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Action from the hillclimb at the Goodwood Festival of Speed. Ken Block doing doughnuts in his monsterous Ford Mustang "Hoonigan"
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
As they say all the best things come in small packages and I like to think that includes smooth bodied Jojo as well. For me it is the little things I do and wear that make me feel like even though I'm a nobody I too can stand out and be like the perfectly formed trans porn girls I so love to watch in action. I love to think now when I'm with a man I too can light up that sexual dynamite as sex is the beautiful engine that drives me. it is amazing what we can do if we try it's just such a pity there is nobody there to film it as I could still direct it and of cours make it as a Jojo because of course I am the artist. With erotica I feel if one shows too much that can so easily have the opposite negative effect and turn people off so it has to be eased out gently. My instincts about what is sexy and what is not must work and be good as obviously I must having had a lot of practice be an expert at teasing and indeed I love getting those eyes popping and tongues drooling in US places called Red Rock, Deep Breath Heights and Jonny's Mount. At one time I used to pose like this just for fun to tell myself I was beautiful but now as you might be able to tell I do it because I've learnt how to enjoy myself and want to share the enjoyment I feel.
www.photojunkie.ca/archive/2006/07/my-toronto-includes-an...
Anna Bowness , Writer
Taking an evening strolling in Cabbagetown at Parliament and Carleton.
What is your most favourite place in the city? 1. Riverdale Farm 2. Parliament Street
What is it that you like about this location? 1. It's funny and confusing that there are cows and chickens so close to the DVP. 2. It's the most demographically confusing street in town.
Where is the best place to eat in the city? I'm pregnant, so everywhere.
What do you like about living in Toronto? It's optimistic and awkward at the same time, like a teenager. It feels like it wants everybody to help it grow up.
What do you hate about living in Toronto? It's almost impossible to get out -- the traffic is like a Berlin Wall.
Where would I find you on a lazy Sunday afternoon in the city? In Riverdale Park West -- this last Sunday there was a bulldog convention there, so I watched Cabbagetown's prize bulldogs drool on and try to mate with each other.
Who is your favourite Local Celebrity? Friends of mine, and the mayor.
Car, Bike or Transit? Normally: bike. Pregnant: transit.
I went to the island, one Sunday, with two boys I know. I think we were all hung over. We went to Hanlan's Point and swam in the cold lake and skipped stones and tried not to critique people's genetalia, and on our way back we ran into an enormous Hare Krishna recruitment picnic. They gave us free vegetarian food and kool-aid in paper cups (!) and we helped them dismantle a multi-mannequin display representing Hare Krishnas throughout the ages.
My Toronto includes cows, chickens, glowing, bright-white optimistic architecture, fetid Spadina bustle, sad, crashing ice-waves on the Spit in winter, the Neville Park loop, Hogg's Hollow, tragic wall murals in Flemingdon Park, the bright shock of city when the subway crosses the Don, tacky drinks at the Mendoza, wet Regent Park children under the brutalist water feature, BCE Place, ferry lineups, trees, ravines at night, hills, straight lines, irate psychopaths, Dundas Square, Parliament Street, squirrels, the blue sky of my parents' 1970s Crombie-era city when the CN Tower was still a shaft without a bulb and hippies lived in Yorkville.
OCKTROPOLIS is a progressive rock band that is like a volcano ready to explode upon your ears. Members include guitarist ROCKTROPOLIS, Bassist and Keyboardist Sam Metropoulos and Drummer Marc Stemmler. Influences are Dream Theater, Rush, Yngwie, Yes, Deep Purple and Iron Maiden to name a few. Guitarist ROCKTROPOLIS has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Multi instrumentalist Sam Metropoulos has collaborated on several albums with The Process, played with John Macaluso and has opened for Yngwie Malmsteen. Akin to the pillars of the great Parthenon, drummer Marc Stemmler provides the foundation for which ROCKTROPOLIS bridges the hemispheres between classical and progressive rock music. ROCKTROPOLIS is a Nominee of the 2013 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
ROCKTROPOLIS is currently recording/producing their debut album, with Chris Lewis as their recording engineer (Fire Hyena Studio). Projected release date is summer 2013. Be prepared to own a collection of brilliant compositions that are melodic, epic and infectious to the soul.
www.RocktropolisMusic.com (c) 2012
This heritage walk in old Delhi includes sampling some of the street food. We started our walking tour at one of the biggest and most popular mosques in Asia, Jama Masjid. It was built in mid-seventeenth century by the Mughal Emperor Shahjahan. It is built on a hillock, high above rest of the ground & gives an excellent view of the surrounding busy market streets. The trail follows the main street of Chawri Bazaar. The first food stop on this walking tour is Jain Coffee House in Raghuganj grain market. This shop sells fruit sandwiches: of pineapple topped with pomegranate seeds; of cheeku with butter, mango with thinly sliced grapes & many more. The sandwiches not only taste great but are a treat for the eyes too. The differently coloured fruits make a tempting sight to look at. And the sandwiches go best with cold coffee or a fruit shake. A personal favourite is the samosa sandwich. Samosa is fried patty filled with boiled potatoes, peas & spices. We negotiated our way out of Raghuganj through a extremely narrow lane, back on to Chawri Bazaar. The next stop was a century old chaat shop- Hira Lal Chaat Bhandar. Delicious aalu chat and mind blowing kulle are the specialty here. Kulle are almost like cup cakes: the base is made of different fruits or vegetables like sweet potato, watermelon, orange, potato, cucumber & even banana, apple & mango. They are then topped with gram, pomegranate & a dash of lemon & spices. From here we visited gem of a monument, which few people would know of. There is hardly any information on Ruknuddaulah mosque. It was built during the time of Akbar Shah, the Mughal Emperor & is one of the prettiest mosques in Delhi. Further on, stands the Hauz Qazi mosque or Haji Qazi mosque. It is in bad shape today, its narrow entrance hidden behind shops in the busy old Delhi market. Hauz is a tank and Qazi is Muslim law giver. It is an active mosque built almost 300 years. Our next food stop was Daulat ki Chaat, a stark contrast to earlier spicy experience. This is a particular delicacy found prominently in this part of Old Delhi. The right proportion of milk, cream and butter with saffron flavoring makes it so soft and fluffy that it melts in mouth. At this point we left Chawri Bazaar to walk into Sita Ram Bazaar and then entered Kucha Pati Ram. Then was the halt at Kuremal Kulfi Wala which surprises its guests with mind boggling variety of fruit kulfis (ice creams). Name a fruit and they are ready to serve its kulfi for you! The final stop on our walking tour was a 19th century haveli which has been recently restored.
(posted by Niti Deoliya & Kavita Singh, team members, Delhi Heritage Walks)
Toucans are members of the family Ramphastidae of near passerine birds from the Neotropics. The Ramphastidae family is most closely related to the American barbets. They are brightly marked and have large, often colorful bills. The family includes five genera and about forty different species. The name of this bird group is derived from the Tupi word tukana, via Portuguese. The family includes toucans, aracaris and toucanets; more distant relatives include various families of barbets and woodpeckers in the suborder Pici.
Toucans range in size from the lettered aracari (Pteroglossus inscriptus), at 130 g (4.6 oz) and 29 cm (11.5 inches), to the toco toucan (Ramphastos toco), at 680 g (1.5 lb) and 63 cm (29 inches). Their bodies are short (of comparable size to a crow's) and compact. The tail is rounded and varies in length, from half the length to the whole length of the body. The neck is short and thick. The wings are small, as they are forest-dwelling birds who only need to travel short distances, and are often of about the same span as the bill-tip-to-tail-tip measurements of the bird.
The legs of the toucan are strong and rather short. Their toes are arranged in pairs with the first and fourth toes turned backward. The majority of toucans do not show any sexual dimorphism in their coloration, the genus Selenidera being the most notable exception to this rule (hence their common name, "dichromatic toucanets"). However, the bills of female toucans are usually shorter, deeper and sometimes straighter, giving more of a "blocky" impression compared to male bills. The feathers in the genus containing the largest toucans are generally black, with touches of white, yellow, and scarlet. The underparts of the araçaris (smaller toucans) are yellow, crossed by one or more black or red bands. The toucanets have mostly green plumage with blue markings.
The colorful and large bill, which in some large species measures more than half the length of the body, is the hallmark of toucans. Despite its size, the toucan's bill is very light, being composed of bone struts filled with spongy tissue of keratin between them. The bill has forward-facing serrations resembling teeth, which historically led naturalists to believe that toucans captured fish and were primarily carnivorous; today it is known that they eat mostly fruit. Researchers have discovered that the large bill of the toucan is a highly efficient thermoregulation system, though its size may still be advantageous in other ways. It does aid in their feeding behavior (as they sit in one spot and reach for all fruit in range, thereby reducing energy expenditure), and it has also been theorized that the bill may intimidate smaller birds, so that the toucan may plunder nests undisturbed (see Diet below). Also, the beak allows the bird to reach deep into tree-holes to access food unavailable to other birds, and also to ransack suspended nests built by smaller birds. However, as there is no sexual dimorphism in coloration it is unlikely to be a sexual signal.
A toucan's tongue is long (up to 14–15 cm, or 6 inches), narrow, grey, and singularly frayed on each side, adding to its sensitivity as an organ of taste.
A structural complex probably unique to toucans involves the modification of several tail vertebrae. The rear three vertebrae are fused and attached to the spine by a ball and socket joint. Because of this, toucans may snap their tail forward until it touches the head. [5] This is the posture in which they sleep, often appearing simply as a ball of feathers, with the tip of the tail sticking out over the head.
Toucans are native to Southern Mexico, Central America, the northern portion of South America, and the Caribbean region. They generally live in tropical and sub-tropical regions.
Toucans are arboreal and typically lay 2–21 white eggs in their nests. They make their nests in tree hollows and holes excavated by other animals such as woodpeckers—the toucan bill has very limited use as an excavation tool. When the eggs hatch, the young emerge completely naked, without any down. Toucans are resident breeders and do not migrate. Toucans are usually found in pairs or small flocks. They sometimes fence with their bills and wrestle, which scientists hypothesize they do to establish dominance hierarchies (Wikipedia).
This heritage walk in old Delhi includes sampling some of the street food. We started our walking tour at one of the biggest and most popular mosques in Asia, Jama Masjid. It was built in mid-seventeenth century by the Mughal Emperor Shahjahan. It is built on a hillock, high above rest of the ground & gives an excellent view of the surrounding busy market streets. The trail follows the main street of Chawri Bazaar. The first food stop on this walking tour is Jain Coffee House in Raghuganj grain market. This shop sells fruit sandwiches: of pineapple topped with pomegranate seeds; of cheeku with butter, mango with thinly sliced grapes & many more. The sandwiches not only taste great but are a treat for the eyes too. The differently coloured fruits make a tempting sight to look at. And the sandwiches go best with cold coffee or a fruit shake. A personal favourite is the samosa sandwich. Samosa is fried patty filled with boiled potatoes, peas & spices. We negotiated our way out of Raghuganj through a extremely narrow lane, back on to Chawri Bazaar. The next stop was a century old chaat shop- Hira Lal Chaat Bhandar. Delicious aalu chat and mind blowing kulle are the specialty here. Kulle are almost like cup cakes: the base is made of different fruits or vegetables like sweet potato, watermelon, orange, potato, cucumber & even banana, apple & mango. They are then topped with gram, pomegranate & a dash of lemon & spices. From here we visited gem of a monument, which few people would know of. There is hardly any information on Ruknuddaulah mosque. It was built during the time of Akbar Shah, the Mughal Emperor & is one of the prettiest mosques in Delhi. Further on, stands the Hauz Qazi mosque or Haji Qazi mosque. It is in bad shape today, its narrow entrance hidden behind shops in the busy old Delhi market. Hauz is a tank and Qazi is Muslim law giver. It is an active mosque built almost 300 years. Our next food stop was Daulat ki Chaat, a stark contrast to earlier spicy experience. This is a particular delicacy found prominently in this part of Old Delhi. The right proportion of milk, cream and butter with saffron flavoring makes it so soft and fluffy that it melts in mouth. At this point we left Chawri Bazaar to walk into Sita Ram Bazaar and then entered Kucha Pati Ram. Then was the halt at Kuremal Kulfi Wala which surprises its guests with mind boggling variety of fruit kulfis (ice creams). Name a fruit and they are ready to serve its kulfi for you! The final stop on our walking tour was a 19th century haveli which has been recently restored.
(posted by Niti Deoliya & Kavita Singh, team members, Delhi Heritage Walks)
The Dallas Arts District's "Spotlight Sunday" on October 18
Festivities to celebrate the opening of the new AT&T Performing Arts Center include a day of free admission and extended hours. Enjoy performances in the exhibition All the World’s a Stage, tours family experiences, and much more.
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The Dallas Arts District
2200 Ross Ave
Dallas, TX 75201
(214) 744-6642
The Dallas Arts District is a unique, 68-acre, 19-block neighborhood in the heart of the city. A rare jewel that is the centerpiece of the region’s cultural life, the District is home to some of the finest architecture in the world. Enhancing the downtown Dallas skyline are buildings by Pritzker Prize winners I.M. Pei, Renzo Piano, Norman Foster, Rem Koolhaas and AIA “Gold Medal” recipient Edward Larrabee Barnes.
Our neighborhood is a center for innovative architecture, world-class exhibits, exemplary cultural programming and much more. We are restaurants, hotels, churches, residences and even the world headquarters of 7-Eleven.
This website is designed to help you explore the many facets of the district. And whether you are coming from around the corner or from around the world, we hope you will find your trip enjoyable and your experience unparalleled.
We look forward to sharing with you the works of art, the performances, the cuisine and the vibrancy of the Dallas Arts District.
