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FBI Southeast Georgia Child Exploitation Task Force (ICAC) Patch. Colors have been altered to prevent reproduction.
"Dear Flexitarianism, “Humane”itarianism, Pescatarianism, Veg, Vegetarianism, Veggie, and Veg’n:
You are all diets. You are all violent. You are all meaningless for the animals. You are all meaningless for my morality. You are not steps in the right direction."
~ Sarah K. Woodcock
For more information about veganism, please see:
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 1
Lieu : Mont Olivet (Sartrouville, F-78)
Lien TC Infos : tc-infos.fr/vehicule/35133
Bossangoa (République centrafricaine) 07 juillet 2023 Des Casques bleus camerounais déployés dans la préfecture de l’Ouham pour sécuriser et proteger les civils, suivent une formation sur la prévention et les réponses aux actes d'exploitation et d'abus sexuels commis par des membres du personnel des Nations Unies. Organisée par l’Équipe de conduite et déontologie de la MINUSCA, cette formation s'inscrit dans le cadre de la politique de « tolérance zéro » de l’ONU contre ces actes.
Photo : MINUSCA/ Leonel GROTHE
Levi, messing around with Leicas at the Glazer's Photo Festival. Double exposure via iPhone native HDR exploit/glitch.
Part of my Instagram iPhone photo-a-day project.
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
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#enrico-picciotto, enrico picciotto
"While the experience of each individual and each group that has endured oppression and injustice is unique and must be recognized and respected as such, the mindset of those benefiting from the exploitation of others remains remarkably consistent across culture and context, and across the centuries. Pro-slavery advocates systematically worked to manipulate the public into focusing on the manner of treatment, rather than the injustice of the enslavement itself. The parallels with today’s struggle for justice for other-than-human animals are stunning, with industry lies and manipulations shifting the emphasis towards “humane” treatment rather than questioning the privilege of domination itself."
~ James LaVeck
~~~~~~~~~~~~~~~~~~~~~~~~~
How you can help animals today!
Exploiting 'freedom' of the up main is GBRf's 69004 upon a later pathway 6Y48 09.44 Eastleigh-Hoo Jn departmental seen romping through Winchfield.
Too quick unfortunately for gathering cloud to completely clear the view as has often been the case with photography this fickle year.
29th August 2024
Table ronde sur "l'industrie française à l'export":
• Allongement de la durée d’exploitation : AREVA intervient sur 250 réacteurs.
• Le parc nucléaire français est en moyenne plus jeune, raison pour laquelle le changement de gros composants arrive maintenant. Aux Etats-Unis on est à la fin de leur remplacement.
• AREVA développe des technologies innovantes pour la sûreté d’exploitation à long terme dans différents domaines comme le suivi de la fatigue des composants.
Exploitant : SNCF
Réseau : Transilien SNCF
Ligne : Transilien L
Lieu : Gare Saint-Lazare (Paris 8ème, F-75)
Exploitant : RATP
Réseau : RATP
Ligne : 262
Lieu : Pont de Bezons (Bezons, F-95)
Lien TC Infos : tc-infos.fr/id/11294
Exploitant : RATP
Réseau : RATP
Ligne : 262
Lieu : Pont de Bezons (Bezons, F-95)
Lien TC Infos : tc-infos.fr/id/6387
Employees at the Port Group Co. Company in charge of the exploitation of the port of Tianjin, considered as one of the twenty biggest ports in the world. Tianjin. China.
The use of this image is restricted by the ILO and subject to authorization. If you wish to use this photo, please send a request to multimedia@ilo.org specifying the reference number, its intended use, the media you represent, your postal address, email and phone number.
Credit: Crozet M. / ILO
Date : 2007-08
Country : China
ILO PHOTO reference ILO photo e5526
Worked the Inch seam, the pit headgear is just visible to the right through the steam and smoke from the kiln in use. The 1931 OS plan shows a sanitary pipe works close to the workhouse down Union Lane.
