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Ravenswood, a former gold mining town, is 100 km south of Townsville. The name has been attributed to the character Lord Ravenswood in Sir Walter Scott's novel, The Bride of Lammermoor (1819).
In the mid-1860s the port towns of Bowen and Townsville were seeking inland development to provide trade through their ports. Townsville offered a reward for mineral discoveries, it being calculated that mining towns promoted inflows of freight and outflows of ore or treated metal. The government geologist confirmed a gold find at Cape River, south-west of Charters Towers (not then in existence) in 1866.
Miners prospected several of the streams in Townsville's hinterland, and in 1869 payable gold was found in some gullies on the Ravenswood pastoral run. A rush began and a town developed on Elphinstone Creek, taking the name of the pastoral run. Good alluvial gold was followed by discovery of several reefs, and a five-head battery for quartz crushing was installed in 1870. The Bank of New South Wales opened it doors, the Ravenswood Miner newspaper appeared and tents were replaced by buildings before the end of the year. A court house, important for resolving mining disputes, opened in 1871 and a government school in 1873. By then, however, the richer Charters Towers field drew some of the miners away, and the fine gold embedded in the crushed quartz and mingled with iron disulphide proved costly to extract.
Ravenswood had steady but not spectacular growth treating the refractory gold ore. An economic boost came with the mining of silver nearby, which in 1882 led to approval of a railway line to Ravenswood, branching from the Townsville-Charters Towers line. The line opened in 1884, carrying freight, passengers, firewood (for smelters) and minerals. The Ravenswood local government division of 1380 sq miles formed in 1879, along with a hospital, school of arts, and a Catholic church rebuilt in the 1880s. A convent school opened in 1885 next to St Patrick's Church (now the community church), and continued until 1948.
The treatment of gold-bearing ore continued to frustrate the industry, but in 1898 a Charters Towers entrepreneur, Archibald Wilson (1852-1935) obtained British finance for a fresh approach. His New Ravenswood Limited's cyaniding successfully extracted gold from both crushed ore and tailings, and the company struck upon some rich new quartz veins. A new beginning for Ravenswood prompted the rebuilding of mine structures, along with several grand commercial buildings which now constitute the Ravenswood heritage site. The smelter boilers consumed vast amounts of local vegetation, and their place was taken by exotic species, notably the rubber vine and the Chinese apple tree. Goats consumed groundcover plants.
Prosperity continued for more than ten years. Declining quality of the ores, a labour dispute in 1912 and increased labour costs during World War I led to the collapse of New Ravenswood in 1917. The population fell by over two thirds between 1911 and 1921.
Alluvial gold amounted to about 200,000 ounces, mostly during the first ten years and the total for the period 1868 to 1948 was 899,681 ounces.
Ravenswood's surviving 1900s architecture is unfettered by later revamps. Losses of buildings occurred through abandonment and removals to new settlements. The court house, moved to Mount Ravenswood station, was returned and re-erected. Surviving buildings include the Railway and Imperial Hotels (1901-02), the ambulance depot (1904), the primary school (1870) which is still used, and the school of arts library. Neither the shire offices nor the railway station survive, their functions having ceased in 1929 and 1930. Mining revived briefly in the 1930s Depression, but by the 1960s Ravenswood's population had fallen to 100. Its heritage values have proved to be its most valuable asset: tourists regularly detour there when motoring between Townsville and Charters Towers.
Ravenswood has two hotels, a post office/general store, a golf club, a primary school, a museum in the court house and a restoration and preservation society. The town site is a heritage area under the Australian heritage register and there are 14 sites on the Queensland heritage register. The Imperial and the Railway Hotels (1901) are grand structures, and the former court house (1882) and the Community Church (1871) are authentically vernacular.
Source: queenslandplaces.com.au/ravenswood
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1990 heralded a new decade with momentous change and significant events unfolding internationally and at home in Queensland. German reunification was achieved following the ‘fall’ of the Berlin Wall in November 1989. The Baltic states of Lithuania, Latvia and Estonia in turn declared their independence from the Soviet Union. Nelson Mandela was released after 27 years of imprisonment in South Africa, and Margaret Thatcher resigned as Prime Minister of the United Kingdom after more than 11 years in office. British computer scientist Tim Berners-Lee created the first web server and web browser, and the Hubble Space Telescope was launched from the space shuttle ‘Discovery’.
The Australian Labor Party’s federal election campaign was launched in Brisbane in early March before Prime Minister Bob Hawke’s government was returned later that month for a historic fourth term. Andrew Peacock resigned the leadership of the federal Liberal Party after the election defeat and was replaced by Dr John Hewson. Earlier in March, the Aboriginal and Torres Strait Islander Commission (ATSIC) was founded. The inaugural Cape York Aboriginal Land Conference took place at Lockhart River in September, leading to the formation of the Cape York Land Council.
The nation’s first women Premiers were sworn into office this year, firstly Western Australia’s Carmen Lawrence in February followed by Victoria’s Joan Kirner in August. On the day of Kirner’s swearing in, the Hawke government announced Australia would join the international naval blockade of Iraq in the Persian Gulf. A specially convened ALP national conference in September endorsed the privatisation of Qantas and other assets, ahead of deregulation of the domestic aviation market in November. Near that month’s end, Treasurer Paul Keating declared Australia was enduring “the recession we had to have”.
The 1990s was a decade of transformation as infrastructure connected the state, the Internet changed how we worked and Agro was a prime-time star. These photographic highlights come from a collection of thousands of images captured by Transport and Main Roads, documenting the plans, programs and growth of Queensland throughout the decade.
Find this series in our catalogue: www.archivessearch.qld.gov.au/series/S20086
The Transport and Main Roads Visual Resource Library collection contains over 200.000 photographs and other resources from the 1920’s to 2005 from the many and varied road, transport and maritime departments over that time. It is mostly the work of the Photographic Branch and Graphic Reproduction Services Unit between the 1930s and the 1990s. Photographers Les Dixon, Bob Reid, Ian Williams, Murray Waite and Ray Burgress recorded works and events of the Department.
Subjects covered include road construction projects, environmental science, road fittings, public transport and road users, people at work, community engagement, official openings, sod turnings, new structures (bridges, dams and Queensland University), awards, department initiatives, safety campaigns, exhibitions and displays.
This is a photograph from the Castlepollard 5KM Road Race and Fun Run 2014 which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 13th August 2014 at 20:00. The race is hosted by North Westmeath Athletic Club. The race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands. The race offers prizes in all categories. Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games.
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
The Castlepollard 5KM can be considered as the final major race in summer road racing in the midlands as with the fading light of the late summer comes less opportunities to hold races in the evening time. Castlepollard is a small town located in North County Westmeath amongst the lakes of Lough Lene and Lough Derravagh. One of the enduring symbols of the Castlepollard 5KM is the tireless work of Andy MacEoin of North Westmeath AC who has been a visitor to almost every road race in the Midlands and beyond over the past number of months to publicize the event. Many of the participants tonight will have seen Andy's strategically placed advertising signs around other road race routes. Certainly this work, and that of many other members of North Westmeath AC, has paid off well.
The race begins near the center of the town square and proceeds directly out the R395 towards Coole and Edgeworthstown. The first KM is flat and quick allowing the field to spread out. The race then enters the Tullynally Castle estate and proceeds up the tree-lined avenue. The gardens, like the castle are on a grand scale, taking in nearly 12 acres. This allows the race to make a big loop of the gardens with a quick downhill stretch followed by a sharp climb before the race rejoins it's outgoing path for the final 1.5KM of the race. The final 1100M from the gate of the Castle grounds to the finish is as the first - fast and flat and allows for a great finish passing the GAA grounds with finish line just outside the local Fire Station.
One of the show pieces of the race landscape is Tullynally Castle. The name Tullynally is an adaption of 'Tulaigh an Eallaigh' – the Hill of the Swan. The hill overlooks Lough Derravaragh, the legendary lake of the Children of Lir who were turned into swans. Tullynally Castle is still a family home to this day. Details of visitor times and other information is available on the links below.
This year over 450 participants took part in the race. This represented another great attendance. Last year's Castlepollard 5KM set the bar very high for future races with a record participation of just under 470 on the night. The race in 2013 showed an increase of over 100 participants from the previous record of 366 set at the 2012 event. It goes without saying that the Castlepollard 5KM has become one of the "must do" road race events in the midlands. Everything that is good about club road racing in Ireland can be found here.
We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/14714159280/ - They were taken at the start and finish of the event.
2014 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=2115
2013 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=1444
2012 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=960
Our Flickr Photographs from Castlepollard 5KM 2013: www.flickr.com/photos/peterm7/sets/72157645912529346/
Our Flickr Photographs from Castlepollard 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627404031092/
Our Flickr Photographs from Castlepollard 5KM 2010: www.flickr.com/photos/peterm7/sets/72157624655001130/
Our Flickr Photographs from Castlepollard 5KM 2009: www.flickr.com/photos/peterm7/sets/72157622023529006/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
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.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want 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.
We use Creative Commons Licensing for these photographs
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. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
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/
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
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House GOP Offers Better Health Care Solutions: healthcare.gop.gov
The American people have spoken. Speaker Pelosi and House Democrats have ignored them. Through the month of August, the American people let Members of Congress from both parties know that they didn’t want a government takeover of health care. That hasn’t changed.
But instead of listening to the American people, Democrats hid behind closed doors and came back with a bill designed to appease the liberal special interests. Three things about Speaker Pelosi’s health care bill are already clear: it will raise the cost of Americans’ health insurance premiums; it will kill jobs with tax hikes and new mandates; and it will cut seniors’ Medicare benefits. The fact that it weighs in at nearly 2,000 pages – more than 620 pages longer than the government takeover of health care Hillary Clinton proposed in 1993 – is as good an indication as any of just how costly and unsustainable Speaker Pelosi’s proposal is.
ECOSISTEMAS Services is the only owner-operated
and supervised specialist arboricultural company
serving the whole of the Algarve .
With over 20 years experience in the tree care
industry, we are able to offer a wide range of
arboricultural services.
From simple pruning jobs to major crown reduction
and felling work through to stump grinding, we are
fully equipped with professional machinery and
qualified, experienced staff in order to provide you
or your clients with a quality service.
.
Telephone or e-mail for a consultancy to examine the best proposals and ideas for the treatment of your trees. ecossistemas é a única firma especializada em Arboricultura dirigida e operada pelo próprio dono na região do Algarve.
Com mais de 20 anos de experiência na indústria de cuidados de árvores, podemos oferecer uma larga gama de serviços em arboriculturas.
Da poda simples, redução extensiva da coroa, cortagem, e até trituração de resíduos verdes, estamos bem equipados com maquinaria profissional, pessoal qualificados e experiente para oferecer ao Sr. ou aos seus clientes um serviço de qualidade.
Telefone ou escreva um e-mail para uma visita de consulta sem compromisso para examinar as melhores propostas ou ideias no tratamento das suas árvores.
arvores .centro de Jardinagem,projectos de jardins ,arqitectura paisagistica algarve ,garden centre algarve Inspection
We can advise how best to care
for your trees, determining what
is necessary to maintain or improve
the health, appearance and safety.
We issue fixed-price quotations,
not estimates, for any required work.
Brushwood Chipper Service
All prunings are cleared using
heavy-duty wood chippers in order
that the work areas are left in a neat and tidy condition.
These machines, with an operator are
available for hire at an hourly r
Felling and Dismantling
If it is necessary or desirable to remove
a tree, we have the equipment and expertise to dismantle it safely. We specialise in the removal of trees from awkward areas such
as adjacent to swimming pools and buildings or when they are in close proximity to overhead cables.
Abates e Desmontagens
Stump Grinding
After felling, our clients can choose to have
the tree stump removed by us using
professional stump grinding machinery.
Or if you have unsightly stumps from
previously felled trees, we can grind
them out and reinstate your lawn.
Remoção dos Tocos
Specialist Pruning including Fruit Trees
With over 20 years experience, we have
the expertise and equipment to carry out
all aspects of tree pruning, particularly where technical knowledge is required in order to maximise crop production or improve the health and appearance.
Poda Especializado
Tree-Pest Treatment ,Control Diseases especialized team for control and detection of diseases or plague, which can be detected in every kind of plants in your garden.
If you need further information, contact us! (Rhynchophorus Ferrugineus)Pine Trees Caterpillar
The annual infestation of Pine Trees (Pinus Pinea) by the processionary caterpillar begins to take effect in the end of summer.
This pest, which is found mainly in Mediterranean and Atlantic regions, causes extreme damage to the pine trees and also worrying skin irritations on humans and animals.
ECOSSISTEMAS has devised a biological product composed of bacteria, “Bacillus Thuringiensis”, which has no toxicity to people and the environment.
It is advisable that this treatment is initiated in the autumn to prevent the caterpillar from hatching in January and causing maximum damage.
If you are interested in treating your pine trees then please do not hesitate to contact us.Red Palm Weevil
A phyto-sanitary team from ECOVIVEIROS Garden Centre, was called out after concerns from a worried client that their majestic palm tree (a Phoenix Canariensis, 8mtrs tall), was showing extreme signs of wilting and distress. On examination, it was discovered to be slowly dying due to an infestation of Red Palm Weevil (Rhynchophorus Ferrugineus), an extremely preoccupying situation, as this shows that this pest which originated in India in 1891, and has over the last two centuries, been found in Egypt, Arabian Gulf countries, Spain (2004) has now arrived to Portugal, most notably, Albufeira and Silves area in the Algarve.
The Red Palm Weevil is the most dangerous and deadly pest of Date, Coconut, Oil, Sago and other Palms. There is no cure, only prevention.
Until the 1970´s, the pest was found only in the tropics.
