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I don't claim to know anything about this issue, but any cause that gets people to eat less fast food is a good cause.
A young boy pretends to shoot his father with a toy gun he found in the dump.
On the outskirts of the Thai town Mae Sot and just a few kilometers from the Burmese border, several Burmese refugees make a living out of picking recyclables out of the dump and selling them. Many of these refugees are families with small children who work alongside their parents- some without shoes or even pants. Some of these families even opt for living and sleeping directly on the dump itself in makeshift tent like “homes”.
Exploitant : RATP
Réseau : RATP
Ligne : 47
Lieu : Gare de l'Est (Paris 10ème, F-75)
Lien TC Infos : tc-infos.fr/id/10878
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Enrico Caruso’s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (“beautiful singing”) style, with its emphasis on artifice and vibrato, to a verismo (“realism”) approach. The warmth and sincerity of his voice—and personality— shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the 1910s and ’20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly “find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into countless lives.”
Born in Naples, Italy, in 1873, the third of seven children (early sources erroneously state that he was the 18th of 21), Caruso was raised in squalor. His birthplace, according to Jackson, was a “two-storeyed house, flaky with peeling stucco, [accommodating] several families, who shared a solitary cold-water tap on the landing, and like every other dwelling in that locality it lacked indoor sanitation.” As a boy, Caruso received very little formal education; his only training in a social setting came from his church choir, where he displayed a pure voice and a keen memory for songs. More often than not, however, he skipped choir practice to sing with street minstrels for café patrons.
At the age of ten Caruso began working a variety of menial jobs—mechanic, jute weaver—but his passion for singing often led him back to the streets. Eight years later, an aspiring baritone named Eduardo Missiano heard Caruso singing by a local swimming pool. Impressed, Missiano took Caruso to his voice teacher, Guglielmo Vergine. Vergine on hearing Caruso, compared the tenor’s voice to “the wind whistling through the chimney,” Michael Scott recounted in The Great Caruso. Although he disliked Caruso’s Neapolitan café style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But “the lessons ended after three years,” John Kobler wrote in American Heritage, “and Caruso’s formal musical training thereafter remained almost as meager as his scholastic education. He could read a score only with difficulty. He played no musical instrument. He sang largely by ear.”
On March 15, 1895, Caruso made his professional debut in L’Amico Francesco, a now-forgotten opera by an amateur composer. He was not an immediate sensation.
For the Record…
Bom Errico Caruso (adopted more formal Enrico for stage), February 27 (some sources say 25), 1873, in Naples, Italy; died of pneumonia and peritonitis in 1921 in Naples; son of Marcellino (a mechanic) and Anna (Baldini) Caruso; married Dorothy Park Benjamin, 1918; children: Gloria; (with Ada Giachetti) Rodolfo, Enrico Jr. Education: Studied voice with Guglielmo Vergine, 1891-94, and Vincenzo Lombardi, 1896-97.
Worked as laborer, including jobs as mechanic and jute weaver, beginning c. 1883; debuted in L’Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Bohème, 1897; debuted in La Bohème at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S. at Metropolitan Opera, New York City, 1903. Appeared in silent films My Cousin and A Splendid Romance, 1918; subject of fictional film biography The Great Caruso, 1950.
Awards: Order of the Commendatore of the Crown of Italy; Grand Officer of the French Legion of Honor; Order of the Crown Eagle of Prussia; honorary captain of the New York City Police Department.
His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.
“Who Has Sent You to Me? God?”
In 1897, studying for the part of Rodolpho in Giacomo Puccini’s La Bohème, Caruso went to the composer’s villa to secure Puccini’s consent of his interpretation. As told by author Jackson, after Caruso sang a few measures of the first-act aria, “Che gelida manima,” Puccini “swivelled in his chair and murmured in amazement, ’Who has sent you to me? God?’”
Caruso’s instrument was “a voice of the South, full of warmth, charm, and lusciousness,” described a commentator of the era who was quoted in Howard Greenfeld’s book Caruso. But what truly set Caruso apart—from his predecessors, contemporaries, and successors—was his ability to eliminate the space between singer and listener, to intensify “the emotional effects upon his audience,” testified American Heritage contributor Kobler. “His vocalized feelings, variously spiritual, earthy, carnal, seemed to resonate within the hearer’s body. Rosa Ponselle, the American soprano who made her debut opposite Caruso, called it “a voice that loves you.’”
And his timbre was matched by sheer power; at the height of his career, Caruso gave concerts in venues as large as New York City’s Yankee Stadium without microphones and was clearly heard by all. Still, he reached his greatest audience, across both distance and time, through the small, recorded medium of the phonograph. “Few performers deserve . . . recognition more than Caruso,” David Hamilton proclaimed in the New York Times. “[His] records made him the universal model for later generations of tenors, while his reputation played a major role in establishing the phonograph socially and economically.”