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Dallas Museum of Art
The Dallas Museum of Art ranks among leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs.
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Nasher Sculpture Center
The Nasher Sculpture Center opened in 2003 as the first institution in the world dedicated exclusively to the exhibition of modern and contemporary sculpture with a collection of global significance at its foundation.
www.nashersculpturecenter.org/
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Trammell Crow Center and Crow Collection of Asian Art
The Trammell and Margaret Crow Collection of Asian Art is nestled like a small jewel in Dallas’ Arts District, offering visitors a glimpse of a world possessing serene beauty and spirituality in the heart of a bustling city.
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Belo Mansion
The current home of the Dallas Bar Association, the Belo Mansion was built c. 1890 by Coleonel A. H. Belo, founder of the Dallas Morning News.
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Cathedral Shrine of the Virgin of Guadalupe
The city’s oldest Catholic parish, this High Victorian Gothic cathedral is the second busiest Catholic cathedral in the nation.
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Morton H. Meyerson Symphony Center
Since its grand opening celebration, the legendary rich sound of the Meyerson’s Eugene McDermott Concert Hall has made it a premier destination for the world’s finest soloists and conductors.
www.dallasculture.org/meyersonSymphonyCenter/
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AT&T Performing Arts Center Margot and Bill Winspear Opera House
With transparent, soaring 60-foot glass walls revealing views of the Grand Lobby and a café open throughout the day, the Winspear Opera House is a destination for all.
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AT&T Performing Arts Center Dee and Charles Wyly Theatre
The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility.
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Booker T. Washington High School for the Visual and Performing Arts
The school’s dual emphasis on arts and academics has produced a stellar list of famous graduates including Grammy Award®-winners Norah Jones, Erykah Badu and jazz trumpeter Roy Hargrove.
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St. Paul United Methodist Church
St. Paul United Methodist Church was founded in 1873 by freed slaves from Mississippi, Louisiana and Texas.
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One Arts Plaza
One Arts Plaza is a multiuse structure comprised of residences, corporate offices and retail, the first of three buildings on over 10 acres at the eastern edge of the Dallas Arts District.
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Dallas Black Dance Theatre
Dallas Black Dance Theatre is the city’s oldest continuously operating dance company.
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AT&T Performing Arts Center Elaine D. and Charles A. Sammons Park
Weaving together the Winspear Opera House, Wyly Theatre, Strauss Square and City Performance Hall, the ten-acre park stretches from Woodall Rodgers Freeway to Ross Avenue, and is the first public park in the Dallas Arts District.
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Inside the AT&T Performing Arts Center Dee and Charles Wyly Theatre
The Dallas Arts District's "Spotlight Sunday" on October 18
Festivities to celebrate the opening of the new AT&T Performing Arts Center include a day of free admission and extended hours. Enjoy performances in the exhibition All the World’s a Stage, tours family experiences, and much more.
-----
The Dallas Arts District
2200 Ross Ave
Dallas, TX 75201
(214) 744-6642
The Dallas Arts District is a unique, 68-acre, 19-block neighborhood in the heart of the city. A rare jewel that is the centerpiece of the region’s cultural life, the District is home to some of the finest architecture in the world. Enhancing the downtown Dallas skyline are buildings by Pritzker Prize winners I.M. Pei, Renzo Piano, Norman Foster, Rem Koolhaas and AIA “Gold Medal” recipient Edward Larrabee Barnes.
Our neighborhood is a center for innovative architecture, world-class exhibits, exemplary cultural programming and much more. We are restaurants, hotels, churches, residences and even the world headquarters of 7-Eleven.
This website is designed to help you explore the many facets of the district. And whether you are coming from around the corner or from around the world, we hope you will find your trip enjoyable and your experience unparalleled.
We look forward to sharing with you the works of art, the performances, the cuisine and the vibrancy of the Dallas Arts District.
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Dallas Museum of Art
The Dallas Museum of Art ranks among leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs.
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Nasher Sculpture Center
The Nasher Sculpture Center opened in 2003 as the first institution in the world dedicated exclusively to the exhibition of modern and contemporary sculpture with a collection of global significance at its foundation.
www.nashersculpturecenter.org/
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Trammell Crow Center and Crow Collection of Asian Art
The Trammell and Margaret Crow Collection of Asian Art is nestled like a small jewel in Dallas’ Arts District, offering visitors a glimpse of a world possessing serene beauty and spirituality in the heart of a bustling city.
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Belo Mansion
The current home of the Dallas Bar Association, the Belo Mansion was built c. 1890 by Coleonel A. H. Belo, founder of the Dallas Morning News.
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Cathedral Shrine of the Virgin of Guadalupe
The city’s oldest Catholic parish, this High Victorian Gothic cathedral is the second busiest Catholic cathedral in the nation.
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Morton H. Meyerson Symphony Center
Since its grand opening celebration, the legendary rich sound of the Meyerson’s Eugene McDermott Concert Hall has made it a premier destination for the world’s finest soloists and conductors.
www.dallasculture.org/meyersonSymphonyCenter/
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AT&T Performing Arts Center Margot and Bill Winspear Opera House
With transparent, soaring 60-foot glass walls revealing views of the Grand Lobby and a café open throughout the day, the Winspear Opera House is a destination for all.
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AT&T Performing Arts Center Dee and Charles Wyly Theatre
The world’s only vertical theatre, the innovative design of the Wyly Theatre creates ultimate performance flexibility.
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Booker T. Washington High School for the Visual and Performing Arts
The school’s dual emphasis on arts and academics has produced a stellar list of famous graduates including Grammy Award®-winners Norah Jones, Erykah Badu and jazz trumpeter Roy Hargrove.
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St. Paul United Methodist Church
St. Paul United Methodist Church was founded in 1873 by freed slaves from Mississippi, Louisiana and Texas.
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One Arts Plaza
One Arts Plaza is a multiuse structure comprised of residences, corporate offices and retail, the first of three buildings on over 10 acres at the eastern edge of the Dallas Arts District.
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Dallas Black Dance Theatre
Dallas Black Dance Theatre is the city’s oldest continuously operating dance company.
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AT&T Performing Arts Center Elaine D. and Charles A. Sammons Park
Weaving together the Winspear Opera House, Wyly Theatre, Strauss Square and City Performance Hall, the ten-acre park stretches from Woodall Rodgers Freeway to Ross Avenue, and is the first public park in the Dallas Arts District.
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Inside the AT&T Performing Arts Center Dee and Charles Wyly Theatre
Murree (Punjabi, Urdu: مری) is a hill station and summer resort and the administrative centre of Murree Tehsil, Pakistan, which is a subdivision of Rawalpindi District and includes the Murree Hills.
Murree was the summer capital of the British Raj in the Punjab Province (British India). A popular tourist destination Located in the north-west Himalayas at an average altitude of 2,291 metres (7,516 ft), the city of Murree, draped in forests of pine, and oak, experiences pleasant summers and cold, snowy winters. The city is famous for its buildings styled in tudorbethan and neo-gothic architecture dating from the colonial era.
Murree is located along the Islamabad-Murree Highway, some 58.3 km (36.2 mi) northeast of Islamabad.
Murree was developed in 1851 by the (then) President of the Punjab Administrative Board, Sir Henry Lawrence, and was originally established for the British troops garrisoned on the Afghan frontier as a sanatorium.Officially, the municipality was created in 1850.
The permanent town of Murree was constructed at Sunnybank in 1853. The church was sanctified in May 1857, and the main road, Jinnah Road, formerly known as The Mall (and still commonly referred to as), was built. The most significant commercial establishments, the Post Office, general merchants with European goods, tailors and a millinery, were established opposite the church. Until 1947, access to Jinnah Road was restricted for "natives" (non-Europeans).
Until 1876, Murree was the summer headquarters of the Punjab local government; after 1876 the headquarters were moved to Shimla.[
The railway connection with Lahore, the capital of the Punjab Province, via Rawalpindi, made Murree a popular resort for Punjab officials, and the villas and other houses erected for the accommodation of English families gave it a European aspect. The houses crowned the summit and sides of an irregular ridge, the neighbouring hills were covered during the summer with encampments of British troops, while the station itself was filled with European visitors from the plains and travellers to Kashmir.
Murree is one of the largest resort towns in the Galyat area of Pakistan, and is the municipal or regional capital of Murree Tehsil* (*general administrative subdivision), it is an administrative division of the Rawalpindi District. The town of Muree is situated on the southern slopes of the Western Himalayan foothills as they ascend northeastward, towards the bifurcated states of Kashmir. During British colonial rule in the nineteenth century, its altitude was established at 7,500 feet (2,300 m).
Murree is accessible by road from the centre of the Islamabad and Rawalpindi areas. It is still associated with Britain; many British fruits (including cherries, raspberries and strawberries) thrive locally. There is an Anglican church, built in 1857, located at the centre of the town, which is still used as a place of worship. Many houses around the church are still standing, functioning mostly as hotels. Old traditional restaurants have been replaced by fast-food shops and newer restaurants. Some famous old places of accommodation, such as the Rich Villa Inn and Gulberg Hotel, have completely disappeared. A typical hotel provides a motel-type accommodation with breakfast and communication access. Newly built hotels are also accessible
Murree houses headquarters of 12th infantry division of Pakistan Army and large number of educational and training institutions. Combined Military Hospital established to cater the needs of civilian population of Murree and adjoining areas. Pakistan Air Force also maintains base at Lower Topa. For administrative purposes the military areas of Murree are divided in two separate cantonments, Murree Cantonment and Murree Hills Cantonment.
Murree Houses residence for Punjab Governor at the Kashmir point. The imposing building was built in nineteenth century by the British. There are Punjab and Sindh Houses to cater needs of the provincial government. Similarly, there are Rest Houses for the Judges of Supreme Court and Lahore High Court. A large number of government, semi government and private departments and institutions maintain guest houses in Murree. A number of diplomatic missions based in Islamabad established their camp offices in Murree in the 1960s. The same however are seldom used now. Adjacent to Murree is the Galliat region of North West Frontier Province which includes Nathiagalli, Ayubia, Khanspur, Dunga Galli, Khairagalli and Changla Galli. Before the British rule whether part of Rawalpindi District of Muzaffarabad, Murree and Galiat have been part of same administrative unit, however in 1850 the British decided to divide them between Rawalpindi and Hazara. Howevere despite divided by provincial boundaries, Murree and Galliat are inseparable both geographically, culturally, linguistically as well as from the point of view of the tourists. Murree serves as a gateway to Galliat.
[Bhurban]] and New Murree (Patriata) have also developed as tourist centres. The whole Murree Galliat region is known for its scenic beauty. Mountains overhung with pines and oaks, bubbling with gurgling springs, crisscrossed by rivulets, dotted with sprawling lawns and orchards overloaded with fruits present a nice spectacle. A fine view of the snowy peaks of Kashmir is to be had on a clear day, and the crest of Nanga Parbat can sometimes be seen.
Bhurban, boosting with a five star Pearl Continental Hotel and a nine hole Golf course has cropped recently as another tourist attraction in the area. Lying at an altitude of 6000 ft, Bhurban is situated at a distance of 13 kilometres from Murree on one of main roads leading to Azad Kashmir. The Punjab government is said to have plans to develop New Murree city at Patriata fifteen kilometres southeast of Murree. The Punjab Tourism department constructed resorts amidst the forests on the Patriata ridge in 1987 as well as a 3 kilometre sky slope from the top of Patriata ridge to Gulara Gali (not functioning currently). Patriata is connected with Islamabad and Murree through a number of all weather roads.
Kochi is a city in the Indian state of Kerala. Kochi is located in the district of Ernakulam. Old Kochi loosely refers to a group of islands including Willingdon Island, Fort Kochi and Mattancherry. Today Kochi includes Ernakulam, old parts of Kochi, Kumbalangi, and outlying islands.
For many centuries up to and during the British Raj, the city of Kochi was the seat of the eponymous princely state. Kochi traces its history back many centuries, when it was the centre of Indian spice trade for hundreds of years, and was known to the Yavanas (Greeks and Romans), Jews, Arabs and Chinese since ancient times. Kochi earned a significant position on the world trading map after the port at Kodungallur (Cranganore) was destroyed by massive flooding of the river Periyar in 1341.
The earliest documented references to Kochi occur in the books written by Chinese voyager Ma Huan, during his visit to Kochi in the 15th century as part of the treasure fleet of Admiral Zheng He. There are also references to Kochi in accounts written by Italian traveller Niccolò Da Conti, who visited Cochin in 1440 . Today, Kochi is the commercial hub of Kerala, and one of the fastest growing second-tier metros in India.
PREHISTORY
Not much is known about the prehistory of Kochi. There has been no clear evidence of Stone Age inhabitation. Quite ironically, Kochi forms the central part of the Megalithic belt of Kerala. The only trace of prehistoric life in the region is the menhir found in Tripunithura.
Princely rule
PRINCELY RULE
The history of Kochi prior to the Portuguese is not well documented. Though places north and south of Kochi are mentioned in quite detail in many accounts by ancient travellers, even a mention of Kochi is absent prior to the arrival of the Portuguese. Kochi's prominence as a trading port grew after the collapse of the port at Kodungallur in 1341 AD.
The Cochin State came into existence in 1102 AD after the breaking up of the Kulasekhara empire.
FOREIGN RULE
Kochi was under the rule of many foreign empires, during which the Raja of Kochi still remained the titular head.