Since then it has destroyed the following:
1984 - Arabian Emirates – 200,000 palms
1987 - Saudi Arabia – 200,000 palms
1993 - Egypt – 270,000 palms
1995 - Malaga – 2000 palms
2004 - Valencia – 220 palms
This is an extremely worrying situation, as a large proportion of this insect arriving to the European continent is due to the importation of palm trees from Egypt, where 22 out of 26 regions of the country are affected by the red palm weevil. In Spain, in 2004, an embargo was declared, prohibiting the sale of Valencian palm trees, which is the capital of Palm tree production in Europe.
The transport of palms from already infected areas has contributed to the spread of this pest. Strict quarantine at international and national levels should be applied.
The weevil, of which in adult stage can be recognised by its very reddish, orange colour, commences flight when temperatures reach between 25º - 40º. It dislikes light, therefore it is difficult to detect, as it buries itself into the interior of the palm tree, where the female then lays between 200 – 300 eggs, which are the size of a grain of rice.
All stages (life cycle) are spent inside the palm. After the female lays the eggs, they hatch in 2-5 days into larvae (1.4cms in length), which then feed on the soft interior tissues of the palm. This larval period varies between 1-3 months, where the larvae then pupate inside an oval, cylindrical cocoon, made from fibrous strands, and dark brown in colour. After about 14 – 21 days, the adult weevil emerges.
There is no effective biological cure for this pest. The best method is preventative. The crowns of palm trees should be cleaned regularly, to prevent the accumulation of dead and decaying leaves. Avoid cuts and injuries to the palm. When cutting green leaves, cut them about 120cm away from the base. All dead palms or palms beyond recovery should be cut and burned to eradicate the pest inside.
The weevils can also be trapped by luring them into a trap bucket called a “Saudi Trap.” This is a 15lt bucket with sturdy walls with a 4cm diameter opening which contains a 5cm solution of water, sugar and a carbolic based insecticide and pieces of palm stem. This is then fixed to the trunk of the palm about 1.5m from the base. This pest is extremely difficult to detect without a thorough examination of the tree. We can be alerted to its presence by a sad, wilting appearance of the palm and new leaves showing a reddish colour.
have a team on hand to deal with all enquiries, and have already alerted the Ministry of Agriculture, where they are working in close conjunction to devise a plan on the controlling of this pest.
during the Summer of 1991. It is currently being renewed and modernized to keep up with an expanding and competitive market. produces most of the plants for sale in its garden center. Other than ornamental shrubs, ornamental trees, a wide variety of fruit trees, annuals, indoor plants, cacti, tropical plants, palm trees, rosebushes, seasonal plants, climbers and others, we also market compost for pots and garden, pine bark, peats and organic as well as specific chemical fertilizers, plastic, glazed and terracota pots.este viveiro passou a fazer parte da durante o Verão de 1991. Neste momento está a ser renovado e modernizado para poder dar resposta a um mercado competitivo e em expansão. produz a maior parte das plantas à venda no seu garden center. Para além de arbustos e árvores ornamentais, uma grande variedade de árvores de fruto, anuais, plantas de interior, cactos, plantas tropicais, palmeiras, roseiras, plantas de época, trepadeiras e outras, também comercializamos composto para vasos e jardim, casca de pinheiro, turfas, fertilizantes químicos e naturais, e vasos de terracota e plástico.
SCHEDULEHORÁRIO
Monday to Friday: Open from 8am to 1pm and from 2pm to 6pm. Closed on Saturdays, Sundays and Holidays. Segunda a Sexta: Aberto das 8h00 às 13h00 e das 14h00 às 18h00. Encerrado Sábado, Domingo e Feriados.
Ecossistemas leads the market in garden maintenance and garden services. Skilled gardeners with all the the necessary tools for professional work offer you a wide range of services always with outstanding results. Our regular garden maintenance costumers benefit from a weekly gardening service on a fixed schedule - every week the job gets done on the same day at the same time. Other casual garden services can be scheduled in advance. A ecossistemas lidera o mercado em manutenção de jardim e serviços de jardinagem. Jardineiros profissionais munidos com todas a ferramentas necessárias oferecem-lhe um vasto leque de serviços sempre com os melhores resultados. Os nossos clientes habituais beneficiam de uma manutenção de jardim semanal num horário fixo - todas as semanas os serviços são prestados no mesmo dia à mesma hora. Outros serviços de jardinagem casuais podem ser marcados com antecedência.
SOME OF OUR SERVICES INCLUDE:ALGUNS DOS NOSSOS SERVIÇOS INCLUEM:
•Palm tree treatment against Rhynchophorus ferrugineus (Red Palm Weevil)
•Pine tree treatment against Thaumetopoea pityocampa (Pine Processionary)
•Lawn treatment against Spodoptera cilium (Lawn Caterpillar) and other lawn pests/diseases
•Lawn verticut
•Pruning or removal of big trees or palm trees
•Irrigation system revision
arvores .centro de jardinagem, projectos de jardins
arqitectura paisagistica algarve ,garden centre algarve
•Tratamento de palmeiras contra Rhynchophorus ferrugineus (Escaravelho da Palmeira)
•Tratamento de pinheiros contra Thaumetopoea pityocampa (Processionária do Pinheiro)
•Tratamento de relvados contra Spodoptera cilium (Lagarta da Relva) e outras pragas/doenças
•Escarificação de relvados
•Poda ou remoção de árvores ou palmeiras de grandes dimensões
•Revisão de sistemas de rega
,ECOSSISTEMAS e oLIVEIRAS DE PORTUGAL COM A ECOVIVEIROOS pela sua actividade. O proprietário dos conhecidos viveiros ECOSSISTEMAS tem vindo a ganhar crescente notoriedade, por força do seu profissionalismo e pela forma apaixonada como defende as suas causas..E a mais importante de todas é, sem dúvida, a preservação das oliveiras portuguesas, consideradas por OLIVEIRAS DE PORTUGAL como uma das “espécies mais fantásticas da paisagem mediterrânica”. Lamenta que esta árvore não esteja protegida pela legislação nacional e seja, hoje em dia, preterida nos jardins portugueses por palmeiras ou buganvílias, estranhas ao nosso ambiente natural e que necessitam, inclusive, de mais manutenção e grandes quantidades de água.E a que se deve este desencanto por uma das árvores seculares da nossaflora. ECOSSISTMAS aponta, por um lado, a mentalidade das pessoas, rendidas às espécies exóticas, e por outro o desleixo com que as árvores autóctones – de que as oliveiras fazem parte - são tratadas. O trabalho é mal feito desde o início, a árvore não é bem trabalhada”, observa. “Há muitos particulares que desistem de comprar oliveiras,porque as vêm sem qualidade plantadas pelas câmaras municipais em rotundas. São árvores muito feias, porque foram mal podadas, e isso influencia negativamente as pessoas”. Admite que as contenções orçamentais acabem porcondicionar a compra de árvores mais bem cuidadas por parte das autarquias, mas aponta as vantagens desta espécie. Não precisa de água, é muito resistente e até dá frutos.,Designing a garden with ECOSSITEMAS means introducing the concepts of good garden planning to achieve the most practical and aesthetically pleasing results, taking account of the natural environment and eliminating unnecessary water consumption wherever possible.After first contact with Natura and a visit to the garden or site, a plan is prepared to show how the transformation, whether big or small, will be carried out. Using hand sketched layouts and computer
generated plans for every element - such as irrigation, lighting, levelling, planting and unusual features - our multi-lingual staff can explain the works required and agree the desired final effect with the client.An estimate is prepared detailing every plant that will be introduced; the cost of saving and transplanting certain plants where required, and the cost of labour, machinery and extra materials. To present ideas and estimates, a nominal fee is made for complex projects requiring detailed architectural expertise from our in-house designers. For smaller projects, our qualified gardeners can provide free preliminary quotes.A typical project would include the following stages
,Plantas ornamentais e florestais. Árvores de fruto projectos, construção e manutenção de jardins,Projectos e instalação de sistemas de rega ,Calçada, Carvão e lenha, Lagos e cascatas, Materiais de construção, Muros, Pedra decorativa, Relva em tapete ,Serviços, Abate de árvores, Camiões, Escavações, Terraplanagem,Limpeza de terrenos. Terraplanagem e escavações. Aluguer de máquinas. Camiões. Construção civil. Materiais de construção,Pavimentos. Calçada. Pedra regional. Pedra rolada. Lage,Muros. Carvão. Cascas de pinho. Tratamento de palmeiras. ,Limpeza e abate de árvores. Sulipas,Terra,Limpeza de terrenos, terraplanagem e escavações,Aluguer de maquinas,Construção e renovação de jardins,Construção de lagos e cascatas,Construção de muros,Construção Civil,Venda de pedras decorativas,regionais,roladas e lage,de jardim,ECOSSISTEMAS é uma empresa capaz de responder com eficácia a qualquer necessidade no âmbito da construção e manutenção de jardins e espaços verdes. A ECOSSISTEMAS trabalha com um conjunto de fornecedores de materiais para construção de Jardins. Esta empresa não funciona apenas como empreiteira de jardins, mas como consultora de todo o tipo de espaços verdes. Fazemos a Plantas ornamentais e florestais. Árvores de fruto projectos, construção e manutenção de jardins,Projectos e instalação de sistemas de rega ,Calçada, Carvão e lenha, Lagos e cascatas, Materiais de construção, Muros, Pedra decorativa, Relva em tapete ,Serviços, Abate de árvores, Camiões, Escavações, Terraplanagem,Limpeza de terrenos. Terraplanagem e escavações. Aluguer de máquinas. Camiões. Construção civil. Materiais de construção,Pavimentos. Calçada. Pedra regional. Pedra rolada. Lage,Muros. Carvão. Cascas de pinho. Tratamento de palmeiras. ,Limpeza e abate de árvores. Sulipas,Terra,Limpeza de terrenos, terraplanagem e escavações,Aluguer de maquinas,Construção e renovação de jardins,Construção de lagos e cascatas,Construção de muros,Construção Civil,Venda de pedras decorativas,regionais,roladas e lage,de jardim
U.S Army Medical Research Unit: Improving malaria diagnosis in Africa, one lab at a time
By Rick Scavetta, U.S. Army Africa
OYUGIS, Kenya – Inside Rachuonyo district hospital, Simba Mobagi peers through his laboratory’s only microscope at a sick woman’s blood sample.
The 33-year-old laboratory technologist’s goal – rapidly identifying malaria parasites.
Dozens more samples await his eyes. Each represents a patient suffering outside on wooden benches.
Mogabi takes little time to ponder his workload. He quickly finds malaria parasites, marks his findings on a pink patient record and moves to the next slide. Much to his surprise, a U.S. Army officer arrives, removes his black beret and sets down a large box.
Inside Maj. Eric Wagar’s box is a new microscope – a small gesture within U.S. Army Medical Research Unit-Kenya’s larger efforts to improve malaria diagnostics in Africa.
For more than 40 years, USAMRU-K – known locally as the Walter Reed Project – has studied diseases in East Africa through a partnership with the Kenya Medical Research Institute.
Wagar heads USAMRU-K’s Malaria Diagnostics and Control Center of Excellence in Kisumu, a unique establishment begun in 2004 that’s since trained more than 650 laboratory specialist to better their malaria microscopy skills.
“Working with the Walter Reed Project is so good for the community, as it benefits the patient,” Mobagi said, who is looking forward to attending the center’s malaria diagnostics course. “Plus, having a new microscope improves our work environment. Work will be easier and we will have better outcomes.”
Back in Kisumu, wall maps mark the center’s success, with hundreds of trained lab technicians from more than a dozen countries across the African continent. International students have come from Ireland, the U.S. and Thailand.
Many students are sponsored through U.S. government aid programs aimed at reducing disease in Africa or by nongovernmental organizations. Most of the center’s $450,000 annual budget comes from the U.S. President’s Malaria Initiative. Other funding is from the U.S. Defense Department, NGOs and pharmaceutical companies.
For students to practice malaria identification, five Kenyan lab technicians work tirelessly to create a variety of blood specimens. Slides may show one or more of malaria’s several species – others are free of parasites. The majority of malaria cases are the falciparum species, but many people are co-infected with other species and it’s important for students to recognize that, Wagar said.
“At our course, lab students learn skills and habits that increase their ability to accurately detect malaria on blood slides. Yet, when they return to their local laboratories, they face the challenge of changing habits and procedures,” Wagar said. “Changing behavior is hard to do.”
In late-April, Wagar accompanied Jew Ochola, 28, the center’s daily operations manager to Oyugis, the district center of Rachuonyo that lies roughly 30 miles south of Kisumu in Kenya’s Nyanza province.
“First I do an assessment of the hospital’s lab, what procedures they have, the number of people on staff and the equipment they use,” Ochola said. “By partnering with laboratory managers, we hope to increase standards and improve efficient and effective diagnosis.
The goal is to lessen the burden of malaria on the local people.”
To mark progress, lab staffs must collect 20 slides each month that show properly handled blood samples. Monthly visits will mark performance improvement.
Through quality malaria diagnosis, USAMRU-K is part of a larger public health effort to reduce malaria’s impacts on Kenyan’s lives. Illness means paying for treatment and less wages earned, creating an impact on the economy.
“By mitigating a public health burden, people should have more time to grow food and have money for things other than medical care,” Wagar said. “We can’t expect to see change right away, but hopefully things will be a little bit better every month.”
Working with the Djibouti-based Combined Joint Task Force - Horn of Africa and other DoD agencies, the center recently offered microscopy courses through U.S. military partnership events in Ghana, Nigeria and Tanzania. The effort supports U.S. Army Africa’s strategic engagement goal of increasing capabilities and strengthening capacity with the militaries of African nations, Wagar said.
“To date, that includes eight Kenyan military lab techs, 17 from the Tanzania People’s Defense Force and 30 Nigerians,” Wagar said.
