, which gold had made mighty, to make it mightier yet by 'taking the lead' in exploration, in which it had not even taken the first step. The objectives of the expedition were hazy and its route, from Cooper's Creek to the Gulf of Carpentaria, was decided less than a month before it set out. Burke's instructions, which were sent after him because they were not ready in time, were incoherent. A curious mixture of scientific curiosity, commercial initiative and sporting excitement added to the drama but the real object appears to have been to snatch from the South Australian explorer, McDouall Stuart, already in the field and formidable, the honour of making the first south-north crossing of the continent. Governor (Sir) Henry Barkly later described the expedition as 'the glorious race across the continent between the expeditions fitted out in this and the adjacent colony of South Australia'. The choice of a totally inexperienced leader is inexplicable if exploration were the real object, but excellent if it were exploit. Burke was a death or glory man and he achieved both.
The Burke and Wills expedition was the most costly in the history of Australian exploration, a symbol of the nouveau riche colony that promoted it. When the last bill came in, for the monument to the dead explorers, it had cost well over £60,000 and seven lives. Burke was the first Australian explorer to be provided with camels, over two dozen of them, both riding and pack animals, imported complete with cameleers. There were horses and wagons, abundant food for two years and lavish equipment, including 6 tons of firewood, 57 buckets and 45 yards of green gossamer for veils. The party consisted of three officers: Burke, Landells the camel-master, and William John Wills surveyor and meteorologist; two German scientific officers, Ludwig Becker naturalist and Herman Beckler medical officer and botanist; a foreman and nine assistants and the camel-drivers. The expedition left Melbourne on 20 August 1860 and made a stately progress through the settled districts to Swan Hill and Balranald and reached Menindee on the Darling at the beginning of October.
Burke wrote in a private letter from Menindee that he was determined that the cursed impedimenta, the ruin of so many explorers, would not ruin him; he was in haste and determined to travel light. He had already left much of his equipment and some of his provisions at Balranald, including the lime-juice which might have saved four of his men from death by scurvy, and at Menindee he dumped more provisions and transport. After quarrelling with Burke, Landells resigned at Menindee and Burke promoted Wills to second-in-command, replacing him as third officer by a local man, William Wright, who was barely literate and proved incompetent and unreliable. Burke's instructions were perfectly clear on one point: his base camp was to be at Cooper's Creek. Instead he divided his party, transport and provisions, dashing on to Cooper's Creek with the advance party and ordering Wright to follow him with as little delay as possible. Wright was in no hurry. He hung about Menindee for three months, and when he at last set out lost his way, half his men and still more time. Burke had had time to go to the Gulf of Carpentaria and back before Wright, with the vital reserve transport and provisions, managed to travel the four hundred miles (644 km) to Cooper's Creek.
Burke selected Wills, John King and Gray to accompany him to the gulf and left four men, under the command of William Brahe, one of the assistants, at Camp LXV at Cooper's Creek. He took provisions for twelve weeks and six camels and a horse, which he used only as pack animals. Other explorers trudged when they had to, but Burke, with the best transport in the history of Australian exploration at his command, is the only one who chose to explore on foot. The march to the gulf was made in extraordinarily favourable conditions, after a season of heavy rain. Charles Sturt's Stony Desert was like a garden, full of lily ponds, and Burke's expedition, in this also unique, was never short of water and was able to travel in an almost straight line to its objective, without losing time searching for water. Even so it took four months to do the 1500 miles (2414 km). They walked from 5 a.m. to 5 p.m. with only a single day of rest in the whole period, and were half-starving in the fourth month. Gray could not stand the pace and died before they reached Camp LXV. Burke wrote, 'I am satisfied that the frame of man never was more severely taxed'. It was magnificent, but it was not exploration. Burke kept no journal; there was no time for scientific observation, and nothing useful was discovered as Burke's route was only practicable in unusual weather. Burke won the race to the north but McDouall Stuart found the all-weather route.
When the explorers reached Camp LXV on 21 April 1861, spent, starving and in rags, they found it deserted. Brahe's party had left that very day for Menindee, with six camels, twelve horses, all the clothes and most of the food. Wills and King were for following Brahe but Burke decided that since they had only two worn-out camels left and were in bad shape themselves they had no hope of catching up and would not survive the four-hundred-mile (644 km) journey unaided. Their best chance, he thought, was to make for the police station at Mount Hopeless, one hundred and fifty miles (241 km) away, and they set off in that direction, leaving a message of their intentions at Camp LXV on the off-chance.