PORTUGUESE PERIOD (1503-1663)
Kochi was the scene of the first European settlement in India. In the year 1500, Portuguese Admiral Pedro Álvares Cabral, landed at Cochin after being repelled from Calicut. The King of rival Kochi welcomed his guests and a treaty of friendship was signed. Promising his support in the conquest of Calicut, the admiral coaxed the king into allowing them to build a factory at Cochin. Assured by the support, the king called war with the Zamorins of Calicut. However, the admiral retreated in panic on seeing the powers of the Zamorin. The Zamorins, on the other hand, eager to win the favor of the Portuguese, left without a war. Another captain, João da Nova was sent in place of Cabral. However, he too faltered at the sight of the Zamorin. The consecutive retreats made the King of Portugal indignant. The king sent Vasco Da Gama, who bombed Calicut and destroyed the Arab trading posts. This invited the anger of the Zamorin, who declared a war against the Kochi Raja.
The war between Calicut and Cochin began on 1 March 1503. However, the oncoming monsoons and the arrival of a small Portuguese fleet under Francisco and Afonso de Albuquerque alarmed the Zamorin, and he called back his army. The Zamorin resorted to a retreat also because the revered festival of Onam was near, and the Zamorin intended to keep the auspicious day holy. This led to a triumph for the king of Kochi, who was later re-established in the possession of his kingdom. However, much of the kingdom was burnt and destroyed by the Zamorins.
After securing the king in his throne, the Portuguese got permission to build a fort – Fort Kochi (Fort Emmanuel) (after the reigning king of Portugal) - surrounding the Portuguese factory, in order to protect it from any further attacks. The entire work was commissioned by the Cochin Raja, who supplied workers and material. The Raja continued to rule with the help of the Portuguese. Meanwhile, the Portuguese secretly tried to enter into an alliance with the Zamorins. A few later attempts by the Zamorin at conquering the Kochi port was thwarted by the Cochin Raja with the help of the Portuguese. Slowly, the Portuguese armory at Kochi was increased, with the presumed notion of helping the raja protect Kochi. However, the measured led to decrease in the power of the Cochin Raja, and an increase in the Portuguese influence. From 1503 to 1663, Kochi was ruled by Portugal through the namesake Cochin Raja. Kochi remained the capital of Portuguese India till 1510. In 1530, Saint Francis Xavier arrived and founded a Christian mission. This Portuguese period was difficult for the Jews installed in the region, since the Inquisition was active in Portuguese India. Kochi hosted the grave of Vasco da Gama, the Portuguese viceroy, who was buried at St. Francis Church until his remains were returned to Portugal in 1539. Soon after the time of Albuquerque, the Portuguese rule in Kerala declined. The failure is attributed to several factors like intermarriages, forcible conversions, religious persecution etc.
DUTCH PERIOD (1663-1773)
The Portuguese rule was followed by that of the Dutch, who had by then conquered Quilon, after various encounters with the Portuguese and their allies. Discontented members of the Cochin Royal family called on the assistance of the Dutch for help in overthrowing the Cochin Raja. The Dutch successfully landed at Njarakal and headed on to capture the fort at Pallippuram, which they handed over to the Zamorin.
MYSORE INVASION
The 1773 conquest of the Mysore King Hyder Ali in the Malabar region descended to Kochi. The Kochi Raja had to pay a subsidy of one hundred thousand of Ikkeri Pagodas (equalling 400,000 modern rupees). Later on, in 1776, Haider captured Trichur, which was under the Kingdom of Kochi. Thus, the Raja was forced to become a tributary of Mysore and to pay a nuzzar of 100,000 of pagodas and 4 elephants and annual tribute of 30,000 pagodas. The hereditary Prime Ministership of Cochin came to an end during this period.
BRITISH PERIOD (1814–1947)
In 1814 according to the Anglo-Dutch Treaty, the islands of Kochi, including Fort Kochi and its territory were ceded to the United Kingdom in exchange for the island of Banca. Even prior to the signing of the treaty, there are evidence of English residents in Kochi. Towards the early 20th century, trade at the port had increased substantially, and the need to develop the port was greatly felt. Harbour Engineer Robert Bristow, was thus brought to Cochin in 1920 under the direction of Lord Willingdon, then the Governor of Madras. In a span of 21 years, he had transformed Cochin as the safest harbour in the peninsula, where ships berthed alongside the newly reclaimed inner harbour equipped with a long array of steam cranes. Meanwhile, in 1866, Fort Cochin was made a municipality, and its first Municipal Council election to a board of 18 members was conducted in 1883. The Maharajah of Cochin, in 1896 initiated local administration, by forming town councils in Mattancherry and Ernakulam. In 1925, Kochi legislative assembly was constituted due to public pressure on the state. The assembly consisted of 45 members, 10 of who were officially nominated. Thottakkattu Madhaviamma became the first woman to be a member of any legislature in India.
POST INDEPENDENCE ERA
In 1947, India gained independence from the British colonial rule. Cochin was the first princely state to join the Indian Union willingly. Post independence, E. Ikkanda Warrier became the first Prime Minister of Kochi. K. P. Madhavan Nair, P.T Jacob, C. Achutha Menon, Panampilly Govinda Menon were few of the other stalwarts who were in the forefront of the democratic movements. Then in 1949, Travancore-Cochin state came into being by the merger of Cochin and Travancore, with Parur T. K. Narayana Pillai as the first chief minister. Travancore-Cochin, was in turn merged with the Malabar district of the Madras State. Finally, the Government of India's 1 November 1956 States Reorganisation Act inaugurated a new state – Kerala – incorporating Travancore-Cochin, Malabar District, and the taluk of Kasargod, South Kanara. On 9 July 1960, the Mattancherry council passed a resolution that was forwarded to the government, requesting the formation of a Municipal Corporation by combining the existing municipalities of Fort Kochi, Mattancherry and Ernakulam. The proposal was condemned by the Fort Kochi municipality. However, the Ernakulam municipality welcomed the proposal, suggesting the inclusion of more suburban areas in the amalgamated Corporation. Major Balagangadhara Menon, the then Director of Local Bodies was appointed by the government to study the feasibility of the suggested merger. And based on the report submitted by him, the Kerala Legislative Assembly approved the formation of the Corporation. Thus, on 1 November 1967, exactly 11 years since the conception of the state of Kerala, the corporation of Cochin came into existence, by the merger of the municipalities of Ernakulam, Mattancherry and Fort Kochi, along with that of the Willingdon Island and four panchayats viz. Palluruthy, Vennala, Vyttila and Edappally and the small islands of Gundu and Ramanthuruth.
WIKIPEDIA
Black and White of Stowe Church and grave yard
The indigenous people who lived in the area now called Vermont were primarily Abenaki, who spoke Algonquian. They were forced aside by strategies of displacement after primarily British settlers flooded into the area after the French and Indian War.[5] There are no surviving names from the original language, which was most likely Mahican, an Algonquian dialect akin to Abenaki.[5]
Stowe was chartered on June 8, 1763, by Royal Governor Benning Wentworth of the Province of New Hampshire.[6] Vermont became a U.S. state in 1791. Two years later that more settlers arrived in Stowe. By the turn of the nineteenth century, the majority of the town’s property had been sold, and its population had risen to 316.
Stowe's early years were dominated by the farm and lumber industries. Over 75 percent of the land in Stowe and most of Vermont used to be open terrain cleared by lumber production and used for agriculture, particularly sheep farming. In those days, up to 8,000 sheep grazed the Stowe hills and valleys.[7]
Stowe's agricultural fortunes changed alongside those of the rest of New England. Most of Vermont eventually switched from sheep to dairy farms, with more than 100 farms in Stowe alone. Only nine of these farms are still operational today.[when?][citation needed] This move allowed 75 percent of the cleared area to reforest over time.[7]
Unlike much of the rest of Vermont, Stowe's past was not centered solely on agriculture. It had become a well-known summer resort by the mid-nineteenth century, thanks to its mountain scenery.[7]
The Summit House atop Mt. Mansfield was constructed just before the American Civil War broke out. The Toll Road to reach it followed by 1870. At that time the 300-room Mansfield House occupied the majority of the settlement. The latter, often known as the "Big Hotel," burned down in 1889. Behind it lay a vast stable with over 100 horses, equipment, carriages, and stable hands. In 1953, the barn was demolished over fire concern, and several of the original beams were repurposed in the construction of The Whip Bar & Grill. The Depot Building located next to the Green Mountain Inn was erected in 1897 for the Mt. Mansfield Electric Railway. Running the 11 miles between Waterbury and Stowe, it carried both passengers and freight until 1932.[7]
Through the First World War, summer tourism remained crucial to Stowe's economy. Stowe had its inaugural Winter Carnival in 1921, including ski jumping, skating, and a variety of other enjoyable activities. The Civilian Conservation Corps erected camps and began clearing ski tracks on Mt. Mansfield during the Great Depression, leading to Stowe becoming an early mecca for downhill skiing in the United States. The Bruce Trail, which ran from the current site of the Octagon to Ranch Camp, was the first built in 1933. The Mt. Mansfield Ski Touring trail system now includes this trail as well. The Nose Dive, the next ski trail, was created in 1934. Skiers used to trek the 2.5 miles to the summit in the early days. Chairlifts, which began with a single chair in 1940, overtook rope tows as the more convenient way. The chair was in service until 1986, when it was replaced with a high-speed detachable quad.[7]
The Vermont Ski Museum was founded in 1988, and relocated to Stowe in 2000. It contains information and artifacts on the history of skiing and snowboarding in Vermont.[7]
Stowe remains a premier Eastern resort town, summer and winter. Wikipedia
Laugharne is a town located on the south coast of Carmarthenshire, Wales, lying on the estuary of the River Tâf.
The ward includes Laugharne, the village of Pendine and Pendine Sands. It was the civil parish corresponding to the marcher borough of Laugharne. A predominantly English-speaking area, just south of the Landsker Line, it is bordered by the communities of Llanddowror, St Clears, Llangynog and Llansteffan.
Laugharne was the home of Dylan Thomas from 1949 until his death in 1953, and is thought to have been the inspiration for the fictional town of Llareggub in Under Milk Wood, though topographically it is more similar to New Quay where Thomas mostly lived whilst he wrote the story.
Attractions in the town include the 12th-century Laugharne Castle, the town hall and the birdlife of the estuary.
Laugharne contains many fine examples of Georgian townhouses, including "Great House" and Castle House, both grade II* listed buildings, with a scattering of earlier vernacular cottages.
There are a number of landmarks in Laugharne connected with the poet and writer Dylan Thomas. These include: The Boathouse, where he lived with his family from 1949 to 1953, and now a museum; his writing shed; and the Dylan Thomas Birthday Walk, which was the setting for the work Poem in October.
Messoghi Beach, Corfu ...
Parkinsonia aculeata is a species of perennial flowering tree in the pea family, Fabaceae. Common names include Palo Verde, Mexican Palo Verde, Parkinsonia, Jerusalem Thorn, and Ratama (in Spain).
The genus name Parkinsonia honors the English botanist John Parkinson (1567–1650), while the species Latin name aculeata refers to the thorny stem of this plant.
Parkinsonia aculeata may be a spiny shrub or a small tree. It grows up to 8 metres (24ft) high. Parkinsonia may have single or multiple stems and many branches with pendulous leaves. The leaves and stems are hairless. The leaves are alternate and pinnate (15 to 20 cm long). The flattened petiole is edged by two rows of 25-30 tiny oval leaflets - the leaflets are soon deciduous in dry weather (and during the winter in some areas) leaving the green petioles and branches to photosynthesize.
The branches grow double or triple sharp spines 7–12 mm (0.28–0.47 in) long at the axils of the leaves. The flowers are yellow-orange and fragrant, growing from a long slender stalk in groups of eight to ten. They have five sepals and five petals, four of them clearer and rhomboid ovate, the fifth elongated, with a warmer yellow and purple spots at the base. The flowering period is the middle months of spring. The flowers are pollinated by bees. The fruit is a seed pod, leathery in appearance, light brown when mature.
It was introduced to Australia as an ornamental shade tree around 1900. It is now a serious weed, widespread through Western Australia, the Northern Territory and Queensland.
It forms dense thickets, preventing access for humans, native animals and livestock to waterways. The seed pods float, and are washed downstream by seasonal flooding. Without the scarifying received by tumbling in stream beds, the seeds are slow to germinate.
Several control methods are used to reduce the existing population and the spread of P. aculeata in Australia. Three insects have been introduced to Australia for biological control; the parkinsonia bean weevils, Penthobruchus germaini and Mimosestes ulkei, both have larvae that specifically eat the seeds from parkinsonia pods and are proving to be a useful management tool, and the parkinsonia leaf bug, Rhinacloa callicrates, which destroys photosynthetic tissues but has had little overall impact on the plant. Fire is effective for young trees; mechanical removal and herbicides are also used.
P. aculeata is native to the Sonora and Chihuaha Deserts of south-western United States (western Texas, southern New Mexico southern Arizona), and northern Mexico (Sonora and Chihuahua) as well as the Galápagos Islands. It has been moved by humans into the Caribbean, South America south to northern Argentina, and Hawaii. It has been introduced in Europe and it is widespread in Australia. This thin barked species does not become established in areas where weather dips below 20 degrees F.
Parkinsonia aculeata has a high tolerance to drought, simply attaining shorter stature. In moist and humus-rich environments it becomes a taller, spreading shade tree. This plant prefers full sun. It can grow on a wide range of dry soils (sand dunes, clay, alkaline and chalky soils).
City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.
Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.
Wheels of Fire 2-lp Original Master Recording Mobile Fidelity Sound Lab MFSL 2-066-2
Background
After the release of Disraeli Gears in November 1967, Polydor Records and Atco Records, planned for Cream's third album to be a double album, on which Atco Records' producer Felix Pappalardi and the group wanted to include several live performances.