Accurate diagnosis is also a key factor for military readiness, Wagar said. For example, a Kenyan soldier stationed in Nairobi – where malaria is less prevalent – is susceptible to the disease if posted elsewhere in the country.
“Improving malaria diagnosis within African military laboratories sets conditions for healthier troops,” Wagar said. “When forces are healthy, they are more capable to support their government and regional security.”
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
Official YouTube video channel: www.youtube.com/usarmyafrica
Catrike, Premium in Every Detail. This is our new mirror and computer mount, standard and pre installed on every 2013 Catrike shipping. With a higher, forward and wider position, the mirror provides a much broader visual angle. A right side version is available as an after market option to our customers in UK as well as anyone interested in having a second mirror.
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Photo: The new 2013 Catrike Road, same incredible see thru bridge CNC yoke fully triangulated to a proper adjustable Rochshox Monarch Air Shock and now with the new 30 speed group, TT500 bar end shifters, FSA chainguard, mirror mount, alloy hand rests, new CNC sculpted dropouts, rear fender and a selection of 7 premium colors. Even though it is hard not to choose its signature Catrike exclusive Electric Blue..
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This is the trike that started the big wheel frenzy in the trike market and the trike that all other trikes want to be, but nothing can touch it. In 2013 with the 30 speed group, hand rest, mirror mount, rear fender and neck rest included s...See More
— in Orlando.
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Catrike
May 24.
Embraer (5 photos)
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Photo: We could use the very same flags
Photo: This cockpit is so high end that is impossible to capture in pictures
Photo: I wish we were flying
Photo: But it was just a mock up on the floor.
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Kitty Cat. 406 wheels all around with black spokes and Schwalbe tires on, bar end shifters, mirror mount, hand rest, rear fender included and FSA crank and chainguard standard.
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May 22.
Catrike Villager 2013 with the new seat adjustable system, 30 speed bar end group, FSA crank and Chain Guard, all new upgrades such as mirror mount and hand rest included standard and 7 premium colors to choose from standard. Very comfortable, stable and easy to get on and off.
Photo: Catrike Villager 2013 with the new seat adjustable system, 30 speed bar end group, FSA crank and Chain Guard, all new upgrades such as mirror mount and hand rest included standard and 7 premium colors to choose from standard. Very comfortable, stable and easy to get on and off..
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Catrike
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Catrike Trail 2013 (8 photos)
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Catrike
May 14.
This is the first public picture of the all new 2013 Catrike 700
Photo: This is the first public picture of the all new 2013 Catrike 700.
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Cameron Yaw Can I request for through the dealer ( or your company) for one with black main frame but other parts (boom, handles) to be of a different color?
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Catrike Cameron, we don't do customizations like that, because that would mess a bit with our production flow, sorry...But just to make it clear you have 7 premium colors to choose from.
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Catrike
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This Catrike 700 is shipping to Kyle Bryant tomorrow so he can do more incredible work for Friedreich's Ataxia Research Alliance! Good Luck Kyle, we are behind you all the way. Together with you and your allies we will cure FA!!!
Photo: This Catrike 700 is shipping to Kyle Bryant tomorrow so he can do more incredible work for Friedreich's Ataxia Research Alliance! Good Luck Kyle, we are behind you all the way. Together with you and your allies we will cure FA!!!.
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Catrike
May 5.
On the chart, shown at the very far right. Notice the non-drive tension is significantly more consistent then the standard build. Rigidity Chart. 700 wheel developed with Velocity shown at the farthest right.
Photo: On the chart, shown at the very far right. Notice the non-drive tension is significantly more consistent then the standard build. Rigidity Chart. 700 wheel developed with Velocity shown at the farthest right..
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Catrike
May 5.
The all new Catrike 700 2013 ships standard with a custom Velocity wheel with the Race Hub version and the A23 O/C (off center) rim. Weight 895g.
It provides very high rigidity. With the off set flange of the race hub, and the 3.4 mm off set of the OC rim it provides a very laterally stiff wheel. This is important for road bikes, but even more important for a trike. The Catrike 700 is also designed and constructed with a proper 130mm dropout spacing for a 700 wheel, therefore allowing the wheel to be upgraded to any other racing wheel in the market if desired.
Photo: The all new Catrike 700 2013 ships standard with a custom Velocity wheel with the Race Hub version and the A23 O/C (off center) rim. Weight 895g. It provides very high rigidity. With the off set flange of the race hub, and the 3.4 mm off set of the OC rim it provides a very laterally stiff wheel. This is important for road bikes, but even more important for a trike. The Catrike 700 is also designed and constructed with a proper 130mm dropout spacing for a 700 wheel, therefore allowing the wheel to be upgraded to any other racing wheel in the market if desired..
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Catrike shared a link.
May 5.
www.bicycleretailer.com/north-america/2013/05/03/catrike-...
Catrike opens new factory in Orlando
ORLANDO, FL (BRAIN) — Catrike, the maker of three-wheeled recumbents, has opened a new 15,000 square foot factory here. The company currently makes about 2,300 bikes a year and is growing at 20 percent a year, according to Paulo Camasmie, who founded the brand in 2000. Catrikes are sold exclusively…
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Marjory Cacioppo awesome...I have one!
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Mickey Boerer keep on biken'
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Catrike
May 5.
Ride your bike to work was led by Commissioner Robert Stewart on a Catrike Expedition.
Photo: Ride your bike to work was led by Commissioner Robert Stewart on a Catrike Expedition..
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Catrike
May 3.
New lightweight Catrike 2013 Neck Rest: updated CNC clamps with built in anti rotation lock pins, 3 longitudinal top tray positions and light weight Quick Release for vertical adjustability. It also has an oversized pad and removable and washable top cover. (standard on Expedition and 700)
Photo: New lightweight Catrike 2013 Neck Rest: updated CNC clamps with built in anti rotation lock pins, 3 longitudinal top tray positions and light weight Quick Release for vertical adjustability. It also has an oversized pad and removable and washable top cover. (standard on Expedition and 700).
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Catrike
May 2.
Our Vision is to focus 100% on the design and engineering of Catrikes and be the inspiration of the market. So we have been able to spend all our time in develooping ever greater products. This is one of the great fruits of this development and it became a quick favorite of many customers. Dealers have been literally calling us simply to praise this development, quality and functionality. We are also very satisfied with the way it performs. This is our new, very unique and proprietary Catrike hand rest. It is totally adjustable and made out of aluminum. It also ships standard on every Catrike. A final word, we want to make the purchase and use of a Catrike the most pleasant experience so that once you buy your Catrike you know that it is complete, beautiful and ready to go. There is why our Catrikes are so well equipped from factory. Happy Trails!
Photo: Our Vision is to focus 100% on the design and engineering of Catrikes and be the inspiration of the market. So we have been able to spend all our time in develooping ever greater products. This is one of the great fruits of this development and it became a quick favorite of many customers. Dealers have been literally calling us simply to praise this development, quality and functionality. We are also very satisfied with the way it performs. This is our new, very unique and proprietary Catrike hand rest. It is totally adjustable and made out of aluminum. It also ships standard on every Catrike. A final word, we want to make the purchase and use of a Catrike the most pleasant experience so that once you buy your Catrike you know that it is complete, beautiful and ready to go. There is why our Catrikes are so well equipped from factory. Happy Trails!.
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Catrike
May 2.
Catrike, Premium in Every Detail. This is our new mirror and computer mount, standard and pre installed on every 2013 Catrike shipping. With a higher, forward and wider position, the mirror provides a much broader visual angle. A right side version is available as an after market option to our customers in UK as well as anyone interested in having a second mirror.
Callsign : ALEX 27.07
Coachwork by Reutter
The car offered here is one of the first batch of 12 Porsche 356B Cabriolets out of a total of some 40 delivered new to the Rijkspolitie's SAS section. Only three are known to survive: one in the USA, one in the Porsche Centrum Nederland, and this example in private hands.
In 1962, the Rijkspolitie (Dutch Police) set up its Surveillancegroep Autosnelwegen (Motorway Surveillance Group) to patrol these new high-speed highways. At that time there was no speed limit on Dutch motorways and no guard rails either. Accidents were frequent and often fatal. Seeking a solution to this serious problem, a Rijkspolitie delegation consulted the German Police in Nordrhein Westfalen on how best to manage Holland's 500-kilometre motorway network. The 'autobahn' was, after all, a German invention. Since 1956 the German police had adopted a policy of 'overtaking surveillance' using Porsche sports cars. Motorists deemed to be driving at excessive speed were monitored, overtaken and forced to stop. This high-profile presence and firm action had a powerful deterrent effect.
Commencing in November 1960, this approach was trialled by the Rijkspolitie using a single Porsche 356 Cabriolet. The trial was successful and resulted in the creation in 1962 of the SAS, initially with 12 Porsches. The vehicle offered here is one of those 12 356B sports cars.
An elite force, the SAS underwent a rigorous selection procedure: they were required to have good driving skills and road traffic expertise, to be in excellent physical condition and be at least 25 years old. They also had to be married, preferably with children, it being considered that these responsibilities would inhibit them from taking unnecessary risks. As one would expect, this group of Porsche-driving motorway cops, with their white cars and matching helmet, tunic and long overcoat, attracted a lot of media attention. A period copy of 'de Auto' magazine featuring a Rijkspolitie 356 is on file.
The car we offer was delivered new by Pon's Automobielhandel, Holland to the Rijkspolitie's Sectie Bijzondere Verkeerstaken (Special Traffic Tasks Section) and first registered in the Netherlands on 21st March 1962. It spent the next four years in police service, known by the call sign 'ALEX 2707', and was assigned to the 'Van Rijn/De Steen' surveillance team for the entire period. Their field of operations was highway '2/26/4/4a'. 'ALEX 2707' stayed with the Rijkspolitie until 1966, by which time it had travelled more than 190,000 kilometres and received a replacement engine (Porsche certificate on file).
At the end of its service all the police equipment was removed and the car sold as a standard 356B Cabriolet. The Porsche is believed to have remained in the Netherlands, where it was purchased in 2004 by the current vendor's father, who bought the 356 not knowing it was a former police car.
A short while later, the Dutch Police contacted the owner's family to tell them they had an ex-police Porsche 356 and asked if it would be possible to come and look at the car. It was only then (circa 2005) that the quest began to obtain all the original police parts for this Rijkspolitie Porsche. It was to prove exceedingly difficult to find the 'Rijkspolitie' equipment that had been removed prior to sale, and the restoration was not finally completed until 2012.
The car is now equipped with all the original fittings with which it was delivered new, and was even re-sprayed after restoration because the white paint used was not the correct shade for this particular 356. The engine has been changed again and is now a Type 616/16 dating from 1964. Fully overhauled 1,000 kilometres ago, it is a 1,600cc 'SC' unit producing 95bhp. The odometer was zeroed at time of restoration and is currently reading 30,400 kilometres.
Original 'Rijkspolitie' features (not all connected) include the original blue AUR beacon; 'STOP' sign; Storno radio telephone (VHF); radio antenna; Pye amplifier; twin internal rear view mirrors; control buttons; ammeter; rear-mounted loudspeaker; correct stickers; and Rijkspolitie clothing including helmets. Apart from the addition of oil pressure and oil temperature gauges and tripmaster, the car is exactly as it was when delivered new to the Dutch Police.
Collection : Louwman Museum
1,6 Liter
4 Cylinder Boxer
75 HP
Vmax : 175 km/h
Expo : Rijkspolitie Porsches
Louwman Museum
Den Haag - The Hague
Nederland - Netherlands
Augustus 2016
Back in 2015 we got an grab box offer. The idea was to buy a grab box and get one random doll and additional gift (outfit usually, but some collectors got nude dolls!). Out of 8 dolls, I liked Breeze Finley and this doll the most, but I as I do not like to gamble, I did not buy any. With time I acquired Finley below regular price and finally I got this Ayumi, as well.
Makeup/Hairstyle: This is my first Ayumi 2.0. I have to say the sculpt is really nice, but I do not relate her to the Ayumi, unfortunately. Opium and Luminescence do not look like Ayumi either, IMO. The sculpt looks much more mature than 1.0 and 3.0. And IMO the 3.0 suits the character the most. However, I wish this sculpt will return and I could see it easily in East59th collection. In fact, she could have been Constance. OK, back to this doll. The makeup is simple, yet very effective. Coral red lips are glossy and there is faint shimmering orange eye shadow above the eyes. Aside brown eyes, the makeup color reminds me on the On the Rise Elyse. The full brows contribute to the devilish look. Her face is really gorgeous. She has very long grayish blonde hair. I released her hair immediately and she came alive in an instant. The style of the hair reminds me on Smoke and Mirrors Lilith sans the sidepart. Although everything is in place, I just can not give her the highest score as I think she needs a bit of magic for that. 9/10
Outfit/Accessories: The emphasis in these series was on faces, the outfits are very simple, only dresses as I recall, and no accessories were included. This Ayumi got the white variation of the dress. I am surprised how much I like it. The fit is very nice, and it closes with zipper, which I prefer. You can add some jacket or a scarf and it will look great. There is also a belt in cream color included, which you can use for other outfits too. The shoes are blah. All she needs is a pair of earrings and sunglasses. 8/10
Overall: I think this one is a keeper. She is on retired Monogram body, which is my most favorite body sculpt, so that is a plus too. I recommend getting her as she is a very good representation of her sculpt, yet not overpriced as Opium or Luminescence. 8.5/10
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Seddon high sided tipper
Mae'r cwmni bellach wedi bod yn masnachu am 59 mlynedd fel busnes teuluol.