Meanwhile Brahe had met Wright, who had at last arrived from Menindee, and, feeling uneasy about having left his post, decided to return to Camp LXV, which he reached fifteen days after he had left it. But he did not observe the signs of his leader's return that Burke had left and did not find his message, and departed, this time for good, for Menindee. Burke, Wills and King were too weak to get far on their journey to Mount Hopeless; they remained by Cooper's Creek, hoping to be rescued before they starved, but only King lived long enough to be found by Alfred Howitt's search party from Melbourne, which arrived in September 1861. Burke and Wills might also have survived if they had lived with the Aboriginals and shared their food as King did after their deaths. But Burke could not change the habits of a lifetime. He had been born and bred a member of the ruling race in a conquered country and could not bring himself to associate with natives. When they arrived in his camp, bearing gifts of fish, he behaved like an officer of the Irish constabulary plagued by the peasantry, and fired at them.
A royal commission appointed to inquire into the deaths of Burke and Wills censured Burke for having divided his party at Menindee and for entrusting Wright with an important command without sufficient knowledge of his character, and added that he had shown more zeal than prudence in leaving Cooper's Creek before the arrival of Wright and undertaking the journey to the gulf with inadequate provisions. Yet Burke had fulfilled the real object of the expedition. Indirectly, discovery was promoted because, although Burke's own journey was worthless as exploration, solid gains in geographical knowledge were made by the explorers Howitt, John McKinlay and William Landsborough, who led parties in search of him. Burke's ultimate contribution to the history of Victoria was oblique but significant. It had been a success story of needy Scotch crofters turned shepherd kings and of the glitter of treasure trove; the disaster of Burke and Wills added a dimension of tragedy.
A monument depicting Burke and Wills, by Charles Summers, stands at the corner of Collins and Swanston streets, Melbourne, and a portrait of Burke in oils by William Strutt is in the Melbourne Club.
William John Wills:
William John Wills (1834-1861), explorer, was born on 5 January 1834 at Totnes, Devon, England, son of Dr William Wills and his wife Sarah Mary Elizabeth, née Calley (Kelly). His father had studied medicine at Grainger's anatomical school, Guy's Hospital and St Thomas's, and became a member of the Royal College of Surgeons in 1827. As a youth William John, known as Jack, suffered a fever which left him with a 'slow and hesitating speech'. He was tutored by his father, and then attended St Andrew's Grammar School, Ashburton, in 1845-50. Articled to his father on 30 May 1850, he undertook courses at Guy's and St Bartholomew's hospitals, London.
Interested in Australia, Dr Wills bought a share in a Melbourne gold-mining company in 1852, but cancelled passages to Australia for himself and his sons William John and Thomas after objections from his wife. However, the brothers left Dartmouth in the Janet Mitchell, arriving at Williamstown, Port Phillip, on 3 January 1853. They became shepherds at Deniliquin, New South Wales, where they were joined by their father in October. They went to Ballarat, Victoria, where Dr Wills began to practise, assisted by William, who later worked in the River Wannon district, studied surveying and became an assistant at the astronomical and magnetical observatories at Melbourne under Professor G. B. Neumayer.
Wills's extensive correspondence shows an examining and factual mind, with an interest in natural phenomena, literature and exploration. Described as having a 'clear … complexion, an expressive eye that always outstripped his tongue … golden hair, a thick tawny beard, a smile at once intellectual and sympathising, a light, clean, agile frame', Wills had a keen sense of the ridiculous. He was encouraged by Neumayer who was a member of the exploration committee of the Royal Society of Victoria which organized the government expedition to cross Australia to the Gulf of Carpentaria. When Robert O'Hara Burke was made leader, he chose Wills as surveyor, astronomer and third-in-command.
The well-equipped expedition left Melbourne on 20 August 1860 but after a dispute at Menindee, George James Landells was dismissed and Wills became Burke's lieutenant. The party arrived at Cooper's Creek on 11 November and William Brahe was placed in charge of the depot. Burke, with Wills, J. King and Gray, six camels, one horse and three months provisions, left for the Gulf of Carpentaria on 16 December and reached it on 11 February 1861. Wills's diary of the journey evidences his own physical toughness in the tribulations of rough terrain, tropical rains, hostile Aboriginals, shortage of rations and illness; it describes Gray's death on 17 April and the return to Cooper's Creek on 21 April, only to find that Brahe had left that morning for Menindee, leaving a small cache of supplies. Against Wills's personal judgment the three survivors moved down Cooper's Creek towards Adelaide. Had they followed the route back to Menindee, they could have met Brahe returning to look for them.
After their supplies failed the trio lived precariously on fish and nardoo. Wills was left in camp whilst Burke and King sought Aboriginals to replenish their supplies of nardoo. Burke died on 28 June and King returned to find Wills dead in the camp. He had written a farewell letter dated 27 June to his father, and the last entry in his diary dated 29 June stated 'weaker than ever … my legs and arms are nearly skin and bone'. Relieving expeditions under A. W. Howitt, Landsborough, McKinlay and others were searching for the party. Howitt found King with friendly Aboriginals on 15 September, and buried Wills on 18 September; later he returned the remains of Burke and Wills to Melbourne and they were accorded a public funeral on 21 January 1863.