Recording
The group and Pappalardi had, in July and August 1967, recorded studio material at IBC Studios in London, and at Atlantic Studios in New York City during September and October of the same year. Additional studio material was recorded at Atlantic Studios in January and February 1968, during a break from the band's heavy tour schedule The following month,[ Pappalardi ordered for a mobile recording studio in Los Angeles to be shipped to the Fillmore auditorium and the Winterland Ballroom in San Francisco. Six shows were recorded in San Francisco by Pappalardi and recording engineer Bill Halverson, and extra performances not included on Wheels of Fire ended up on Goodbye, Live Cream, and Live Cream Volume II.
Production and artwork
The sessions for Wheels of Fire were one of the first to use eight-track tape recorders at a time when four-track recorders were the standard. The recording engineers on disc one were Tom Dowd and Adrian Barber, while the songs on disc two were recorded by Bill Halverson, and the performances on the second disc were re-mixed by Adrian Barber. The artwork for the album was done by Martin Sharp, who had also done the artwork for Disraeli Gears. The photography was done by Jim Marshall.
Songs
The band's drummer Ginger Baker co-wrote three songs for the album with pianist Mike Taylor. Bassist Jack Bruce co-wrote four songs with poet Pete Brown. Guitarist Eric Clapton contributed to the album by choosing two cover songs.
For the second disc Felix Pappalardi chose "Traintime" because it featured Jack Bruce performing a harmonica solo. "Toad" was chosen because it features Ginger Baker's drumming. The songs "Spoonful" and "Crossroads" were used to feature Eric Clapton's guitar as the songs focus.
Track listing
Disc one: In the Studio
Side 1
"White Room" 3 (Jack Bruce, Pete Brown) – 4:58
"Sitting on Top of the World" (Walter Vinson, Lonnie Chatmon; arr. Chester Burnett) – 4:58
"Passing the Time" 13 (Ginger Baker, Mike Taylor) – 4:37
"As You Said" (Bruce, Brown) – 4:20
Side 2
"Pressed Rat and Warthog" (Baker, Taylor) – 3:13
"Politician" 3 (Bruce, Brown) – 4:12
"Those Were the Days" 3 (Baker, Taylor) – 2:53
"Born Under a Bad Sign" 3 (Booker T. Jones, William Bell) – 3:09
"Deserted Cities of the Heart" 23 (Bruce, Brown) – 3:38
Performers are "the Cream quartet" consisting of Clapton, Baker, and Bruce together with Felix Pappalardi, who plays many different instruments and is also credited with production.
Disc two: Live at the Fillmore
Side 3
"Crossroads" (Robert Johnson, arr. Clapton) – 4:13 (recorded 10 March 1968 at Winterland, San Francisco, CA. (1st show))
"Spoonful" (Willie Dixon) – 16:43 (recorded 10 March 1968 at Winterland, San Francisco, CA. (1st show))
Side 4
"Traintime" 4 (Bruce) – 7:01 (recorded 8 March 1968 at Winterland, San Francisco, CA. (1st show))
"Toad" (Baker) – 16:15 (recorded 7 March 1968 at The Fillmore, San Francisco, CA. (2nd show))
Year of Release: August 1968
Condition Very Good, with 1 scratch on Disc One Side 2, #5,"Deserted Cities of the Heart"
Format DOUBLE LP
Record Label Polydor
Re-Mastered as Mobile Fidelity Sound Lab MFSL 2-066-2
Genre Blues-rock, psychedelic rock, hard rock
Length 80:32
ProducerFelix Pappalardi
The British, Canadian, South African, and ANZAC tradition includes either one or two minutes of silence at the eleventh hour of the eleventh day of the eleventh month (11:00 a.m., 11 November), as that marks the time (in the United Kingdom) when the armistice became effective.
The Service of Remembrance in many Commonwealth countries generally includes the sounding of the "Last Post", followed by the period of silence, followed by the sounding of "The Rouse" (often mistakenly referred to as "Reveille"), and finished by a recitation of the "Ode of Remembrance". The "Flowers of the Forest", "O Valiant Hearts", "I Vow to Thee, My Country" and "Jerusalem" are often played during the service. Services also include wreaths laid to honour the fallen, a blessing, and national anthems.
The central ritual at cenotaphs throughout the Commonwealth is a stylized night vigil. The Last Post was the common bugle call at the close of the military day, and the Rouse was the first call of the morning. For military purposes, the traditional night vigil over the slain was not just to ensure they were indeed dead and not unconscious or in a coma, but also to guard them from being mutilated or despoiled by the enemy, or dragged off by scavengers. This makes the ritual more than just an act of remembrance but also a pledge to guard the honour of war dead. The act is enhanced by the use of dedicated cenotaphs (literally Greek for "empty tomb") and the laying of wreaths—the traditional means of signalling high honours in ancient Greece and Rome.
LIVERPOOL NOVEMBER 11th 2012
Bendigo Pottery. Its claim to fame include the fact that it is Australia’s oldest working pottery. Most of the old 19th century potteries, whether they made water pipes and toilet cisterns or vases and jars, closed in the 1960s. Bendigo Pottery began operations in 1858 when Scots born George Guthrie started his one man pottery. Guthrie was shipwrecked off Troubridge Shoals on his way to Melbourne in 1850 and rescued by the SA government ship Yatala. In the wreck he lost all his money. Alexander Elder (brother of Sir Thomas Elder) loaned him £20 and Guthrie continued on his way to Melbourne. He manufactured ginger bottles in Sydney from 1851 the year in which gold was found. He worked the early gold fields in NSW and made some money. He soon moved back to Melbourne and in 1854 moved to Sandhurst the centre of gold mining. He searched for gold but found find quality sands and clays needed for a good pottery. Thus at Epsom he opened his new pottery with a partner McColl in 1858. The local market was small and Guthrie dug for gold part time to make ends meet. When the railway to Melbourne opened in 1862 Guthrie expanded his market to include Melbourne and purchased land at Epsom in 1864 where the pottery still exists. Guthrie produced ginger beer bottles, stoneware jars, jam pots and water filters. He soon branched out into brown wares, drug jars, stone pipes, chimney tops, flower pots, butter pots, wine jars etc. By the 1870s it was one of the major industrial sites of Bendigo with three kilns and 26 employees. Guthrie exhibited his pottery at the London exhibition of 1873 and in 1875 he introduced steam power to the works. Guthrie sold the pottery in 1882 to Sir John McIntyre who formed a public company to operate the pottery. When the directors liquidated the company in 1898 Guthrie and re-purchased the plant. Guthrie and Company ran the pottery until 1949 but Guthrie retired in 1909 just before he died in 1910. The pottery company kept his name and expanded into more decorative wares.
State Opening of Parliament, 8 May 2013
Queen Elizabeth II, accompanied by Prince Philip, travelled to Westminster in the Irish State Coach for the State Opening of Parliament.
The Queen wore the George IV State Diadem. The diadem is a crown that was made in 1820 for King George IV. The diadem is worn by queens and queens consort in procession to coronations and State Openings of Parliament. The diadem includes 1,333 diamonds weighing 320carats (64 g) and 169 pearls along its base. Its design features roses, thistles and shamrocks, the symbols of England, Scotland and Ireland respectively.
The original Irish State Coach was built in 1851 in Dublin. After the Second World War the Irish State Coach came to be used habitually by the monarch at the State Opening of Parliament. After 1988 the Australian State Coach was used on some occasions and in 1989 the opportunity was taken for a complete restoration of the Irish State Coach. Since then the Irish State Coach has continued to be used intermittently by the Queen for the State Opening of Parliament.
The State Opening of Parliament marks the commencement of a session of the Parliament of the United Kingdom. During this ceremony the Monarch reads the Queen’s Speech. The speech is not written by the Prime Minister and sets out the legislative agenda for the coming session of Parliament. The members of all three branches of government (legislative, executive and judiciary) are assembled in the House of Lords to hear the Queen reads out the speech.
From the Court Circular:
The Queen, accompanied by The Duke of Edinburgh, travelled in State to the Palace of Westminster today to open the Session of Parliament. Her Majesty and His Royal Highness drove in a Carriage Procession, escorted by a Sovereign's Escort of The Household Cavalry, under the command of Major Nicholas Stewart, The Life Guards, and were received at the Sovereign's Entrance by the Earl Marshal and the Lord Great Chamberlain.
The Prince of Wales and The Duchess of Cornwall drove in a Carriage Procession, escorted by a Travelling Escort of the Household Cavalry, under the command of Major Simon Deverell, The Blues and Royals (Royal Horse Guards and 1st Dragoons).
Guards of Honour were mounted at Buckingham Palace by The Queen's Guard found by 1st Battalion Grenadier Guards, under the command of Major Piers Ashfield, and at the Palace of Westminster by 1st Battalion Welsh Guards, under the command of Major Henry Llewelyn-Usher.
A staircase party of The Household Cavalry was on duty at Victoria Tower, House of Lords.
Royal Salutes were fired in Green Park by The King's Troop Royal Horse Artillery, under the command of Major Mark Edward, and from the Tower of London Saluting Battery by the Honourable Artillery Company, under the command of Major John Chorley.
The Imperial State Crown, the Cap of Maintenance and the Sword of State were conveyed previously to the House of Lords in a Carriage Procession, escorted by a Regalia Escort of The Household Cavalry.
Her Majesty's Body Guard of the Honourable Corps of Gentlemen at Arms was on duty in the Prince's Chamber and The Queen's Body Guard of the Yeomen of the Guard was on duty in the Royal Gallery. The Queen's Bargemaster and Watermen were on duty. The Ladies and Gentlemen of the Household and the Pages of Honour to The Queen (Arthur Chatto, the Hon. Charles Armstrong-Jones, Viscount Aithrie and Hugo Bertie) were in attendance at the Palace of Westminster. Her Majesty and His Royal Highness returned to Buckingham Palace and were received by the Lord Chamberlain and the Vice-Chamberlain of the Household.
Information from the Ministry of Defence website:
In total 1,290 Armed Forces personnel took part in the Sate Opening of Parliament ceremony including Cavalry, troops lining the route and forming guards of honour and bands.
Soldiers from the Grenadier Guards, Coldstream Guards and Welsh Guards together with 4 half-companies of the Royal Air Force Regiment and 4 half-companies of the Royal Navy, lined the route of the procession from Buckingham Palace to the House of Lords while the Queen’s carriage was escorted by members of the Household Cavalry Mounted Regiment.
Musical accompaniment was provided by the Royal Artillery Band, the Band of the Grenadier Guards, the Band of the Coldstream Guards, the Band of the Scots Guards, the Band of the Irish Guards, the Band of the Welsh Guards and the Band of the Honourable Artillery Company.
The General Officer Commanding London District, Major General George Norton, commanded the parade.
As the Queen reached the House of Lords, a 41-gun salute was fired by members of the King’s Troop Royal Horse Artillery, supported by the Royal Artillery Band, in Green Park.
A further 41-gun salute was be fired at midday at the Tower of London by the Army’s oldest regiment, the Honourable Artillery Company, which is part of the Territorial Army.
After the Queen’s procession returned to Buckingham Palace, the King’s Troop Royal Horse Artillery marched past Her Majesty, followed by the Sovereign’s Escort and Regalia Escort, formed by the Household Cavalry Mounted Regiment, and a Guard of Honour provided by members of the Grenadier Guards and the Welsh Guards.
Our itinerary today was designed to include many of the lesser known and visited temples of the Angkor archaeological park since we were due to visit the more major ones over the following days. All these sites would be major attractions in their own right anywhere else, but in Angkor there is simply too much for the regular visitor to take in, but since we're not regular visitors we aimed to try our best regardless!
Our fifth stop was Ta Som, one of Angkor's smaller temples which dates back to the 12th century.
The temple sits within an enclosure of laterite walls with striking 'face towers' over the main gates. The main shrine is much more compact than the other sites we visited and consists of a central group of towers and corridors. There is however much intricate figurative carving adorning the walls with many serene apsara figures smiling back at the viewer.
The temple ruins are quite picturesque owing to how close the surrounding jungle seems to get to it here. The site itself takes less time to explore than many of Angkor's sprawling temple sites but is a rewarding place to visit with much charm and beauty nonetheless.
Lundy Canyon Autumn Colors and Eastern Sierras Winter Fine Art Photography! Sony A7RII ! Dr. Elliot McGucken Fine Art Landscape and Nature Photography in the High Sierras! Quaking Aspens in Lundy!
Sony Vario-Tessar T* FE 16-35mm f/4 ZA OSS Lens SEL1635Z Carl Zeiss!
Join my new 45EPIC fine art landscapes page on facebook!
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
Fresh snow! More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
On Tuesday, the AIR Tour crew made our way from Stockholm, Sweden to Berlin, Gernamy. While it's only an hour flight, we've chosen to make the entire trip by train. This leads to some interesting moments, to include one missed train because of a delay. This landed us with several hours in Copenhagen, Denmark. Luckily we found an American-style pub with great seating, food and beverage to pass the time.
After our delay in Copenhagen, we boarded our next train from Copenhagen to Hamburg, Germany. There we were all sitting there, coding away, arguing the finer points of Adobe software, or just sleeping, when the train suddenly stopped. A quick look outside revealed that we were enclosed in some type of vessel. The conductor ushered everybody off and up a few flights of stairs. When you finally emerge you realize that you, and the train, are on a massive ferry.
A little research of the GPS data we collected on the 45 minute ferry ride, reveals that we were crossing the Baltic Sea between Lolland, Denmark and Fehmarn, Germany.
The ferry itself had several levels inside for parking. At the bottom were the heaviest vehicles such as the train and eighteen wheel trucks. Up a level were lighter vehicles such as your traditional four door car. Up another level from that was a polished indoor area complete with duty free store and a cafeteria. Up a level from that, and you were outside, where the cold Baltic Sea brought a heavy chill to the air. You were rewarded however with a fantastic view of both Denmark and Germany.