The company has now been trading for 59 years as a family business
Lluniau trwy garedigrwydd Bethan Roberts of John Roberts (Ffestiniog) Ltd Ffestiniog . Dylai unrhyw un sydd â lluniau o ddiddordeb ac yn dymuno iddynt gael eu harddangos ar y safle hwn gysylltu â mi drwy e-bost: cm.pritchard @ btinternet.com
Photos courtesy of of Bethan Roberts of John Roberts (Ffestiniog) Ltd Ffestiniog Anyone has any photos of interest and wish them to be displayed on this site contact me by email : cm.pritchard@btinternet.com
The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.
One of the keynote speakers:
Alec Ross
Senior Advisor for Innovation to Secretary of State Hillary Clinton.
Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.
Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.
In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.
Power to every citizen
To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.
What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.
I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.
Another Keynote speaker:
Emily Banks
Associate managing editor for Mashable
Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.
Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".
Abstract: Social media and the newsroom: the Revolution of the Newsroom
Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.
. . . 2. 3. 2007 - this is the first day of a funeral ceremony in Bori for a High Class Woman. She died on 18. 1. 2007 at the age of 85 years. The ceremony will last for one week. Today we will see the showing of the water buffalos, pigs, cow, horse, deer and chicken. All these animals are offered to be the servants of the died woman in her new life after death in Puya. We will see buffalo fighting. Men bet for the winner of those fightings. Two buffalos fight each other - the one running away lost the fight!
If you wonder why the quality of the pictures is a little less: these are no photographs - it all are snapshots of my videos! So sorry for the less resolution, but I think, they are worth to be shown.
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The Toraja are an ethnic group indigenous to a mountainous region of South Sulawesi, Indonesia. Their population is approximately 1,100,000, of whom 450,000 live in the regency of Tana Toraja ("Land of Toraja"). Most of the population is Christian, and others are Muslim or have local animist beliefs known as aluk ("the way"). The Indonesian government has recognized this animist belief as Aluk To Dolo ("Way of the Ancestors").
The word toraja comes from the Bugis Buginese language term to riaja, meaning "people of the uplands". The Dutch colonial government named the people Toraja in 1909. Torajans are renowned for their elaborate funeral rites, burial sites carved into rocky cliffs, massive peaked-roof traditional houses known as tongkonan, and colorful wood carvings. Toraja funeral rites are important social events, usually attended by hundreds of people and lasting for several days.
Before the 20th century, Torajans lived in autonomous villages, where they practised animism and were relatively untouched by the outside world. In the early 1900s, Dutch missionaries first worked to convert Torajan highlanders to Christianity. When the Tana Toraja regency was further opened to the outside world in the 1970s, it became an icon of tourism in Indonesia: it was exploited by tourism developers and studied by anthropologists. By the 1990s, when tourism peaked, Toraja society had changed significantly, from an agrarian model - in which social life and customs were outgrowths of the Aluk To Dolo - to a largely Christian society. Today, tourism and remittances from migrant Torajans have made for major changes in the Toraja highland, giving the Toraja a celebrity status within Indonesia and enhancing Toraja ethnic group pride.
ETHNIC IDENTITY
The Torajan people had little notion of themselves as a distinct ethnic group before the 20th century. Before Dutch colonization and Christianization, Torajans, who lived in highland areas, identified with their villages and did not share a broad sense of identity. Although complexes of rituals created linkages between highland villages, there were variations in dialects, differences in social hierarchies, and an array of ritual practices in the Sulawesi highland region. "Toraja" (from the coastal languages' to, meaning people; and riaja, uplands) was first used as a lowlander expression for highlanders. As a result, "Toraja" initially had more currency with outsiders - such as the Bugis and Makassarese, who constitute a majority of the lowland of Sulawesi - than with insiders. The Dutch missionaries' presence in the highlands gave rise to the Toraja ethnic consciousness in the Sa'dan Toraja region, and this shared identity grew with the rise of tourism in the Tana Toraja Regency. Since then, South Sulawesi has four main ethnic groups - the Bugis (the majority, including shipbuilders and seafarers), the Makassarese (lowland traders and seafarers), the Mandarese (traders and fishermen), and the Toraja (highland rice cultivators).
HISTORY
From the 17th century, the Dutch established trade and political control on Sulawesi through the Dutch East Indies Company. Over two centuries, they ignored the mountainous area in the central Sulawesi, where Torajans lived, because access was difficult and it had little productive agricultural land. In the late 19th century, the Dutch became increasingly concerned about the spread of Islam in the south of Sulawesi, especially among the Makassarese and Bugis peoples. The Dutch saw the animist highlanders as potential Christians. In the 1920s, the Reformed Missionary Alliance of the Dutch Reformed Church began missionary work aided by the Dutch colonial government. In addition to introducing Christianity, the Dutch abolished slavery and imposed local taxes. A line was drawn around the Sa'dan area and called Tana Toraja ("the land of Toraja"). Tana Toraja was first a subdivision of the Luwu kingdom that had claimed the area. In 1946, the Dutch granted Tana Toraja a regentschap, and it was recognized in 1957 as one of the regencies of Indonesia.
Early Dutch missionaries faced strong opposition among Torajans, especially among the elite, because the abolition of their profitable slave trade had angered them. Some Torajans were forcibly relocated to the lowlands by the Dutch, where they could be more easily controlled. Taxes were kept high, undermining the wealth of the elites. Ultimately, the Dutch influence did not subdue Torajan culture, and only a few Torajans were converted. In 1950, only 10% of the population had converted to Christianity.
In the 1930s, Muslim lowlanders attacked the Torajans, resulting in widespread Christian conversion among those who sought to align themselves with the Dutch for political protection and to form a movement against the Bugis and Makassarese Muslims. Between 1951 and 1965 (following Indonesian independence), southern Sulawesi faced a turbulent period as the Darul Islam separatist movement fought for an Islamic state in Sulawesi. The 15 years of guerrilla warfare led to massive conversions to
CHRISTIANITY
Alignment with the Indonesian government, however, did not guarantee safety for the Torajans. In 1965, a presidential decree required every Indonesian citizen to belong to one of five officially recognized religions: Islam, Christianity (Protestantism and Catholicism), Hinduism, or Buddhism. The Torajan religious belief (aluk) was not legally recognized, and the Torajans raised their voices against the law. To make aluk accord with the law, it had to be accepted as part of one of the official religions. In 1969, Aluk To Dolo ("the way of ancestors") was legalized as a sect of Agama Hindu Dharma, the official name of Hinduism in Indonesia.
SOCIETY
There are three main types of affiliation in Toraja society: family, class and religion.
FAMILY AFFILIATION
Family is the primary social and political grouping in Torajan society. Each village is one extended family, the seat of which is the tongkonan, a traditional Torajan house. Each tongkonan has a name, which becomes the name of the village. The familial dons maintain village unity. Marriage between distant cousins (fourth cousins and beyond) is a common practice that strengthens kinship. Toraja society prohibits marriage between close cousins (up to and including the third cousin) - except for nobles, to prevent the dispersal of property. Kinship is actively reciprocal, meaning that the extended family helps each other farm, share buffalo rituals, and pay off debts.
Each person belongs to both the mother's and the father's families, the only bilateral family line in Indonesia. Children, therefore, inherit household affiliation from both mother and father, including land and even family debts. Children's names are given on the basis of kinship, and are usually chosen after dead relatives. Names of aunts, uncles and cousins are commonly referred to in the names of mothers, fathers and siblings.
Before the start of the formal administration of Toraja villages by the Tana Toraja Regency, each Toraja village was autonomous. In a more complex situation, in which one Toraja family could not handle their problems alone, several villages formed a group; sometimes, villages would unite against other villages. Relationship between families was expressed through blood, marriage, and shared ancestral houses (tongkonan), practically signed by the exchange of water buffalo and pigs on ritual occasions. Such exchanges not only built political and cultural ties between families but defined each person's place in a social hierarchy: who poured palm wine, who wrapped a corpse and prepared offerings, where each person could or could not sit, what dishes should be used or avoided, and even what piece of meat constituted one's share.
CLASS AFFILIATION
In early Toraja society, family relationships were tied closely to social class. There were three strata: nobles, commoners, and slaves (slavery was abolished in 1909 by the Dutch East Indies government). Class was inherited through the mother. It was taboo, therefore, to marry "down" with a woman of lower class. On the other hand, marrying a woman of higher class could improve the status of the next generation. The nobility's condescending attitude toward the commoners is still maintained today for reasons of family prestige.
Nobles, who were believed to be direct descendants of the descended person from heaven, lived in tongkonans, while commoners lived in less lavish houses (bamboo shacks called banua). Slaves lived in small huts, which had to be built around their owner's tongkonan. Commoners might marry anyone, but nobles preferred to marry in-family to maintain their status. Sometimes nobles married Bugis or Makassarese nobles. Commoners and slaves were prohibited from having death feasts. Despite close kinship and status inheritance, there was some social mobility, as marriage or change in wealth could affect an individuals status. Wealth was counted by the ownership of water buffaloes.
Slaves in Toraja society were family property. Sometimes Torajans decided to become slaves when they incurred a debt, pledging to work as payment. Slaves could be taken during wars, and slave trading was common. Slaves could buy their freedom, but their children still inherited slave status. Slaves were prohibited from wearing bronze or gold, carving their houses, eating from the same dishes as their owners, or having sex with free women - a crime punishable by death.
RELIGIOUS AFFILIATION
Toraja's indigenous belief system is polytheistic animism, called aluk, or "the way" (sometimes translated as "the law"). In the Toraja myth, the ancestors of Torajan people came down from heaven using stairs, which were then used by the Torajans as a communication medium with Puang Matua, the Creator. The cosmos, according to aluk, is divided into the upper world (heaven), the world of man (earth), and the underworld. At first, heaven and earth were married, then there was a darkness, a separation, and finally the light. Animals live in the underworld, which is represented by rectangular space enclosed by pillars, the earth is for mankind, and the heaven world is located above, covered with a saddle-shaped roof. Other Toraja gods include Pong Banggai di Rante (god of Earth), Indo' Ongon-Ongon (a goddess who can cause earthquakes), Pong Lalondong (god of death), and Indo' Belo Tumbang (goddess of medicine); there are many more.
The earthly authority, whose words and actions should be cleaved to both in life (agriculture) and death (funerals), is called to minaa (an aluk priest). Aluk is not just a belief system; it is a combination of law, religion, and habit. Aluk governs social life, agricultural practices, and ancestral rituals. The details of aluk may vary from one village to another. One common law is the requirement that death and life rituals be separated. Torajans believe that performing death rituals might ruin their corpses if combined with life rituals. The two rituals are equally important. During the time of the Dutch missionaries, Christian Torajans were prohibited from attending or performing life rituals, but were allowed to perform death rituals. Consequently, Toraja's death rituals are still practised today, while life rituals have diminished.
CULTURE
TONGKONAN
Tongkonan are the traditional Torajan ancestral houses. They stand high on wooden piles, topped with a layered split-bamboo roof shaped in a sweeping curved arc, and they are incised with red, black, and yellow detailed wood carvings on the exterior walls. The word "tongkonan" comes from the Torajan tongkon ("to sit").
Tongkonan are the center of Torajan social life. The rituals associated with the tongkonan are important expressions of Torajan spiritual life, and therefore all family members are impelled to participate, because symbolically the tongkonan represents links to their ancestors and to living and future kin. According to Torajan myth, the first tongkonan was built in heaven on four poles, with a roof made of Indian cloth. When the first Torajan ancestor descended to earth, he imitated the house and held a large ceremony.
The construction of a tongkonan is laborious work and is usually done with the help of the extended family. There are three types of tongkonan. The tongkonan layuk is the house of the highest authority, used as the "center of government". The tongkonan pekamberan belongs to the family members who have some authority in local traditions. Ordinary family members reside in the tongkonan batu. The exclusivity to the nobility of the tongkonan is diminishing as many Torajan commoners find lucrative employment in other parts of Indonesia. As they send back money to their families, they enable the construction of larger tongkonan.
WOOD CARVINGS
To express social and religious concepts, Torajans carve wood, calling it Pa'ssura (or "the writing"). Wood carvings are therefore Toraja's cultural manifestation.
Each carving receives a special name, and common motifs are animals and plants that symbolize some virtue. For example, water plants and animals, such as crabs, tadpoles and water weeds, are commonly found to symbolize fertility. In some areas noble elders claim these symbols refer to strength of noble family, but not everyone agrees. The overall meaning of groups of carved motifs on houses remains debated and tourism has further complicated these debates because some feel a uniform explanation must be presented to tourists. The image to the left shows an example of Torajan wood carving, consisting of 15 square panels. The center bottom panel represents buffalo or wealth, a wish for many buffaloes for the family. The center panel represents a knot and a box, a hope that all of the family's offspring will be happy and live in harmony, like goods kept safe in a box. The top left and top right squares represent an aquatic animal, indicating the need for fast and hard work, just like moving on the surface of water. It also represents the need for a certain skill to produce good results.
Regularity and order are common features in Toraja wood carving (see table below), as well as abstracts and geometrical designs. Nature is frequently used as the basis of Toraja's ornaments, because nature is full of abstractions and geometries with regularities and ordering. Toraja's ornaments have been studied in ethnomathematics to reveal their mathematical structure, but Torajans base this art only on approximations. To create an ornament, bamboo sticks are used as a geometrical tool.
FUNERAL RITES
In Toraja society, the funeral ritual is the most elaborate and expensive event. The richer and more powerful the individual, the more expensive is the funeral. In the aluk religion, only nobles have the right to have an extensive death feast. The death feast of a nobleman is usually attended by thousands and lasts for several days. A ceremonial site, called rante, is usually prepared in a large, grassy field where shelters for audiences, rice barns, and other ceremonial funeral structures are specially made by the deceased family. Flute music, funeral chants, songs and poems, and crying and wailing are traditional Toraja expressions of grief with the exceptions of funerals for young children, and poor, low-status adults.
