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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)
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
Bus : Boloré Bluebus SE
n°0594 - ligne 86
Exploitant : RATP
Réseau : Ile de France Mobilités, RATP
Lieu : Paris Austerlitz
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 : STIVO
Réseau : STIVO
Ligne : 34
Lieu : Les Trembles (Neuville-sur-Oise, F-95)
Lien TC Infos : tc-infos.fr/vehicule/8099
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 3
Lieu : Pont de Bezons (Bezons, F-95)
Lien TC Infos : tc-infos.fr/id/27679
Exploitant : Transdev Les Cars d'Orsay
Réseau : Paris-Saclay Mobilités
Ligne : 7
Lieu : Université Paris-Saclay (Orsay, F-91)
Lien TC Infos : tc-infos.fr/id/51242
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. Claire Edkins/NCMEC
Marine Protected Area (MPA) Glam Shots is a project by artist, Jessica Ling Findley, combining retro glamour portraits with sea creatures thriving in Marine Protected Areas (MPA) to highlight successful human actions to help heal our oceans.
The Stellar Octopus cyanea from Madagascar
Over 3 billion people’s livelihoods depend on marine and coastal biodiversity around the world. Fishery management provides economic benefits of conservation and community engagement with broader marine management. Madagascar has incredible biodiversity, but due to climate change, as well as over exploitation, it’s delicate marine ecosystem is at high risk. Local fisheries engage with the community to practice “no-take” conservation periods which allows the octopus time to become old enough to reproduce and increases the catch for those who depend on it.
Octopus cyanea moves along the seafloor camouflaging itself not only with color but with texture. Although octopuses are normally nocturnal, Octopus cyanea prefers twilight. Yet it is also known as the Day Octopus, because it can be found hunting in cooperation with a roving coral grouper fish who often points out hiding prey when the octopus seeks shelter in the coral. It’s lifespan is about 12-14 months from its planktonic larval state.
About the Artist:
Jessica Ling Findley is an Encinitas based artist with a focus on social practice and environmental advocacy. Her work playfully blurs spectator and participant, engaging the audience to explore. Her public participatory work, Aeolian Ride, inflated people on bicycles in 20 cities around the world. Exhibitions and awards include: Dublin Museum of Science, New Museum, Deitch Art Parade in NY, and SDAI, Tokyo Wondersite Residency, Brooklyn Arts Council Grant and Black Rock Arts Grant Foundation and Port of San Diego public art commission. www.jessicalingfindley.com
Project Origins:
Inspired by the world’s premier Ocean Sciences Meeting in February 2020, Seaport Village and The Port of San Diego have invited artist Jessica Ling Findley to produce a series of art experiences. She will help bring science to life through art at Seaport Village from December 2019 to February 2020. As ocean vitality becomes more critical with changing climate, these works, produced with input and data from scientists at the Scripps Institution of Oceanography and Birch Aquarium, explore how stories of Ocean Optimism can inspire us all to work together for a sustainable future. These immersive experiences invite audiences to think about the future of our oceans in new and creative ways.
References:
en.wikipedia.org/wiki/Octopus_cyanea
journals.plos.org/plosone/article?id=10.1371/journal.pone...
news.mongabay.com/2017/11/fish-vs-forests-madagascars-mar...
cases.open.ubc.ca/octopus-fishery-management-in-madagascar/
www.un.org/sustainabledevelopment/oceans/
www.youtube.com/watch?v=0nlm-Pp6g64
friendsoflajollashores.com/marinelife/blacksmith/#
www.aquariumofpacific.org/onlinelearningcenter/species/bl...
Ed Parnell, Associate Research Oceanographer, Integrative Oceanography Division, Scripps Institution of Oceanography
United Nations peacekeepers, police, and civilians work hard to provide security, sanctuary, and peace for the vulnerable people of war-torn South Sudan.
The relationship between the two groups should be one of mutual trust and confidence but, at times, it breaks down when the power imbalance results in local people being subjected to sexual exploitation and abuse by UN personnel.
Appointed by the UN Secretary-General, Jane Connors is the UN’s first Victims’ Rights Advocate (VRA). This puts her at the forefront of efforts to prevent, respond to, and ultimately eliminate sexual exploitation and abuse. Her role ensures that victims are at the center of the UN’s approach.
The Victims’ Rights Advocate is visiting South Sudan to promote the importance of the “no excuses, zero tolerance” approach to UN personnel, whether they are peacekeepers or humanitarian workers. She has also met with victims and local authorities and spent time listening to the concerns of internally displaced people in protection of civilians’ sites.