Once the ferry reaches Germany, we were ushered back onto the train, and shortly after were on tracks across the German countryside. We had a long enough layover in Hamburg, Germany for a little dinner. One more train and three more hours put us in Berlin, Germany at about midnight. The total time of the train trip was almost eighteen (18) hours. Luckily for us computer geeks, we had spacious seat and power outlets. There was no Internet connectivity (yes, many trains in Europe have wireless Internet), but I purchased some additional media before the trip, which kept me entertained.
After high school she traveled to Japan and enrolled in the Kabuki acting school of the legendary Onoe Kikugoro VI. For four years she studied acting, dancing, shamisen, tea ceremony, flower arrangement, and narimono (percussion instruments). Since Kabuki includes dancing and acting, she was sent to the renowned Kabuki dancer and choreographer Fujima Kanjuro VI. Determined not to fail, she survived the rigors of training, overcoming obstacles including discrimination for being American born. Finally in 1938, she was bestowed the professional name of Fujima Kansuma and was granted permission by the legendary Kikugoro VI to dance his renowned Kagami Jishi (Mirror Lion Dance), an honor and privilege given only to exceptional students. She returned to the U.S. and just as she opened her first dance studio, her life and career were disrupted by World War II.
With the bombing of Pearl Harbor, she and her parents were taken to an Arkansas internment camp to live. There, with only a kimono, fan and one recording of Japanese music, she brought light and joy to a dark and dismal situation. Later, camp authorities allowed Madame Kansuma to travel to other camps to perform and teach Japanese dance. To this day, many still recall her performances of Urashima and Tange Sazen.
After the war, Madame Kansuma returned to Los Angeles and resumed her dancing and teaching career and began doing more and more choreography for a westernized audience. She has taught countless girls how to dance, 46 became her Natori, where they are granted professional names.
Her work to educate and build bridges between two cultures and nations was recognized by both the Japanese and American governments. In 1985, Japan awarded Madame Kansuma the Order of the Precious Crown, Apricot in recognition for her work in enhancing the appreciation of Japanese culture in the United States. The National Endowment for the Arts deemed her a National Heritage Fellow for the Arts in 1987, honoring her as a master traditional artist and recognizing her lifetime achievements and contributions totraditional arts heritage. In 2004, she was given the Japanese American National Museum’s Cultural Ambassador Award for her devotion to Japanese Classical Dance.
At 96, she continues to teach and choreograph and her legacy lives on through her students. Her troupe performed at the 1984 Olympics, Rose Parade and Disney Concert Hall and Music Center. They were also involved as choreography consultants and appeared as dance students in the Oscar winning movie “Memoirs of a Geisha.”
Madame Fujima Kansuzu
Madame Fujima Kansuzu, daughter of Madame Kansuma, has studied Japanese classical dance under her mother since she was three years old. She made her debut performance as Fujima Kansuzu at the Dorthy Chandler Pavilion, performing Kagami Jishi, the same dance her mother performed 76 years ago.
A graduate of the University of Southern California, she has performed at the Grand Kabuki Theater in Japan, and National Endowment for the Arts Heritage Fellowship Program when her mother was a recipient.
Madame Kansuzu has lectured on Kabuki dance and make-up at Pepperdine University, and performed in movies, television, and commercials.
She has choreographed for the Emmy award-winning show, “Young and the Restless,” and was a consultant and associate choreographer and dancer for “Memoirs of A Geisha.” Ziyi Zhang and Olympians Maia and Alex Shibutani have worked with Madame Kansuzu. She recently completed work on the upcoming movie, “Masterless.” She is married to Noriyoshi Tachibana and has three children, Jonathan, Taizo, and Miwa.
The Fujima Kansuma Dance School is over 75 years old and Artistic Director Madam Fujima Kansuma has been teaching the art of nihon buyo to more than five generations of students. She has been part of this Nisei Week Grand Parade since 1950.
She and her daughter, Fujima Kansuzu, choreographed this years “Soran Bushi” and “Hinode Ondo”, trying to maintain the traditional while making it attractive to the new generation. They selected a J-Pop favorite from EXILE and a modernized classic minyo from Sakamoto Fuyumi.
The Fujima Kansuma Dance School has performed at such high profile venues as the Hollywood Bowl as well as community events such as the annual Gardena Pioneer Project. They recently performed at the 30th anniversary celebration of the Japanese Garden and completed work on an upcoming faith based feature film Masterless.
Their hope is that the Nisei Week celebration continues to bring people of all backgrounds together to appreciate the beauty of Japanese culture.
Source: Nisei Week Foundation
The Grand Parade is one of the many events that take place during the Nisei Week Japanese Festival. Visit the Festival's official website for more information about one of the nation's longest running cultural festivals.
Kochi is a city in the Indian state of Kerala. Kochi is located in the district of Ernakulam. Old Kochi loosely refers to a group of islands including Willingdon Island, Fort Kochi and Mattancherry. Today Kochi includes Ernakulam, old parts of Kochi, Kumbalangi, and outlying islands.
For many centuries up to and during the British Raj, the city of Kochi was the seat of the eponymous princely state. Kochi traces its history back many centuries, when it was the centre of Indian spice trade for hundreds of years, and was known to the Yavanas (Greeks and Romans), Jews, Arabs and Chinese since ancient times. Kochi earned a significant position on the world trading map after the port at Kodungallur (Cranganore) was destroyed by massive flooding of the river Periyar in 1341.
The earliest documented references to Kochi occur in the books written by Chinese voyager Ma Huan, during his visit to Kochi in the 15th century as part of the treasure fleet of Admiral Zheng He. There are also references to Kochi in accounts written by Italian traveller Niccolò Da Conti, who visited Cochin in 1440 . Today, Kochi is the commercial hub of Kerala, and one of the fastest growing second-tier metros in India.
PREHISTORY
Not much is known about the prehistory of Kochi. There has been no clear evidence of Stone Age inhabitation. Quite ironically, Kochi forms the central part of the Megalithic belt of Kerala. The only trace of prehistoric life in the region is the menhir found in Tripunithura.
Princely rule
PRINCELY RULE
The history of Kochi prior to the Portuguese is not well documented. Though places north and south of Kochi are mentioned in quite detail in many accounts by ancient travellers, even a mention of Kochi is absent prior to the arrival of the Portuguese. Kochi's prominence as a trading port grew after the collapse of the port at Kodungallur in 1341 AD.
The Cochin State came into existence in 1102 AD after the breaking up of the Kulasekhara empire.
FOREIGN RULE
Kochi was under the rule of many foreign empires, during which the Raja of Kochi still remained the titular head.
PORTUGUESE PERIOD (1503-1663)
Kochi was the scene of the first European settlement in India. In the year 1500, Portuguese Admiral Pedro Álvares Cabral, landed at Cochin after being repelled from Calicut. The King of rival Kochi welcomed his guests and a treaty of friendship was signed. Promising his support in the conquest of Calicut, the admiral coaxed the king into allowing them to build a factory at Cochin. Assured by the support, the king called war with the Zamorins of Calicut. However, the admiral retreated in panic on seeing the powers of the Zamorin. The Zamorins, on the other hand, eager to win the favor of the Portuguese, left without a war. Another captain, João da Nova was sent in place of Cabral. However, he too faltered at the sight of the Zamorin. The consecutive retreats made the King of Portugal indignant. The king sent Vasco Da Gama, who bombed Calicut and destroyed the Arab trading posts. This invited the anger of the Zamorin, who declared a war against the Kochi Raja.
The war between Calicut and Cochin began on 1 March 1503. However, the oncoming monsoons and the arrival of a small Portuguese fleet under Francisco and Afonso de Albuquerque alarmed the Zamorin, and he called back his army. The Zamorin resorted to a retreat also because the revered festival of Onam was near, and the Zamorin intended to keep the auspicious day holy. This led to a triumph for the king of Kochi, who was later re-established in the possession of his kingdom. However, much of the kingdom was burnt and destroyed by the Zamorins.
After securing the king in his throne, the Portuguese got permission to build a fort – Fort Kochi (Fort Emmanuel) (after the reigning king of Portugal) - surrounding the Portuguese factory, in order to protect it from any further attacks. The entire work was commissioned by the Cochin Raja, who supplied workers and material. The Raja continued to rule with the help of the Portuguese. Meanwhile, the Portuguese secretly tried to enter into an alliance with the Zamorins. A few later attempts by the Zamorin at conquering the Kochi port was thwarted by the Cochin Raja with the help of the Portuguese. Slowly, the Portuguese armory at Kochi was increased, with the presumed notion of helping the raja protect Kochi. However, the measured led to decrease in the power of the Cochin Raja, and an increase in the Portuguese influence. From 1503 to 1663, Kochi was ruled by Portugal through the namesake Cochin Raja. Kochi remained the capital of Portuguese India till 1510. In 1530, Saint Francis Xavier arrived and founded a Christian mission. This Portuguese period was difficult for the Jews installed in the region, since the Inquisition was active in Portuguese India. Kochi hosted the grave of Vasco da Gama, the Portuguese viceroy, who was buried at St. Francis Church until his remains were returned to Portugal in 1539. Soon after the time of Albuquerque, the Portuguese rule in Kerala declined. The failure is attributed to several factors like intermarriages, forcible conversions, religious persecution etc.
DUTCH PERIOD (1663-1773)
The Portuguese rule was followed by that of the Dutch, who had by then conquered Quilon, after various encounters with the Portuguese and their allies. Discontented members of the Cochin Royal family called on the assistance of the Dutch for help in overthrowing the Cochin Raja. The Dutch successfully landed at Njarakal and headed on to capture the fort at Pallippuram, which they handed over to the Zamorin.
MYSORE INVASION
The 1773 conquest of the Mysore King Hyder Ali in the Malabar region descended to Kochi. The Kochi Raja had to pay a subsidy of one hundred thousand of Ikkeri Pagodas (equalling 400,000 modern rupees). Later on, in 1776, Haider captured Trichur, which was under the Kingdom of Kochi. Thus, the Raja was forced to become a tributary of Mysore and to pay a nuzzar of 100,000 of pagodas and 4 elephants and annual tribute of 30,000 pagodas. The hereditary Prime Ministership of Cochin came to an end during this period.
BRITISH PERIOD (1814–1947)
In 1814 according to the Anglo-Dutch Treaty, the islands of Kochi, including Fort Kochi and its territory were ceded to the United Kingdom in exchange for the island of Banca. Even prior to the signing of the treaty, there are evidence of English residents in Kochi. Towards the early 20th century, trade at the port had increased substantially, and the need to develop the port was greatly felt. Harbour Engineer Robert Bristow, was thus brought to Cochin in 1920 under the direction of Lord Willingdon, then the Governor of Madras. In a span of 21 years, he had transformed Cochin as the safest harbour in the peninsula, where ships berthed alongside the newly reclaimed inner harbour equipped with a long array of steam cranes. Meanwhile, in 1866, Fort Cochin was made a municipality, and its first Municipal Council election to a board of 18 members was conducted in 1883. The Maharajah of Cochin, in 1896 initiated local administration, by forming town councils in Mattancherry and Ernakulam. In 1925, Kochi legislative assembly was constituted due to public pressure on the state. The assembly consisted of 45 members, 10 of who were officially nominated. Thottakkattu Madhaviamma became the first woman to be a member of any legislature in India.
POST INDEPENDENCE ERA
In 1947, India gained independence from the British colonial rule. Cochin was the first princely state to join the Indian Union willingly. Post independence, E. Ikkanda Warrier became the first Prime Minister of Kochi. K. P. Madhavan Nair, P.T Jacob, C. Achutha Menon, Panampilly Govinda Menon were few of the other stalwarts who were in the forefront of the democratic movements. Then in 1949, Travancore-Cochin state came into being by the merger of Cochin and Travancore, with Parur T. K. Narayana Pillai as the first chief minister. Travancore-Cochin, was in turn merged with the Malabar district of the Madras State. Finally, the Government of India's 1 November 1956 States Reorganisation Act inaugurated a new state – Kerala – incorporating Travancore-Cochin, Malabar District, and the taluk of Kasargod, South Kanara. On 9 July 1960, the Mattancherry council passed a resolution that was forwarded to the government, requesting the formation of a Municipal Corporation by combining the existing municipalities of Fort Kochi, Mattancherry and Ernakulam. The proposal was condemned by the Fort Kochi municipality. However, the Ernakulam municipality welcomed the proposal, suggesting the inclusion of more suburban areas in the amalgamated Corporation. Major Balagangadhara Menon, the then Director of Local Bodies was appointed by the government to study the feasibility of the suggested merger. And based on the report submitted by him, the Kerala Legislative Assembly approved the formation of the Corporation. Thus, on 1 November 1967, exactly 11 years since the conception of the state of Kerala, the corporation of Cochin came into existence, by the merger of the municipalities of Ernakulam, Mattancherry and Fort Kochi, along with that of the Willingdon Island and four panchayats viz. Palluruthy, Vennala, Vyttila and Edappally and the small islands of Gundu and Ramanthuruth.
WIKIPEDIA
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
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In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
- Includes:
○ Shape
○ Eyebrows shape
○ Detailed Stylecard with landmarks, pics settings and extra info.
Work includes cleaning, waxing, repairing and conserving the existing bronze, and providing new bronze castings of missing or broken items. Initial stone work will include the cleaning and removal of patina bronze deposits from seven marble monument pedestals.
Full details at www.aoc.gov/grant.
-----
This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.
JOIN OUR TEAM
Architect of the Capitol job opportunities are listed at aoc.usajobs.gov.