The ceremony is often held weeks, months, or years after the death so that the deceased's family can raise the significant funds needed to cover funeral expenses. Torajans traditionally believe that death is not a sudden, abrupt event, but a gradual process toward Puya (the land of souls, or afterlife). During the waiting period, the body of the deceased is wrapped in several layers of cloth and kept under the tongkonan. The soul of the deceased is thought to linger around the village until the funeral ceremony is completed, after which it begins its journey to Puya.
Another component of the ritual is the slaughter of water buffalo. The more powerful the person who died, the more buffalo are slaughtered at the death feast. Buffalo carcasses, including their heads, are usually lined up on a field waiting for their owner, who is in the "sleeping stage". Torajans believe that the deceased will need the buffalo to make the journey and that they will be quicker to arrive at Puya if they have many buffalo. Slaughtering tens of water buffalo and hundreds of pigs using a machete is the climax of the elaborate death feast, with dancing and music and young boys who catch spurting blood in long bamboo tubes. Some of the slaughtered animals are given by guests as "gifts", which are carefully noted because they will be considered debts of the deceased's family. However, a cockfight, known as bulangan londong, is an integral part of the ceremony. As with the sacrifice of the buffalo and the pigs, the cockfight is considered sacred because it involves the spilling of blood on the earth. In particular, the tradition requires the sacrifice of at least three chickens. However, it is common for at least 25 pairs of chickens to be set against each other in the context of the ceremony.
There are three methods of burial: the coffin may be laid in a cave or in a carved stone grave, or hung on a cliff. It contains any possessions that the deceased will need in the afterlife. The wealthy are often buried in a stone grave carved out of a rocky cliff. The grave is usually expensive and takes a few months to complete. In some areas, a stone cave may be found that is large enough to accommodate a whole family. A wood-carved effigy, called Tau tau, is usually placed in the cave looking out over the land. The coffin of a baby or child may be hung from ropes on a cliff face or from a tree. This hanging grave usually lasts for years, until the ropes rot and the coffin falls to the ground.
In the ritual called Ma'Nene, that takes place each year in August, the bodies of the deceased are exhumed to be washed, groomed and dressed in new clothes. The mummies are then walked around the village.
DANCE AND MUSIC
Torajans perform dances on several occasions, most often during their elaborate funeral ceremonies. They dance to express their grief, and to honour and even cheer the deceased person because he is going to have a long journey in the afterlife. First, a group of men form a circle and sing a monotonous chant throughout the night to honour the deceased (a ritual called Ma'badong). This is considered by many Torajans to be the most important component of the funeral ceremony. On the second funeral day, the Ma'randing warrior dance is performed to praise the courage of the deceased during life. Several men perform the dance with a sword, a large shield made from buffalo skin, a helmet with a buffalo horn, and other ornamentation. The Ma'randing dance precedes a procession in which the deceased is carried from a rice barn to the rante, the site of the funeral ceremony. During the funeral, elder women perform the Ma'katia dance while singing a poetic song and wearing a long feathered costume. The Ma'akatia dance is performed to remind the audience of the generosity and loyalty of the deceased person. After the bloody ceremony of buffalo and pig slaughter, a group of boys and girls clap their hands while performing a cheerful dance called Ma'dondan.
As in other agricultural societies, Torajans dance and sing during harvest time. The Ma'bugi dance celebrates the thanksgiving event, and the Ma'gandangi dance is performed while Torajans are pounding rice. There are several war dances, such as the Manimbong dance performed by men, followed by the Ma'dandan dance performed by women. The aluk religion governs when and how Torajans dance. A dance called Ma'bua can be performed only once every 12 years. Ma'bua is a major Toraja ceremony in which priests wear a buffalo head and dance around a sacred tree.
A traditional musical instrument of the Toraja is a bamboo flute called a Pa'suling (suling is an Indonesian word for flute). This six-holed flute (not unique to the Toraja) is played at many dances, such as the thanksgiving dance Ma'bondensan, where the flute accompanies a group of shirtless, dancing men with long fingernails. The Toraja have indigenous musical instruments, such as the Pa'pelle (made from palm leaves) and the Pa'karombi (the Torajan version of a jaw harp). The Pa'pelle is played during harvest time and at house inauguration ceremonies.
LANGUAGE
The ethnic Toraja language is dominant in Tana Toraja with the main language as the Sa'dan Toraja. Although the national Indonesian language is the official language and is spoken in the community, all elementary schools in Tana Toraja teach Toraja language.Language varieties of Toraja, including Kalumpang, Mamasa, Tae' , Talondo' , Toala' , and Toraja-Sa'dan, belong to the Malayo-Polynesian language from the Austronesian family. At the outset, the isolated geographical nature of Tana Toraja formed many dialects between the Toraja languages themselves. After the formal administration of Tana Toraja, some Toraja dialects have been influenced by other languages through the transmigration program, introduced since the colonialism period, and it has been a major factor in the linguistic variety of Toraja languages. A prominent attribute of Toraja language is the notion of grief. The importance of death ceremony in Toraja culture has characterized their languages to express intricate degrees of grief and mourning. The Toraja language contains many terms referring to sadness, longing, depression, and mental pain. Giving a clear expression of the psychological and physical effect of loss is a catharsis and sometimes lessens the pain of grief itself.
ECONOMY
Prior to Suharto's "New Order" administration, the Torajan economy was based on agriculture, with cultivated wet rice in terraced fields on mountain slopes, and supplemental cassava and maize crops. Much time and energy were devoted to raising water buffalo, pigs, and chickens, primarily for ceremonial sacrifices and consumption. Coffee was the first significant cash crop produced in Toraja, and was introduced in the mid 19th century, changing the local economy towards commodity production for external markets and gaining an excellent reputation for quality in the international market .
With the commencement of the New Order in 1965, Indonesia's economy developed and opened to foreign investment. In Toraja, a coffee plantation and factory was established by Key Coffee of Japan, and Torajan coffee regained a reputation for quality within the growing international specialty coffee sector Multinational oil and mining companies opened new operations in Indonesia during the 1970s and 1980s. Torajans, particularly younger ones, relocated to work for the foreign companies - to Kalimantan for timber and oil, to Papua for mining, to the cities of Sulawesi and Java, and many went to Malaysia. The out-migration of Torajans was steady until 1985. and has continued since, with remittances sent back by emigre Torajans performing an important role within the contemporary economy.
Tourism commenced in Toraja in the 1970s, and accelerated in the 1980s and 1990s. Between 1984 and 1997, a significant number of Torajans obtained their incomes from tourism, working in and owning hotels, as tour guides, drivers, or selling souvenirs. With the rise of political and economic instability in Indonesia in the late 1990s - including religious conflicts elsewhere on Sulawesi - tourism in Tana Toraja has declined dramatically. Toraja continues to be a well known origin for Indonesian coffee, grown by both smallholders and plantation estates, although migration, remittances and off-farm income is considered far more important to most households, even those in rural areas.
TOURISM AND CULTURAL CHANGE
Before the 1970s, Toraja was almost unknown to Western tourism. In 1971, about 50 Europeans visited Tana Toraja. In 1972, at least 400 visitors attended the funeral ritual of Puang of Sangalla, the highest-ranking nobleman in Tana Toraja and the so-called "last pure-blooded Toraja noble." The event was documented by National Geographic and broadcast in several European countries. In 1976, about 12,000 tourists visited the regency and in 1981, Torajan sculpture was exhibited in major North American museums. "The land of the heavenly kings of Tana Toraja", as written in the exhibition brochure, embraced the outside world.
In 1984, the Indonesian Ministry of Tourism declared Tana Toraja Regency the prima donna of South Sulawesi. Tana Toraja was heralded as "the second stop after Bali". Tourism was increasing dramatically: by 1985, a total number of 150,000 foreigners had visited the Regency (in addition to 80,000 domestic tourists), and the annual number of foreign visitors was recorded at 40,000 in 1989. Souvenir stands appeared in Rantepao, the cultural center of Toraja, roads were sealed at the most-visited tourist sites, new hotels and tourist-oriented restaurants were opened, and an airstrip was opened in the Regency in 1981.
Tourism developers have marketed Tana Toraja as an exotic adventure - an area rich in culture and off the beaten track. Western tourists expected to see stone-age villages and pagan funerals. Toraja is for tourists who have gone as far as Bali and are willing to see more of the wild, "untouched" islands. However, they were more likely to see a Torajan wearing a hat and denim, living in a Christian society. Tourists felt that the tongkonan and other Torajan rituals had been preconceived to make profits, and complained that the destination was too commercialized. This has resulted in several clashes between Torajans and tourism developers, whom Torajans see as outsiders.
A clash between local Torajan leaders and the South Sulawesi provincial government (as a tourist developer) broke out in 1985. The government designated 18 Toraja villages and burial sites as traditional tourist attractions. Consequently, zoning restrictions were applied to these areas, such that Torajans themselves were barred from changing their tongkonans and burial sites. The plan was opposed by some Torajan leaders, as they felt that their rituals and traditions were being determined by outsiders. As a result, in 1987, the Torajan village of Kété Kesú and several other designated tourist attractions closed their doors to tourists. This closure lasted only a few days, as the villagers found it too difficult to survive without the income from selling souvenirs.
Tourism has also transformed Toraja society. Originally, there was a ritual which allowed commoners to marry nobles (puang) and thereby gain nobility for their children. However, the image of Torajan society created for the tourists, often by "lower-ranking" guides, has eroded its traditional strict hierarchy. High status is not as esteemed in Tana Toraja as it once was. Many low-ranking men can declare themselves and their children nobles by gaining enough wealth through work outside the region and then marrying a noble woman.
WIKIPEDIA
French postcard by Editions P.I., offered by Les Carbones Korès, no. 121. Photo: Lucienne Chevert. Suzy Delair in Quai des Orfèvres (Henri-Georges Clouzot, 1947).
Vivacious French entertainer Suzy Delair (1917) starred in many different films and was also famous in France as a singer of songs like Avec son Tra-la-la. For several years, the saucy star was the companion of film director Henri-Georges Clouzot, in whose films of the 1940s she appeared.
Suzy Delair was born Suzanne Pierrette Delaire in 1917 in Paris, France. During her adolescence, she started playing bit parts in films and on stage. Her film debut was Un caprice de la Pompadour (Willy Wolff, Joë Hamman, 1930). She had her first success in the music-halls and appeared in the cabaret of Suzy Solidor and the revue of Mistinquett. After small parts in films like La Dame de chez Maxim's (Alexander Korda, 1932), L'Or dans la rue/The Gold in the Street (Curtis Bernhardt, 1934), La crise est finie/The Crisis is Over (Robert Siodmak, 1934), Poliche (Abel Gance, 1934) and Prends la route/Hit the Road (Jean Boyer, 1936) she finally made her breakthrough in the cinema with Le Dernier des six/The Last One of the Six (Georges Lacombe, 1941). The film was based on a script by Henri-Georges Clouzot, with whom she was living together. When Clouzot became director, he offered two other big successes to Suzy Delair : the mystery thriller L'assassin habite au 21/The Murderer Lives at Number 21 (1942) and the classic Quai des Orfèvres/Quay of the Goldsmiths (1947). It was in the role of entertainer Jenny Lamour in this thriller that she emerged to international stardom. After this success the couple separated.
Stunningly attractive Suzy Delair was a seductive actress with a natural acting style. She starred in films directed by Marcel L'Herbier (La Vie de bohème, 1945), Jean Dréville (Copie conforme/Confessions of a Rogue, 1947), Jean Grémillon (Pattes blanches/ White Paws, 1949), Christian-Jaque (Souvenirs perdus/ Lost Souvenirs, 1950), Luchino Visconti (Rocco e i suoi fratelli/Rocco and His Brothers, 1960), Marcel Carné (Du mouron pour les petits oiseaux/ Chicken Feed for Little Birds, 1962), and René Clément (Paris brûle-t-il ?/Is Paris Burning?, 1966). She covered all registers from drama to comedy. She appeared as will-of-the-wisp chanteuse Cheri Lamour in the last Laurel & Hardy comedy, the melancholy Atoll K/Utopia (Léo Joannon, 1951). She also appeared in the Fernandel vehicle Le Couturier de ces Dames/Fernandel the Dress maker (Jean Boyer, 1956) and in the hilarious farce Les Aventures de Rabbi Jacob/The Mad Adventures of Rabbi Jacob (Gérard Oury, 1973) starring French comedy star Louis de Funès. She was a dancer and a singer, and her chanson Avec son Tra-la-la (1948) is an evergreen in France. She appeared in several operettas by Jacques Offenbach and Oscar and Johan Strauss. Her last film was Oublie-moi, Mandoline/Forget Me, Mandoline (Michel Wyn, 1976). Since then she sometimes appeared on tv.
Sources: Bruce Eder (All Music Guide), Wikipedia and IMDb.
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Firstfruits offered, gratitude unfurled,
Harvest's bounty, a blessing world.
From fertile fields, an offering bestowed,
Grateful hearts, abundance bestowed.
In fifty words, the festival's delight,
Firstfruits celebrated, with joy ignite.
Honoring provision, in nature's embrace,
Festival of gratitude, blessings we trace.
The Sally May site on Fossil Creek Wild and Scenic River offers some of the best swimming along the entire creek. There are two parking areas on either side of the bridge, which crosses Sally May Wash, on FR 502 (the Childs Power Road). Each lot has a path leading to separate pools along the creek.
On the east (upstream) side of the bridge, the path leads to a large, deep pool at the base of a steep water feature. Rock shelves and cliff walls provide a lot of great spots for sunbathing and enjoying the canyon views. A smooth rock outcrop makes a great jumping-in spot. A small sandy beach at the far end of the pool offers shallow water entry and a good spot for smaller children to play.
On the west (downstream) side of the bridge, there's a large open area above the parking lot that makes a great spot for a family picnic. The path to the creek leads to another swimming hole at the base of beautiful water feature. There are rocky banks to relax on, and a shallow sandy entry point not far downstream near a gravel-bottomed section of creek that is a great place to wade and splash. A bit of the creek's history remains along the banks here, structures from the days the Childs-Irving hydroelectric power plants used the creek to generate power for nearby mining communities like Jerome, Arizona.
This photo was taken in early spring, just as trees were starting to bud. As the weather warms, the riparian area along Fossil Creek Wild and Scenic River becomes lush with thick greenery. Photo taken by Deborah Lee Soltesz, February 2017. Credit USFS Coconino National Forest.
Learn more about visiting Fossil Creek Wild and Scenic River managed by the Coconino National Forest.
The Little Garden of Paradise
Das Paradiesgärtlein
Upper Rhenish Master, c. 1410–1420
Mixed technique on oak, 25.6 × 32.8 cm.
Städel Museum, Frankfurt am Main,
on permanent loan from the Historisches Museum Frankfurt.
*****************************************************************************
A saint offers the psaltery to the Child
Seen in a wider context, the scene becomes more than the depiction of a child playing an instrument. We now see the relationship between the two figures.
The female saint sits on the grass with her legs folded beneath her. Her magnificent red dress is partly covered by the white mantle spread around her body. She holds the psaltery across the space between herself and the Child, presenting it to him at precisely the height and angle at which he can play.
The gesture is wonderfully natural. She does not play the instrument herself. She provides the music for the Child. The result is almost a small domestic scene: an adult offers a child an instrument, and the child immediately begins to explore it.
Her identity is less certain than one might expect. Various identifications have been proposed for the three female saints in this part of the garden; the figure accompanying the Child has been identified, among others, as Saint Cecilia and, following Henry Keazor, Saint Agnes. The uncertainty is worth preserving, because the painting itself gives us no inscription naming her.
What seems much more certain is her function within the scene. She is the intermediary who places the instrument into Christ's hands. The subject is therefore not simply “Christ with a psaltery”, but Christ in the act of making music with the assistance of a female saint.
This small interaction also belongs to a much larger musical structure within the painting. On the opposite side of the garden, the angel identified as Michael and the nearby male figure – probably Saint Oswald – have been interpreted as singing. Henry Keazor's study, significantly entitled “Manu et voce”, argues that the open mouths and characteristic gestures of these figures indicate singing. The Paradiesgärtlein therefore contains both instrumental music and vocal music.
Music is consequently not an incidental ornament in this garden. It becomes part of its very atmosphere.
And that leads to a broader interpretation of the Little Garden of Paradise. Almost everyone here is engaged in some peaceful, purposeful activity. Mary reads. The Child plays. A saint draws water from the spring. Another gathers cherries. Elsewhere figures sing and converse. Even the animals are occupied with their own lives.
Paradise is therefore not represented as a place of inactivity. It is a place in which every activity has become effortless, harmonious and pleasurable.
This is where the painting's combination of sacred and secular imagery becomes so compelling. The enclosed garden is the theological hortus conclusus, associated above all with the Virgin's purity; but it is simultaneously recognisable as a late-medieval pleasure garden, a place of music, flowers, fruit, refreshment, reading and companionship. The Städel explicitly points to this fusion of sacred and profane garden imagery.
The Child's music is therefore more than a charming anecdote. It is one of the sounds of Paradise.
*********************************************************************************
chatGPT and I
Source of the photo:
Moviegoers in Japan have a unique experience that us Westerners won’t be able to enjoy. Those seeing The Last Jedi in 4DX theaters in Japan can choose either the light side or dark side. Each side has a unique experience tailored to their chose side. In a nut shell, “The vibrations,...
www.fbtb.net/the-last-jedi/2018/01/16/japan-offers-light-...
Payday Loans for Kids - ‘Pocket Money Loans’ shop to open in London, UK
The first payday loan shop especially for children has opened in London, England. The store, which offers kids advance loans on their pocket money at rates as low as 5000% APR*, hopes to attract young people from across the capital to take advantage of their wide range of credit products.
The company, which uses the bright, cartoon-filled graphics synonymous with payday lenders, wants to allow children of any background to be able to “buy what they can’t afford”. As well as pocket money loans, the shop also offers kids ‘logbook loans’ secured by their toy cars, sub-prime ‘bouncy castle mortgages’ and rent-to-buy deals on gobstoppers.
As you might have guessed, the shop is in fact a work of satire created by London based artist Darren Cullen, who says he wants to draw attention to, among other things, the way the consumer credit industry preys on the vulnerable and targets children with marketing.
Cullen says that the aim of Pocket Money Loans is to “take our consumer debt culture to its logical conclusion.”
“Almost all payday loan companies have cartoon mascots, animated characters or sing-along jingles in their adverts.” Cullen says, “Their high street shops often have play areas full of toys and some of them hand out balloons and sweets to kids at the counter. It’s a clear fact they target children, as both a means of persuading their parents, but also as a way to groom the next generation of indebted customers.”
He claims that the insidious nature of advertising means we are trapped into cycles of living beyond our means, “Advertising is so powerful, that without us realising it makes us define who we are through objects. People end up identifying with the products of industry as if they were a part of their personality.”
But it is advertising directed at children which he finds most disturbing, “Marketers are putting kids in MRI scanners and showing them adverts to see which areas of the brain light up to certain words, colours or shapes. There is a giant industry of vastly intelligent psychologists and advertisers who are using every advance of modern science to make your child feel like they need and love certain products and brands.”
The shop’s website (pocketmoneyloans.com) contains such slogans as “Get out of debt with a loan” and while Cullen blames consumer culture for a lot of debt problems he admits that most people aren’t using payday loan companies to buy new things, and that many are forced to rely on such companies because they are simply in dire economic straits.
He claims the main issue is that financial deregulation has led to the poor being ripped apart by vulture-like lenders who are able to charge eye-watering levels of interest to those least able to afford it. “Payday loan customers who repay on time are in the minority and they offer the smallest profit margin to the company.” Cullen says, “It’s the people who can’t afford to repay on time who rack up charges and compound interest over weeks or months. That’s where the real profits lie, built upon the backs of the poorest, most vulnerable members of society.”
The shop which will open for two weeks, also features art prints deriding cash-for-gold pawn shops, (“Tooth Fairy – Healthy Teeth Bought for £££s”) and an advert for ‘Nivea Pro-Aging Cream’ (“Dramatically Reduces the Appearance of Childhood”) which the artist claims is part and parcel of the insidious nature of youth consumerism, “The momentum of child marketing is towards “age compression”, where products previously the domain of older kids are advertised to younger and younger age groups,” he says. “This strategy not only brutally robs children of their childhood for commercial gain, but it also leads to a decrease in imaginative play, as children feel pressured into acting more grown up. Not to mention the disturbing trend of sexualising young girls in tween fashion.”
Despite all this however, the artist, who initially studied advertising before changing to fine art at Glasgow School of Art, says that, apart from a ban on payday loan companies or advertising directed at children, he’s pessimistic about there being any meaningful change to consumer culture as many of these problems are inherent to the system. “Modern capitalism has to relentlessly grow or die, it constantly needs new markets of consumers and it needs those consumers to increasingly buy more. Obviously that eventually reaches a limit of what people can afford, and when you have a recession compounded by austerity, where people have low wages and very little savings, the economy needs them to go into debt in order to keep consuming. ”
The shop is the first installation to take place in Finsbury Park’s new Atom Gallery (www.atomgallery.co.uk), 77 Stroud Green Road, and runs from the 27th October until the 8th November (Mon-Sat, 10am-6pm), with a closing exhibition private view on the 7th November, from 6pm.
Darren Cullen, 31, (***NOT to be confused with the graffiti artist of the same name***) is originally from Leeds but lives and works in London where he produces art, illustration and comics under the banner of his website spellingmistakescostlives.com. His previous projects include an anti-army recruitment comic ‘Join the Army’ (recently admitted into the V&A Museum’s Permanent Collection), Baby’s First Baby, a pregnant toy doll, and a billboard which claimed “Santa Gives More to Rich Kids than Poor Kids”.
*853% less APR than wonga.com
Contact
Darren Cullen
Darren@spellingmistakescostlives.com
Twitter @darren_cullen
Pocket Money Loans
77 Stroud Green Road
London N4 3EG
pocketmoneyloans.com
spellingmistakescostlives.com
###
This is a photograph is one of a set of photographs from the Castlepollard 5KM Road Race and Fun Run 2013 which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 13th August 2014 at 20:00. The race is hosted by North Westmeath Athletic Club. The race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands. The race offers prizes in all categories. Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games.
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
The Castlepollard 5KM can be considered as the final major race in summer road racing in the midlands as with the fading light of the late summer comes less opportunities to hold races in the evening time. Castlepollard is a small town located in North County Westmeath amongst the lakes of Lough Lene and Lough Derravagh. One of the enduring symbols of the Castlepollard 5KM is the tireless work of Andy MacEoin of North Westmeath AC who has been a visitor to almost every road race in the Midlands and beyond over the past number of months to publicize the event. Many of the participants tonight will have seen Andy's strategically placed advertising signs around other road race routes. Certainly this work, and that of many other members of North Westmeath AC, has paid off well.
The race begins near the center of the town square and proceeds directly out the R395 towards Coole and Edgeworthstown. The first KM is flat and quick allowing the field to spread out. The race then enters the Tullynally Castle estate and proceeds up the tree-lined avenue. The gardens, like the castle are on a grand scale, taking in nearly 12 acres. This allows the race to make a big loop of the gardens with a quick downhill stretch followed by a sharp climb before the race rejoins it's outgoing path for the final 1.5KM of the race. The final 1100M from the gate of the Castle grounds to the finish is as the first - fast and flat and allows for a great finish passing the GAA grounds with finish line just outside the local Fire Station.
One of the show pieces of the race landscape is Tullynally Castle. The name Tullynally is an adaption of 'Tulaigh an Eallaigh' – the Hill of the Swan. The hill overlooks Lough Derravaragh, the legendary lake of the Children of Lir who were turned into swans. Tullynally Castle is still a family home to this day. Details of visitor times and other information is available on the links below.
This year over 450 participants took part in the race. This represented another great attendance. Last year's Castlepollard 5KM set the bar very high for future races with a record participation of just under 470 on the night. The race in 2013 showed an increase of over 100 participants from the previous record of 366 set at the 2012 event. It goes without saying that the Castlepollard 5KM has become one of the "must do" road race events in the midlands. Everything that is good about club road racing in Ireland can be found here.
We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/14714159280/ - They were taken at the start and finish of the event.
2014 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=2115
2013 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=1444
2012 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=960
Our Flickr Photographs from Castlepollard 5KM 2013: www.flickr.com/photos/peterm7/sets/72157645912529346/
Our Flickr Photographs from Castlepollard 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627404031092/
Our Flickr Photographs from Castlepollard 5KM 2010: www.flickr.com/photos/peterm7/sets/72157624655001130/
Our Flickr Photographs from Castlepollard 5KM 2009: www.flickr.com/photos/peterm7/sets/72157622023529006/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
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.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want 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.
We use Creative Commons Licensing for these photographs
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. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
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/
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
Reims offers the most important example in France of an entire town in the architectural style of the 1920s.
As the town that suffered the most destruction of all the large towns in France by the First World War, it also took first place for the number of planning permission applications lodged between 1920 and 1930, with 6,500 in total. In both 1922 and 1923, this number was greater even than in Paris! With 80% of the town having been destroyed, during the 1920s Reims underwent an intense reconstruction phase.
In a context where the compensation was managed by the individual owners without the State or local authorities becoming involved in their choices, Reims was rebuilt with a very wide-ranging diversity of architecture. Thus the town centre of Reims, which suffered particular bombardment, and its suburbs offer a panorama of the major architectural trends of the 1920s in France. www.reims-tourism.com/Discover/Heritage/Art-Deco-in-Reims
The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.
One of the keynote speakers:
Alec Ross
Senior Advisor for Innovation to Secretary of State Hillary Clinton.
Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.
Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.
In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.
Power to every citizen
To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.
What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.
I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.
Another Keynote speaker:
Emily Banks
Associate managing editor for Mashable
Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.
Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".
Abstract: Social media and the newsroom: the Revolution of the Newsroom
Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.
We offer the best service for custom window installations. 970-372-5120 #FortCollinsWindows #CustomWindows #WindowInstallation (via Twitter twitter.com/focowindows/status/821423161279442945)
French postcard by Editions P.I., Paris, no. 228, offered by NV Victoria, Brussels, no. 639. Photo: Hal Wallis / Paramount, 1950.
Yesterday was announced that American film star Lizabeth Scott passed away on 31 January. She starred as the bad girl — or the good girl gone bad - in hard-boiled film noirs like The Strange Love of Martha Ivers (1946) with Barbara Stanwyck, Dead Reckoning (1947) with Humphrey Bogart, and I Walk Alone (1948) opposite Burt Lancaster. With her blonde hair, smouldering eyes and her deep smoky voice, she was a sultry femme fatale in a world of crime, tough talk and dark secrets. Of her 22 feature films, she was leading lady in all but one. In addition to stage and radio, she appeared on television from the late 1940s to early 1970s. Lizabeth Scott who died of congestive heart failure was 92.
Lizabeth Scott was born Emma Matzo in 1922, in Scranton, , Pennsylvania, where her parents, John Matzo and Mary (nee Pennock), had a grocery store. Despite her parents’ opposition to an acting career, she went to the Alviene Master School of the Theatre and Academy of Cultural Arts in New York in her late teens. Here she adopted the stage name of Elizabeth Scott. She landed a small role in a touring company of the hit stage comedy Hellzapoppin'. Back in New York, unable to get an acting job, she landed work as a fashion model with Harper’s Bazaar at $25 an hour. In 1942, she got a small part in the original Broadway production of Thornton Wilder's The Skin of Our Teeth. Scott also understudied Tallulah Bankhead, who played the lead role. The tempestuous Bankhead, who did not get along with Scott, stubbornly never missed a performance. In Boston Scott finally got to play the lead role, taking over from Miriam Hopkins. She decided to removed the 'E' from Elizabeth Scott to be more distinctive. It would be either this performance or a four-picture spread in an issue of Harper’s Bazaar (the sources differ about this) that led to a long-term Hollywood contract with Hal Wallis, who had his own producing organisation through Paramount Studios. Scott": It was off season on Broadway and since I wasn’t able to find a job there, I thought it might be a good experience to come to Hollywood and find out what it was all about.” Wallis introduced his 22-year-old discovery as “beautiful, blonde, aloof and alluring”. Scott's film debut was the comedy-drama You Came Along (John Farrow, 1945) opposite Robert Cummings. In her second film, The Strange Love of Martha Ivers (Lewis Milestoine, 1946), she played a young woman wrongly jailed, opposite Barbara Stanwyck, Kirk Douglas and Van Heflin. She made more of an impression in Dead Reckoning (John Cromwell, 1947) as a gangster’s wife, almost luring Humphrey Bogart into her corruptive trap. Her mysterious character was shot in oblique angles and low-key lighting. Stylishly dressed by Edith Head, she played the good girl gone bad becoming good again in the melodrama Desert Fury (Lewis Allen, 1947). Billed as “the blonde with the brown voice”, Scott played a nightclub singer in I Walk Alone (Byron Haskin, 1948), also starring Kirk Douglas and Burt Lancaster. She was more decadent than ever in Too Late for Tears (Byron Haskin, 1949), having killed two husbands because she wanted “to move out of the ranks of the middle-class poor”. Scott was her own woman in the world of hard-boiled film crime. Ronald Bergan at The Observer: "Scott was strong and sultry, her heavy dark eyebrows contrasting with her blonde hair. Like [Lauren] Bacall, she had a low and husky voice, but she was far harder; in fact, she was able to suggest hidden depths of depravity – the ideal femme fatale of the 1940s."
In her films, Lizabeth Scott made some memorable quotes. In Pitfall (André De Toth, 1948), she described herself to Dick Powell as "a girl whose first engagement ring was bought by a man stupid enough to embezzle and stupid enough to get caught." In The Racket (John Cromwell, 1951), she asked Robert Mitchum: "Who said I was an honest citizen, and where would it get me if I was?" In another Film Noir, Dark City (William Dieterle, 1950), she is a nightclub singer again who drifts on the edges of a shadowy criminal world, though her love for a gambler (Charlton Heston in his Hollywood debut ) is uplifting. Heston and Scott were reunited for Bad for Each Other (Irving Rapper, 1953). She played several similar roles of a woman willing to change her louche ways, but doomed to find a worthwhile man to love her only when she had already passed the point of redemption. After several years of making one Film Noir after another — sometimes at a pace of two or three in a year — Scott was ready for a change. She got it in the comedy Scared Stiff (George Marshall, 1953), starring Dean Martin and Jerry Lewis. In September 1954, a front-page story in the magazine Confidential claimed that Scott was a lesbian and was linked to “the little black books kept by Hollywood prostitutes”. It was also said that on a trip to Paris she had taken up with Frédérique 'Frédé' Baulé, manager of Carroll's, an upper-class, cabaret-type nightclub in Paris. One of the owners was Marlene Dietrich. Two months before the issue's printed publication, her lawyer had instituted a $ 2.5m suit against Confidential, accusing the magazine of “holding the plaintiff up to contempt and ridicule and implying in the eyes of every reader indecent, unnatural and illegal conduct in her private and public life”. Scott lost her suit on a technicality, however, and, given the witch-hunting atmosphere of the times, the case certainly harmed her. Compounding her plight was her rebellious nature, having never paid conventional homage to the film establishment and to gossip columnists Louella Parsons and Hedda Hopper. In 1955, Scott went to Great Britain to film The Weapon (Val Guest, 1957). As with other European films of the 1950s–1970s period aimed at a US audience, Scott starred with another American actor, Steve Cochran, who played US Army CID officer Mark Andrews. Scott also played a publicity woman in the Elvis Presley vehicle Loving You (Hal Kanter, 1957). In 1957, she also released an album of torch songs and romantic ballads titled Lizabeth. She had a few TV roles in the 1960s. Her last credited movie appearance was as an man-eating cougar in Pulp (Mike Hodges, 1972), a sendup of Film Noir starring Michael Caine. One of her ex-husbands in the film is played by Mickey Rooney. Scott lived quietly in Hollywood, sometimes accepting invitations to attend film festivals and other events. In a 1996 interview with documentary filmmaker Carole Langer, Scott said she had liked the grittiness of Film Noir and didn't lament the fact that she wasn't cast in studio blockbusters: "The films that I had seen growing up were always, boy meets girl, boy ends up marrying girl, they go off into the sunset," Scott said. After the war, films got more in touch with "the psychological, emotional things that people feel and people do. It was a new realm, and it was very exciting, because suddenly you were coming closer and closer to reality." Lizabeth Scott died a week ago, at 31 January, at Cedars-Sinai Medical Center in Los Angeles. She was 92. The cause was congestive heart failure, said her long-time friend Mary Goodstein. Scott's survivors include her brother Gus Matzo and sister Justine Birdsall.
Sources David Colker (Los Angeles Times), Ronald Bergan (The Observer), Mike Barnes (Hollywood Reporter), Variety, Wikipedia and IMDb.
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Top Hills ~ Situated 2,000 feet above sea level on the cool hills of Busay, it is an excellent sight seeing spot which offers breathtaking views of Metro Cebu and the islands of Mactan and Olango. Open kiosks are available for daytime picnics at the summit of this viewpoint. The City of Cebu is the capital city of Cebu and is the second city in the Philippines with the second most significant metropolitan centre and known as the oldest Spanish settlement in the country. The city is located on the eastern shore of Cebu and was the first Spanish settlement in the Philippines. Cebu is the Philippines' main domestic shipping port and is home to about 80% of the country's domestic shipping companies. Cebu also holds the second largest international flights in the Philippines and is a significant centre of commerce, trade and industry in the Visayas and Mindanao regions. Cebu City is the centre of a metropolitan area called Metro Cebu, which includes the cities of Carcar, Danao, Lapu-lapu, Mandaue, Naga, Talisay. Metro Cebu has a total population of about two million people. The Mactan-Cebu International Airport, located in Lapu-Lapu City is only a 20 minute drive away from Cebu City. To the northeast of the city is Mandaue City and the town of Consolacion, to the west is Toledo City, the towns of Balamban and Asturias, to the south is Talisay City and the town of Minglanilla. Across Mactan Strait to the east is Mactan Island where Lapu-Lapu City and an aquarium attraction are located.
The piano nobile is reached by two staircases from the ground floor foyer. The first space, the art deco rotunda below the cupola, opens to the south the main balcony that faces Osmeña Boulevard, and to its north the ballroom (social hall). Two-stories high with full-length windows, the ballroom, also in art deco style, is reminiscent of a fairytale setting. Two enormous chandeliers fashioned in crystal and local capiz shells ( placuna placenta ) light the grand space
Cebu City is a significant cultural centre in the Philippines. The imprint of Spanish and Roman Catholic culture is evident. The city's most famous landmark is Magellan's Cross. A few steps away from the Magellan's Cross is the Basilica Minore del Santo Nino (Church of the Holy Child). This is a Augustinian church elevated to the rank of Basilica in 1965 during the 400th year celebrations of Christianity in the Philippines, held in Cebu. The church, which was the first to be established in the islands, is built of hewn stone and features the country's oldest relic, the figure of the Santo Niño de Cebú ( Holy Child of Cebu ). This religious event is celebrated during the island's cultural festivities known as the Sinulog festival. Held every third Sunday of January, it celebrates the festival of the Santo Nino, who was formerly considered to be the patron saint of Cebu. (This patronage was later changed to that of Our Lady of Guadalupe after it was realised that the St. Niño could not be a patron saint because he was an image of the Christ and not a saint.) The Sinulog is a dance ritual of pre-Hispanic indigenous origin. The dancer moves two steps forward and one step backward to the rhythmic sound of drums. This movement resembles somewhat the current (sulog) of the river. Thus, the Cebuanos called it Sinulog.
When the Spaniards arrived in Cebu, the Italian chronicler, Antonio Pigafetta, sailing under convoy with the Magellan expedition, offered a baptismal gift to Hara Amihan, wife of Rajah Humabon. She was later named Juana, the figure of the Santo Nino. The natives also honoured the Santo Niño de Cebu in their indigenous Sinulog ritual[citation needed]. The Sinulog ritual was preserved but limited to honouring the Santo Nino. Once the Santo Niño church was built in the 16th century, the Christian Malay people started performing the Sinulog ritual in front of the church, the devotees offering candles and indigenous dancers shouting ~ Viva Pit Senor!
Ayala Centre Cebu is a large shopping mall at the Cebu Business Park in Cebu City, Archbishop Reyes Ave. Philippines. It is the first Ayala Shopping Centre located outside Metro Manila. It was opened in 1994, and is owned by Ayala Malls. On an average day, more than 85,000 people visit Ayala Centre Cebu, with the figure increasing to 135,000 on weekends. On October 30, 2008, Ayala Centre Cebu unveiled ~ The Terraces, a P 600-million redevelopment that transformed what used to be a simple lagoon area to a food and beverage strip with the signature Ayala-landscaping and orchestrated water features. Ayala Mall Cebu is located near the IT Park and in the heart of the Cebu City Business Park. Ayala Mall Cebu is the areas most beautiful and comfortable mall to go shopping and dining with live entertainment events on the ground floor almost daily. The nice thing about Ayala Mall in Cebu is if you need a break from shopping you can go sit at one of the many shops on the Terraces and just relax and have a drink or dine on one of the many different cuisines that are offered on all levels.
Magellan's Cross is a Christian cross planted by Portuguese, and Spanish explorers as ordered by Ferdinand Magellan on arriving in Cebu in the Philippines around April 14 or 21, 1521. This cross is housed in a chapel next to the Basilica Minore del Santo Niño on Magallanes Street ( Magallanes being the Spanish name of Magellan ), just in front of the city centre of Cebu City. A sign below the cross describes the original cross is encased inside the wooden cross that is found in the centre of the chapel. This is to protect the original cross from people who chipped away parts of the cross for souvenir purposes or in the belief that the cross possesses miraculous powers. Some people, however, believe that the original cross had been destroyed or had disappeared after Magellan's death, and the cross is a replica that was planted there by the Spaniards after they successfully colonized the Philippines.
The history is that when Ferdinand Magellan first arrived in Cebu on 21 April 1521 he erected a cross in Cebu. The cross there today is not the original. Magellan's Cross is one symbol of Cebu. This chapel's image can be found in Cebu city seal. It is also seen as the symbol of Roman Catholicism in the Philippines. Magellan and his crew were the first Europeans to arrive in the Philippines. They made the first conversions to Catholicism when they converted Rajah Humabon, the local chief, his wife and hundreds of his Cebuano villagers to accept Christianity and be consequently baptized. At the same time Magellan left in Cebu the Santo Nino de Cebu [ holy child of Cebu ] a doll figure made in Europe in the 16th Century representing Jesus Christ as a child. This doll was rediscovered some 45 years later the return to Cebu of Miguel Lopez de Legazpi who came back to Cebu on the order of King Phillip of Spain to make Cebu the first centre of the new Spanish Colony in Asia, called Las Islas Filipinas. This doll also plays an important function in the religious life of millions of people as explained here.
The Project [R]evolution Digital and Social Media Conference offers a unique opportunity for business, government and media managers to glean insights, ask questions and mix with some of the leading players in the field.
One of the keynote speakers:
Alec Ross
Senior Advisor for Innovation to Secretary of State Hillary Clinton.
Alec Ross serves as Senior Advisor for Innovation in the Office of Secretary of State Hillary Clinton. In this role, Alec is tasked with maximizing the potential of technology in service of America’s diplomatic and development goals.
Before that appointment, Alec worked on the Obama-Biden Presidential Transition Team and served as Convener for Obama for America's Technology, Media & Telecommunications Policy Committee.
In 2000, Alec Ross and three colleagues co-founded One Economy, a global non-profit that uses innovative approaches to deliver the power of technology and information about education, jobs, health care and other vital issues to low-income people. During his eight years at One Economy, it grew from a team of four people working in a basement to the world's largest digital divide organization, with programs on four continents.
Power to every citizen
To me “digital revolution” can be defined as the massive shift in power that has taken place from hierarchies to citizens and networks of citizens as a result of powerful digital technologies.
What this means in practical terms is that everyday citizens have power today that they did not have as recently as five years ago. Anybody with a smart phone now has the kind of global reach that was once reserved for governments and large media companies. This shifting power has disrupted commerce, communication and governance.
I see this “digital revolution” as being overwhelmingly positive. Some of the disruption it has caused (and will cause in the future) is negative, but this has been far outweighed by the ability of people to connect and engage with the world and with the marketplace in ways that were previously unimaginable. I think about my own experience as a school teacher in an impoverished community. When I was a teacher, the only educational resource my students had beyond my own knowledge were a set of tattered, 30-year old textbooks. Today, that same classroom is equipped with an internet connection that can deliver world-class educational resources directly to the students that most need them. While there is no replacement for a good teacher, our students should not have to suffer with out-of-date and substandard educational resources. With the digital revolution, that no longer needs to be the case.
Another Keynote speaker:
Emily Banks
Associate managing editor for Mashable
Emily Banks is responsible for organizing and overseeing Mashable‘s growing editorial operations, including assigning, editing and publishing stories, as well as sharing them to Mashable's social accounts. She is also responsible for coordinating with partners on video and syndicated content. She joined Mashable‘s New York team in October 2010. Mashable is well known as the largest independent news source dedicated to covering digital culture, social media and technology.
Some of Emily’s recent engagements include "Social Media 101" for New York Women in Communications, "The New Face of Social Good: How to Make Your Own Social Media Magic!" and "Challenging Conventional Wisdom of Social Media".
Abstract: Social media and the newsroom: the Revolution of the Newsroom
Without question, social media has changed the pace of news; how and where it breaks and who breaks it. How does this change our trust in media organisations, journalists as individuals and news-makers? As we remove the layer of authority provided by news organisations, by placing the news directly in the hands of journalists on social media, how do -- or should -- our readers approach the news? This talk will discuss tools for verifying news through social media, cases of misinformation caused by the rapid nature of breaking news on social and the ethical questions involved in reporting in this new age.
Top Hills ~ Situated 2,000 feet above sea level on the cool hills of Busay, it is an excellent sight seeing spot which offers breathtaking views of Metro Cebu and the islands of Mactan and Olango. Open kiosks are available for daytime picnics at the summit of this viewpoint. The City of Cebu is the capital city of Cebu and is the second city in the Philippines with the second most significant metropolitan centre and known as the oldest Spanish settlement in the country. The city is located on the eastern shore of Cebu and was the first Spanish settlement in the Philippines. Cebu is the Philippines' main domestic shipping port and is home to about 80% of the country's domestic shipping companies. Cebu also holds the second largest international flights in the Philippines and is a significant centre of commerce, trade and industry in the Visayas and Mindanao regions. Cebu City is the centre of a metropolitan area called Metro Cebu, which includes the cities of Carcar, Danao, Lapu-lapu, Mandaue, Naga, Talisay. Metro Cebu has a total population of about two million people. The Mactan-Cebu International Airport, located in Lapu-Lapu City is only a 20 minute drive away from Cebu City. To the northeast of the city is Mandaue City and the town of Consolacion, to the west is Toledo City, the towns of Balamban and Asturias, to the south is Talisay City and the town of Minglanilla. Across Mactan Strait to the east is Mactan Island where Lapu-Lapu City and an aquarium attraction are located.
The Cebu Provincial Capitol is dramatically positioned at the end of a grand perspective of a new avenue ( Osmeña Boulevard ) as conceived by William E. Parsons in his 1912 plan of Cebu, in the lines of the City Beautiful Movement. The building follows an H-shaped plan, one side opening to the terminus of Osmeña Boulevard. The main block or corps de logis, three stories high, is flanked by two secondary wings, symmetrically advancing to embrace a rectangular, elevated cour d'honneur that serves as an entrance podium. The elevation of the corps de logis is of typical neoclassical formula: a rusticated ground floor, containing minor rooms and offices, the piano nobile above, with the most important spaces, and finally the attic story. A heavy cornice and parapet caps the façade, with allegorical statues standing by its corners. The most distinctive part of the façade is the central concave pavilion, which creates the semi-circular main balcony and pulls together the entire mass, finally crowned by an austere dome upon an octagonal drum.
The piano nobile is reached by two staircases from the ground floor foyer. The first space, the art deco rotunda below the cupola, opens to the south the main balcony that faces Osmeña Boulevard, and to its north the ballroom (social hall). Two-stories high with full-length windows, the ballroom, also in art deco style, is reminiscent of a fairytale setting. Two enormous chandeliers fashioned in crystal and local capiz shells ( placuna placenta ) light the grand space
Cebu City is a significant cultural centre in the Philippines. The imprint of Spanish and Roman Catholic culture is evident. The city's most famous landmark is Magellan's Cross. A few steps away from the Magellan's Cross is the Basilica Minore del Santo Nino (Church of the Holy Child). This is a Augustinian church elevated to the rank of Basilica in 1965 during the 400th year celebrations of Christianity in the Philippines, held in Cebu. The church, which was the first to be established in the islands, is built of hewn stone and features the country's oldest relic, the figure of the Santo Niño de Cebú ( Holy Child of Cebu ). This religious event is celebrated during the island's cultural festivities known as the Sinulog festival. Held every third Sunday of January, it celebrates the festival of the Santo Nino, who was formerly considered to be the patron saint of Cebu. (This patronage was later changed to that of Our Lady of Guadalupe after it was realised that the St. Niño could not be a patron saint because he was an image of the Christ and not a saint.) The Sinulog is a dance ritual of pre-Hispanic indigenous origin. The dancer moves two steps forward and one step backward to the rhythmic sound of drums. This movement resembles somewhat the current (sulog) of the river. Thus, the Cebuanos called it Sinulog.
When the Spaniards arrived in Cebu, the Italian chronicler, Antonio Pigafetta, sailing under convoy with the Magellan expedition, offered a baptismal gift to Hara Amihan, wife of Rajah Humabon. She was later named Juana, the figure of the Santo Nino. The natives also honoured the Santo Niño de Cebu in their indigenous Sinulog ritual[citation needed]. The Sinulog ritual was preserved but limited to honouring the Santo Nino. Once the Santo Niño church was built in the 16th century, the Christian Malay people started performing the Sinulog ritual in front of the church, the devotees offering candles and indigenous dancers shouting ~ Viva Pit Senor!
Magellan's Cross is a Christian cross planted by Portuguese, and Spanish explorers as ordered by Ferdinand Magellan on arriving in Cebu in the Philippines around April 14 or 21, 1521. This cross is housed in a chapel next to the Basilica Minore del Santo Niño on Magallanes Street ( Magallanes being the Spanish name of Magellan ), just in front of the city centre of Cebu City. A sign below the cross describes the original cross is encased inside the wooden cross that is found in the centre of the chapel. This is to protect the original cross from people who chipped away parts of the cross for souvenir purposes or in the belief that the cross possesses miraculous powers. Some people, however, believe that the original cross had been destroyed or had disappeared after Magellan's death, and the cross is a replica that was planted there by the Spaniards after they successfully colonized the Philippines.
The history is that when Ferdinand Magellan first arrived in Cebu on 21 April 1521 he erected a cross in Cebu. The cross there today is not the original. Magellan's Cross is one symbol of Cebu. This chapel's image can be found in Cebu city seal. It is also seen as the symbol of Roman Catholicism in the Philippines. Magellan and his crew were the first Europeans to arrive in the Philippines. They made the first conversions to Catholicism when they converted Rajah Humabon, the local chief, his wife and hundreds of his Cebuano villagers to accept Christianity and be consequently baptized. At the same time Magellan left in Cebu the Santo Nino de Cebu [ holy child of Cebu ] a doll figure made in Europe in the 16th Century representing Jesus Christ as a child. This doll was rediscovered some 45 years later the return to Cebu of Miguel Lopez de Legazpi who came back to Cebu on the order of King Phillip of Spain to make Cebu the first centre of the new Spanish Colony in Asia, called Las Islas Filipinas. This doll also plays an important function in the religious life of millions of people as explained here.
Top Hills ~ Situated 2,000 feet above sea level on the cool hills of Busay, it is an excellent sight seeing spot which offers breathtaking views of Metro Cebu and the islands of Mactan and Olango. Open kiosks are available for daytime picnics at the summit of this viewpoint. The City of Cebu is the capital city of Cebu and is the second city in the Philippines with the second most significant metropolitan centre and known as the oldest Spanish settlement in the country. The city is located on the eastern shore of Cebu and was the first Spanish settlement in the Philippines. Cebu is the Philippines' main domestic shipping port and is home to about 80% of the country's domestic shipping companies. Cebu also holds the second largest international flights in the Philippines and is a significant centre of commerce, trade and industry in the Visayas and Mindanao regions. Cebu City is the centre of a metropolitan area called Metro Cebu, which includes the cities of Carcar, Danao, Lapu-lapu, Mandaue, Naga, Talisay. Metro Cebu has a total population of about two million people. The Mactan-Cebu International Airport, located in Lapu-Lapu City is only a 20 minute drive away from Cebu City. To the northeast of the city is Mandaue City and the town of Consolacion, to the west is Toledo City, the towns of Balamban and Asturias, to the south is Talisay City and the town of Minglanilla. Across Mactan Strait to the east is Mactan Island where Lapu-Lapu City and an aquarium attraction are located.
The Cebu Provincial Capitol is dramatically positioned at the end of a grand perspective of a new avenue ( Osmeña Boulevard ) as conceived by William E. Parsons in his 1912 plan of Cebu, in the lines of the City Beautiful Movement. The building follows an H-shaped plan, one side opening to the terminus of Osmeña Boulevard. The main block or corps de logis, three stories high, is flanked by two secondary wings, symmetrically advancing to embrace a rectangular, elevated cour d'honneur that serves as an entrance podium. The elevation of the corps de logis is of typical neoclassical formula: a rusticated ground floor, containing minor rooms and offices, the piano nobile above, with the most important spaces, and finally the attic story. A heavy cornice and parapet caps the façade, with allegorical statues standing by its corners. The most distinctive part of the façade is the central concave pavilion, which creates the semi-circular main balcony and pulls together the entire mass, finally crowned by an austere dome upon an octagonal drum.
The piano nobile is reached by two staircases from the ground floor foyer. The first space, the art deco rotunda below the cupola, opens to the south the main balcony that faces Osmeña Boulevard, and to its north the ballroom (social hall). Two-stories high with full-length windows, the ballroom, also in art deco style, is reminiscent of a fairytale setting. Two enormous chandeliers fashioned in crystal and local capiz shells ( placuna placenta ) light the grand space
Cebu City is a significant cultural centre in the Philippines. The imprint of Spanish and Roman Catholic culture is evident. The city's most famous landmark is Magellan's Cross. A few steps away from the Magellan's Cross is the Basilica Minore del Santo Nino (Church of the Holy Child). This is a Augustinian church elevated to the rank of Basilica in 1965 during the 400th year celebrations of Christianity in the Philippines, held in Cebu. The church, which was the first to be established in the islands, is built of hewn stone and features the country's oldest relic, the figure of the Santo Niño de Cebú ( Holy Child of Cebu ). This religious event is celebrated during the island's cultural festivities known as the Sinulog festival. Held every third Sunday of January, it celebrates the festival of the Santo Nino, who was formerly considered to be the patron saint of Cebu. (This patronage was later changed to that of Our Lady of Guadalupe after it was realised that the St. Niño could not be a patron saint because he was an image of the Christ and not a saint.) The Sinulog is a dance ritual of pre-Hispanic indigenous origin. The dancer moves two steps forward and one step backward to the rhythmic sound of drums. This movement resembles somewhat the current (sulog) of the river. Thus, the Cebuanos called it Sinulog.
When the Spaniards arrived in Cebu, the Italian chronicler, Antonio Pigafetta, sailing under convoy with the Magellan expedition, offered a baptismal gift to Hara Amihan, wife of Rajah Humabon. She was later named Juana, the figure of the Santo Nino. The natives also honoured the Santo Niño de Cebu in their indigenous Sinulog ritual[citation needed]. The Sinulog ritual was preserved but limited to honouring the Santo Nino. Once the Santo Niño church was built in the 16th century, the Christian Malay people started performing the Sinulog ritual in front of the church, the devotees offering candles and indigenous dancers shouting ~ Viva Pit Senor!
Magellan's Cross is a Christian cross planted by Portuguese, and Spanish explorers as ordered by Ferdinand Magellan on arriving in Cebu in the Philippines around April 14 or 21, 1521. This cross is housed in a chapel next to the Basilica Minore del Santo Niño on Magallanes Street ( Magallanes being the Spanish name of Magellan ), just in front of the city centre of Cebu City. A sign below the cross describes the original cross is encased inside the wooden cross that is found in the centre of the chapel. This is to protect the original cross from people who chipped away parts of the cross for souvenir purposes or in the belief that the cross possesses miraculous powers. Some people, however, believe that the original cross had been destroyed or had disappeared after Magellan's death, and the cross is a replica that was planted there by the Spaniards after they successfully colonized the Philippines.
The history is that when Ferdinand Magellan first arrived in Cebu on 21 April 1521 he erected a cross in Cebu. The cross there today is not the original. Magellan's Cross is one symbol of Cebu. This chapel's image can be found in Cebu city seal. It is also seen as the symbol of Roman Catholicism in the Philippines. Magellan and his crew were the first Europeans to arrive in the Philippines. They made the first conversions to Catholicism when they converted Rajah Humabon, the local chief, his wife and hundreds of his Cebuano villagers to accept Christianity and be consequently baptized. At the same time Magellan left in Cebu the Santo Nino de Cebu [ holy child of Cebu ] a doll figure made in Europe in the 16th Century representing Jesus Christ as a child. This doll was rediscovered some 45 years later the return to Cebu of Miguel Lopez de Legazpi who came back to Cebu on the order of King Phillip of Spain to make Cebu the first centre of the new Spanish Colony in Asia, called Las Islas Filipinas. This doll also plays an important function in the religious life of millions of people as explained here.
Two people offer a prayer at the Takachiho shrine, which celebrates all the gods of the Takachiho-go 88 shrines but mostly Takachiho Sumegami and Jissha Daimyoujin, quite busy deities worshipped as the gods of agriculture, exorcism and matchmaking! Founded by Suinin, the 11th emperor of Japan about 1900 years ago, the shrine is surrounded by 800-year-old cryptomeria trees and on its grounds is the wooden Kagura-den, the location at which 4 excerpts of the traditional Yokagura dances are performed every night.