Tarboat on Flickr has added the following 'potted' history:
The image shows the Starring Stoneware Works at Littleborough. The business originated in the 1868 lease of land at Higher Starring Farm by three local businessmen, Ralph Ashwoth, and Isaac Kershaw of Littleborough, and James Byrom Bamford of Todmorden. They set about exploiting the coal and fireclay beneath this land and subsequently leased land at Lower Starring Farm (1871). The leases particularly mention the fireclay beneath the Forty Yards Mine. In 1872 the formed Ralph Ashworth and Co. Ltd. to exploit the fireclay under the leased lands. Company liquidated in 1905 after financial difficulties and business purchased by the Dransfield family who carried on the business as a private company - Ralph Ashworth and Co. By 1909 they were producing for home and overseas markets and trade mark for goods was a five-pointed star inside a ring (good pun on the estate name).
A geological survey published in 1927 stated;
"The Inch Mine fireclay is at present being worked at Starring Pottery, Littleborough, for sanitary pipes and glazed goods, together with fire-resisting wares. Here, it averages seven feet in thickness".
The works is said locally to have closed during WWII or soon after. The photograph shows the stock yard, boiler house, and two of the six kilns on the site. The building in front of the headframe is thought to be the weighbridge.
Région de derak, kurdistan syrien. Depuis le début de la guerre, la majorité des puits de pétroles sont à l'arrêt. Mais depuis sa création, le gouvernement régional proche du PYD a relancé une production réduite pour subvenir aux besoins en carburant de la région. Cette centrale pétrolière produit environ 400 barils (contre 1500 dans le passé). Mais tout est prêt pour augmenter la production et l'exporter quand les conditions seront plus favorables.
July 20, 2016--New York City-- Governor Andrew M. Cuomo announced that the Task Force to Combat Worker Exploitation has directed 1,547 businesses to pay nearly $4 million in back wages and damages to more than 7,500 workers since its inception in July 2015. The Governor also announced several initiatives to improve worker health and safety, including a multi-agency investigation into the exploitation of dry cleaning workers and a coordinated effort to ban harmful chemicals, such as perchlorethylene (PERC), that are commonly used in the industry. Additionally, the state will launch a new $5 million grant program and RFP for non-profit organizations to expand services to help exploited workers. (Don Pollard/Office of the Governor)
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
Exploitant : Transdev Nanterre
Réseau : RATP
Ligne : 467
Lieu : Général Leclerc (Saint-Cloud, F-92)
Lien TC Infos : tc-infos.fr/id/24422
Virginie Bardou, exploitante, jeune femme. 4 mars 2008, Transports Florkzak a Gimont, Gers. Messagerie generale et express pour le compte de France Express, Graveleau, Sernam, Mory, etc.
Exploité par la CNR, le barrage de Seyssel a été mis en service en 1952.
Utilisation : contrôle des crues et production d'électricité.
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 6
Lieu : Pont de Bezons (Bezons, F-95)
Lien TC Infos : tc-infos.fr/id/23639
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 3
Lieu : Pont de Bezons (Bezons, F-95)
Lien TC Infos : tc-infos.fr/id/27679
The National Center for Missing & Exploited Children (NCMEC) honors its 2022 “Heroes” who have gone above and beyond to help protect the nation’s most valuable resource – children. The event was hosted at the Arlington, VA headquarters of Lockheed Martin. Reginald Saunders /NCMEC
Paquebot de la Cie des MESSAGERIES MARITIMES
Exploitation: Janvier au 16 mai 1932
Paquebot de luxe sister ship du FÉLIX-ROUSSEL livré à Saint-Nazaire en janvier 1932
LONG: 172.4 m HT x 20.8 m 21448 Tonneaux -
PUISSANCE: 11600 cv à 17 nds
PASSAGERS: 1ère Cl 196 - 2de Cl 110
3ème Cl: 89 - Entrepont: 650
ÉQUIPAGE: Officiers 21 - 164 équipage et 73 boys. (serveurs indigènes)
Maiden voyage: Marseille26 féb.1932
Le 16 mai 1932 dans le Golfe d'Aden prend fru vers 01 :30 h - Le feu s'étend très rapidement.
Pertes 40 disparus. dont le journaliste Albert Londres
750 personnes recueillies par le pétrolier SOVIETSKAIA NEFT et cargos CONTRACTOT & MASILUB puis récupérés en mer par le paquebot ANDRÉ LEBON de la même Compagnie; débarqués à Aden et Djibouti
Le navire continuera à brûler jusqu'au 20 mai, dérivant de 160 nm avant de chavirer et couler à 145 nm du cap Guardafui.
Burnt Decadence -
Palácio da Fonte da Pipa in Loulé *
- * -
Originally, the Palácio da Fonte da Pipa in Loulé had an open-access fountain for the population.
Around 1875 it came to the construction of the Palácio as a decadent palace of the politician and lawyer Marçal Pacheco. The architect is not known. It was designed by the painter and decorator of José Pereira Júnior (Pereira Cão).
In the 20th century, the ownership passed into various banks and real estate funds. Instead of breaking away from the logic of profitable real estate speculation and making it freely available for communal use, the building stood empty for years after commercial development of the property was in line with urban development plans.
In 2017, it was destroyed by a fire with unexplained cause.
Now nature is increasingly taking back the room. The view from one of the central windows no longer sweeps over possessions, but catches a tangle of lush green leaves that is impenetrable to the eye.
- * -
Palacete Fonte da Pipa:
Burnt decadence.
Decayed domination.
The evanescence of appearance and possessions.
- * -
Burnt Decadence - Palácio da Fonte da Pipa in Loulé *
Photos: Wolfgang Sterneck 2017+2018.
www.flickr.com/photos/sterneck/albums/72157697425117181
- * -
Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports : www.flickr.com/sterneck/sets
Articles (german / english) : www.sterneck.net
- * -
Verbrannte Dekadenz.
Palácio da Fonte da Pipa in Loulé
- * -
Ursprünglich stand auf dem Gelände des Palácio da Fonte da Pipa in Loulé ein offen zugänglicher Brunnen für die Bevölkerung.
Etwa 1875 kam es zu Baubeginn des Palácio als dekadentes Villa des Politikers und Rechtsanwaltes Marçal Pacheco. Der Architekt ist nicht überliefert. Die detaillierte Gestaltung wurde durch den Maler und Dekorateur von José Pereira Júnior (Pereira Cão) entworfen.
Im 20. Jahrhunderts ging der Besitz in verschiedene Bankhäuser und Immobilienfonds über. Anstatt sich von der Logik von profitabler Immobilienspekulation zu lösen und es für eine gemeinschaftliche Nutzung frei zur Verfügung zu stellen, stand das Gebäude über Jahre hinweg leer, nachdem die kommerzielle Erschließung des Anwesens den Stadtentwicklungsplänen gegenüber stand.
2017 wurde es durch einen Brand mit ungeklärter Ursache zerstört.
Nun nimmt sich zunehmend die Natur den Raum zurück. Der Blick aus einem der zentralen Fenster schweift nun nicht mehr über Besitztümer, sondern verfängt sich einen für das Auge undurchdringbaren Gewirr saftig grüner Blätter.
- * -
Palacete Fonte da Pipa:
Verbrannte Dekadenz.
Verfallene Herrschaftlichkeit.
Die Vergänglichkeit von Schein und Besitz.
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.
Exploitant : Transdev Les Cars d'Orsay
Réseau : Albatrans
Ligne : Express 91-06C
Lieu : Université Paris-Saclay (Orsay, F-91)
Around five thousand vegans march through Central London, from Hyde Park to Parliament Square, in a protest organised by Surge, The Save Movement and HeartCure Collective calling for an end to animal exploitation and to promote veganism as a healthy, compassionate way of living.
From this photographers point of view the event was a pleasure to shoot, with a friendly and very noisy crowd carrying mostly self-made banners and wearing some great - and sometimes truly hideous - costumes.
All rights reserved © 2017 Ron F
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