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Alice X. Zhang
Alice X. Zhang is a full-time freelance designer, illustrator and portrait artist with an enduring interest in cinema, comics and Pop culture.
Alice X. Zhang is by far one of the most impressive artists I’ve come across in terms of her creativity and contributions to her craft. She was born on November 8, 1988 and grew up in Auckland, New Zealand. Ms. Zhang is a well traveled artist. She has also spent time in Hong Kong and New York. Few artists have accomplished so much in so little time.
Ironically enough, Alice Zhang did not take to art immediately. At the age of 6 her parents took her to painting classes and she hated them. This changed when her chief interests became her primary influences for art. She graduated from Rhode Island School of Design with a BFA in graphic design. RISD is annually ranked as the top art and design school in the United States.
Ms. Zhang worked as a designer for Freeze. This company designs, sells, manufactures and distributes licensed clothing to retail. Currently she is a full-time freelance painter, illustrator, and printmaker. She recently created a set of licensed Doctor Who art that’s simply fantastic (wink to the 9th). She has been a contributing member of Threadless for several years now and helped 319 designs get printed.
But her most impressive achievement in my mind is the founding of Mischmasch in 2008. Mischmasch is an online artist community that displays art in both a physical gallery and a virtual one. Created by Ms. Zhang as a way for her friends to show each other updated works – Mischmasch has grown into a global community of artists. There are over 2000 members, hailing from over a hundred different cities. You can hear her introduce Mischmasch here.
As anyone can imagine, Ms. Zhang uses a number of tools in making her art. These include: Adobe Photoshop, Wacom, Cintiq 21UX, Wacom Bamboo, pencils, and watercolors. She enjoys BBC programs like Doctor Who and Sherlock. She’s also a fan of Game of Thrones. Her favorite visual artists include John Singer Sargent, Johannes Vermeer and Glen Keane.
Photos that make it to Explore (include dropped).
Thanks to everyone who make it possible :)
1. They wish to grow up..., 2. Musiq, 3. Misa Makeover, 4. Quenching her thirst, 5. Happy 3rd Birthday to Yumi, 6. Happy 3rd Birthday to Yumi, 7. Mr. Penguin, 8. Rainie is here!,
9. Can we go too?, 10. Sadness from within, 11. Adsiltia, 12. Baa Baa White Sheep, 13. If you trust me..., 14. Mouse that big, 15. In love with her toy, 16. Merry Christmas 2008,
17. Long time no see!, 18. Caramiel, 19. Christmas is coming!, 20. Purple-licious, 21. My 3 Dals, 22. The left-out, 23. Rinko, 24. The Mystery of the Missing Head,
25. Be Strong, Shin!, 26. In her stock outfit, 27. Milk is good!, 28. Say Cheese, 29. The bus won't come anymore!!!, 30. Blow a kiss, 31. All Yotsuba(s) love ice-cream, 32. The girl with the least photos,
33. My 2 Dals, 34. Misa, 35. Pretty Vanilla, 36. New Wig. It's Wine colour!, 37. Table 05, 38. The curious kids, 39. Cookie says Hi, 40. Cookie,
41. Red Fruits, 42. Purple Beret, 43. Air Stewardess, 44. At your service, 45. For Adore Anniversary Issue, 46. For Adore Anniversary Issue, 47. Are you looking at me?, 48. Pretty Arisu,
49. Save the Stars!, 50. Play a song for you, 51. Greedy Twinkle, 52. Miya's new look, 53. Adore 12/12, 54. Yumi at The Peak, Hong Kong, 55. Kitty Burger, anyone?, 56. Sweet Kioko,
57. Sweet Kioko, 58. Misa's new clothes, 59. Evil Yotsuba's worst fear, 60. Pinkish Doll for the girl who likes pink!, 61. She loves Lollipop, 62. Lara looking cute ^3^, 63. Picfic 6a, 64. Her eyes sparkle now ^_^,
65. Sneak Preview, 66. Shin says Hi, 67. New Wig for Cammie, 68. Yuko @ Fort Canning Park, 69. It's going to rain again, 70. Yamaha Vino, 71. At Esplanade, 72. Meet Cammie
73. Cuteness, 74. Lots of Hello Kitty, 75. Yotsuba - the naughty side, 76. It's Miya, 77. Best friends, 78. Help me!, 79. Lilo's toy, 80. Cute red flowers,
81. Shake Shake Shake, 82. Chiyo draw well, 83. Yumi likes to draw, 84. Yuko says Hi & Bye, 85. On her laptop, 86. Say Cheeeeeese...., 87. Misa, 88. The 5 Rozen Maidens,
89. What's Suisekseki doing?, 90. Shinku with new wig, 91. Shinku with new wig, 92. Shinku with new wig, 93. Sousekseki, 94. Sisters, 95. Chiyo, 96. Lara in my office,
97. Yuko in Odaiba, 98. Lara, 99. Yuko
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
SAN FRANCISCO, CALIFORNIA - OCTOBER 04: (L-R) Project Include Co-Founder & CEO Ellen Pao, Block Party Founder & CEO Tracy Chou, and TechCrunch Senior Reporter Megan Rose Dickey speak onstage during TechCrunch Disrupt San Francisco 2019 at Moscone Convention Center on October 04, 2019 in San Francisco, California. (Photo by Steve Jennings/Getty Images for TechCrunch)
Waratah Subdivision [n.d.] Includes Sunderland Street, Hanbury Street and Dundas Street. [Linen Plan]
This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections.
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The digitisation of this plan was made possible by the kind generosity of the Vera Deacon Regional History Fund.
ZAMA -- National Football League players (standing left to right) Donny Anderson, Green Bay Packers; Bill Curry, Baltimore Colts; and Gene Upshaw, Oakland Raiders, visit patient First Lieutenant Charles W. White, Wichita, Kansas, at the U.S. Army Hospital Camp Zama recently. The visit to the hospital by the pro football players is the first stop on a USO tour of Pacific Military hospitals. Other stops on the Pacific tour will include hospitals in Okinawa, the Philippines and Guam. (Photo by Gerald Simmons [appeared in the Feb. 24, 1972, issue of the USARJ “Challenger” newspaper])
Hera was the Olympian queen of the gods, and the goddess of marriage (Roman Juno), the sky and the stars of heaven. She was usually depicted as a beautiful woman wearing a crown and holding a royal, lotus-tipped sceptre, and sometimes accompanied by a lion, cuckoo or hawk.
MYTHS
Some of the more famous myths featuring the goddess include:--
Her marriage to Zeus who seduced her in the guise of a cuckoo bird.
The birth of Hephaistos (Hephaestus) who she produced alone without a father and cast from heaven because he was born crippled.
Her persecution of the consorts of Zeus including Leto, Semele and Alkmene (Alcmena).
Her persecution of Herakles (Heracles) and Dionysos, the favourite bastard sons of Zeus.
The punishment of Ixion, who was chained to a fiery wheel for attempting to violate the goddess.
The assisting of the Argonauts in their quest for the golden fleece, their leader Iason (Jason) being one of her favourites.
The judgement of Paris, in which she competed against Aphrodite and Athene for the prize of the golden apple.
The Trojan War in which she assisted the Greeks.
ENCYCLOPEDIA
HERA (Hêra or Hêrê), probably identical with kera, mistress, just as her husband, Zeus, was called erros in the Aeolian dialect (Hesych. s. v.). The derivation of the name has been attempted in a variety of ways, from Greek as well as oriental roots, though there is no reason for having recourse to the latter, as Hera is a purely Greek divinity.
Hera was, according to some accounts, the eldest daughter of Cronos and Rhea, and a sister of Zeus. (Hom. Il. xvi. 432; comp. iv. 58; Ov. Fast. vi. 29.) Apollodorus (i. 1, § 5), however, calls Hestia the eldest daughter of Cronos; and Lactantius (i. 14) calls her a twin-sister of Zeus. According to the Homeric poems (Il. xiv. 201, &c.), she was brought up by Oceanus and Thetys, as Zeus had usurped the throne of Cronos; and afterwards she became the wife of Zeus, without the knowledge of her parents. This simple account is variously modified in other traditions.
Being a daughter of Cronos, she, like his other children, was swallowed by her father, but afterwards released (Apollod. l. c.), and, according to an Arcadian tradition, she was brought up by Temenus, the son of Pelasgus. (Paus. viii. 22. § 2; August. de Civ. Dei, vi. 10.) The Argives, on the other hand, related that she had been brought up by Euboea, Prosymna, and Acraea, the three daughters of the river Asterion (Paus. ii. 7. § 1, &c.; Plut. Sympos. iii. 9); and according to Olen, the Horae were her nurses. (Paus. ii. 13. § 3.) Several parts of Greece also claimed the honour of being her birthplace; among them are two, Argos and Samos, which were the principal seats of her worship. (Strab. p. 413; Paus. vii. 4. § 7; Apollon. Rhod. i. 187.)
Her marriage with Zeus also offered ample scope for poetical invention (Theocrit. xvii. 131, &c.), and several places in Greece claimed the honour of having been the scene of the marriage, such as Euboea (Steph. Byz. s. v. Karustos), Samos (Lactant. de Fals. Relig. i. 17), Cnossus in Crete (Diod. v. 72), and Mount Thornax, in the south of Argolis. (Schol. ad Theocrit. xv. 64; Paus. ii. 17. § 4, 36. § 2.) This marriage acts a prominent part in the worship of Hera under the name of hieros gamos; on that occasion all the gods honoured the bride with presents, and Ge presented to her a tree with golden apples, which was watched by the Hesperides in the garden of Hera, at the foot of the Hyperborean Atlas. (Apollod. ii. 5. § 11; Serv. ad Aen. iv. 484.)
The Homeric poems know nothing of all this, and we only hear, that after the marriage with Zeus, she was treated by the Olympian gods with the same reverence as her husband. (Il. xv. 85, &c.; comp. i. 532, &c., iv. 60, &c.) Zeus himself, according to Homer, listened to her counsels, and communicated his secrets to her rather than to other gods (xvi. 458, i. 547). Hera also thinks herself justified in censuring Zeus when he consults others without her knowing it (i. 540, &c.); but she is, notwithstanding, far inferior to him in power; she must obey him unconditionally, and, like the other gods, she is chastised by him when she has offended him (iv. 56, viii. 427, 463). Hera therefore is not, like Zeus, the queen of gods and men, but simply the wife of the supreme god. The idea of her being the queen of heaven, with regal wealth and power, is of a much later date. (Hygin. Fab. 92; Ov. Fast. vi. 27, Heroid. xvi. 81; Eustath. ad Hom. p. 81.) There is only one point in which the Homeric poems represent Hera as possessed of similar power with Zeus, viz. she is able to confer the power of prophecy (xix. 407). But this idea is not further developed in later times. (Comp. Strab. p. 380; Apollon. Rhod. iii. 931.)
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Looking back at the 72nd Members' Meeting, Goodwood (2014) - which was the first of the modern sequence.
Which version do you prefer ?
A3 Canvass prints of the above picture only £75 includes post in Uk. Enquiries email artrc608@gmail.com
Papaver rhoeas (common names include corn poppy, corn rose, field poppy, Flanders poppy, red poppy, red weed, and, due to its odour, which is said to cause them, as headache and headwark) is a species of flowering plant in the poppy family, Papaveraceae. This poppy, a native of Europe, is notable as an agricultural weed (hence the "corn" and "field") and as a symbol of fallen soldiers.
P. rhoeas sometimes is so abundant in agricultural fields that it may be mistaken for a crop. The only species of Papaveraceae grown as a field crop on a large scale is Papaver somniferum, the opium poppy.
Due to the extent of ground disturbance in warfare during World War I, corn poppies bloomed in between the trench lines and no man's lands on the Western front. Poppies stand as a prominent feature of "In Flanders Fields", one of the most frequently quoted English-language poems composed by front-line personnel during the First World War. It was written by Lt. Col. John McCrae, a doctor serving in the Royal Canadian Army Medical Corps, and appeared for the first time in Punch magazine on December 8, 1915. McCrae wrote the poem on May 3, 1915, after witnessing the death of his friend, Lt. Alexis Helmer. The opening line of the poem vividly depicts corn poppies blowing in the wind amongst the many crosses that mark the resting places of fallen soldiers. Similarly, the poppy is a symbol of the blood of Polish soldiers killed in the Battle of Monte Cassino in the Polish war song "Czerwone maki na Monte Cassino" ("Red Poppies on Monte Cassino").
The corn poppy has become a cultural icon to military veterans, especially veterans of World War I, and has become associated with wartime remembrance, especially during Remembrance Day or Anzac Day in Commonwealth countries. In Canada, where the corn poppy is largely associated with Remembrance Day, the Royal Canadian Mint in 2004 released into circulation a quarter with a commemorative reverse featuring a corn poppy coloured red.
This poppy is a common weed in Europe and is found in many locations, including Flanders Fields.
A page from the programme for 'The Yeomen of the Guard'. The page includes an advert for T. Merrall (boots and shoes shop) of Low Street, Keighley.
The Keighley Amateur Lyric and Dramatic Society staged a production of W. S. Gilbert and Arthur Sullivan's 'The Yeomen of the Guard (or The Merryman and his Maid)' at the Hippodrome theatre in Keighley from 18th to 23rd October 1909.
The story is set in the sixteenth century and revolves around Colonel Fairfax, a condemned prisoner in the Tower of London, and his attempts to secure a wife before his execution for sorcery. He manages to escape the Tower disguised as a Yeoman and much confusion ensues before all is righted by the end.