Recording Pioneer
Caruso made his first recording on April 11, 1902, in a hotel suite in Milan, Italy. Over the remaining 19 years of his life he made an additional 488 recordings, almost all for the Victor label. He earned more than two million dollars from recording alone, the company almost twice that. But, most important, his recordings brought grand opera to the uninitiated. Millions cried along with his version of Canio’s sobbing “Vesti la giubba,” from/Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso’s recordings.
But Caruso’s allure was not solely the result of his singing. “Quick to laughter and to tears, amorous, buffoonish,... speaking a comically fractured English, round and paunchy, Caruso presented an image that appealed enormously to multitudes of ordinary Americans,” Kobler pointed out. Indeed, his offstage behavior was as interesting to the public as that of his onstage personas. He had numerous affairs with women, which often ended in court. He had an 11-year relationship, beginning in 1897, with soprano Ada Giachetti, who had left her husband and son for the much younger tenor. She bore Caruso two sons, then ran off with the family chauffeur. Three years later, Giachetti sued Caruso for attempting to damage her career and for theft of her jewelry. The suit was eventually dismissed.
Offstage Shenanigans
Caruso was not exonerated, however, in what became known as the “Monkey House Case.” On November 16, 1906, Caruso went to the Monkey House in the Central Park Zoo, one of his favorite retreats in his adopted hometown of New York City. There a young woman accused him of pinching her bottom. A policeman on the scene immediately took Caruso—confused and sobbing—to jail. The woman failed to appear at the consequent trial, and police were unable to produce any witnesses other than the arresting officer, who turned out to have been best man at the accuser’s wedding. The judge found Caruso guilty of disorderly conduct and fined him ten dollars. The public, for its part, though initially unsure of Caruso’s innocence, soon returned to its thunderous approval of his performances.
Despite these episodes, Caruso’s life outside the theater was not entirely tumultuous. His marriage to Dorothy Park Benjamin in 1918 was happy and secure. His celebrated earnings allowed him to collect art, stamps, and coins. His clothing and furnishings were luxurious. He ate with gusto. And he was extremely generous. A gifted caricaturist, Caruso often gave drawings away. He would fill his pockets with gold coins and shower stagehands with them at the end of Christmastime productions. He also supported many family members, gave numerous charity concerts, and helped raise millions of dollars for the Allied cause during World War I. This remarkable man even paid his taxes early. “If I wait, something might happen to me, then it would be hard to collect,” Caruso reasoned, as recounted by Kobler. “Now I pay, then if something happen to me the money belongs to the United States, and that is good.”
Caruso’s expansive approach to life, however, rendered his own short. Constant recording and performance demands and the singer’s unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. He was 48 years old. “Caruso may have been a greater master of comedy than tragedy,” Great Caruso author Scott wrote, “yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame—ably demonstrated by frequent new issues of ever improving records—made increasing demands of him. In those last years he rode a tiger.”
Selected discography
Enrico Caruso: 21 Favorite Arias, RCA, 1987.
Enrico Caruso, Pearl, 1988.
Enrico Caruso in Arias, Duets, and Songs, Supraphon, 1988.
Caruso in Opera, Nimbus, 1989.
Caruso in Song, Nimbus, 1990.
The Compíete Caruso, BMG Classics, 1990.
Enrico Caruso in Opera: Early New York Recordings (1904-06), Conifer, 1990.
The Caruso Edition: Volume 1 (1902-1908), Pearl, 1991.
The Caruso Edition: Volume 2 (1908-1912), Pearl, 1991.
The Caruso Edition: Volume 3 (1912-1916), Pearl, 1991.
The Caruso Edition: Volume 4 (1916-1921),, Pearl, 1991.
Caruso in Ensemble, Nimbus, 1992.
Addio Mia Bella Napoli, Replay/Qualiton, 1993.
Sources
Books
Caruso, Enrico, Jr., and Andrew Farkas, Enrico Caruso: My Father and My Family, Amadeus Press, 1990.
Greenfeld, Howard, Caruso, Putnam, 1983.
Jackson, Stanley, Caruso, Stein & Day, 1972.
Scott, Michael, The Great Caruso, Knopf, 1988.
Periodicals
American Heritage, February/March 1984.
Economist, March 9, 1991.
New Republic, August 8, 1988.
New York Times, January 6, 1991.
—Rob Nagel
Cite this article
Pick a style below, and copy the text for your bibliography.
#enrico-picciotto, enrico picciotto
«Children — are the Victims of Adult Vices» (sculptor: Shemiakin M.M., architect: Efimov A.V.)
Children Are the Victims of Adult Vices - is a group of sculptures created by Russian artist Mihail Chemiakin. The sculptures are located in a park in Bolotnaya Square, Balchug, 2000 feet south of the Moscow Kremlin behind the British Ambassador's residence. Chemiakin said that, «[The sculpture] ... was conceived and carried out by me as a symbol and a call to fight for the salvation of present and future generations.»
A spectator sees before him 15 pieces: two children with a blindfold playing hide and seek but around them are three-meter allegorical monsters, which are depicted as human figures with the heads of fish and animals. As explained by the sculptor Shemyakin, that's the historically established traditions to portray the vices: of drug addiction, prostitution, theft, alcoholism, ignorance, propaganda of violence, pseudoscientists, indifference, sadism, for the forgetful, child labor exploitation, poverty, war.