Globally there were 103 allegations of sexual exploitation and abuse reported against UN peacekeepers last year with four in South Sudan. While the numbers seem low, explained the VRA, this may be because the stigma attached to this kind of behavior makes victims reluctant to report it. That is why it is vital to encouraging reporting so that perpetrators are held accountable.
Jane Connors’ visit to South Sudan’s follows the launch of a new campaign by the UN Mission to build on the “zero tolerance” and “no excuses” stance taken by the Secretary-General. At the recent launch of a new pocket-sized card designed to remind all UN personnel of their responsibility to prevent sexual exploitation and abuse, the Head of the Mission in South Sudan, David Shearer, said there would be “no second chance” for any offenders in the country.
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)
(6 of 14 series)
Check out my entire exploitation @
www.flickr.com/photos/ladydragonflyherworld/sets/72157629...
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
COOPEN (“Coopérative pour la Promotion et l’Exploitation de l’Environnment”) was formed in 2009 in Cap-Haïtien, Haiti as a business cooperative dedicated to helping its members and customers convert organic waste into energy and agricultural fertilizer. In addition to producing and installing biodigester systems (specially-designed reactors for converting organic waste into biogas), COOPEN also offers comprehensive training programs to ensure that end-users can get the most out of these systems. Founders Roger Jean-Pierre and Raphaël Bélizaire, winners of AIDG’s inaugural business plan competition Konkou Biznis Ayiti, see COOPEN as a model in Haiti for socio-economic development that also engages citizens in the protection of the environment.
Public reenactment of a speech originally given by Stokely Carmichael, the chairman of the Student Nonviolent Coordinating Committee, in front of the UN Building in New York City on April 15, 1967. Carmichael argues that the civil rights movement must oppose the war in Vietnam, discusses the central role of genocide in American History, and issues a forceful call to organize against war, exploitation and racism. Ato Essandoh, a New York City-based actor delivered the speech on location on September 7, 2008.
Quotes:
"We black people have struggled against white supremacy here at home. We therefore understand the struggle of the Vietnamese against white supremacy abroad. We black people have struggled against U.S. aggression in the ghettos of the North and South. We therefore understand the struggle of the Vietnamese people against U.S. aggression abroad. This is why there can be no question of whether a civil rights organization should involve itself with foreign issues. It must do so, if it claims to have any relevance to black people and their day-to-day needs in the United States of America. It must do so, if it lays any claim to that humanism which declares: no man is an island."
"We have not only a right to speak out -- we have an obligation. We must be involved, we must fight racism in all its manifestations. We must also look truthfully at this land of the free and home of the brave, and remember that there is another side to that land -- a side better known to the rest of the world than to most Americans. There is another America, and it is an ugly one. It is an America whose basic policy at home and abroad can only be called genocide."
Exploitation tenue par Mélanie Martin et inscrite sur la plateforme Agrilocal40.com
Le 10 mai 2017
© Sébastien Zambon | Dpt40
National Center for Missing and Exploited Children headquarters at 699 Prince Street in Old Town Alexandria, Virginia. The "Appomattox" statue is in the foreground.
Exploitant : Transdev Les Cars d'Orsay
Réseau : Albatrans
Ligne : Express 91-08
Lieu : Université Paris-Saclay (Orsay, F-91)
Lien TC Infos : tc-infos.fr/id/41478
Taylor didn't "need" to be carried, nor does he particularly enjoy the sensation of being carried. He just enjoys making people carry him.
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
Français :
Mont-Dol est une commune française située dans le département d'Ille-et-Vilaine en région Bretagne.
Le site est fréquenté dès le Paléolithique, il y a environ 70 000 ans, par des chasseurs néandertaliens. En 1872, des carriers exploitant le granit mettent au jour des os géants qu'ils crurent de baleine. L'archéologue Simon Sirodot (1825-1903) entreprend alors la première grande fouille archéologique de Bretagne et découvre de nombreux ossements (traces d'une cinquantaine de mammouths, d'une douzaine de rhinocéros, d'une cinquantaine de chevaux, de lions, de cerfs, de bœufs), silex taillés (racloirs, outils pour débiter la viande et travailler les peaux) qui font du Mont-Dol le plus important site paléolithique breton. Ses travaux pourtant rigoureux n'échappent pas à la polémique sur l'origine de l'homme, des personnes comme l'abbé Hamard se refusant à admettre la haute antiquité de l'homme.