It starred Arthur Greenwood as Colonel Fairfax, with E. G. Moulding, James Pearson, Willie Boyes, J. R. Hammond, H. Connelly, John Merrall, C. A. Greenwood, J. Greenwood, B. Hardacre, H. V. Wilkinson, Miranda Sugden, Ethel Bird, Miss Lambert and Mrs Heaton. The musical director was W. S. Wilkinson and the stage manager was W. G. Bedford. Scenery was hired from the Northern Theatres Co. Ltd. and was specially painted by F. G. Venimore.
The Keighley Amateur Lyric and Dramatic Society had only formed a year previous (in 1908) and the theatre had only been renamed the Hippodrome earlier that year (in 1909). Prior to that it was known as the Queen’s Theatre, although both names remained on the front of the building, and many programmes and adverts continued to refer to the ‘Hippodrome and Queen’s Theatre’.
In 1876, Abraham Kershaw, a piano player and tuner from Huddersfield, had bought 700 square yards of land in Queen Street. On it he had built a five-storey wooden theatre, designed by architect J. B. Bailey, that opened at Easter 1880. The theatre was not a financial success and the wooden theatre was pulled down. A new improved theatre, called the Queen’s Theatre was built instead and opened on 26th August 1889. But even this new theatre was deemed inadequate, and in its place was built the new Queen’s Theatre. This was designed by theatre architect Frank Matcham (1854-1920). It covered 7,000 square feet with a frontage of 86 feet to Queen Street and 48 feet to Adelaide Street. There was an iron veranda fitted with coloured glass that ran the whole length of the front. It could seat almost 2,000 people, the stage was 65 feet wide by 45 feet deep, and it boasted that every person in the house had an uninterrupted view of the whole stage. There were six private boxes, bars on all five floors, and ten dressing rooms. The new theatre opened on the 3rd February 1900.
Impresario Francis Laidler (1867-1955) took over the theatre in 1913 – he also ran the Prince’s Theatre and Alhambra Theatre in Bradford, and the Theatre Royal in Leeds. He was managing director up until his death when his widow, Gwladys, took over until the theatre closed in October 1956.
The theatre was demolished in 1961 and in its place now stands the Airedale Shopping Centre multi-storey car park. Keighley Local Studies Library holds various records relating to the theatre including a scrapbook belonging to Abraham Kershaw, a box office notebook, a theatrical postcard album covering 1906 to 1929, autograph books and various photographs, programmes, and posters.
This souvenir programme was a collaboration between photographer H. Charlton of Lawkholme Crescent, and the printers Wadsworth & Co. of The Rydal Press, Russell Street. It measures approximately 255mm by 190mm and is 36 pages long. The programme was donated to the Keighley and District Local History Society by Tim Neal in 2022. A second copy was received by the History Society from an anonymous donor later in 2022. Both copies are held in the History Society's physical archive.
Symi also transliterated Syme or Simi (Greek: Σύμη) is a Greek island and municipality. It is mountainous and includes the harbor town of Symi and its adjacent upper town Ano Symi, as well as several smaller localities, beaches, and areas of significance in history and mythology. Symi is part of the Rhodes regional unit.
The shipbuilding and sponge industries were substantial on the island and, while at their peak near the end of the 19th century, the population reached 22,500.Symi's main industry is now tourism and the population has declined to 2,500
In Greek mythology, Symi is reputed to be the birthplace of the Charites and to take its name from the nymph Syme (in antiquity the island was known as Aigli and Metapontis), though Pliny the Elder and some later writers claimed that the name was derived from scimmia "a monkey". In Homer's Iliad the island is mentioned as the domain of King Nireus, who fought in the Trojan War on the side of the Greeks. Thucydides writes that during the Peloponnesian War there was a Battle of Syme near the island in January, 411 BC, in which an unspecified number of Spartan ships defeated a squadron of Athenian vessels. Little was known about the island until the 14th century, but archaeological evidence indicates that it was continuously inhabited, and ruins of citadels suggest that it was an important location. It was first part of the Roman Empire and then the Byzantine Empire, until its conquest by the Knights of St. John in 1373.
MONASTERIO DE PANORMITIS
Población, 42 habitantes.
El monasterio de Panormitis es un lugar de primer orden, no sólo en la isla, sino en el Dodecaneso y en toda Grecia, no en vano las excursiones de un día desde Rodas tienen parada aquí, al igual que algunos ferries. El monasterio está dedicado al arcángel Miguel y disfruta de una envidiable ubicación en una bahía muy protegida y rodeada de vegetación.
La fundación del monasterio se debe, según la leyenda, al descubrimiento realizado por una campesina del icono milagroso del arcángel. Lo encontró cavando la tierra y se lo llevó a su casa, situándolo en un lugar preferente. Pero al día siguiente desapareció. La muchacha volvió a hallarlo bajo la tierra, en el mismo lugar. Se lo volvió a llevar e igualmente volvió a desaparecer.
Entonces, en un sueño, el arcángel le comunicó que deseaba permanecer en el lugar donde fue hallado y así dio pie a la primera iglesia. La arqueología parece indicar que aquí hubo una primera iglesia paleocristiana, de la cual se aprovecharon algunos elementos, como las columnas, para levantar la nueva.
La fecha más antigua de la existencia del monasterio se remonta hasta el s. XV. En el s. XVII obtuvo la protección de la República Veneciana y en el s. XIX el sultán le ofreció seguridad y amparo. Sin embargo, durante la revolución por la independencia griega, el monasterio, al igual que toda la isla de Symi, apoyó el movimiento insurgente, lo que le valió la enemistad de los turcos.
En la época del dominio italiano, vivió los momentos más duros, con la represión fascista y la condena a muerte, en 1944, del abad del monasterio y dos personas más por prestar apoyo a los Aliados.
El complejo del monasterio consta de varias estructuras: iglesia, celdas, restaurante, tiendas, etc. La iglesia posee frescos de la famosa escuela de pintura sacra de Symi y un iconostasio muy elaborado, tallado en madera, de gran finura.
El icono del arcángel, el más reverenciado, es de plata y está cubierto por numerosos exvotos de peregrinos que desean su favor o dan las gracias por el mismo. El alto y precioso campanario se levantó a inicios del s. XX y es de estilo barroco, muy sobrecargado, donde destacan las líneas rojizas verticales.
El monasterio cuenta con dos museos: el Eclesiástico, con objetos litúrgicos, iconos, ropajes, etc. Y el museo Folclórico, que muestra objetos de la vida cotidiana en la isla, herramientas, aperos, etc. Entrada única de 2 €. También cuenta con un amplio patio de guijarros, con líneas blancas y negras en zigzag, un refectorio y una biblioteca con manuscritos antiguos.
Los días 8 de noviembre y de Pentecostés, se producen grandes celebraciones en el monasterio, vienen personas del Dodecaneso, del resto de Grecia y del extranjero. A los peregrinos se les ofrece comida y albergue y el lugar se llena.
Murree (Punjabi, Urdu: مری) is a hill station and summer resort and the administrative centre of Murree Tehsil, Pakistan, which is a subdivision of Rawalpindi District and includes the Murree Hills.
Murree was the summer capital of the British Raj in the Punjab Province (British India). A popular tourist destination Located in the north-west Himalayas at an average altitude of 2,291 metres (7,516 ft), the city of Murree, draped in forests of pine, and oak, experiences pleasant summers and cold, snowy winters. The city is famous for its buildings styled in tudorbethan and neo-gothic architecture dating from the colonial era.
Murree is located along the Islamabad-Murree Highway, some 58.3 km (36.2 mi) northeast of Islamabad.
Murree was developed in 1851 by the (then) President of the Punjab Administrative Board, Sir Henry Lawrence, and was originally established for the British troops garrisoned on the Afghan frontier as a sanatorium.Officially, the municipality was created in 1850.
The permanent town of Murree was constructed at Sunnybank in 1853. The church was sanctified in May 1857, and the main road, Jinnah Road, formerly known as The Mall (and still commonly referred to as), was built. The most significant commercial establishments, the Post Office, general merchants with European goods, tailors and a millinery, were established opposite the church. Until 1947, access to Jinnah Road was restricted for "natives" (non-Europeans).
Until 1876, Murree was the summer headquarters of the Punjab local government; after 1876 the headquarters were moved to Shimla.[
The railway connection with Lahore, the capital of the Punjab Province, via Rawalpindi, made Murree a popular resort for Punjab officials, and the villas and other houses erected for the accommodation of English families gave it a European aspect. The houses crowned the summit and sides of an irregular ridge, the neighbouring hills were covered during the summer with encampments of British troops, while the station itself was filled with European visitors from the plains and travellers to Kashmir.
Murree is one of the largest resort towns in the Galyat area of Pakistan, and is the municipal or regional capital of Murree Tehsil* (*general administrative subdivision), it is an administrative division of the Rawalpindi District. The town of Muree is situated on the southern slopes of the Western Himalayan foothills as they ascend northeastward, towards the bifurcated states of Kashmir. During British colonial rule in the nineteenth century, its altitude was established at 7,500 feet (2,300 m).
Murree is accessible by road from the centre of the Islamabad and Rawalpindi areas. It is still associated with Britain; many British fruits (including cherries, raspberries and strawberries) thrive locally. There is an Anglican church, built in 1857, located at the centre of the town, which is still used as a place of worship. Many houses around the church are still standing, functioning mostly as hotels. Old traditional restaurants have been replaced by fast-food shops and newer restaurants. Some famous old places of accommodation, such as the Rich Villa Inn and Gulberg Hotel, have completely disappeared. A typical hotel provides a motel-type accommodation with breakfast and communication access. Newly built hotels are also accessible
Murree houses headquarters of 12th infantry division of Pakistan Army and large number of educational and training institutions. Combined Military Hospital established to cater the needs of civilian population of Murree and adjoining areas. Pakistan Air Force also maintains base at Lower Topa. For administrative purposes the military areas of Murree are divided in two separate cantonments, Murree Cantonment and Murree Hills Cantonment.
Murree Houses residence for Punjab Governor at the Kashmir point. The imposing building was built in nineteenth century by the British. There are Punjab and Sindh Houses to cater needs of the provincial government. Similarly, there are Rest Houses for the Judges of Supreme Court and Lahore High Court. A large number of government, semi government and private departments and institutions maintain guest houses in Murree. A number of diplomatic missions based in Islamabad established their camp offices in Murree in the 1960s. The same however are seldom used now. Adjacent to Murree is the Galliat region of North West Frontier Province which includes Nathiagalli, Ayubia, Khanspur, Dunga Galli, Khairagalli and Changla Galli. Before the British rule whether part of Rawalpindi District of Muzaffarabad, Murree and Galiat have been part of same administrative unit, however in 1850 the British decided to divide them between Rawalpindi and Hazara. Howevere despite divided by provincial boundaries, Murree and Galliat are inseparable both geographically, culturally, linguistically as well as from the point of view of the tourists. Murree serves as a gateway to Galliat.
[Bhurban]] and New Murree (Patriata) have also developed as tourist centres. The whole Murree Galliat region is known for its scenic beauty. Mountains overhung with pines and oaks, bubbling with gurgling springs, crisscrossed by rivulets, dotted with sprawling lawns and orchards overloaded with fruits present a nice spectacle. A fine view of the snowy peaks of Kashmir is to be had on a clear day, and the crest of Nanga Parbat can sometimes be seen.
Bhurban, boosting with a five star Pearl Continental Hotel and a nine hole Golf course has cropped recently as another tourist attraction in the area. Lying at an altitude of 6000 ft, Bhurban is situated at a distance of 13 kilometres from Murree on one of main roads leading to Azad Kashmir. The Punjab government is said to have plans to develop New Murree city at Patriata fifteen kilometres southeast of Murree. The Punjab Tourism department constructed resorts amidst the forests on the Patriata ridge in 1987 as well as a 3 kilometre sky slope from the top of Patriata ridge to Gulara Gali (not functioning currently). Patriata is connected with Islamabad and Murree through a number of all weather roads.
Hello ladies, welcome to the third panel for Cycle Six of The Aspiring!
I would like to start by saying to any new viewers, I’m Ruby Lowe… The host & head judge.
And as you may know, I am joined with our marvellous judge; Bella Smith. She is a modelling icon & my very own best friend.
I am also joined by another one of my good friends. Rising super model, and popular social media star; Seulgi!
This cycle has some amazing prizes! The prizes include…
Cover of MOOD Magazine + 6 page spread
3 Year Contract with QX Model Management
Cover of various magazines such as:
Starr Magazine
Triad Magazine
Become a brand ambassador for Nike
Campaign with MAC
For your third shoot, you had to pose in editorials with bright backgrounds that were either fire or water.
Let’s get right into the scores!
Ada: www.flickr.com/photos/156141566@N08/49692120798/in/datepo...
Ruby: 7.5/10
Bella: 9.5/10
Seulgi: 6/10
Fan Vote: 7.6/10
Octavia: www.flickr.com/photos/156141566@N08/49692965577/in/datepo...
Ruby: 10/10
Bella: 8/10
Seulgi: 9/10
Fan Vote: 8.7/10
Noah: www.flickr.com/photos/156141566@N08/49692663021/in/datepo...
Ruby: 8.5/10
Bella: 9/10
Seulgi: 7/10
Fan Vote: 7.8/10
Lennox: www.flickr.com/photos/156141566@N08/49692120993/in/datepo...
Ruby: 8/10
Bella: 7/10
Seulgi: 4/10
Fan Vote: 8.2/10
Bebe: www.flickr.com/photos/156141566@N08/49692121358/in/datepo...
Ruby: 7.5/10
Bella: 6.5/10
Seulgi: 8.5/10
Fan Vote: 7.2/10
Ximena: www.flickr.com/photos/156141566@N08/49692965502/in/datepo...