The figures are perceptibly closing in on two unaware playmates, a girl and a boy, with the centrepiece figure being «Indifference».
The sculpture was commissioned by then-Mayor Yuri Luzhkov and sponsored by the state-owned oil company Rosneft, [amid some controversy]in 2001 in the park, named for the 800th anniversary of Moscow. Some Muscovites worried that the graphic imagery would frighten children.
Enrico Caruso’s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (“beautiful singing”) style, with its emphasis on artifice and vibrato, to a verismo (“realism”) approach. The warmth and sincerity of his voice—and personality— shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the 1910s and ’20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly “find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into countless lives.”
Born in Naples, Italy, in 1873, the third of seven children (early sources erroneously state that he was the 18th of 21), Caruso was raised in squalor. His birthplace, according to Jackson, was a “two-storeyed house, flaky with peeling stucco, [accommodating] several families, who shared a solitary cold-water tap on the landing, and like every other dwelling in that locality it lacked indoor sanitation.” As a boy, Caruso received very little formal education; his only training in a social setting came from his church choir, where he displayed a pure voice and a keen memory for songs. More often than not, however, he skipped choir practice to sing with street minstrels for café patrons.
At the age of ten Caruso began working a variety of menial jobs—mechanic, jute weaver—but his passion for singing often led him back to the streets. Eight years later, an aspiring baritone named Eduardo Missiano heard Caruso singing by a local swimming pool. Impressed, Missiano took Caruso to his voice teacher, Guglielmo Vergine. Vergine on hearing Caruso, compared the tenor’s voice to “the wind whistling through the chimney,” Michael Scott recounted in The Great Caruso. Although he disliked Caruso’s Neapolitan café style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But “the lessons ended after three years,” John Kobler wrote in American Heritage, “and Caruso’s formal musical training thereafter remained almost as meager as his scholastic education. He could read a score only with difficulty. He played no musical instrument. He sang largely by ear.”
On March 15, 1895, Caruso made his professional debut in L’Amico Francesco, a now-forgotten opera by an amateur composer. He was not an immediate sensation.
For the Record…
Bom Errico Caruso (adopted more formal Enrico for stage), February 27 (some sources say 25), 1873, in Naples, Italy; died of pneumonia and peritonitis in 1921 in Naples; son of Marcellino (a mechanic) and Anna (Baldini) Caruso; married Dorothy Park Benjamin, 1918; children: Gloria; (with Ada Giachetti) Rodolfo, Enrico Jr. Education: Studied voice with Guglielmo Vergine, 1891-94, and Vincenzo Lombardi, 1896-97.
Worked as laborer, including jobs as mechanic and jute weaver, beginning c. 1883; debuted in L’Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Bohème, 1897; debuted in La Bohème at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S. at Metropolitan Opera, New York City, 1903. Appeared in silent films My Cousin and A Splendid Romance, 1918; subject of fictional film biography The Great Caruso, 1950.
Awards: Order of the Commendatore of the Crown of Italy; Grand Officer of the French Legion of Honor; Order of the Crown Eagle of Prussia; honorary captain of the New York City Police Department.
His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.
“Who Has Sent You to Me? God?”
In 1897, studying for the part of Rodolpho in Giacomo Puccini’s La Bohème, Caruso went to the composer’s villa to secure Puccini’s consent of his interpretation. As told by author Jackson, after Caruso sang a few measures of the first-act aria, “Che gelida manima,” Puccini “swivelled in his chair and murmured in amazement, ’Who has sent you to me? God?’”
Caruso’s instrument was “a voice of the South, full of warmth, charm, and lusciousness,” described a commentator of the era who was quoted in Howard Greenfeld’s book Caruso. But what truly set Caruso apart—from his predecessors, contemporaries, and successors—was his ability to eliminate the space between singer and listener, to intensify “the emotional effects upon his audience,” testified American Heritage contributor Kobler. “His vocalized feelings, variously spiritual, earthy, carnal, seemed to resonate within the hearer’s body. Rosa Ponselle, the American soprano who made her debut opposite Caruso, called it “a voice that loves you.’”
And his timbre was matched by sheer power; at the height of his career, Caruso gave concerts in venues as large as New York City’s Yankee Stadium without microphones and was clearly heard by all. Still, he reached his greatest audience, across both distance and time, through the small, recorded medium of the phonograph. “Few performers deserve . . . recognition more than Caruso,” David Hamilton proclaimed in the New York Times. “[His] records made him the universal model for later generations of tenors, while his reputation played a major role in establishing the phonograph socially and economically.”
Recording Pioneer
Caruso made his first recording on April 11, 1902, in a hotel suite in Milan, Italy. Over the remaining 19 years of his life he made an additional 488 recordings, almost all for the Victor label. He earned more than two million dollars from recording alone, the company almost twice that. But, most important, his recordings brought grand opera to the uninitiated. Millions cried along with his version of Canio’s sobbing “Vesti la giubba,” from/Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso’s recordings.
But Caruso’s allure was not solely the result of his singing. “Quick to laughter and to tears, amorous, buffoonish,... speaking a comically fractured English, round and paunchy, Caruso presented an image that appealed enormously to multitudes of ordinary Americans,” Kobler pointed out. Indeed, his offstage behavior was as interesting to the public as that of his onstage personas. He had numerous affairs with women, which often ended in court. He had an 11-year relationship, beginning in 1897, with soprano Ada Giachetti, who had left her husband and son for the much younger tenor. She bore Caruso two sons, then ran off with the family chauffeur. Three years later, Giachetti sued Caruso for attempting to damage her career and for theft of her jewelry. The suit was eventually dismissed.
Offstage Shenanigans
Caruso was not exonerated, however, in what became known as the “Monkey House Case.” On November 16, 1906, Caruso went to the Monkey House in the Central Park Zoo, one of his favorite retreats in his adopted hometown of New York City. There a young woman accused him of pinching her bottom. A policeman on the scene immediately took Caruso—confused and sobbing—to jail. The woman failed to appear at the consequent trial, and police were unable to produce any witnesses other than the arresting officer, who turned out to have been best man at the accuser’s wedding. The judge found Caruso guilty of disorderly conduct and fined him ten dollars. The public, for its part, though initially unsure of Caruso’s innocence, soon returned to its thunderous approval of his performances.
Despite these episodes, Caruso’s life outside the theater was not entirely tumultuous. His marriage to Dorothy Park Benjamin in 1918 was happy and secure. His celebrated earnings allowed him to collect art, stamps, and coins. His clothing and furnishings were luxurious. He ate with gusto. And he was extremely generous. A gifted caricaturist, Caruso often gave drawings away. He would fill his pockets with gold coins and shower stagehands with them at the end of Christmastime productions. He also supported many family members, gave numerous charity concerts, and helped raise millions of dollars for the Allied cause during World War I. This remarkable man even paid his taxes early. “If I wait, something might happen to me, then it would be hard to collect,” Caruso reasoned, as recounted by Kobler. “Now I pay, then if something happen to me the money belongs to the United States, and that is good.”
Caruso’s expansive approach to life, however, rendered his own short. Constant recording and performance demands and the singer’s unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. He was 48 years old. “Caruso may have been a greater master of comedy than tragedy,” Great Caruso author Scott wrote, “yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame—ably demonstrated by frequent new issues of ever improving records—made increasing demands of him. In those last years he rode a tiger.”
Selected discography
Enrico Caruso: 21 Favorite Arias, RCA, 1987.
Enrico Caruso, Pearl, 1988.
Enrico Caruso in Arias, Duets, and Songs, Supraphon, 1988.
Caruso in Opera, Nimbus, 1989.
Caruso in Song, Nimbus, 1990.
The Compíete Caruso, BMG Classics, 1990.
Enrico Caruso in Opera: Early New York Recordings (1904-06), Conifer, 1990.
The Caruso Edition: Volume 1 (1902-1908), Pearl, 1991.
The Caruso Edition: Volume 2 (1908-1912), Pearl, 1991.
The Caruso Edition: Volume 3 (1912-1916), Pearl, 1991.
The Caruso Edition: Volume 4 (1916-1921),, Pearl, 1991.
Caruso in Ensemble, Nimbus, 1992.
Addio Mia Bella Napoli, Replay/Qualiton, 1993.
Sources
Books
Caruso, Enrico, Jr., and Andrew Farkas, Enrico Caruso: My Father and My Family, Amadeus Press, 1990.
Greenfeld, Howard, Caruso, Putnam, 1983.
Jackson, Stanley, Caruso, Stein & Day, 1972.
Scott, Michael, The Great Caruso, Knopf, 1988.
Periodicals
American Heritage, February/March 1984.
Economist, March 9, 1991.
New Republic, August 8, 1988.
New York Times, January 6, 1991.
—Rob Nagel
Cite this article
Pick a style below, and copy the text for your bibliography.
#enrico-picciotto, enrico picciotto
Went out on the hunt again today, I'm actually only keeping the Lalaloopsies all the other stuff is for a friend of mine. Pillow Featherbed came in the mail today but I decided to include her anyway ^^;
(6 of 14 series)
Check out my entire exploitation @
www.flickr.com/photos/ladydragonflyherworld/sets/72157629...
Created with fd's Flickr Toys.
The Insecurity of youth is the security blanket of Madison Avenue .
Mquest Aphorism
A chief event of life is the day in which we have encountered a mind that startled us.
Ralph Waldo Emerson
Impossible de découvrir Cuba sans s’immerger dans la culture du tabac. Si les cigares cubains sont célèbres dans le monde entier, ils sont ici encrés dans le quotidien des locaux. Cette immersion vous emmène au coeur d’une petite exploitation pour y apprendre les techniques de culture du tabac ainsi que le processus de fabrication traditionnel des cigares.
La région de Pinar de Rio est le lieu de prédilection pour s’imprégner de la culture du tabac. Cette région possède les plantations les plus réputées notamment grâce à sa terre très fertile et son microclimat. Alors si de nombreuses petites exploitations sont logées dans ce paysage verdoyant, vous pouvez vous rendre à la finca Macondo où l’on se fera un plaisir de vous recevoir.
Pour s’y rendre depuis la rue principale de Viñales, dirigez vous vers la célèbre Finca Agroecologica El Paraiso, après le virage de la route principale, continuez tout droit, la route commence légèrement à monter. Il vous faudra emprunter la 3ème petite route à gauche (au niveau d’une maison bleue au toit en tôles rouges/orangées) puis continuez jusqu’à voir sur la gauche une petite cabane grillagée portant l’inscription MACONDO. Demandez aux habitants du coin, ils sauront vous guider.
“El Professor”, de son surnom, vous accueillera avec plaisir pour vous expliquer le processus de fabrication d’un produit qu’il connaît bien. En effet, il nous a confié que pour lui, il considère que la journée a été bonne lorsqu’il a fumé 2 cigares, très bonne lorsqu’il en a fumé 3. Oui, on vous avez dit, le cigare à Cuba fait partie du quotidien.
Ce n’est pas pour cela qu’il en est accro, les cigares sont sans nicotine !
Chapeau de paille sur la tête, lunettes de soleil, cigare au bec et drapeau du Che en arrière plan, il a tout à fait le style de l’exploitant de tabac cubain.
finca Macondo. C’est là qu’El professor nous reçoit autour d’une table pour nous expliquer le processus d’exploitation et de fabrication du tabac. Période de récolte, temps de séchage, différence entre les feuilles de tabac et entre les cigares, technique de roulage, de coupage et de dégustation, il nous dit tout. Tout en nous montrant comment rouler le cigare bien sûr !
Nous en fumons ensuite un avec lui en trempant la tête du cigare dans le miel pour plus de saveur. Les arômes de café, citron, miel dénotent avec les goûts auxquels sont habitués les fumeurs de chez nous.
Nous faisons ensuite un tour du côté de la plantation de tabac puis nous entrons dans la cabane réservée au séchage des feuilles de tabac où encore pas mal de feuilles sèchent pendues à des poutres. El professor nous montre comment il asperge les feuilles d’un mélange d’épices, de citron, de café et de miel qui donne aux cigares ce goût si particulier.
t's impossible to discover Cuba without immersing yourself in tobacco growing. Cuban cigars are famous all over the world, but they are here in the everyday life of the locals. This immersion takes you to the heart of a small farm to learn the techniques of growing tobacco and the process of traditional cigar manufacturing.
The region of Pinar de Rio is the favorite place to soak up the culture of tobacco. This region has the most famous plantations thanks to its very fertile land and its microclimate. So if many small farms are housed in this green landscape, you can go to Macondo finca where we will be happy to receive you.
To get there from the main street of Viñales, head towards the famous Finca Agroecologica El Paraiso, after the turn of the main road, go straight, the road starts to climb slightly. You will have to take the 3rd small road on the left (at the level of a blue house with red / orange plate roof) then continue until you see on the left a small screened cabin with the inscription MACONDO. Ask the locals, they will guide you.
"El Professor", his nickname, will welcome you with pleasure to explain the process of making a product he knows well. Indeed, he told us that for him, he considers that the day was good when he smoked 2 cigars, very good when he smoked 3. Yes, we told you, the cigar in Cuba is part Daily.
This is not why he is addicted, cigars are nicotine free!
Straw hat on his head, sunglasses, cigar in the beak and flag of Che in the background, he has quite the style of the Cuban tobacco operator.
Macondo finca. It is here that El professor receives us around a table to explain the process of exploitation and manufacture of tobacco. Harvesting period, drying time, difference between tobacco leaves and between cigars, technique of rolling, cutting and tasting, it tells us everything. While showing us how to roll the cigar of course!
We then smoke one with him, soaking the cigar's head in the honey for more flavor. The aromas of coffee, lemon, honey and tastes are familiar to smokers in our country.
We then make a tour of the side of the tobacco plantation then we enter the hut reserved for drying tobacco leaves where still a lot of leaves dry hanging from the beams. The professor shows us how he sprinkles the leaves with a mixture of spices, lemon, coffee and honey, which gives the cigars that particular taste.
Exploitants : Keolis Versailles + SAVAC
Réseaux : Phébus + Versailles Grand Parc
Lignes : A + 262
Lieu : Gare de Versailles – Château – Rive Gauche (Versailles, F-78)
Exploited for human use and on display for human amusement.
Animals have the right to not be treated as property! Go vegan!
Exploited for human use and on display for human amusement.
Animals have the right to not be treated as property! Go vegan!
Exploitation tenue par Mélanie Martin et inscrite sur la plateforme Agrilocal40.com
Le 10 mai 2017
© Sébastien Zambon | Dpt40
MARION DUFRESNE I - Navire océanographique et supply des TAAF
(Terres Australes et Antarctiques Françaises)
Commandé pour remplacer le GALLIENI
Lancé le 16 mars 1972 au Havre par les Chantiers et Ateliers du Havre
Affrété pour 20 ans par l'administration des Terres Australes et Antarctiques Françaises
1995 Remplacé par le MARION DUFRESNE II
1995 Vendu aux Américains sous pavillon Maltais - Renommé FRES
2004 le 22 juin - Démoli à Alang
-------------------------------------------------
CARACTÉRISTIQUES:
Long 112.5 m HT large 18 m jauge brute 6639 tjb - Port en lourd 3722 tonnes - Capacité totale 4498 m3 dont 4 soutes frigos de +5 à - 20° de 100 m3 - 4 deep tanks de 600 m3 - Déplacement 7625 tonnes.
Deux cales desservies par 2 grues de 5 tonnes - 2 mâts de 5 tonnes et 1 bigue de 40 tonnes.
---------------------------------------------
PROPULSION
2 moteurs d'une puissance totale de 8000 cv embrayés sur une seule hélice à pas variable. Vitesse d'exploitation 15 noeuds - Autonomie de 20 000 milles.
2 propulseurs transversaux de 600 cv pour la tenue en station fixe. 3280 Kw à l'aide de deux alternateurs attelés.
3 groupes électrogènes
1 groupe de secours
PASSERELLE:
Automatisation par calculateur pour la navigation et satellite Magnavox
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ÉQUIPAGE:
8 Officiers
23 hommes
21 hommes équipage de marins malgaches. Utilisés pour la onstruction des portières de débarquement, leur manœuvre et la manutention des marchandises Embarqué uniquement pendant les voyages de logistique.
NB Pour certaines missions les TAAF embarquent du personnel supplémentaire Officier et équipage recruté auprès de la Cie mais hors effectif.
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INSTALLATIONS SCIENTIFIQUES:
1 plate forme pour l'hélicoptère Alouette embarqué -
1 grue de 10 t à l'arrière pour repêcher les soucoupes et les carottes
2 vedettes de 70 cv – servant à tracter les portières de débarquement de matériels
1 Pc scientifique
1 local de direction des opérations
1 local chimie fine
1 atelier d'électronique
1 magasin pour matériel scientifique
2 laboratoires réfrigérés.
1 local gravitométrique situé au centre de gravité du navire.
1 treuil océanographique de 33 tonnes avec un câble en Kevlar de 50 tonnes et 7200 m et un câble en acier de 30 tonnes et 8000m
1 portique arrière de 10 tonnes à 160 degrés de rotation et à poutre oscillante.
1 treuil hydrologique fixe pour bathysonde
1 treuil hydrologique lourd pour bouteilles de 100 litres
1 puits Martinais traversant tous les fonds, permettant l'installation de dalles de sondeurs à ultra-sons à la mer.
La plage arrière et la plate forme hélico sont équipées de systèmes de fixation rapides pour la mise en place de conteneurs laboratoires standards de 20 pieds (jusqu'à 8 unités) avec branchements électriques, eu douce chaude et froide, eau de mer et air comprimé.
C'est une des originalités de ce navire d'avoir rendu mobiles les laboratoires spécialisés. Ils peuvent être remplacés en très peu de temps à l'escale en fonction du programme de chaque campagne océanographique.
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LOGEMENTS PASSAGERS SCIENTIFIQUES:
1 Appartement comprenant chambre et bureau identique au Commandant et au chef mécanicien pour le chef de territoires des Terres Australes et Antarctiques Françaises, utilisé lors des inspections des territoires.
6 Cabines doubles.
19 Cabines à 4 couchettes pour personnel scientifique.
1 Grande salle à manger.
1 Bar fumoir
1 salle de conférence avec projection cinéma
1 Bibliothèque
Embarque de 80 à 100 passagers lors des relèves des terres Australes
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ROTATIONS LOGISTIQUES:
Le MARION DUFRESNE assure une fois par an durant la période estivale, la relève du personnel et le ravitaillement des bases des Terres Australes.
Le reste de l'année, il assure des missions scientifiques internationales de longue durée sur tous les Océans.
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MARION DUFRESNE I - oceanographic vessel and supply of TAAF
(Terres Australes and French Antarctic)
Built to replace the GALLIENI
Launched on 16 March 1972 in le Havre by Chantiers et Ateliers of le Havre. Chartered for 20 years
1995 Replaced by the MARION DUFRESNE II
1995 Sold to Americans under Maltese flag - renowned FRES
2004 June 22 - demolished in Alang
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FEATURES:
LOA 112.5 m HT Breadth 18 m GRT 6639 - deadweight 3722 tons - total capacity 4498 m3 including 4 refrigerated rooms of 100 cubic meter temperature from 5° to - 20 ° - 4 deep tanks of 600 m3 - displacement 7625 tonnes.
Two holds fitted with2 cranes of 5 tons - 2 derricks of 5 tonnes and a 40 tons heavy lift derrick.
PROPULSION
2 engines with a total output of 8000 HP clutched on a single pitch propeller. Operating speed 15 knots - autonomy of 20,000 miles.
2 thrusters, stern and bow, of 600 HP for dynamic positioning. Electrical power3280 Kw delivered by two alternators engaged with the main engines.
3 diesel generators
1 emergency diesel generator
Bridge:
Calculus of position by computer and satellite Magnavox
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CREW:
8 Officers
23 men
21 men additional crew of Malagasy sailors. Building of the raft used for unloading cargo for bases, Kergelen, Crozet and New Amsterdam. They were embarked only for trips on theses bases.
NB For certain missions TAAF used to embark additional personnel, Officer and crew hired from the company. -------------------------------------------------
FACILITIES SCIENTISTS:
1 Dropping zone for the helicopter onboard "Alouette"
1 10 t hydraulic crane aft of the ship, for handling rescuing the Submarine saucer and carrots
2 boats of 70 HP – they were towing the rafts used for unloading cargo.
1 Scientific pc
1 Operation room
1 Room dedicated to fine chemistry
1 electronics workshop
1 store for scientific equipment
2 refrigerated laboratories.
1 local gravimetric located at the centre of gravity of the ship.
1 33 tons winch with a Kevlar cable of 50 tons and 7200 m and another 30-ton steel cable of 8000 m
1 rear 10 tons gantry rotating on 160° and a swing beam.
1 fix hydrological winch for bathysonde
1 heavy duty hydrological winch for 100 litre sampling bottles
1 well Martinais going through the hull, allowing the installation of ultrasonic transducers while being at sea.
The quarterdeck and the helicopter dropping zone are equipped with fast lashing devices for containers 20 feet (up to 8 units) with connection for electric power, hot and cold fresh water, sea water and compressed air.
It is one of the originalities of the vessel being able to accommodate mobile specialized laboratories. When calling, they can be replaced in a very short time to stop according to the Oceanographic campaign program.
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ACCOMMODATION PASSENGER SCIENTISTS:
1 Apartment with bedroom and office identical to the captain’s and the Chief Engineer’s for the leader of the southern and Antarctic French territories, used during inspections of the territories.
6 Double cabins.
19 Cabins with 4 berths for scientific staff.
1 Large dining room.
1 Bar Smokehouse
1 conference room with cinema projection
1 Library
Embarks from 80 to 100 passengers during the Austral land surveys
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ROTATIONS LOGISTICS:
Once a year, during summer time, MARION DUFRESNE’s activity consist in supplying the bases of the Terres Australes and bringing new people taking over the one having ended their time.
The rest of the year is devoted to long term international scientific missions on all the Oceans.
#Middlesbrough sexual grooming and exploitation trial hears closing speeches - #Gazette Live ow.ly/rqKoR #Boro #bbcnews #skynews Jury must decide whether a taxi driver took part in targeting and exploiting vulnerable girls for sex, or behaved
HMS Exploit is an Archer-class patrol and training vessel of the Royal Navy, Early morning in the Solent as she leaves Portsmouth Harbour
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.
L'histoire du café
L’histoire de l’île Maurice est très liée à celle du café, même s’il n’y a pas eu d’exploitations importantes contrairement à l’île sœur, l’île de la Réunion.
Il est intéressant cependant de lire certaines informations générales extraits du livre de Monsieur Jobin. Edition du livre « Les cafés produits dans le monde ».
En 1721, le Gouvernement de Bourbon (île de la Réunion) fit remettre à M. de Nyons des caféiers de Moka pour l’île
de France. Un petit groupe de militaires limite des essais peu fructueux sur les bords d’une rivière qu’ils appelèrent MOKA.
En 1728, la première concession fut accordée dans la région de Terres Rouges : parmi les conditions stipulées, il faillait que la terre concédée soit mise en valeur. La culture du café était obligatoire, le concessionnaire avait à verser annuellement en deux termes du riz, du blé moitié à Pâques moitié à Saint Martin, plus quatre onces de café par arpent de terre défriché. Mais la caféiculture ne fut vraiment lancée qu’à partir de 1765.
En 1767, le Gouvernement Royal proscrivit la culture du café pour encourager celle des graines et l ‘élevage.
En 1771, cette défense fut renforcée à la suite de l’introduction du girofle et de la muscade. Certains réussirent quand même a en planter puisqu’il existait environ l million de pieds de caféiers.
En 1776, une maladie en détruisit un fort pourcentage.
Au début du X1X Siècle, le caféier était encore cité comme étant une des plantes les plus utiles de la colonie.
En 1817, 2500 arpents étaient encore cultivés en caféiers dont 40 Moka produisaient 160 tonnes.
En 1824, un cyclone fut une des causes de son déclin. La culture de la canne a sucre qui résiste mieux aux vents cycloniques, prit la place de celle du café. L’abolition de la taxe sur le sucre exporté en Grande Bretagne ayant encouragé cette culture.
En 1830, la surface est réduite a 600 arpents et la production à 17 tonnes.
Actuellement la production est considérée officiellement comme pratiquement nulle. Mis à part quelques petites exploitations privées.
Exploitant : Transdev CSO
Réseau : Poissy Aval – 2 Rives de Seine
Ligne : 24
Lieu : Gare Sud de Poissy (Poissy, F-78)
Lien TC Infos : tc-infos.fr/id/16759
Photo: J. PAILLARD
(Interdiction de reproduire cette photo à des fins commerciales sans mon accord)
Prise en mai 1959
Gare de Sixt
Exploitée par les chemins de fer économiques du Nord, cette ligne à voie métrique fut ouverte en 1892 jusqu'à Samoëns, le prolongement à Sixt n'intervint qu'après 1914. Longue de 49 Km, elle se déployait le long de la vallée du Giffre. Partant d'Annemasse à 430 m d'altitude, elle culminait à Sixt à 757 m. Deux antennes furent construites, permettant de rejoindre la vallée de l'Arve (ndlr). L'une de Bonne sur Menoge-Bonneville, l'autre de Saint-Jeoire à Marignier. Toutes deux disparurent avant 1939. Deux autres ne furent jamais achevées. Celle du Pont de Fillinges à Habère-Poche, qui aurait permis une desserte de la vallée verte, et celle de Taninges à Morzines.Une douzaine de trains circulaient quotidiennement, effectuant le parcours entre 1 h 30 et 1 h 50. Fin de l'exploitation le 14 mai 1959.
Exploitant les graines de cirses au pied du Pic de Géral.
Rocher de Scaramus (Ariège), le 8 septembre 2019
WASHINGTON, DC: National Center for Missing & Exploited (NCMEC) 2022 Hope Gala, Oct. 20, 2022
The National Center for Missing & Exploited Children’s (NCMEC) Hope Gala held on Oct. 20, 2022 at the District Pier at The Wharf, Washington, D.C. The event is a celebration of the inspiring work being done globally to protect children. We recognized leaders in child safety, honor survivors, and remember the families and victims who are still seeking justice and safety. Sarah Baker/NCMEC
HMS Exploit, in company with Smiter, Ranger and Archer returning from an NATO exercise in the Baltic.
July 16, 2015 - Bronx- New York Governor Andrew M. Cuomo shares a laugh backstage with Speaker Carl Heastie and Bronx Borough Presidnet Ruben Diaz Jr. before he signed legislation today protecting and supporting nail salon workers from abuses in the workplace during a ceremony at Hostos Community College in the Bronx July 16, 2015. Also present at the signing are two of the bill's sponsors, Senator Michael Venditto (R-Long Island) and Assemblyman Ron Kim, as well as Assembly Speaker Carl Heastie (B-Bronx). (Office of the Governor - Kevin P. Coughlin)
These photos of natural gas drilling were taken in August, 2009 by Attorney Helen Slottje, for www.shaleshock.org
The story of this site located in the mosan valley starts at the XIIIth and XIVth centuries, with the exploitation in quarry of the mosan stone (or "blue stone"), which was considered high quality. The blocks of limestone were cut in open-air but also in subterranean galleries that are now closed to the public.
The lime kilns in the pictures were built since 1872. During almost a century, this impressive construction attached to the mountain has seen many changes among which the successive addition of new kilns (finally eight, arranged on a 68 meter length) and the evolution of new technologies.
These lime kilns worked on a continuous process, fed 24 hours a day. Several layers of fuel (previously coal, then coke) and limestones were successively piled from the top of the kilns, then burned by a process of calcination. After cooling, the lime was extracted from the bottom. It was then used in mortars for construction.
Closed since 1971, these lime kilns are today abandoned and poorly secured (in spite of important risks of fall). A part of the cliff and the former quarry is still used by a climbing club.
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L'histoire de ce site situé dans la vallée mosane remonte aux XIIIe et XIVe siècles, lorsque la pierre mosane (ou "pierre bleue"), réputée d'une grande qualité, commence à être exploitée en carrière. Les blocs de pierre calcaire y étaient taillés à ciel ouvert mais aussi dans des galeries souterraines aujourd'hui fermées au public.
Les fours à chaux furent quant à eux construits à partir de 1872. Pendant près d'un siècle, cette imposante construction accolée à la montagne a connu de nombreux remaniements parmi lesquels l'ajout successif de nouveaux fours (finalement au nombre de huit, disposés sur une longueur de 68 mètres) et l'évolution de nouvelles technologies et procédés.
Ces fours fonctionnaient à feu continu, alimentés 24h sur 24. Des couches de combustibles (auparavant du charbon, puis du coke) et de pierres à chaux (calcaires) étaient empilées successivement depuis le haut des fours, puis brûlées par un procédé de calcination. La chaux ainsi produite après refroidissement était récupérée par le bas et acheminée, prête à l'usage dans les mortiers pour la construction.
Fermés depuis 1971, ces fours sont aujourd'hui à l'abandon dans un site étonnement peu sécurisé (malgré des risques de chute importants). Une partie de la falaise et des anciennes carrières est encore employée par un club d'escalade de la région.