Ce tertre dominant les marais, à 65 mètres de hauteur (comparable au mont Saint-Michel qui se dessine à l'horizon) ne pouvait que cristalliser les manifestations du sacré. Il fut peut-être un haut lieu de culte païen : culte gaulois de Taranisc ?
Cultes gallo-romains de Mithra, de Cybèle (au printemps et aux marées d'équinoxe) ? Des traces de temple (substructions, maçonnerie de pierres sèches à mi-coteau) sont encore visibles aujourd'hui aux visiteurs avertis. Saint Samson aurait fait édifier une chapelle dédiée à saint Michel dès le vie siècle dans l'enceinte d'un temple dédié à Cybèled. Sous les ruines de cette chapelle ont été découverts deux anciennes tables-passoires qui correspondraient aux autels tauroboliques élevés au culte de Cybèlee. Le bas d'un pilier fut aussi récupéré pour l'église en contrebasf.
L'église Saint-Pierre date des xiie et xve siècles. On peut découvrir sur les côtés de la nef principale des traces de fresques très anciennes représentant le cycle de la Passion. Certaines demeurent encore bien visibles aujourd'hui et la représentation du malin mangeant des hommes en enfer est très particulière. Au cœur de la nef, l'archange sous forme de statue en bois tient une place privilégiée où on le voit en train de terrasser le diable à l'aide de sa lance.
Beaucoup de légendes courent sur le mont Dol, souvent liées à saint Michel.
En voici quelques-unes :
- Celle-ci raconte la formation du relief : « Garguantua se promenait dans la baie du mont Saint-Michel et se sentit gêné dans sa botte, il enleva donc sa botte et la secoua pour chasser les cailloux qui le gênaient. Et c'est ainsi que les trois rochers provenant de la botte de Gargantua ont donné naissance au mont Saint-Michel, au rocher de Tombelaine et au mont Dol. »
- Une autre raconte la formation de l'étang au sommet du mont : « Un jour le diable (très présent à Mont-Dol) construisit sur un rocher un immense palais (le Mont-Saint-Michel). Saint Michel voyant cela et jaloux du malin construisit au sommet du tertre dans la nuit un magnifique château de verre. Une fois terminé, il proposa au diable un échange. Le malin, impressionné par la beauté du monument, accepta sans hésitation. Mais au petit matin le palais commença à fondre puisqu'en fait il était non pas en verre mais en glace. Les eaux ont donc ruisselé et formé l'étang que l'on connaît aujourd'hui sur le sommet du tertre. »
- Une autre concerne l'une des nombreuses chamailleries entre saint Michel et le diable : « En temps de grande sécheresse, le diable et saint Michel ont dû s'allier. L'archange proposa donc au malin de cultiver ensemble du blé. Le diable accepta volontiers et c'est ainsi qu'ensemble ils cultivèrent leurs céréales. Au moment de récolter saint Michel dit au diable « si tu es d'accord, je prends ce qu'il y a au-dessus du sol et toi tu prends ce qu'il y en dessous ». Le diable accepta et se retrouva bien entendu avec uniquement les racines du blé, alors que l'archange lui récolta nombre de graines. Ensuite saint Michel proposa au diable de cultiver des pommes de terre, le malin accepta mais émit une condition : « À la récolte je prends ce qu'il y a au-dessus, et toi (saint Michel) tu prends ce qu'il y a en dessous, je ne me ferais pas avoir deux fois ! »
Bien entendu le diable ne récolta que le feuillage pendant que saint Michel dégustait les délicieuses pommes de terre qu'il venait de récolter. Le diable fou de rage s'en alla combattre l'archange. »
English :
Mont-Dol (French pronunciation: [mɔ̃ dɔl]; Breton: Menez-Dol; Gallo: Mont-Dou) is a commune in the Ille-et-Vilaine department in Brittany in northwestern France.
The proud little historic city of Dol, with its fascinating cathedral, was built above the marshes extending to the Baie de Mont-Saint-Michel. Out of this dramatically flat landscape emerges an extraordinary outcrop, Mont Dol, where Saint Michael supposedly fought off Satan. Climb it for elating views.
Source: Wikipedia
A mother nervously watches as people walk past her and her children. She tried to keep her babies in the farthest corner from where people were walking by.
I took my photo from a distance so as not to add to her distress.
Please reject animal exploitation! Go vegan!
July 16, 2015 - Bronx- New York Governor Andrew M. Cuomo 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)
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