The government's inquiry into the tragedy criticized Burke's leadership and decisions, the appointment of Landells and William Wright, the unsuitability of Brahe, and the errors and delays of the exploration committee; but there was little or no criticism of Wills, who was a faithful second-in-command, subjugating personal doubts on Burke's decisions: it was natural that at 27 he should have deferred to the 40-year-old leader. As Dr Wills stated 'he fell a victim to errors not originating with himself'. Memorials to the expedition have been erected in Melbourne and many Victorian towns. A memorial to Wills was placed at Totnes, Devon, England, in August 1864.
Source: Australian Dictionary Of Biography.
Ranting and raving by society rejected
He stood all alone one of the exploited
A life of public service was once suggested
20 years of education for him had been invested
Standing for election the polls he contested
The electorate in him could not be interested
With his interest in expenses more than vested
A recount at least was what he requested
..................... Copyright (c) Rodney Harrison 2014
And five more photographs in first comment.
1958. The bridge designed by engineer Pérignon for the forestry is completed. Entirely made of wood, this 87 yards (80 meters) long bridge anticipated the creation of the Lac de Yaté. Previously, loggers crossed a dyke often submerged because of the dam. Since hurricane Erica in March 2003, the bridge is forbidden to all traffic, because it can withstand over 0.8 ton (the car at the end is just parked and used by maintenance workers in the park). The oak-gum (Arillastrum gummiferrum) pillars date from the early 50's. The tamanou (Calophyllum caledonicum, endemic to New Caledonia) apron is maintained by park's officials and the technique is the same they used yesterdays: by hand! The 360 tamanou ties were all replaced in June 2011 by cross-pine from New Zealand. The future of the bridge, beloved to locals, is quite uncertain because it would provide for the installation of accommodation facilities on the peninsula between the White and Blue rivers. For now, the strength of the bridge structure is monitored by the property holdings and Public Works Management.
I tried to recreate the atmosphere of yesteryear by choosing black and white. A brief explanation of each photo is given in first comment.
To be continued…
Click the image for a view in light box.
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1958. Le pont conçu par l'ingénieur Pérignon pour les besoins d'exploitation forestière est achevé. Réalisé entièrement en bois, ce pont de 80 mètres de long anticipait la création du lac de Yaté. Auparavant, les coupeurs de bois passaient par une digue souvent submergée à cause du barrage. Depuis le passage du cyclone Erica mars 2003, le pont est interdit à toute circulation, car il ne peut supporter plus de 800 kgs (le véhicule au fond est juste garé et utilisé par les agents d'entretien du parc). Les piliers de chêne-gomme (Arillastrum gummiferrum) datent du début des années 50. Le tablier en tamanou (Calophyllum caledonicum endémique à la Nouvelle Calédonie), est entretenu par les agents du parc et la technique est la même qu'hier : à la main! Les 360 traverses ont été remplacées en totalité en juin 2011 par des traverses en pin de Nouvelle Zélande. L'avenir de ce pont, cher aux yeux des gens du coin, est assez incertain car il serait prévu l'installation de structures d'hébergement sur la presqu'île qui sépare les rivières Blanche et Bleue. Pour l'heure, la solidité de la structure même du pont est surveillée par les directions du patrimoine et de l'équipement.
J'ai essayé de retranscrire l'ambiance de l'époque en choisissant le noir et blanc. Une brève explication est fournie sur chaque photo du premier commentaire.
A suivre…
Cliquer sur la photo ou appuyer sur 'L' pour une vue dans lightbox.
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Canon 7D & EF 17-40mm f4L USM ▪ 1/250s à f/13 ▪ Iso 200 ▪ 17 mm ▪ Handheld | aperture priority |RAW| Crop
"Jusqu’en en 1844, Le Bousquet d’Orb n’était constitué que de deux petits villages : Le Bousquet de Grajau et Saint Martin de Clémensan et de hameaux (le Masage de Fontenille et Cazilhac). Devenu commune en 1884, à la faveur de l’exploitation des mines de charbon et la création d’une verrerie qui fonctionnait à plein régime, Le Bousquet d’Orb devint en quelques décennies un centre industriel et la plus importante localité du Canton de Lunas. Cet essor se poursuivra jusqu’en 1954, date qui marquera la fermeture de la verrerie, puis la fermeture graduelle des mines, à partir de 1960."
SIC le Site de la ville
Montage 3 photos
Another from my exploits in the woods yesterday...I love these boots they are so comfy ! Thought I would try something a little different and experiment with some textures, I got this one from iBrigs who also has a great photostream as well as many textures. Tweaked the colours and added a square crop (hopefully square this time) and layered the texture for today's sliders edition.
Happy Sliders Sunday everyone
Thanks for stopping by to view my image, comments and faves very much appreciated :o)
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