Ruby: 8/10
Bella: 8/10
Seulgi: 8/10
Fan Vote: 7.1/10
Kya: www.flickr.com/photos/156141566@N08/49692663196/in/datepo...
Ruby: 6/10
Bella: 8.5/10
Seulgi: 3/10
Fan Vote: 5.7/10
Kiana: www.flickr.com/photos/156141566@N08/49692965972/in/datepo...
Ruby: 9/10
Bella: 9/10
Seulgi: 6.5/10
Fan Vote: 8/10
Charlie: www.flickr.com/photos/156141566@N08/49692121188/in/datepo...
Ruby: 7/10
Bella: 8.5/10
Seulgi: 5/10
Fan Vote: 7.3/10
Yuri: www.flickr.com/photos/156141566@N08/49692965432/in/datepo...
Ruby: 9/10
Bella: 8/10
Seulgi: 10/10
Fan Vote: 10/10
Casey: www.flickr.com/photos/156141566@N08/49692121268/in/datepo...
Ruby: 5/10
Bella: 6.5/10
Seulgi: 1/10
Fan Vote: 6.2/10
Nova: www.flickr.com/photos/156141566@N08/49692120853/in/datepo...
Ruby: 9.5/10
Bella: 8.5/10
Seulgi: 7.5/10
Fan Vote: 7.8/10
Leah: www.flickr.com/photos/156141566@N08/49692121033/in/datepo...
Ruby: 9/10
Bella: 8.5/10
Seulgi: 7.5/10
Fan Vote: 8.8/10
Ikki: www.flickr.com/photos/156141566@N08/49692121433/in/datepo...
Ruby: 7.5/10
Bella: 6/10
Seulgi: 6.5/10
Fan Vote: 6.8/10
We will now go and add up the scores, then will be back to reveal the girl who has the FCO.
Remember, Yuri has immunity from getting FCO last week.
………….
Top photo this week is…
1. Yuri: 37/40
Congratulations, Yuri! Second FCO in a row, keep it up!!
2. Octavia: 35.7/40
3. Leah: 33.8/40
4. Nova: 32.8/40
5. Kiana: 32.5/40
6. Noah: 32.3/40
7. Ximena: 31.1/40
8. Ada: 30.6/40
9. Bebe: 29.7/40
10. Charlie: 27.8/40
11. Lennox: 27.2/40
12. Ikki: 26.8/40
BOTTOM TWO:
KYA & CASEY
This week both of you have two of the worst scores I’ve seen in this competition in a while. Especially the girl who’s going home, whose score dips below 20. It’s unacceptable. You both gave lifeless and dull photos, and I need much better. However, the girl who gets to stay and prove that she deserves to be here is…
Kya! Congratulations, you are still in the running to become the next The Aspiring winner. You need to step it up next week.
Score: 23.2/40
Casey (Score: 18.7), your score was honestly, disgustingly low. I expect much better from all of my models, and honestly this felt like you didn’t even try. Now, you must return to the model house, pack your bags & leave. Thank you.
13 girls remain.
Who will be eliminated next?
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília (UnB), Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
Jon Magnuson, Executive Director of the nonprofit Cedar Tree Institute in Marquette, Michigan
906-2285494
magnusonx2@charter.net
EarthKeepers II (EK II) Project Coordinator Kyra Fillmore Ziomkowski explains creating 30 interfaith community gardens (2013-2014) across the Upper Peninsula of Michigan that include vegetables and native species plants that encourage and help pollinators like bees and butterflies.
The video was shot on April 5, 2013 at the Big Bay Point Lighthouse Bed and Breakfast in Big Bay, MI during a meeting of EK II representatives.
An Interfaith Energy Conservation and Community Garden Initiative Across the Upper Peninsula of Michigan to Restore Native Plants and Protect the Great Lakes from Toxins like Airborne Mercury in cooperation with the EPA Great Lakes Restoration Initiative, U.S. Forest Service, 10 faith traditions and Native American tribes such as Keweenaw Bay Indian Community
10 faiths: Roman Catholic" "Episcopal" "Jewish" "Lutheran" "Presbyterian" "United Methodist" "Bahá'í" "Unitarian Universalist" "American Friends" "Quaker" "Zen Buddhist" "
EK II website
Nonprofit Cedar Tree Institute
Marquette, MI
Great Lakes Restoration Initiative
Deborah Lamberty
Program Analyst
U.S. Environmental Protection Agency
Great Lakes National Program Office
Chicago, IL
Lamberty.Deborah@epa.gov
312-886-6681
Pastor Albert Valentine II
Manistique, MI
Manistique Presbyterian Church of the Redeemer
Gould City Community Presbyterian Church
Presbytery of Mackinac
Rev. Christine Bergquist
Bark River United Methodist Church
First UMC of Hermansville
United Methodist Church Marquette District
Rev. Elisabeth Zant
Eden Evangelical Lutheran Church
Munising, MI
Evangelical Lutheran Church in America (ELCA) Northern Great Lakes Synod
Heidi Gould
Marquette, MI
Marquette Unitarian Universalist Congregation
Rev. Pete Andersen
Marquette, MI
ELCA
Helen Grossman
Temple Beth Sholom
Jewish Synagogue
Rev. Stephen Gauger
Calvary Lutheran Church
Rapid River, MI
ELCA
Jan Schultz, Botanist
U.S. Forest Service (USFS)
Eastern Region 9
EK II Technical Advisor for Community Gardens
Milwaukee, WI
USFS
www.fs.fed.us/wildflowers/nativegardening
Pollinator photos by Nancy Parker Hill
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
Messiah Lutheran Church
Evangelical Lutheran Church in America
Marquette, Michigan
Rev. David Van Kley, Senior Pastor
Rev. Amanda Kossow, Associate Pastor
NMU EK II Student Team
Katelin Bingner
Tom Merkel
Adam Magnuson
EK II social sites
www.youtube.com/EarthKeepersII
www.facebook.com/EarthKeepersII
www.twitter.com/EarthKeeperTeam
pinterest.com/EarthKeepersII/Great-Lakes-Restoration-Init...
pinterest.com/EarthKeepersII/EarthKeepers-II-and-the-EPA-...
Lake Superior Zendo
Zen Buddhist Temple
Marquette, Michigan
Rev. Tesshin Paul Lehmberg
906 226-6407
plehmber@nmu.edu
Dr. Michael Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
Helen Grossman, representing Jewish Temple Beth Sholom in Ishpeming, MI
906-475-4009 (hm)
906-475-4127 (wk)
www.templebethsholom-ishpeming.org
www.templebethsholom-ishpeming.org/tikkun
www.templebethsholom-ishpeming.org/aboutus
Wild Rice: 8 videos
www.learningfromtheearth.org/video-interviews/wild-rice-m...
Birch – 2 videos
www.learningfromtheearth.org/video-interviews/paper-birch...
Photos (click on each name or topic to see the respective photo galleries):
www.learningfromtheearth.org/photo-gallery
www.picasaweb.google.com/Yoopernewsman/JonReport?authuser...
www.picasaweb.google.com/100329402090002004302/JonReport?...
“Albert Einstein speculated once that if bees disappeared off the surface of the earth, then humans would have only four years of life left.”
the late Todd Warner, KBIC Natural Resource Director
Links:
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
www.cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-pr...
www.cedartreeinstitute.org/2009/01/wings-seeds-the-zaagki...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay www.indiancountrytodaymedianetwork.com/ictarchives/2008/0...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
www.webb.nmu.edu/Centers/NativeAmericanStudies/SiteSectio...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
www.mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
www.nativetimes.com/index.php?option=com_content&view...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
www.gather.com/viewArticle.action?articleId=281474978040745
2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
www.flickr.com/photos/zaagkiiproject
www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
Zaagkii on word press:
www.zaagkiiproject.wordpress.com
Zaagkii on Blogger:
www.zaagkiiproject.blogspot.com
Zaagkii on Photobucket:
www.photobucket.com/ZaagkiiProjectWingsSeeds
www.photobucket.com/ZaagkiiProjectWingsSeeds/?start=all
Zaagkii Wings and Seeds Project website:
Cedar Tree Institute: Zaagkii Project
cedartreeinstitute.org/2010/07/wings-seeds-zaagkii-project
cedartreeinstitute.org/2009/01/wings-seeds-the-zaagkii-pr...
Zaagkii Project Videos on youtube (also uploaded to dozens of internet sites):
KBIC Pollinator Preservation
indiancountrytodaymedianetwork.com/ictarchives/2008/08/15...
Zaagkii Project Indigenous Plants Help Give New Face to Sand Point on Keweenaw Bay indiancountrytodaymedianetwork.com/ictarchives/2008/09/03...
Zaagkii Project 2010: U.S. Forest Service & Keweenaw Bay Indian Community Native Plants Greenhouse
www.youtube.com/watch?v=Hoq5xXHDF4E
United States Forest Service sponsored Zaagkii Project featured on Pollinator Live
www.youtube.com/watch?v=8P3DPfxx7Jw
2009 Zaagkii Project Vid #9: Teens Painting Mason Bee Houses in Northern Michigan
www.youtube.com/watch?v=QIIV6jrlT20
2009 Zaagkii Project Vid #8: Marquette, Michigan Teens Build Mason Bee Houses
www.youtube.com/watch?v=c3MBfV7ION8
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service
www.youtube.com/watch?v=hGQScEI9x7Q
2009 Zaagkii Project Vid #6: "The Butterfly Lady" Susan Payant teaches teens about Monarchs
www.youtube.com/watch?v=JlIgsuTFSuM
2009 Zaagkii Project Vid #5: Terracotta half-life, Marquette, MI band supports environment projects
www.youtube.com/watch?v=JqlFCHwW30o
2009 Zaagkii Video #4: Michigan teens meet 150,000 swarming honeybees with beekeeper Jim Hayward
www.youtube.com/watch?v=U2B4MEzM7w4
2009 Zaagkii Video #3: Michigan teens give away mason bee houses, honor supporters
www.youtube.com/watch?v=dqfWeEgDxTY
2009 Zaagkii Project #2: Historic KBIC native plants greenhouse, USFS protects pollinators
www.youtube.com/watch?v=vg8H5nhvzzc
2009 Zaagkii Project #1: Students make bee houses, plant native species plants
www.youtube.com/watch?v=E8jqJAQyXwE
Zaagkii Project Butterfly Houses: Keweenaw Bay Indian Community, U.S. Forest Service:
www.youtube.com/watch?v=hGQScEI9x7Q
Zaagkii Wings & Seeds Project: Northern Michigan teens, KBIC tribal youth protect pollinators
www.youtube.com/watch?v=VoPJOXHt7pI
Zaagkii Project – Northern Michigan University:
webb.nmu.edu/Centers/NativeAmericanStudies/SiteSections/A...
Native Village stories: Beautiful Layout by Owner Gina Boltz:
Zaagkii Wings and Seeds Project: A Project by Ojibwe Students from the Keweenah Bay Indian Community
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
NMU Students Join Pollinator Protection Initiative
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
KBIC Tribal youth protect pollinators
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
Teens Help with Sweet Nature Project
www.nativevillage.org/Messages%20from%20the%20People/KBIC...
USFS Success Stories:
Restoring Native Plants on the Enchanted Island
www.fs.fed.us/r9/ssrs/story?id=6274
Keweenaw Bay Indian Community Native Plant Greenhouse & Workshop
www.fs.fed.us/r9/ssrs/story?id=5499
Intertribal Nursery Council Annual Meeting a Success
www.fs.fed.us/r9/ssrs/story?id=6276
New Greenhouse for KBIC Restoration
www.fs.fed.us/r9/ssrs/story?id=5336
Zaagkii Wings & Seeds - An Update
www.fs.fed.us/r9/ssrs/story?id=5076
Zaagkii Wings & Seeds Project
www.fs.fed.us/r9/ssrs/story?id=4025
News Stories:
U.P. teens build butterfly houses, grow 26,000 indigenous plants
www.miningjournal.net/page/content.detail/id/519835.html?...
Effort to protect pollinators launched
www.miningjournal.net/page/content.detail/id/512810.html
Marquette Monthly (Sept. 2009):
mmnow.com/mm_archive_folder/09/0909/feature.html
As bees die, Keweena Bay Indian Community adults, teens actively protect pollinators
nativetimes.com/index.php?option=com_content&view=art...
Michigan Teens Build Butterfly Houses and Plant 26,000 Native Plants through the Zaagkii Wings and Seeds Project
www.treehugger.com/culture/michigan-teens-build-butterfly...
Examples of numerous Gather.com articles with lots of photos/videos:
Zaagkii Wings and Seeds Project: Northern Michigan teens and KBIC tribal youth are protecting pollinators by building butterfly houses and planting native plants
www.gather.com/viewArticle.action?articleId=281474977550233
Zaagkii Wings & Seeds Project: Protecting Pollinators
www.gather.com/viewArticle.action?articleId=281474977428640
2009 Zaagkii Project #2: Keweenaw Bay Indian Community in 2010 to build first Native American native species plants greenhouse on tribal property in U.S.
www.gather.com/viewArticle.action?articleId=281474978040745
2009 Zaagkii Project #1: Northern Michigan Teens Protect Pollinators with U.S. Forest Service, Keweenaw Bay Indian Community, NMU Center for Native American Studies: Build mason bee houses, butterfly houses, distribute thousands of native species plants
www.gather.com/viewArticle.action?articleId=281474978040729
Zaagkii Project Internet sites – blogs, photos, videos etc.:
ZaagkiiProject on flickr
www.flickr.com/photos/zaagkiiproject
www.flickr.com/people/zaagkiiproject
Zaagkii on youtube:
Zaagkii on bliptv:
Zaagkii on word press:
Zaagkii on Blogger:
Zaagkii on Photobucket: