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Sitges, Barcelona (Spain).
Monument to the 40th anniversay of the Sitges Film Festival.
Monumento al 40 aniversario del Festival de Cine de Sitges.
ENGLISH
The Festival de Cine de Sitges (also known as Festival Internacional de Cinema de Catalunya) is one of the most recognizable film festivals held in Europe and considered the world's best festival specializing in genre films. Founded in 1967, the festival normally takes place every year in early October in the Catalan coastal town of Sitges, located about 40 kilometers (24.9 miles) south of Barcelona and specializes in fantasy films.
More info: en.wikipedia.org/wiki/Festival_de_Cine_de_Sitges
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CASTELLANO
El Festival de Cine de Sitges (actualmente también Festival Internacional de Cinema de Cataluña) es uno de los premios cinematográficos más reconocidos de Europa, y está considerado como uno de los más importantes en la especialidad de cine fantástico. Fundado en 1967, se ha celebrado ininterrumpidamente cada año, normalmente a principios de diciembre. Tiene lugar en la villa costera de Sitges, localidad situada a 40 kilómetros al sur de Barcelona (España).
El Festival de Sitges ofrece cada año al público lo mejor de la producción internacional en cinematografía fantástica. Además, acostumbra a programar homenajes, retrospectivas y sesiones especiales. En las últimas ediciones han asistido 5.000 espectadores que, además de poder asistir a las proyecciones cinematográficas, pueden asistir a exposiciones y conferencias.
Oh, how I admire these marvelously engineered, composed and exposed hi-tech Strobist shots, such as of a floating CFL shining brightly without being mated to a socket or any wires visible. For example, this floating CFL, the Strobist explanation and the link to the article by David Hobby were an inspiration to try a lo-tech version.
Strobist Info:
Bulb is a 110V 5W as bought, with a red coating and old-fashioned tungsten filament. Although the thread and contact are dark and hard to see in this shot, no wires are attached to it. No photo editing, simply not needed. This is the image straight out of the camera, just cropped. No fancy floating either, this bulb just rests on the dark backdrop inside my small lightbox that is illuminated by a rainy day cloudy sky through the window shade pulled up about a hand wide. No flash used, no snooting. Why then Strobist? Well, the creative spirit of sharing explanations may have to do with it.
Before I bluntly share, can you guess how I lighted up that bulb? It is without wiring, without building an LED into it, with neither radio frequency transmission nor microwave energy, and not resorting to magic hands energy or wishful positive thinking, either.
Three visual cues:
1. the reflection on the Edison socket,
2. the reflection on the bulb body
3. a bit of light spill to the right side of the bulb. View On Black
Got an idea? The light source is (drum roll) a laser pointer, carefully aimed at the far side of the red globe. See that same little red light bulb when OFF.
www.darckr.com/username.php?username=8725806@N08
Taken with a canon 30D sigma 12-24
Along with PS Sandown, Ryde was the first Southern Railway steamer to have triple expansion engines fitted. In appearance, she was a smaller version of the Caledonian Steam Packet Co's Caledonia. Ryde was built to replace the ageing Duchess of Norfolk and was furnished to a high standard for the time. She was a two class ship, "saloon class" and "third class". She had a good observation lounge on her promenade deck and a large general saloon on her main deck. She also had a tea room, ladies room, smoking room and a 54 seater restaurant. Built for the Portsmouth to Ryde service, she operated year round in the pre war years. After the war she continued to operate as a ferry until she was replaced by the new motor vessels, being eventually withdrawn after the 1969 season. She was moved to a mud berth at the Binfield Marina on the Isle of Wight and was renamed Ryde Queen. Initially she was used as a marina clubhouse and later she became a discotheque. She remains there but is in a very sorry state and has been subject to neglect and vandalism. Both her paddle boxes have now been destroyed and her future looks bleak.
Tai O
Lantau Island
Hong Kong
View " Tai O " On Black & Large
Tai O,
Tai O (traditional Chinese: 大澳) is a fishing town, partly located on an island of the same name, on the western side of Lantau Island in Hong Kong.
History
Nearby archaeological sites date back to the Stone Age, but permanent, and verifiable, human settlement here is only three centuries old. Stories that would be impossible to substantiate have Tai O as the base of many smuggling and piracy operations, the inlets of the river providing excellent protection from the weather and a hiding place. In early 16th century, Tai O was once occupied shortly by Portuguese during Battle of Tãmão. At nearby Fan Lau, a fort was built in 1729 to protect shipping on the Pearl River. Smuggling of guns, tobacco, drugs and people remains a documented illegal activity both into and out of mainland China.
When the British came to Hong Kong, Tai O was known as a Tanka village. During and after the Chinese Civil War, Tai O became a primary entrypoint for illegal immigration for those escaping from the People's Republic of China. Some of these immigrants, mostly Han Chinese, stayed in Tai O, and Tai O attracted people from other Hong Kong ethnic groups, including Hoklo (Hokkien) and Hakka.
Reclamation at Tai OCurrently the fishing lifestyle is dying out. While many residents continue to fish, it barely provides a subsistence income. There is a public school on the island and most young people move away when they come of age. In 2000 a large fire broke out destroying many residences. The village is now mostly squatters huts and dilapidated stilt houses.
Tourism
Also known as the "Venice of Hong Kong", Tai O is also a hot tourist spot for both foreigners and residents of other parts of Hong Kong, despite damage by a fire in July 2000. The pang uk, a kind of stilt house, built right over the waterway are still quite scenic. A rope bridge tended by local women used to be quite popular with visitors, but it has been replaced with a steel pedestrian bridge.
The traditional salted fish and shrimp paste and storefronts at Tai O. For a small fee, some residents will take tourists out on their boats along the river and for short jaunts into the sea. Many tourists come to Tai O specifically to take these trips to see Chinese white dolphins. It is also a good place to see the sunset.
_________________________________
Tai O (chinois traditionnel : le 大澳) est une ville de pêche, en partie située sur une île du même nom, du côté occidental de l'île de Lantau à Hong Kong.
Les emplacements archéologiques voisins remontent à l'âge de pierre, mais la vérifiable vie humaine ici est de seulement trois siècles. Les histoires impossibles à verifier ont eu Tai O pour base dans beaucoup d'opérations de contrebande et de piraterie, l'entree du fleuve assurant l'excellente protection contre le temps et une cachette. Au XVIème siècle, Tai O a été par le passé occupé par le Portugais pendant la bataille de Tãmão. Dans le voisinage Fan Lau, un fort a été construit en 1729 pour protéger l'expédition sur le fleuve de perle. La contrebande des pistolets, du tabac, des drogues et des personnes demeure une activité, source documentaire illegale, dans et hors de la Chine continentale.
Quand les Anglais sont venus à Hong Kong, Tai O a été connu comme village de Tanka. Pendant et après la guerre civile chinoise, Tai O est devenu un point d'entrée primaire pour l'immigration illégale pour ceux s'échappant de République populaire de Chine. Certains de ces immigrés, la plupart du temps Chinois de Han, restés dans Tai O, et Tai O ont attiré des personnes d'autres groupes ethniques de Hong Kong, y compris Hoklo (Hokkien) et Hakka.
Récupération à Tai OActuellement le style de vie de pêche s'éteint. Tandis que beaucoup de résidants continuent à pêcher, il fournit à peine un revenu de subsistance. Il y a une école d'Etat sur l'île et la plupart des jeunes s'écartent quand ils en ont l'âge. En 2000 un grand feu a éclaté détruire beaucoup de résidences. Le village est maintenant la plupart du temps des huttes de squatters et des maisons délabrées sur pillotis.
Également connu comme « Venise de Hong Kong », Tai O est également une place touristique importante pour les étrangers et les résidants d'autres parties de Hong Kong, en dépit des dommages par un feu en juillet 2000. La douleur R-U, un genre de maison sur pillotis, établi bien au-dessus de la voie d'eau sont toujours tout à fait scénique. Un pont de corde tendu par les femmes locales était tout à fait populaire avec les visiteurs, mais il a été remplacé par un pont piétonnier en acier.
Les poissons et la pâte et les devanture de magasin salés traditionnels de crevette à Tai O. Pour de petits honoraires, quelques résidants prendront des touristes sur leurs bateaux le long du fleuve et pour des promenades courtes dans la mer. Beaucoup de touristes viennent à Tai O spécifiquement pour prendre ces voyages pour voir des dauphins blanc chinois. C'est également un bon endroit pour voir le coucher du soleil.
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Camera: Canon EOS 30D
Exposure: 0.001 sec (1/2000)
Aperture: f/4
Focal Length: 17 mm
ISO Speed: 100
Et voilà! Mystery revealed. This young 15yr old model was very easy to work with. As you can see, she has her own interesting style with the multi-coloured shoe laces, piercings, etc.
UPDATE SEPT 29: After much searching, I finally connected with this mystery model.
Her name is Chloe, and she's actually 17!
UPDATE SEPT 30: I stand corrected. She is in fact 15 though the various online personas I stumbled across indicate otherwise; this is due to age restrictions on some sites she tells me.
Please see the background for this shoot.
This photo is part of a large series There are sixty-nine images in the series and I may add more at a later date. These photos were culled from nearly six hundred taken by me while attending the show as a visitor. The images posted are representative of the best and the most interesting automobiles I saw exhibited in the 2011 Los Angeles Automobile Show which closed Sunday Nov 27, 2011. I have done several commercial assignments photographing automobiles previously but then I had total control of the lighting. Obviously that wasn't possible in a large exhibition hall where I was one of many guests shooting images. I've tried to compensate using filters where I thought that might be appropriate with limited success. I expect this series to be one of the best I've posted on Flickr to date. Please take your time to view I encourage you to view as many of the images as you can and give me feedback. Constructive criticism is always welcome. I hope you enjoy viewing my images, I had a lot of fun taking them
© Lawrence Goldman 2011, All Rights Reserved
This work may not be copied, reproduced, republished, edited, downloaded, displayed, modified, transmitted, licensed, transferred, sold, distributed or uploaded in any way without my prior written permission.
Parc Natural del Garraf - Jafra, Barcelona (Spain).
A small figure (5 cm.) at the top of a wall of the old mansion of the baron. Who would put it there?
Una pequeña figura (5 cm.) en lo alto de un muro de la antigua mansión del barón. ¿Quién la pondría ahí?
ENGLISH
Garraf is a place little documented, and for that reason it is surrounded by mystery and legend.
Jafra, a deserted and ruinous town, is named already in 1139, and in 1332 a castle is mentioned. Apparently in 14th century all the inhabitants died due to the Black Death epidemic, although shortly after it became to populate, and in 1432 it became to open the parish. In 17th century the barons of Jafra named a mayor (1683) and recovered the church, dedicated to Santa Maria (1688). In 1819 Jafra lost its last mayor and it joined to the town of Olivella (the parishes already were tie). The culture of the vine made increase the population during 17th century. In 1820 there were 83 inhabitants, and in 1850 the church was recovered again. The plague of phylloxera of end of 19th century caused the desertion of lands, and in 1960 they were left only 19 inhabitants, scattered by farms of the environs.
At the moment only it is left still on the church (in restoration), the walls of rectory and the house of the barons, and those of the house of the servants. About the cemetery only left some walls and two great cypresses, and by the environs it has scattered ruins of which they could be other small houses.
When I arrived at the entrance of the church I was a little rare, with a discomfort sensation, of not feeling very at ease in this place, so I did not entertain myself in making many photos. I do not know why, but I had desire to go away there. And it was later, already in house, when documenting about the place I found the explanation of those strange sensations.
Jafra is considered damn town, and it is object of investigation by different parapsychology studious groups. It comments that at night lights have been seen roam by the zone, and in the house of the servants, called “the enchanted house” have been poltergeist phenomena, like blows, sudden changes of temperature, voices and until some appearance. Here they have been possible to record psychophonies. Also it comments that years ago a boy fell into a well near the cemetery and died drowned, and since it have been heard moans and it has been believed to see a figure roam near the cypresses of the cemetery.
I do not believe in these things, but the strange sensations that I experimented there are well certain...
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CASTELLANO
El Garraf es un lugar poco documentado, y por ello está rodeado de misterio y de leyenda.
Jafra, un poblado abandonado y ruinoso, ya es nombrado en el año 1139, y en 1332 se menciona un castillo. Por lo visto en el siglo XIV murieron todos los habitantes debido a la epidemia de peste, aunque poco después se volvió a poblar, y en 1432 se volvió a abrir la parroquia. En el siglo XVII los barones de Jafra nombraron un alcalde (1683) y restauraron la iglesia, dedicada a Santa María (1688). En 1819 Jafra perdió su último alcalde y se incorporó al pueblo de Olivella (las parroquias ya estaban vinculadas). El cultivo de la viña hizo aumentar la población durante el siglo XVII. En 1820 había 83 habitantes, y en 1850 se restauró nuevamente la iglesia. La plaga de filoxera de finales del siglo XIX provocó el abandono de las tierras, y en 1960 quedaban tan solo 19 habitantes, diseminados por las masías de los alrededores.
Actualmente sólo queda en pie la iglesia (en restauración), los muros de la rectoría y de la casa de los barones, y los de la casa de los criados. Del cementerio apenas quedan unos muros y dos grandes cipreses, y por los alrededores hay diseminadas ruinas de lo que podrían ser otras casas pequeñas.
Cuando llegué a la entrada de la iglesia me encontré un poco raro, con una sensación de incomodidad, de no sentirme muy a gusto en el lugar, así que no me entretuve en hacer muchas fotos. No sé por qué, pero tenía ganas de marchar de allí. Y fue después, ya en casa, cuando documentándome acerca del lugar encontré la explicación a esas extrañas sensaciones.
Por lo visto Jafra es considerado un pueblo maldito, y es objeto de investigación por parte de diferentes grupos estudiosos de parapsicología. Se comenta que de noche se han visto luces merodear por la zona, y en la casa de los criados, llamada "la casa encantada" ha habido fenómenos poltergeist, como golpes, cambios súbitos de temperatura, voces y hasta alguna aparición. En ella se han podido grabar psicofonías. También se comenta que hace años cayó un niño a un pozo cerca del cementerio y murió ahogado, y desde entonces se han oído lamentos y se ha creído ver una figura merodear cerca de los cipreses del cementerio.
Yo no creo en estas cosas, pero las extrañas sensaciones que experimenté allí son bien ciertas...
Projekt 52-2016 - Thema: "Es erwacht"
Bei den aktuellen Temperaturen ist die spannende Frage: Erwacht die Vegetation schon oder hat sie sich gar nicht erst schlafen gelegt? Diese Aufnahme entstand in unserem Schrebergarten am 03. Januar!
View On Black Just my lotd today ;p
Pose: 'Stance' available in the 'Stands Vendor' @ Del May Mainstore
Details as requested :)
'Miel Pomi Bear' - Miel Subscribo gift (freebie)
Hair: Kin 'Voss'
Ears: Gauged (Chase the Beast Hunt - freebie)
Blindfold: Cheeky Soul 'Dreamer'
Skin: Trap 'Roco' - Tone 0
Jaffa Cake (mouth): Del May (not for sale, ask me nicely ;p)
Jacket: Zenith 'Chaos'
Gloves: Trap 'Fuzz Gloves'
Pants: LeLutka 'Mithra'
Knee pads: Cobrahive 'Aludo'
Boots: NV 'Hammer'
Update: Oct 23 -- The Battle is ON
It finally happened--the competition website is up and running.
I'd really appreciate if you can take a minute and vote on my pics...just click on the pics (Photographer 11) and then underneath it select the rating...5's would be fantastic. :-)
Note: We were officially allowed to submit 2 pics per model we'd shot with, however at least half of the other photographers went overboard and flaunted the rules entirely, some posting 4, 5, or even 7 pics of several of their models! C'est la vie.
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When I first saw Sonya the morning of the shoot, she had a classic straight hairstyle and I looked forward to shooting her. However, after I'd shot with a few models, and by the time she was ready to shoot with me, her hair had gone all wild & frizzy. The sudden appearance of the afro caused me to take a few steps back in shock. Though a bit reluctant at first, I ultimately reconciled and we agreed to shoot. Now, after shooting her in this "larger than life" hairstyle I can't imagine shooting her any other way. :-)
The one thing that struck me about Sonya was her effortless abilities to switch poses rather fluidly, practically every few seconds. I asked her if she had been modelling for 20 years because she seemed to have so much experience, not realizing that not only was she not even 20 years old, but she'd barely modelled before. Sonya every so sweetly just smiled in reply. I knew we were in for a treat!
These first shots were taken in the rear of the establishment. Pretty soon I knew we had to head into the heart of the graffiti mecca if she was to have a chance to spread her wings and fly...hang to your seats! :-0
Please see the background for this shoot.
A delicious chocolate cake decorated with mint leaves. Makes my mouth water remembering how rich and good this tasted!
HISTORY OF CHOCOLATE:
The tasty secret of the cacao (kah KOW) tree was discovered 2,000 years ago in the tropical rainforests of the Americas. The pods of this tree contain seeds that can be processed into chocolate. The story of how chocolate grew from a local Mesoamerican beverage into a global sweet encompasses many cultures and continents.
The first people known to have made chocolate were the ancient cultures of Mexico and Central America. These people, including the Maya and Aztec, mixed ground cacao seeds with various seasonings to make a spicy, frothy drink.
Later, the Spanish conquistadors brought the seeds back home to Spain, where new recipes were created. Eventually, and the drink’s popularity spread throughout Europe. Since then, new technologies and innovations have changed the texture and taste of chocolate, but it still remains one of the world’s favorite flavors.
Source and More Info: www.fieldmuseum.org/Chocolate/history.html
TYPES OF CHOCOLATE:
Several types of chocolate can be distinguished. Pure, unsweetened chocolate contains primarily cocoa solids and cocoa butter in varying proportions. Much of the chocolate consumed today is in the form of sweet chocolate, combining chocolate with sugar. Milk chocolate is sweet chocolate that additionally contains milk powder or condensed milk.
"White chocolate" contains cocoa butter, sugar, and milk but no cocoa solids. Chocolate contains alkaloids such as theobromine and phenethylamine, which have some physiological effects in humans, but the presence of theobromine renders it toxic to some animals, such as dogs and cats. It has been linked to serotonin levels in the brain. Dark chocolate has recently been promoted for its health benefits, as it seems to possess substantial amount of antioxidants that reduce the formation of free radicals.
Alongside milk chocolate, white chocolate and dark chocolate are also common chocolate varieties.
White chocolate is formed from a mixture of sugar, cocoa butter, and milk solids. Although its texture is similar to milk and dark chocolate, it does not contain any cocoa solids. Because of this, many countries do not consider white chocolate as chocolate at all. Although first introduced by Hebert Candies in 1955, Mars, Incorporated was the first to produce white chocolate within the United States. Because it does not contain any cocoa solids, white chocolate does not contain any theobromine, meaning it can be consumed by animals.
Dark chocolate is produced by adding fat and sugar to the cacao mixture. The U.S. Government calls this "sweet chocolate", and requires a 15% concentration of chocolate liquor. European rules specify a minimum of 35% cocoa solids. Dark chocolate, with its high cocoa content, is a rich source of the flavonoids epicatechin and gallic acid, which are thought to possess cardioprotective properties. Dark chocolate has also been said to reduce the possibility of a heart attack when consumed regularly in small amounts. Semisweet chocolate is a dark chocolate with a low sugar content. Bittersweet chocolate is chocolate liquor to which some sugar (typically a third), more cocoa butter, vanilla and sometimes lecithin have been added. It has less sugar and more liquor than semisweet chocolate, but the two are interchangeable in baking.
Unsweetened chocolate is pure chocolate liquor, also known as bitter or baking chocolate. It is unadulterated chocolate: the pure, ground, roasted chocolate beans impart a strong, deep chocolate flavor.
Source: Wikipedia
UN-DS Photo Session 1 of 2
I've had these Nike iDs since February just waiting for the warm weather to start. Thought it was nice enough to wear them today for some captures at Washington Square Park, New York. I choose to do a similar image to my AM1 Curry from last weekend.
This is one of the images that I wish came out sharper in the shoe area. I messed up the settings on my cam when setting up for this shot. The problem is, my screen is almost gone, so I can barely see what the image looks like when I take it. I'm basically just shooting away with no real idea how the capture looks. It's only until it's put into iPhoto at home, that I can see the results. It really sucks, but hopefully my cam will be replaced soon.
Camera - Panasonic DMC ZS3
Photoshop - Used for Levels, Exposure, Brightness & Contrast, and Saturation (-50)
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If you would like to use this image for editorial or commercial use, use the "Request To License" link under additional information next to the image.
© All rights reserved
The castle was built from the 12th century by the barons of Beynac (one of the four baronies of Périgord) to close the valley. The sheer cliff face being sufficient to discourage any assault from that side, the defences were built up on the plateau: double crenellated walls, double moats, one of which was a deepened natural ravine, double barbican.
The oldest part of the castle is a large, square-shaped, Romanesque keep with vertical sides and few openings, held together with attached watch towers and equipped with a narrow spiral staircase terminating on a crenellated terrace. To one side, a residence of the same period is attached; it was remodelled and enlarged in the 16th and 17th centuries. On the other side is a partly 14th century residence side-by-side with a courtyard and a square plan staircase serving the 17th century apartments. The apartments have kept their woodwork and a painted ceiling from the 17th century. The Salle des États (States' Hall) has a Renaissance sculptured fireplace and leads into a small oratory entirely covered with 15th century frescoes, included a Pietà, a Saint Christopher, and a Last Supper in which Saint Martial (first bishop of Limoges) is the maître d'hôtel.
At the time of the Hundred Years' War, the fortress at Beynac was in French hands. The Dordogne was the border between France and England. Not far away, on the opposite bank of the river, the Château de Castelnaud was held by the English. The Dordogne region was the theatre of numerous struggles for influence, rivalries and occasionally battles between the English and French supporters. However, the castles fell more often through ruse and intrigue rather than by direct assault, because the armies needed to take these castles were extremely costly: only the richest nobles and kings could procure them.
The castle was bought in 1962 by Lucien Grosso who has restored it.
Source: en.wikipedia.org/wiki/Ch%c3%a2teau_de_Beynac
Feel free to use this image in a non-commercial manner! I only ask you to link back to my flickr account or my website www.archetypefotografie.nl/! Thanks!
If you wanna follow me on Twitter -> twitter.com/AF_Photography
Critique is very welcome, even if it's negative ;-)
www.rangierdiesel.de/index.php?nav=1401007&lang=1&...
Lebenslauf
14.12.1962 Auslieferung an DB - Deutsche Bundesbahn [D] "V 60 1156"
20.12.1962 Abnahme
01.01.1968 Umzeichnung in "261 156-4"
01.10.1987 Umzeichnung in "361 156-3"
__.__.1989 Umbau
[Ausrüstung mit Funkfernsteuerung]
16.08.1989 Umzeichnung in "365 156-9"
01.01.1994 => DB AG - Deutsche Bahn AG, GB Traktion [D] "365 156-9"
01.01.1998 => DB AG - Deutsche Bahn AG, GB Ladungsverkehr "365 156-9"
01.07.1999 => DB Cargo AG [D] "365 156-9"
01.09.2003 => Railion Deutschland AG [D] "365 156-9"
__.__.2004 Umbau durch DB Fahrzeuginstandhaltung GmbH, Cottbus [D]
[Remotorisierung mit Caterpillar-Motor 3412E DI-TTA]
08.12.2004 Umzeichnung in "363 156-1"
16.02.2009 => DB Schenker Rail Deutschland AG [D] "363 156-1"
[NVR-Nummer: 98 80 3363 156-1 D-DB]
01.03.2016 => DB Cargo Deutschland AG [D] "363 156-1"
[NVR-Nummer: 98 80 3363 156-1 D-DB]
Crummock Water lays still, sentries guard her shore from ravages of approaching foe.
Stoic and resolute, soul mates unable, unwilling to run.
Grasmoor and Whiteless Pike stern gatekeepers fight with each foot of altitude, scree
scars their flanks from previous encounters.
Dark topped, piling the front high upon their ridge, soon their fight will be one for
sightless eyes, loud and brash, yet unseen. Hidden in the fog of war.
All seems written, another lost in this eternal struggle, too vast for humankind to
comprehend. Yet hope remains as one by one rays of sunlight break the bonds, save
the day, this day.
We live, we die, and we turn to dust. A mere heartbeat in this story of struggle and loss.
www.coolhunting.com/style/lodekka.php
The Bristol Lodekka was a low-height double-decker bus built by Bristol Commercial Vehicles in England.
Bristol manufactured over 5,200 Lodekkas from 1949 to 1968, as a standard double-deck vehicle for the UK state-owned bus sector. With all examples bodied by Eastern Coach Works in Lowestoft, they have a traditional half-cab design and a lower floor level allowing a low overall height. The earlier LD-series and the later FL and FS had a rear platform, but the FSF and FLF had a front entrance. Most were powered by 5 or 6-cylinder Gardner engines, with fewer having a Bristol or Leyland power unit. With the arrival of more modern "OMO" or one person operated buses, such as the Leyland Atlantean and Bristol VRT (the Lodekka's successor), many Lodekkas found themselves relegated to driver training duties.
Lodekka users in the UK included: Brighton & Hove, Bristol Omnibus, Crosville, Cumberland, Eastern Counties, Eastern National, Hants & Dorset, Lincolnshire Road Car, Scottish Omnibuses, Southern Vectis, Luton & District, Thames Valley & Aldershot, United, United Counties, West Yorkshire Roadcar Co, Western National, Central SMT and Wilts & Dorset. While no Lodekkas were bought by any London based companies, they often worked into the capital on services operated by Thames Valley and Eastern National.
West Yorkshire Road Car Company had an early Lodekka, fleet number DX1, which operated in the Harrogate area and lacked the distinctively stylish fairing of the production models. Locally, this was said to have been displayed at the Festival of Britain (South Bank Exhibition) in 1951.
The Bristol Lodekka was also manufactured by Dennis under licence, and was sold as the Dennis Loline.
Much Better Viewed Large On Black
On a recent road trip we visited the old historic section of Globe, Arizona, a small mining town of approximately 18,000 current residents in Gila County. The old Courthouse and Jail on Broad Street (a four-story courthouse and adjacent three-story jail behind which many were hung), was built in 1905, 1909--and today it is the Cobre Valley Center for the Arts.
INFORMATION AND HISTORY OF GLOBE, ARIZONA:
Globe (Western Apache: Bésh Baa Gowąh) is a city in Gila County, Arizona, United States. According to 2005 Census Bureau estimates, the population of the city is 7,187. The city is the county seat of Gila County. Globe was founded c. 1875 as a mining camp. Mining, tourism, government and retirees are most important in the present-day Globe economy.
According to the United States Census Bureau, the city has a total area of 18.0 square miles (46.7 km²), of which, 18.0 square miles (46.7 km²) of it is land and 0.06% is water. Globe is adjacent to Miami, Arizona, and the San Carlos Apache Indian Reservation. Globe, Miami, and the unincorporated areas nearby (including Inspiration, Claypool and Central Heights-Midland City) are commonly called Globe-Miami.
Globe has an arid climate, characterized by hot summers and moderate to warm winters. Globe's arid climate is somewhat tempered by its elevation, however, leading to slightly cooler temperatures and slightly more precipitation than Phoenix or Yuma.
Globe's economy is heavily dependent on the mining industry, and as of 2008 the city was home to one of the few operating copper smelters in the United States.
The plans for an incorporated Globe were established in July 1876 with retail stores, banks, and Globe's first newspaper printing its first issue on May 2, 1878. By February 1881, Globe was the Gila County seat. Coming with Globe's new importance as the new county seat came a stage coach link linking it to Silver City, New Mexico.
Due to Globe's relative isolation from the rest of Arizona and it's proximity to the San Carlos Apache reservation, Globe remained a frontier town. Globe's history is laced with many historic events such as murders, stagecoach robberies, outlaws, lynchings, and Apache raids. Natiotish, a San Carlos Apache, left the reservation with a group of about 50 men and continued to attack ranchers and miners.
Globe is also known for having links to Geronimo and the Apache Kid. On October 23, 1889, the Apache Kid's trial was held in the Globe Courthouse. After he was convicted, it was the responsibility of Sheriff Glenn Reynolds to transport him to the Arizona Territorial Prison in Yuma, Arizona. Sheriff Reynolds, his deputy, and their prisoners set out in an armored stagecoach holding the Apache Kid inside. Somewhere near present day Kearny, Arizona, Sheriff Reynolds let the Apache Kid out of the stagecoach seeing as they were on an uphill climb and he wanted to ease the burden on the horses. The Apache Kid was able to overcome and murder Sheriff Reynolds.
In 1884 the surviving Clanton brothers Ike and Phineas arrived in Apache County after the fight the infamous gunfight at the OK Corral in Tombstone. Ike was eventually killed by a local deputy sheriff, and Phineas, after serving prison time for a stage robbery, moved to Globe, where he died of pneumonia and was buried in 1906.
Source: Wikipedia
Hilo de la Fotohistoria en Pullip .es: SARAY AND PILUH / SARAY Y PILUH
(Read in order, this is: SHOT/FOTO 09 of 10) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10.
PHOTOSTORY: In English / En Español
Chris: Hey Sheryl, can we play some games after the photo? You like videogames, Piluh?
Piluh: Are you kidding me? XD Get those thumbs ready
Dom: (hehehehehehe.... XD)
Matt: (what're you gonna do, Dom? XDD)
Saray: (this is so cool!) Thanks Sheryl!
/
Chris: Eh Sheryl! Podemos ir a echarnos unos vicios después de la foto? Te molan los video-juegos Piluh?
Piluh: Me lo dices o me lo cuentas. XD Prepara tus pulgares.
Dom: (hehehehehehe.... XD)
Matt: (Que vas a hacer Dom? XDD)
Saray: (Que guay!!!) Gracias Sheryl!
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
- Sheryl Photostories at Flickr
Custom Saray: at Saray's Flickr
Custom Piluh: at Saray's Flickr
Hilo de la Fotohistoria en Pullip .es: AFTER THE CONCERT (6 of 9): Shin and Near /
DESPUÉS DEL CONCIERTO (6 de 9): Shin y Near
(Read in order, this is: SHOT/FOTO 100 of 184) PAG: 01, 02, 03, 04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107,108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 174, 175, 176, 177, 178, 179, 180, 181, 182, 183, 184.
FOTOSTORY: In English / En Español
Shin: O_O (What's going on?)
/
Shin: O_O (Que pasa?)
LINKS:
- Las FOTOHISTORIAS de Sheryl en el Foro de Pullips: Pullip .es
View On Black RECOMMENDED!
This is a non-HDR project. I did take different exposures for HDR shots, but in the end I decided to go with a regular version. I did make some edits in Lightroom and Photoshop to bring out the colors in the scene.
I was there with my cousin and friend who is the 350z owner. The place was really dirty with dust and there were some janitors with hoses and wipers but they weren't really doing anything. So we gave them some encouragement and they ended up cleaning that part of the parking lot level. During the whole shoot the janitors and security guards were watching us as we set up our gear and the car. Surprisingly enough the guards were quite helpful and didn't bother us at all. Unlike some other experiences I've had in similar lots before.
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Canon EOS 40D.
Lens: EF 24-105 F4 L IS.
ISO: 100.
Shutter Speed: 1.3 seconds.
Aperture: F/5.6.
Focal length: 24mm.
Ex: Shot on a tripod with cable shutter release.
Software: Adobe Photoshop CS2 - Adobe Lightroom.
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**EXPLORED**
That's right, folks. I'm back. Did you miss me while I was sans internet on my camping trip? I feel a little out of sorts right now. I'm going to need to spend some time catching up on your streams. It feels good to be back home with my face paint, though. :) Thought I'd finish August off with one of these shots since I had stick to pretty simple on the camping trip.
I am still so freaking exhausted today. I slept for about eleven hours and I still feel like I'm dragging myself around in a daze. Oh, and to everybody who asked I'm feeling MUCH better as far as my stomach issues from last week and also the mouth/lymph node agony. Thank god. That was some serious pain and misery. I'm glad it started clearing up and improving on the first day of the trip or I would have had a horrible time.
I still have more pictures from the trip to upload, but I figure I'll try to do that slowly, here and there, rather than just bombarding you all. :)
365 Days (self portraits): Day 153
i love when i look out my kitchen window and see the kids in the streets playing in the springtime..summer might even be here as the temperatures have really gone up..
some of you may remember little andrea..the dark haired girl in the photo..i have some photos of her here on my photostream..she used to live in this street..
so sadly..she just lost her mother to cancer..makes me weep for her..
her family moved away to the country shortly after her mother became sick but everytime she visits her friends in the street she knocks on my door with a big smile on her face..saying: "you told me always to come and see you when i visit my friend freyja"..and she faithfully does..
she loves tinna..our cat..
i like this photo..so full of life!
Rupit, Barcelona (Spain).
This duck not yet has class, and must swim in dangerous waters of the river.
Este pato aún no tiene categoría, y tiene que nadar en las peligrosas aguas del río.
ENGLISH
Aluminium foil (known as aluminum foil in North America) is aluminium prepared in thin sheets with a thickness less than 0.2 mm / 0.008 in, although much thinner gauges down to 0.006 mm are commonly used. As a result of this, the foil is extremely pliable, and can be bent or wrapped around objects with ease. However, thin foils are fragile and easily damaged, and are usually laminated to other materials such as plastics or paper to make them useful. It replaced tin foil towards the end of the 19th century.
Foil made from a thin leaf of tin was commercially available before its aluminium counterpart. In the late nineteenth century and early twentieth century, tin foil was in common use, and some people continue to refer to the new product by the old name. Tin foil is much stiffer than aluminium foil. It tends to give a slight tin taste to the food wrapped in it, which is one major reason it has largely been supplanted by aluminium and other materials for wrapping food. The first audio recordings on phonograph cylinders were made on tin foil.
Tin was first replaced by aluminium in 1910, when the first aluminium foil rolling plant, “Dr. Lauber, Neher & Cie. and Emmishofen.” was opened in Kreuzlingen, Switzerland. The plant, owned by J.G. Neher & Sons, the aluminium manufacturers, started in 1886 in Schaffhausen and Switzerland, at the foot of the Rhine Falls - capturing the falls' energy to produce aluminium. Neher's sons together with Dr. Lauber discovered the endless rolling process and the use of aluminium foil as a protective barrier on December 1907.
The first use of foil in the United States was in 1913 for wrapping Life Savers, candy bars and gum. Processes evolved over time to include the use of print, colour, lacquer, laminate and the embossing of the aluminium.
The extensive use of aluminium foil has been criticised by some environmentalists because of the high resource cost of extracting aluminium, primarily as a result of the large amount of electricity used to decompose bauxite. However, this cost is greatly reduced via recycling, reduced energy requirements during transport due to lighter weight packages, and the fact that many foods that would otherwise perish can be protected over long periods without refrigeration. Many aluminium foil products can be recycled at around 5% of the original energy cost, although many aluminium laminates are not recycled due to difficulties in separating the components and low yield of aluminium metal.
More info: en.wikipedia.org/wiki/Aluminium_foil
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CASTELLANO
El papel aluminio (conocido también como papel plateado) es una hoja fina de aluminio que, a consecuencia de ello, es extremadamente maleable y permite numerosos usos en la vida cotidiana, entre las que está la de poder hacer de envoltorio de diversos objetos. conductor de electricidad y se utiliza también como papel de embalaje para envolver alimentos. En España se conoce popularmente como "papel Albal" por la marca Albal, que lo comercializa. Millones de toneladas de papel de aluminio se emplean a diario en todo el mundo en el embalaje y protección de alimentos, cosméticos y productos químicos diversos. Por regla general con una capa extremadamente delgada que suele rondar desde los 20 µm a los 6.5 µm, en algunos casos es laminado con otros materiales tales como plástico o papel.
Mucho antes que el moderno papel de aluminio, se empleaban y distribuían hojas finas de estaño para propósitos similares. A finales del siglo XIX y comienzos del siglo XX las hojas delgadas de estaño eran ya muy populares y cuando empezaron a aparecer en el mercado las nuevas hojas de papel de aluminio la gente las seguía denominando como hojas de estaño. El nuevo producto era mejor que las antiguas hojas de estaño debido a diversas razones, el estaño dejaba sabores 'extraños' en los alimentos envueltos con este papel y su resistencia y prestaciones eran mejores. No obstante, las primeras grabaciones de audio en los fonógrafos de cilindro se hicieron en finas hojas de estaño.
Las láminas de estaño se reemplazaron por las de aluminio en el año 1910, justo cuando se estableció la primera planta de elaboración de láminas de aluminio bajo la empresa Dr. Lauber, Neher & Cie., Emmishofen, que fue instalada en Kreuzlingen (Suiza). La planta pertenecía J.G. Neher & Sons (manufactureros del aluminio) que comenzaron su trabajo ya en el año 1886 en los alrededores de la ciudad de Schaffhausen, Suiza cerca de las cataratas del Rhine - capturaban la energía de las cataratas para producir el aluminio-. Los hermanos Neher junto con el Dr. Lauber descubrieron el proceso de laminado sin fin y el uso del papel de aluminio como barrera protectora. Los primeros usos de estas hojas fueron el embalaje de los productos del tabaco, las barras de chocolate. a lo largo del tiempo los productores fueron añadiendo lacas que coloreaban las hojas de aluminio.
Más info: es.wikipedia.org/wiki/Papel_de_aluminio
Visit my blog for advice on how on how to take photographs of your children or submit a photo for inclusion in "Ken's Tips On Your Pics": www.kensharp.com/blog/category/kens-tips-on-your-pics-2/
© Ken Sharp. Please do not use or download without permission. If you have any queries please contact me: www.kensharp.com
A rather deep thought hit me yesterday, as i was thinking about
the approaching holidays and the new year.
We arent just changing over to a new year or a new number.
We are ending a decade and beginning a new one.
Mankinds first decade in the 21st century is about to end.
that means we survived ten years after the Y2K scare, and its been
almost a decade since 911.
it got me thinking not just about the things i have done, or experienced
in this past year. Also the places i have been , the cool items i have to play
with or enjoy, but it made me think about the last 10 years i have
travelled, the people i have met, and the ways i have changed.
Even 5 years ago,i would not have believed who i would be now,and the
many crazy things i would have gone thru. if i could tell the "me then" Drummy
about all the coming events he would have laughed and thought i was crazy.
In some ways i would like to go back a decade and tell that 22 year old
"kid" quite a few things about his future.
Im glad i am where i am.
im also in awe this planet hasnt killed itself off by now, in alot of ways.
(Exploredicated)
I've decided something...People who call your phone, over and over and over and fucking over again, and never leave a message, should be assaulted by a midget with lobster claws and a sharp stick. Seriously now, it's not hard to leave a message and it makes me actually willing to call you back...
Other than that, it was Friday so minor stresses and I am so ready for the weekend! I could use a break and I want to just relax and not worry, if only for a few hours =^_^=
I also tried a new brand of makeup from www.heavenlynaturalbeauty.com and they are love! The colors are really vibrant and easy to blend. I applied them wet (using eye drops to make a paste) and then patted the color over it again dry.
And ugh because I forgot to take a closed eye photo! Next time though :D
**Colors used will be tagged on the photo :D**
You really need to View On Black
This marks the 52nd shot of my 52 weeks of self portraits. It was the toughest one to do (although there were some about 3/4 the way through that seemed impossible to do as well). I have to say I'm sick of seeing myself and sick of doing self portraits. I honestly don't know how all the 365 'ers manage to do it. 52 is nothing in comparison. Still, I'm going to take a break from selfies for a while. [insert applause track here] I'm not sure for how long. Just long enough to be motivated. This may occur sooner than later since the pressure to take a weekly shot is off. I say pressure because after you've taken about 15 weekly portraits, you start to run out of original ideas. Not that original ideas won't surface, it's just that they take time to develop. I noticed that even after I had taken this photo, the creativity started seeping back in. Anyway, I chose this tunnel for the final shot. I'd had it in mind for over a month because I felt it symbolized both beginning and end in that you can see the light, yet I also have the choice to turn around and go the opposite way, not towards the end, but to the entry. There's light there too. I think there are certain times when you want to see the light at the end but often, the journey needs to continue. So you either wander around in the tunnel or proceed back to the entry. Me? I'm headed back to the entry. It also seemed fitting since this is New Year's Eve -- another end and beginning. With that, I wish everyone a very happy and safe New Year. Cheers!
[side note: the tunnel was quite busy with people passing by. I waited for quite a bit before I setup my equipment. Once others saw the tripod and camera bag, and that this might be a cool place to photograph, it was like a feeding frenzy -- people started snapping photos all over the tunnel (not of me, but of the tunnel). One guy even set his tripod up about 10 feet behind me. I had to check to make sure there wasn't one of those 'Kodak Picture Spot' signs nearby.]
Torre de la Vela - La Alhambra, Granada (Spain).
The last shot of The Alhambra / La última foto de La Alhambra.
ENGLISH
The ground plan of the Watch Tower (Torre de la Vela) is of 16 meters x 16 meters and its elevation is of 26,80 meters. It has a solid base and four floors with arches supported by pillars. During some time this tower was used as a dwelling, so it was modified. On the second floor there were merlons until the 16th century. In 1840 the current bell was put on the western façade and it had to be rebuilt in 1882 because a bolt of lightning damaged it.
The bell is an important element of this tower. Its chime used to indicate the farmers of the Vega, the meadow of the valley, the hours when they had to water the fields at night. The bell started striking at 8 or 9.30 p. m. and it kept doing so at different intervals with different chimes until 3 or 4 a. m., depending on the season. This bell was also used to call the inhabitants of Granada in case of danger. Nowadays, it is only on January 2nd that the Watch Tower and its bell are in the minds of all the inhabitants of the city. That was the date when the Catholic Monarchs took the city and the tradition says that every young woman who is still single and who strikes the bell, will get married before the end of the year.
The view from the top of the tower is marvellous, as it is possible to enjoy at the same time, the city of Granada, the Sierra Nevada, the Vega and the villages of the surroundings.
Source: www.alhambradegranada.org/historia/alhambratvela_en.asp
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CASTELLANO
La planta de la Torre de la Vela mide 16 metros de lado y 26,80 metros de alto. La base es maciza y tiene cuatro pisos con arcos apeados por pilares. Durante algún tiempo, esta torre se convirtió en vivienda, por lo que su aspecto ha cambiado con respecto al que tuvo en sus orígenes. En el segundo piso tuvo almenas hasta el siglo XVI. La ubicación actual de la campana en la fachada occidental es de 1840 y tuvo que ser reconstruída posteriormente debido a la caida de un rayo en 1882.
La campana es la gran protagonista de esta torre. Antiguamente, su toque servía como reloj nocturno a los agricultores de la Vega para regar sus campos. Comenzaba a sonar de 8 a 9:30 de la noche, y seguía sonando a distintos intervalos y con distintos toques hasta las 3 o las 4 de la mañana, según la estación del año. Esta campana también ha servido para llamar a los granadinos en caso de peligro. Hoy en día, es el día 2 de enero de cada año cuando la torre de la Vela y su campana recuperan el protagonismo que tuvo antaño. En conmemoración de la fecha en la que los Reyes Católicos tomaron Granada, existe una tradición por la cual todas las muchachas solteras de la ciudad que hagan sonar la campana el 2 de enero de cada año, contraerán matrimonio antes de que termine el año.
El paisaje que podemos observar desde la torre es maravilloso, ya que es posible disfrutar de un solo vistazo de una panorámica de la ciudad, Sierra Nevada, la vega y los pueblos de los alrededores.
Fuente: www.alhambradegranada.org/historia/alhambraTVela.asp
Proof that you don't have to go far from home to get a shot!
I drive past this park almost every day... it is right on a busy highway with another on the left. I've been waiting for weeks for the leaves to turn colour.
Finally, over the past couple of days I have noticed the wonderful carpet of autumn leaves as the trees catch up with the season. With gale force winds and rain forecast, I knew the carpet would be gone soon enough. So, less than a kilometre from home and I managed to get in before the winds got too strong and, after waiting for the light for an hour, my patience was rewarded when the grey sky lifted for a while and the sun danced across the golden carpet of leaves.
www.meucat.com/maps/mapa_satelite.php?COD=roma&NOME=P...
Fontana dei Quattro Fiumi
Following, a text, in english, from Wikipedia, the free encyclopedia:
The Fontana dei Quattro Fiumi or "Fountain of the Four Rivers" is a fountain in Rome, Italy, located in the Piazza Navona. Designed by Gianlorenzo Bernini, it is emblematic of the dynamic and dramatic effects sought by High Baroque artists. It was erected in 1651 in front of the church of Sant'Agnese in Agone, and yards from the Pamphilj Palace belonging to this fountain's patron, Innocent X (1644-1655).
The four gods on the corners of the fountain represent the four major rivers of the world known at the time: the Nile, Danube, Ganges, and Plate. The design of each god figure has symbolic importance.
Design
Bernini's design was selected in competition. The circumstances of his victory are described as follows:
So strong was the sinister influence of the rivals of Bernini on the mind of Innocent that when he planned to set up in Piazza Navona the great obelisk brought to Rome by the Emperor Caracalla, which had been buried for a long time at Capo di Bove for the adornment of a magnificent fountain, the Pope had designs made by the leading architects of Rome without an order for one to Bernini. Prince Niccolò Ludovisi, whose wife was niece to the pope, persuaded Bernini to prepare a model, and arrange for it to be secretly installed in a room in the Palazzo Pamphili that the Pope had to pass. When the meal was finished, seeing such a noble creation, he stopped almost in ecstasy. Being prince of the keenest judgment and the loftiest ideas, after admiring it, said: “This is a trick … It will be necessary to employ Bernini in spite of those who do not wish it, for he who desires not to use Bernini’s designs, must take care not to see them.”
Paraphrase from Filippo Baldinucci, The life of Cavaliere Bernini (1682)
Public fountains in Rome served multiple purposes: first, they were highly needed sources of water for neighbors in the centuries prior to home plumbing. Second, they were monuments to the papal patrons. Earlier Bernini fountains had been the Fountain of the Triton in Piazza Barberini, the fountain of the Moor in the southern end of Piazza Navona erected during the Barberini papacy, and the Neptune and Triton for Villa Montalto, whose statuary now resides at Victoria and Albert Museum in London.
Each has animals and plants that further carry forth the identification, and each carries a certain number of allegories and metaphors with it. The Ganges carries a long oar, representing the river's navigability. The Nile's head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile's source was. The Danube touches the Papal coat of arms, since it is the large river closest to Rome. And the Río de la Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe (the word plata means silver in Spanish). Also, the Río de la Plata looks scared by a snake, showing rich men's fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk (built for the Roman Serapeum in AD 81), symbolizing by Papal power surmounted by the Pamphili symbol (dove). In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble. A legend, common with tour-guides, is that Bernini positioned the cowering Rio de la Plata River as if the sculpture was fearing the facade of the church of Sant'Agnese by his rival Borromini could crumble against him; in fact, the fountain was completed several years before Borromini began work on the church.
The dynamic fusion of architecture and sculpture made this fountain revolutionary when compared to prior Roman projects, such as the stilted designs Acqua Felice and Paola by Fontana in Piazza San Bernardo (1585-87) or the customary embellished geometric floral-shaped basin below a jet of water such as the Fontanina in Piazza Campitelli (1589) by Giacomo della Porta.
Unveiling
he Fontana dei Quattro Fiumi was unveiled to the populace of Rome on 12 June 1651. According to a report from the time, an event was organised to draw people to the Piazza Navona. Beforehand, wooden scaffolding, overlaid with curtains, had hidden the fountain, though probably not the obelisk, which would have given people an idea that something was being built, but the precise details were unknown. Once unveiled, the full majesty of the fountain would be apparent, which the celebrations were designed to advertise. The festival was paid for by the Pamphili family, to be specific, Innocent X, who had sponsored the erection of the fountain. The most conspicuous item on the Pamphili crest, an olive branch, was brandished by the performers who took part in the event.
The author of the report, Antonio Bernal, takes his readers through the hours leading up to the unveiling. The celebrations were announced by a woman, dressed as the allegorical character of Fame, being paraded around the streets of Rome on a carriage or float. She was sumptuously dressed, with wings attached to her back and a long trumpet in her hand. Bernal notes that "she went gracefully through all the streets and all the districts that are found among the seven hills of Rome, often blowing the round bronze [the trumpet], and urging everyone to make their way to that famous Piazza." A second carriage followed her; this time another woman was dressed as the allegorical figure of Curiosity. According to the report, she continued exhorting the people to go towards the piazza. Bernal describes the clamour and noise of the people as they discussed the upcoming event.
The report is actually less detailed about the process of publicly unveiling the fountain. However, it does give ample descriptions of the responses of the spectators who had gathered in the Piazza. Once there, Bernal notes, the citizens of the city were overwhelmed by the massive fountain, with its huge life-like figures. The report mentions the "enraptured souls" of the population, the fountain, which "gushes out a wealth of silvery treasures" causing "no little wonder" in the onlookers. Bernal then continues to describe the fountain, making continuous reference to the seeming naturalism of the figures and its astonishing effect on those in the piazza.
The making of the fountain was met by opposition by the people of Rome for several reasons. First, Innocent X had the fountain built at public expense during the intense famine of 1646-48. Throughout the construction of the fountain, the city murmurred and talk of riot was in the air. Pasquinade writers protested the construction of the fountain in September 1648 by attaching hand-written invectives on the stone blocks used to make the obelisk. These pasquinades read, "We do not want Obelisks and Fountains, It is bread that we want. Bread, Bread, Bread!" Innocent quickly had the authors arrested, and disguised spies patrol the Pasquino statue and Piazza Navona
The streetvendors of the market also opposed the construction of the fountain, as Innocent X expelled them from the piazza. The Pamphilij pope believed they detracted from the magnificence of the square. The vendors refused to move, and the papal police had to chase them from the piazza. Roman Jews, in particular, lamented the closing of the Navona, since they were allowed to sell used articles of clothing there at the Wednesday market.
Navona Square (Piazza Navona).
Following, a text, in english, from Wikipedia, the free encyclopedia:
Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of Domitian, built in first century AD, and follows the form of the open space of the stadium.[1] The ancient Romans came there to watch the agones ("games"), and hence it was known as 'Circus Agonalis' (competition arena). It is believed that over time the name changed to 'in agone' to 'navone' and eventually to 'navona'.
Defined as a public space in the last years of 15th century, when the city market was transferred to it from the Campidoglio, the Piazza Navona is a significant example of Baroque Roman architecture and art. It features sculptural and architectural creations: in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini; the church of Sant'Agnese in Agone by Francesco Borromini and Girolamo Rainaldi; and the Pamphilj palace also by Rainaldi and which features the gallery frescoed by Pietro da Cortona.
The Piazza Navona has two additional fountains: at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the northern end is the Fountain of Neptune (1574) created by Giacomo della Porta. The statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south.
At the southwest end of the piazza is the ancient 'speaking' statue of Pasquino. Erected in 1501, Romans could leave lampoons or derogatory social commentary attached to the statue.
During its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century and the market was moved again in 1869 to the nearby Campo de' Fiori. A Christmas market is held in the piazza.
Other monuments on the Piazza Navona are:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Palazzo Braschi (Museo di Roma)
Sant'Agnese in Agone
Literature and films
The piazza is featured in Dan Brown's 2000 thriller Angels and Demons, in which the Fontana dei Quattro Fiumi "The Fountain of the four rivers"(the Danube, the Gange, the Nile and the River Plate) is listed as one of the Altars of Science. During June 2008, Ron Howard directed several scenes of the film adaptation of Angels and Demons on the southern section of the Piazza Navona, featuring Tom Hanks.
The piazza is featured in several scenes of director Mike Nichols' 1970 adaptation of Joseph Heller's novel, Catch-22.
The Fontana dei Quattro Fiumi was used in the 1990 film Coins in the Fountain. The characters threw coins into the fountain as they made wishes. The Trevi Fountain was used in the 1954 version of the film.
A Fontana Dei Quattro Fiumi, é maior das três fontes, localizada no centro da praça. Na fonte dos rios, Bernini projetou quatro estátuas representando os rios dos quatro continentes: o Nilo, o Danúbio, o rio da Prata e o Ganges. As estátuas estão montadas sobre um obelisco egípcio, sendo circundadas por leões e outros animais fantásticos, tendo no cume uma pomba em bronze, símbolo da paz no mundo e da família Pamphili. Para realçar a rivalidade entre Bernini e Borromini, que fez a igreja de Santa Agnese, os romanos criaram uma lenda em torno da fonte dos rios, que fica em frente a esta igreja. Segundo os romanos, as estátuas duvidam da solidez do projeto de Borromini. A que retrata o rio da Prata, tem a mão erguida, a proteger o corpo do desabamento da igreja; a que retrata o Nilo, traz a cabeça coberta por um véu, a recusar a ver a obra de Borromini.
A seguir um texto, em português, da Wikipédia a Enciclopédia Livre:
Fontana dei Quattro Fiumi
Fontana dei Quattro Fiumi (Fonte dos Quatro Rios), foi esculpida por Gian Lorenzo Bernini entre 1648 e 1651, artista do barroco italiano, foi concebida por uma ordem do Papa Inocencio X o Papa da familia Pamphili, cujo tinha sua casa nesta praça.
Esta localizada na Praça de Navona, em Roma. Ela representa os quatro principais continentes do mundo cortados por seus principais rios: Rio Nilo, na África; Rio Ganges, na Ásia, Rio da Prata, na América e o Rio Danúbio, na Europa.
A seguir, texto em português do site Wiki lingue:
A escultura da Fonte dos Quatro Rios, encontra-se na Piazza Navona de Roma (Itália) e foi criada e talhada pelo escultor e pintor Gian Lorenzo Bernini em 1651 baixo o papado de Inocencio X, em plena época barroca, durante o período mais prolífico do genial artista e cerca da que em outro tempo fué a Chiesa dei San Giacomo de gli Spagnoli
A fonte compõe-se de uma base formada de uma grande piscina elíptica, coroada em seu centro de uma grande mole de mármol, sobre a qual se eleva um obelisco egípcio de época romana, o obelisco de Domiciano .
As estátuas que compõem a fonte, têm umas dimensões maiores que na realidade e são alegorias dos quatro rios principais da Terra (Nilo, Ganges, Danubio, Rio da Prata), a cada um deles em um dos continentes conhecidos na época. Na fonte a cada um destes rios está representado por um gigante de mármol .
As árvores e as plantas que emergem da água e que se encontram entre as rochas, também estão em uma escala maior que na realidade. Os animais e vegetales, gerados de uma natureza boa e útil, pertencem a espécies grandes e potentes (como o leão, cavalo, cocodrilo, serpente, dragão, etc.). O espectador, girando em torno da fonte, descobre novas formas que dantes estavam escondidas ou cobertas pela massa rocosa. Com esta obra, Bernini quer suscitar admiração em quem olha-a, criando um pequeno universo em movimento a imitação do espaço da realidade natural.
A fonte foi submetida a restauração, um trabalho que se deu por concluído em dezembro de 2008. Constitui um dos palcos finque da novela e o filme Anjos e Demónios, à qual é arrojado um dos cardeais sequestrados, e Robert Langdon (Tom Hanks) se lança à água para lhe salvar.
Os animais da fonte
A fonte apresenta figuras de sete animais, além de uma pequena pomba e o emblema dos Pamphili. Para poder observá-las basta com dar uma volta ao redor da fonte. As figuras são: um cavalo, uma serpente de terra (na parte mais alta, cerca do obelisco), uma serpente de mar, um delfín (que funciona também como desagüe), um cocodrilo, um leão e um dragão. Notar também a vegetación esculpida que parece real.
Praça Navona.
A seguir, um texto em português, da Wikipédia a Enciclopédia livre:
A Praça Navona (em italiano: Piazza Navona) é uma das mais célebres praças de Roma. A sua forma assemelha-se à dos antigos estádios da Roma Antiga, seguindo a planificação do Estádio de Domiciano (também denominado entre os italianos de Campomarzio, em virtude da natureza rude e esforçada dos exercícios - manejo de armas - e desportos atléticos que aí se realizavam). Albergaria até 20 mil espectadores sentados nas bancadas. A origem do nome deve-se ao nome pomposo que lhe foi dado ao tempo do Imperador Domiciano (imperador entre 81-96 d.c.): "Circo Agonístico" (do étimo grego Agonia, que significa precisamente - exercício, luta, combate). Actualmente o nome corresponde à corruptela da forma posterior in agone, depois nagone e finalmente navone, que por mero acaso significa também "grande navio" na língua italiana.
As casas que entretanto e com o passar dos anos foram sendo construídas sobre as bancadas, delimitariam e circunscreveriam até à actualidade o tão afamado Circo Agonístico.
A Navona passou de fato a caracterizar-se como praça nos últimos anos do século XV, quando o mercado da cidade foi transferido do Capitólio para aí. Foi remodelada para um estilo monumental por vontade do Papa Inocêncio X, da família Pamphili e é motivo de orgulho da cidade de Roma durante o período barroco. Sofreu intervenções de Gian Lorenzo Bernini (a famosa Fontana dei Quattro Fiumi (Fonte dos Quatro Rios, 1651) ao centro); de Francesco Borromini e Girolamo Gainaldi (a igreja de Sant'Agnese in Agone); e de Pietro de Cortona, que pintou a galeria no Palácio Pamphilj, sede da embaixada do Brasil na Itália desde 1920.
O mercado tradicional voltou a ser transferido em 1869 para o Campo de' Fiori, embora a praça mantenha também um papel fundamental em servir de palco para espectáculos de teatro e corridas de cavalos. A partir de 1652, em todos os Sábados e Domingos de Agosto, a praça tornava-se num lago para celebrar a própria família Pamphili.
A praça dispõe ainda duas outras fontes esculpidas por Giacomo della Porta - a Fontana di Nettuno (1574), na área norte da praça, e a Fontana del Moro (1576), na área sul.
Na extremidade norte da praça, por debaixo dos edifícios, foram postas a descoberto ruínas antiquíssimas, a uma cota muito abaixo da actual, comprovando a primeva utilização daquele imenso terreiro. Outros monumentos com entrada para a praça:
Stabilimenti Spagnoli
Palazzo de Cupis
Palazzo Torres Massimo Lancellotti
Church of Nostra Signora del Sacro Cuore
Curiosidades
Na Piazza Navona, está localizado o Palazzo Pamphilj, propriedade da República Federativa do Brasil, sede da Embaixada Brasileira e da Missão Diplomática do Brasil para a Itália.
"The objects, in a house, they are an extension of us. Inanimate, but strangely intimate. They mark the time and they enclose emotions."
(Hayat, Faíza)
This isn't my grandfather's house... but it has a signboard with the name of the house 'Casa do Avô', or in english 'grandfather's house'.
Interestingness - Top 500 (October 31, 2007 #256)
Since I lost you I am silence-haunted,
Sounds wave their little wings
A moment, then in weariness settle
On the flood that soundless swings.
Whether the people in the street
Like pattering ripples go by,
Or whether the theatre sighs and sighs
With a loud, hoarse sigh:
Or the wind shakes a ravel of light
Over the dead-black river,
Or night's last echoing
Makes the daybreak shiver:
I feel the silence waiting
To take them all up again
In its vast completeness, enfolding
The sound of men.
--D.H. Lawrence
20090404_6812
De mannen van de Motorambulance komen bij de haringtent op het Buitenhof regelmatig een haringkie happen.
The Hague, the Netherlands
Motorambulance R.A.V. Haaglanden
In 1997 is de motorambulance als project gestart. Op dit moment is de motorambulance een vast onderdeel van de ambulancehulpverlening in de regio Den Haag.
De motorambulance functioneert als een rijdende paraatheid. Dit wil zeggen dat er geen vaste uitruklokatie (?) is, maar dat de motorrijders hun oproepen al rijdend doorkrijgen.
De criteria om uit te rukken liggen vast in een protocol zodat het voor de CPA duidelijk is wanneer de motorambulance ingezet kan worden.
Montblanc, Tarragona (Spain).
Spinning at 33 rpm in the show window of a store.
Dando vueltas a 33 rpm en el escaparate de un tienda.
ENGLISH
The phonograph, or gramophone, was the most common device for playing recorded sound from the 1870s through the 1980s.
The famous phonograph was the fourth device for recording and replaying sound. The term phonograph ("sound writer") is derived from the Greek words φωνή (meaning "sound" or "voice" and transliterated as phoné) and γραφή (meaning "writing" and transliterated as graphé). Similar related terms gramophone and graphophone have similar root meanings. The coinage, particularly the use of the -graph root, may have been influenced by the then-existing words phonographic and phonography, which referred to a system of phonetic shorthand; in 1852 The New York Times carried an advertisement for "Professor Webster's phonographic class", and in 1859 the New York State Teachers' Association tabled a motion to "employ a phonographic recorder" to record its meetings.
F. B. Fenby was the original author of the word. An inventor in Worcester, Massachusetts, he was granted a patent in 1863 for an unsuccessful device called the "Electro-Magnetic Phonograph". His concept detailed a system that would record a sequence of keyboard strokes onto paper tape. Although no model or workable device was ever made, it is often seen as a link to the concept of punched paper for player piano rolls (1880s), as well as Herman Hollerith's punch card tabulator (used in the 1890 United States census), a distant precursor of the modern computer.
Arguably, any device used to record sound or reproduce recorded sound could be called a type of "phonograph", but in common practice it has come to mean historic technologies of sound recording.
In the late 19th and early 20th century, the alternative term talking machine was sometimes used. This term was more in line with Thomas Edison's early view that his invention was better suited for spoken recordings such as dictation than for musical recordings.
More info: en.wikipedia.org/wiki/Phonograph
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CASTELLANO
Un tocadiscos es un sistema de reproducción del sonido hijo del fonógrafo ya que usa el mismo tipo de tecnologia, sustituyendo el cilindro por un Disco de vinilo. El tocadiscos también ha sido conocido como platina de discos, giradiscos, tornamesa, fonochasis o pickup. Ninguna de estas cuatro últimas nomenclaturas tiene demasiada aceptación.
El fonógrafo, fue el dispositivo más común para reproducir sonido grabado desde la década de 1870 hasta la década de 1980.
La primera invención conocida de un dispositivo capaz de grabar sonido fue el "autofonógrafo", inventado por el francés Édouard-Léon Scott de Martinville y patentado el 25 de marzo de 1857. Podía transcribir sonido a un medio visible, pero no tenía un modo de ser reproducido después. El aparato consistía de un cuerno o un barril que recogía las ondas hacia una membrana a la que estaba atado una cerda. Cuando llegaba el sonido, ésta vibraba y se movía y el sonido podía grabarse en un medio visible. Inicialmente, el fonoautógrafo grababa en un cristal ahumado. Una versión posterior usaba un papel también ahumado en un tambor o cilindro. Otra versión dibujaba una línea representando el sonido en un rollo de papel. El fonoautógrafo era una curiosidad de laboratorio para el estudio de la acústica. Era usado para determinar la frecuencia de un tono musical y para estudiar el sonido y el habla. No se entendió hasta después del desarrollo del fonógrafo que la onda grabada por el fonoautógrafo era de hecho una grabación del sonido que sólo necesitaba un medio de reproducción adecuado para sonar.
El fonógrafo fue el que, hasta 1876, se creyó el primer aparato capaz de grabar sonido, aunque sí fue el primero que pudo reproducirlo después. Thomas Alva Edison anunció la invención de su primer fonógrafo, el 21 de noviembre de 1877, mostró el dispositivo por primera vez el 29 de noviembre de ese mismo año y lo patentó el 19 de febrero de 1878.
El fonógrafo utiliza un sistema de grabación mecánica analógica en el cual las ondas sonoras son transformadas en vibraciones mecánicas mediante un transductor acústico-mecánico. Estas vibraciones mueven un estilete que labra un surco helicoidal sobre un cilindro de fonógrafo. Para reproducir el sonido se invierte el proceso.
Al principio se utilizaron cilindros de cartón recubiertos de estaño, más tarde de cartón parafinado y, finalmente, de cera sólida. El cilindro de cera, de mayor calidad y durabilidad, se comercializó desde 1889, un año después de que apareciera el gramófono.
El 2 de diciembre de 1889 un representante de la casa Edison, Theo Wangeman, grabó una interpretación del celebérrimo compositor Johannes Brahms. Se trataba de un segmento de las Danzas Húngaras en una versión para piano solo. Esta grabación aún se conserva, pero su calidad es pésima.
Más info: es.wikipedia.org/wiki/Tocadiscos, es.wikipedia.org/wiki/Fon%c3%b3grafo
Description
The swift fox Vulpes velox, a member of the canid, or dog, family, is related to wolves, coyotes, dogs, and other foxes. It can be distinguished from other kinds of foxes found in Canada, such as red, arctic, and grey foxes, by its small size (it is about the size of a house cat), the black spot on each side of its nose, and its black-tipped tail.
In winter, the swift fox’s fur is long and dense, mainly buff-grey on the head, back, and upper surface of the tail, and orange-tan on the sides, legs, and lower tail surface. The throat, chest, and belly are light coloured (buff to white). In summer, the fur is short and coarse and more reddish grey.
Males are slightly larger than females, average weights being 2.45 and 2.25 kg, respectively. The animal stands about 30 cm high at the shoulder, and its total length is about 80 cm.
Early settlers of the Canadian plains knew the swift fox as the “kit” fox, and the two names have been used interchangeably since that time. However, studies of the prairie kit fox of Canada and the central United States and the desert kit fox of the southwestern United States showed that the two animals have some differences in appearance. Hence, the plains-dwelling species was designated the “swift” fox, and its desert cousin retained the name “kit” fox.
The swift fox can be distinguished from the kit fox Vulpes macrotis by its shorter, more widely spaced ears and its more rounded and dog-like head. The kit fox is broader between the eyes and has a narrower snout. The swift fox also has a slightly shorter tail, averaging of 52 percent of its body length compared with 62 percent for the kit fox.
Information from www.hww.ca/hww2.asp?id=105&cid=8
Opened in 1829, the ESP was the first modern prison in the world; it pioneered the idea that if prisoners were given quiet time to reflect rather than being tortured, they would feel penitent (this is the root of the word "penitentiary") and could rejoin society as productive members. Thus, for many decades the prisoners here were kept in their own cells and were prohibited from interacting with their fellow inmates. They exercised in individual, walled outdoor areas that were attached to their cells. It was only much later that "solitary confinement" came to acquire a negative connotation, as a special punishment for infractions committed while already in prison.
Among the ESP's more illustrious inmates in its 142 years of operation were Al Capone (who spent a year here), and the bank robber Willie Sutton. But perhaps its most unusual inmate was a dog, Pep (a black Labrador retriever). Said canine reportedly killed a cat belonging to Pennsylvania governor Gifford Pinchot; the governor retaliated by sentencing the dog to life in prison. I even saw a picture of the dog's admittance papers (he was admitted in 1924). But then the Governor got a lot of bad press over this, so he changed his story and said that the dog was his, and that he had donated it to the prison for the betterment of the inmates. Yeah, right.
In the mid-19th century, the ESP was quite the tourist attraction. Its distinguished visitors in that era included Alexis de Tocqueville and a young Charles Dickens. Before embarking on his first trip to the U.S. in 1842, Dickens said that the two places in this nation that he most wanted to see were Niagara Falls, and the Eastern State Penitentiary.
Have a peek -- large & on black
Day 87/365
So this is my wedding dress from nearly 13 years ago. I did not have a traditional, heirloom style dress for 3 reasons. 1 - We planned our wedding in a 2 week period because we were going to be together while we were both on "leave" from the military. 2 - I wouldn't have had that kind of money to spend on a dress. 3 - Plain and Simple, I was not a bride that wanted a big, glorious wedding...something small and intimate with just family worked wonderfully for me!
So, until this day, I have not put my dress back on in nearly 13 years! I was in shock that it still fit! Sigh. This dress brings me back to one of the most wonderful days of my life.
TRF: I did not wear the sun hat in my wedding.
TOTW: Nostalgia
GTWL: Sun/Shade
Best viewed LARGE on Black: bighugelabs.com/onblack.php?id=4276443308&size=large&...
The ground has been frozen solid here for over two weeks now, so we're definitely looking ahead to Springtime. These are yellow trillium at Sosebee Cove, taken April 20, 2008. We will be going back in late April or early May - I'm guessing Spring will be later this year.
Sosebee Cove is a picturesque high elevation north facing cove forest covering 175 acres. The trail through the cove is dedicated to Arthur Woody, (the "Barefoot Ranger"), the first Forest Ranger in the State of Georgia, who served from 1911 to 1945. He negotiated the purchase of Sosebee Cove. Due to its north facing orientation Sosebee Cove has a rich diversity of shade tolerant trees, shrubs and wildflowers. The forest is a maturing second growth forest. The Mesic forest is characterized by very large yellow poplars (Lirodendron tulipifera), and Yellow Buckeyes (Aesculus flava). There are also a few more unusual specimens of trees usually found farther north, such as Sweet Birch (Betula lenta), American basswood (Tilia americana), mountain maple (Acer spicatum), striped maple (Acer pensylvanicum), and yellowwood (Cladastris kentukea). Smaller trees include flowering dogwood (Cornus florida), and several viburnums.
With its north facing aspect, the cove has a rich display of wildflowers encompassing the diversity of spring ephemerals to the autumn glory of goldenrods and asters. Species commonly encountered in the spring include Jack-in-the-pulpit, large flowered bellwort, Solomon's seal, showy orchid, blue cohosh, purple toadshade, and large flowered trillium.
Patio de los Cipreses - El Generalife, Granada (Spain).
ENGLISH
This patio has a central pond surrounded by a myrtle hedge and in the middle of the pond there is another little pond with a stone fountain. The patio is so called because of the old cypresses that are in the verandas, the most famous of which is the Cypress of the Sultana (Ciprés de la Sultana) in which, according to the legend, Boabdil's wife used to meet a knight of the Abencerrajes family. This triggered the death of the people of this noble tribe, whose throats were slit.
A big 19th century stone staircase with a portico and two lions made of glazed pottery of Granada leads to the high part of the gardens, which go from the Hill of the Sun (Cerro del Sol) to the street Rey Chico. These gardens are hanging gardens that include simple vegetable gardens, myrtle clumps, trimmed boxes or hundred-year-old cypresses.
One of the staircases that are in these gardens is especially beautiful because of its beauty and originality. It is supposed to be the oldest staircase in these gardens (it already existed in the Muslim period). The staircase is divided in three flights, each with a fountain and handrails that are channels with running water. The staircase is surrounded by laurels that join their crowns and form a vault. The sun shines through this laurel vault and the light contributes to the extremely beautiful scene.
Two regal pleasure palaces, Palace of Dar al-Arusa and Palace of the Alixares, stood on the lands covering the area between the valley of the river Darro and that of the river Genil. They were abandoned and the passing of time has ended up destroying them. Recent excavations discovered them and showed their richness and magnificence, as well as the beautiful decorative elements that have been found.
Source: www.alhambradegranada.org/historia/alhambrageneralifepcip...
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CASTELLANO
Este patio tiene un estanque central rodeado por setos de arrayán y en el centro del estanque existe otro pequeño estanque con una fuente de piedra. El patio recibe su nombre de los viejos cipreses que encontramos en los cenadores, el más famoso de los cuales es el Ciprés de la Sultana en el que, según la leyenda, se veían la esposa de Boadbil y un caballero abencerraje, lo que desencadenó finalmente la muerte de los señores de esta noble tribu, que fueron degollados.
A través de una escalinata de piedra del siglo XIX con pórtico y dos leones de cerámica vidriada granadina, se llega a la parte alta de los jardines, que se extienden desde el cerro del Sol hasta el camino del Rey Chico, jardines colgantes que van desde simples huertas hasta macizos de arrayán, bojes recortados o cipreses centenarios.
Cabe destacar una de las escalinatas de las que encontramos a lo largo de los jardines por su belleza y originalidad, y que supuestamente es la más antigua del jardín (ya existía en tiempos de los árabes). Está dividida en tres tramos, en cada uno de los cuales se encuentra una fuente con surtidor, flanquedada por canales que conforman las barandillas y por donde bajan ruidosamente las aguas. La escalinata se encuentra rodeada por laureles, que unen sus copas formando una bóveda por la que se filtran los rayos del sol, configurando una estampa de una belleza indescriptible.
En los terrenos que van desde el valle del Darro al del Genil se alzaban dos regios palacios de recreo, el de Dar al-Arusa y el de los Alixares, que el abandono y el paso del tiempo terminaron por destruir, hasta que recientes excavaciones señalaron su situación, poniendo de relieve su riqueza, la magnitud de las ruinas descubiertas y los elementos decorativos encontrados.
Fuente: www.alhambradegranada.org/historia/alhambraGeneralifePCip...
A friend of mine restores classic cars for a hobby/side-job and asked me to come over and shoot one of his cars. This is actually the '65 Mustang that he built for his mother. This classic started out as a coupe, but he changed it to a convertible. He also customized the front end and back end. The engine is also not original. He replaced it with a 302 from a late 80's Mustang. The car is really beautiful. He does nice work.
This was my first attempt at shooting a car and it definitely presented some challenges. I used my two speedlights to light it and ended up compositing several shots in Photoshop to get the right lighting and look I wanted. I was shooting the speedlights at full power and sometimes 1/2 power since I had the aperture tighted up to f10. Could have really used some Alien Bees or something here. Anyway, I think I did a pretty good job and the end result is pretty cool. I showed this final shot to my friend and he was really happy with it, which is what really matters here.
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Equipment: Canon 40D, EF-S 17-55mm f2.8 IS USM
Strobist: main image and base image for background: 580EX II, camera left, bounced in 45" umbrella, LP120, camera right, bare aimed at side of vehicle.
layer: LP120, camera right, bare, aimed at front fender and wheel.
layer: 580EX II, camera right, handheld over the back end of the car, through umbrella to light up the convertible top cover a bit more.
El Casino de Agua Caliente se construyó en Tijuana, México, en 1927, con motivo de la ley seca de EEUU. Fue famoso por ser el único en la región.
Su ubicación geográfica y la atmósfera de sumo exotismo atrajo un creciente flujo de turismo, principalmente hollywoodense, que cruzaba Ia frontera para trasladarse a territorio mexicano y gozar de los pasatiempos prohibidos en su país. La intención fue crear un espejismo: ese lugar semiárido fue forestado con palma datilera, entre otras especies, y convertido en un verdadero oasis semejante a los sitios misionales de Mulegé y San Ignacio en Baja California Sur.
El estilo arquitectónico googie de tipo ecléctico utilizado en el diseño del conjunto, respondió a la expectativa de los clientes estadounidenses por encontrar el legendario Old Mexico, indispensable como escenario para el desarrollo del turismo.
Agua Caliente] jugó un papel decisivo en la conformación del sistema turístico Tijuana-San Diego, pues a partir de su construcción, Tijuana quedó incluida en el recorrido de turistas por el sur de California, EUA.
El Casino de Agua Caliente recibía gente de diversos paises, tales como Francia, España y del centro de la República, en esos tiempos los casinos estaban prohibidos al igual que en la actualidad, así que los dueños del Casino construyeron túneles subterráneos para escapar a la frontera. Se cuenta que esos túneles también los usaba un traficante de licores (que en esos tiempos estaba prohibido en Estados Unidos), así que compraba licores en el Casino y usaba los túneles para cruzar la frontera y venderlos al mejor postor. Después, durante la presidencia de Lázaro Cárdenas se mandó que el terreno donde estaba el casino se usara para hacer escuelas y así favorecer la educación de la zona, se construyeron en esa zona 3 escuelas: La Secundaria Politecnica No.1 PTE. Lázaro Cárdenas (alias "la Poli" y la primera secundaria federal), La Preparatoria Lázaro Cárdenas] y La Secundaria Tecnica No.1
Así mismo, fue uno de los primeros complejos turísticos deI país, que ofrecía al visitante servicios de hospedaje, recreación, espectáculo y juegos de azar (casino, hipódromo y galgódromo).
Se podía acceder a él por ferrocarril (línea San Diego-Arizona), con una estación de abordaje adyacente al galgódromo; por automóvil, accediendo al conjunto por una desviación deI camino Tijuana-Tecate bacia una rampa de acceso para autos que terminaba en una glorieta central, alrededor de Ia cual se dispusieron los edificios deI hotel, casino y balneario; y por aeroplano, para lo cual contaba con una pista y una torre-faro.
Con un estilo misional californiano, Ia fachada frontal deI hotel semejaba una espadaña; en el centro tenía un gran patio cuadrangular llamado "Patio de Ias Palmeras", rodeado de portales con arcos de medio punto. Los clientes podían hospedarse también en una serie de bungalows -cuyo diseño estaba basado en variantes deI estilo neocolonial- dispuestos todos en forma de una "villa" en medio de sendas peatonales y frondosos jardines.
EI casino contaba con varios salones de juegos (como el Salón de Oro), salón de baile, de espectáculos, restaurantes y bar. En estos escenarios se inició Ia famosa actriz Rita Hayworth, con su nombre original de Rita Cancino y su gala de "Tarde Mexicana ". Agua Caliente se convirtió en el lugar predilecto de Ia creciente población relacionada con el boom hollywoodense, atrayendo a artistas de cine como Clark Gable, Hermanos Marx, Jean Harlow, Jimmy Durante, Bing Crosby, Dolores deI Río y Lupe Vélez, entre otros, y fue escenario de algunos largometrajes (In Caliente con Dolores deI Río y The Champ).
Fue en el balneario de estilo neomudéjar donde mayormente se logró el mencionado efecto de espejismo mediante Ia presencia de palma datilera y el agua de Ia alberca proveniente deI manantial de aguas termales. Contaba con un vestíbulo de estilo neoislámico semejante a una mezquita, con arcos ojivales y artesonado de maderas ricamente decoradas con lacerías e intrincados diseños geométricos, dentro de Ia cual se encontraban tiendas de joyería y perfumería. EI balneario incluía baño turco y ruso, al igual que una alberca recubierta con mosaicos de estilizados diseños, provista de asoleadero con bancas perimetrales estilo art déco. Acorde con el diseño deI balneario, Ia chimenea de Ias calderas tomó forma de alminar o minarete propio de Ias mezquitas islámicas, y fue decorada con mosaicos policromos, rematándose con herrerías forjadas que aún se aprecian en su altura.
Además, el complejo tenía lavandería, cochera, imprenta, una guardería con educación primaria para hijos de Ios trabajadores y una estación de radio propia, Ia XEBG, que generó Ia importante innovación de radiodifusión: el transmisor portátil.
Posteriormente fueron construidos el Hipódromo de Agua Caliente (1 km hacia el sur) y el Club de Golf, ambos con un estilo arquitectónico acorde con el conjunto.
Prohibición [editar]
En el periodo presidencial deI general Lázaro Cárdenas fueron prohibidos los juegos de azar en el país, y el casino de Agua Caliente fue clausurado y expropiados el predio e instalaciones, por lo que sus puertas fueron cerradas definitivamente.
En Ia década de los años 1940 los edificios deI complejo Agua Caliente fueron reutilizados (previa expropiación deI inmueble y entrega a Ia SEP) para instalación deI Instituto Técnico Industrial, internado orientado a extender Ia educación a los sectores rurales desatendidos deI estado. Los espacios se adaptaron perfectamente a su nueva función educativa: sólo se requirieron pequeños cambios que no alteraron el esquema original deI conjunto arquitectónico.
Así, el hotel se convirtió en dormitorio para los alumnos; en los lujosos salones de juego y espectáculo se instalaron Ia biblioteca, sala de lectura, teatro y salón de actos deI planteI, y en Ia cochera, taIleres para el aprendizaje de carpintería, electricidad y mecánica; el balneario sirvió para prácticas de natación de los estudiantes, en cuyo vestíbulo se ubicaron Ias oficinas de la dirección deI Instituto; los terrenos deI galgódromo se transformaron en campos deportivos, y los bungalows se otorgaron como viviendas transitorias a los profesores deI plantel. Únicamente se construyeron aulas para Ias clases teóricas.
EI papel de Agua Caliente como centro escolar es de gran significado en Ia historia regional, pues fue pionero en Ia educación superior en el noroeste deI país.
Durante el periodo en que funcionó como internado, dio la bienvenida a un importante grupo de docentes refugiados de Ia guerra civil española, acogiéndolos dentro de su planta de maestros.
Así mismo, en los edificios de Agua Caliente se instaló, durante Ia segunda guerra mundial, el primer Banco de Sangre de Latinoamérica, así como una base de actividades militares comandadas por el general Lázaro Cárdenas, en donde se firmaron acuerdos con representantes del ejército estadounidense.
Pero el sitio y su arquitectura fueron reutilizados por segunda ocasión a principios de los años 1960 cuando varias escuelas fueron instaladas en los antiguos edificios: en el ex hotel, una secundaria técnica; en el exgalgódromo, una escuela primaria; en Ia cafetería deI mismo, el jardín de niños "Carmen Moreno Corral", y en el balneario permaneció el uso de oficinas administrativas. De esta manera, sólo mediante una segunda reutilización de Ios inmuebles se garantizó su ulterior permanencia.
Se borran sus huellas [editar]
Alrededor de 1938, con Ia expropiación deI completo turístico, se suscitó una falta de control que fue aprovechada para el saqueo de mobiliario, accesorios y otros objetos.
En 1939, cuando Ias instalaciones fueron turnadas a Ia SEP para establecer el internado, se hicieron mínimas adaptaciones que no trastornaron Ia fisonomía original deI conjunto.
Tras dejar de funcionar el internado por falta de recursos, en Ia década de los años1950 el sitio quedó temporalmente sin uso. Tiempo después, ya bajo Ia custodia de Ia Secretaría deI Patrimonio Nacional, se destinó una de Ias secciones deI área de bungalows para un destacamento deI Ejército mexicano.
En Ia misma década, Ia torre-faro de Agua Caliente fue dañada por un incendio que oriIló a su total demolición, pero fue reconstruida en Ios ochenta en un importante crucero de Ia ciudad, en un intento por recuperar Ia imagen de Ia famosa torre que marcaba el acceso al sitio.
En 1967 se incendió el Salón de Oro deI casino, perdiéndose una de Ias áreas más valiosas y ricamente decoradas. Este siniestro, junto con otros que igualmente ocasionaron cuantiosos daños, convirtió el complejo de Agua Caliente en minas, aunque hubo una etapa de actividad escolar en Ias instalaciones menos dañadas.
En 1975 se demolió casi Ia totalidad de Ios edificios, decisión tomada por Ia SEPANAL, entonces responsable deI inmueble. Sólo una mínima parte deI conjunto no fue tocada.
Actualmente el área está ocupada por cinco planteles escolares oficiales y sus correspondientes aulas CAPFCE, ubicadas en los sitios de Ias antiguas construcciones ya demolidas, entre zonas verdes con diversas especies de vegetación.
De Ia arquitectura original sobreviven dos conjuntos de edificios y una serie de monumentos dispersos, enclavados en Ia traza urbana en torno a una glorieta central.
El Conjunto Minarete, cuyos monumentos formaron parte deI balneario, contiene Ia alberca con sus bancas perimetrales art déco, "el arco" ojival de una de Ias fachadas con su portada de mosaico de azulejo policromo, Ia escalera de ingreso con su fabulosa fuente de cerámica vidriada y Ia chimenea en forma de minarete, que sobresale deI paisaje urbano deI área. Este elemento fue fisurado recientemente por Ias compactaciones deI terreno de una construcción colindante.
El Conjunto de Bungalows persiste en su totalidad, debido a que han sido permanentemente utilizados y gracias a los inquilinos que han mantenido en gran medida Ias características originales de su arquitectura y jardinería, apoyando el ambiente frondoso. No obstante, son evidentes algunas alteraciones a Ia arquitectura original y adaptaciones a nuevos usos. Así mismo, recientemente se han instalado carteleras comerciales que dañan el paisaje y bloquean Ia vista.
Si bien los monumentos existentes representan sólo una parte de lo que fue Ia totalidad deI centro turístico, éstos son importantes testimonios significativos de Ia historia de esa parte deI país.
EI recuerdo colectivo de este sitio -deI que derivaron también mitos y Ieyendas como el de "Ios túneles" o el de "La Faraona-, ha generado el brote de signos nostálgicos por el pasado de Agua Caliente, evidente en Ia construcción de Ia réplica de Ia famosa Torre de Agua Caliente y en Ia reproducción de su imagen en Iogotipos de organizaciones y comercios.
Esfuerzos por su conservación [editar]
Se ha señalado ya Ia falta de visión por parte de Ias autoridades para preservar el inmueble. En este caso, la actitud oficial no sólo fue de pasividad, sino que la propia autoridad fue la promotora de la demolición sistemática de los restos del complejo Agua Caliente en 1975. Indudablemente, en la decisión estuvo presente el prejuicio local que quería borra todo recuerdo de la propagación de bares y juego de azar, considerando que el complejo pertenecía a un periodo vergonzoso de la historia.
Fue de los sesenta cuando surgió la preocupación por la conservación del sitio y se reutilizaron los edificios, que estaban expuestos a los incendios, al deterioro y al vandalismo.
A principios de la decada de 1970, un grupo de estudiantes, profesores y personas interesadas integraron un comité pro-defensa y rescate de los monumentos, presentando un proyecto de conversión del sitio en Casa de la Cultura, iniciativa que desgraciadamente careció de resonancia.
En 1987, el sitio y los monumentos existentes fueron incluidos en el Catálogo Nacional de Monumentos Históricos Inmuebles del Estado de Baja California, Municipio de Tijuana, pero cabe señalar que este catálogo no constituye en sí un instrumento para la protección legal del sitio, por lo cual continúan las alteraciones a sus monumentos.
En varias ocasiones, Ia conservación y rescate de los edificios de Agua Caliente ha surgido como tema de ponencias en algunos foros (como los de Preservación deI Patrimonio Cultural Ilevados a cabo a nivel estatal), teniéndose nula respuesta por parte de Ia comunidad y autoridades.
Recientemente, fue desarrollado un proyecto de Ordenamiento Urbano Arquitectónico deI Sitio Histórico "Agua Caliente" (como tesis de Arquitectura de Ia UNAM) y varias propuestas para el sitio (por parte de Ia agrupación Patrimonio Arquitectónico promotores) que fueron presentados ante autoridades e interesados. Una de ellas recomendaba proteger el ambiente forestado deI área y sus monumentos mediante un proyecto y su delimitación específica, pero esta propuesta no le interesó a Ia autoridad local. En cambio aprobó, a pesar de Ia gran controversia suscitada, Ia construcción de un almacén de membresía de comercio al semimayoreo; cuya presencia impactó negativamente Ias características paisajísticas deI entorno y su fisonomía tradicional.
Con Ia finalidad de lograr su protección legal, en 1993 Ia Comisión de Preservación deI Patrimonio Cultural de Tijuana y Ia agrupación Patrimonio Arquitectónico Promotores solicitaron al Centro INAH en Baja California el Decreto como Monumento deI "Sitio Histórico Agua Caliente", petición que fue atendida positivamente por Ia Coordinación Nacional de Monumentos Históricos donde fue elaborado el proyecto de Decreto, mismo que ba pasado ya a Ia SEP para su posterior aprobación y firma.
Dicha ratificación garantizará Ia permanencia de estos edificios que ilustran dos episodios significativos de Ia vida de Tijuana: el periodo de transición hacia su integración económica con el boom deI turismo y Ia época en que fue el alma máter de decenas de generaciones de bajacalifornianos.
"The Philippine Islands, 1493-1898
Vol. I (1493-1529).
explorations by early navigators, descriptions of the islands and their peoples, their history and records of the catholic missions, as related in contemporaneous books and manuscripts, showing the political, economic, commercial and religious conditions of those islands from their earliest relations with European nations to the beginning of the nineteenth century."
Notes:
This will be included in "Kasaysayan: Philippine History" of the Likas-Philippines website.
"The Philippine Islands" is a very comprehensive 55-volume history of the Philippines, written from 1903-1909. Edited and annotated by Emma Helen Blair and James Alexander Robertson with historical introduction and additional notes by Edward Gaylord Bourne.
The focus of "The Philippine Islands" was the Spanish regime but earlier documents, as early as the 13th Century, describing the encounters of Chinese traders with Pre-Hispanic inhabitants of the islands, were also included. You might be wondering why the series started in 1493, rather than 1521 when Magellan reached what was to become the Philippines. This would be evident from the first volume -- what makes history as engrossing and quite interesting -- not just remembering a bunch of old dates and dead people.
Initially, the series was planned to cover between 1493-1803 because of the dearth of "available" more recent materials, at the time "The Philippine Islands" series was initiated in 1903. However, it was well received and the clamor from readers prompted the change when Volume VI was released -- so that the series eventually covered up to the end of the Spanish colonization of the Philippines in 1898. [In this sense, the generic abstract, which retained in all volumes -- was partly incorrect, in fact, the end phrase should have been "... to the [end ***] of the Nineteenth Century". As will be noted below, however, the use of the "... to the [beginning ***] of the Nineteenth Century" might indeed be more appropriate because "The Philippine Islands" series did not do an in-depth presentation the 19th Century, as much as it did during the previous centuries. Only two volumes (LI and LII) out of the 52 "text volumes", excluding the last three volumes devoted for bibliographies (LIII) and indices (LIV and LV).
The original plan was to provide a chronological presentation of events. However, this was not always possible. For example, Antonio Pigafetta's first hand account -- both in the original Italian and English translation -- of the period 1519-1522, about the first circumnavigation of the world was included only in Vol. XXXIII and concluded XIV (rather than among the first earlier volumes) because the Editors did not have access to the document on time.
Unlike the usual history books we are used to in the Philippines, "The Philippine Islands" provided the text of original documents -- some volumes included the text in the original language as well as translation in English -- scoured from all over the world. Thus, while the selection of the documents still introduced a certain perspective and bias, the access to original documents allow you as a reader to make your own interpretation of the history.
From what I have read so far, "The Philippine Islands" was a well-written and scholarly history series with the annotations in each volume. The series also has a volume (Vol LIII) devoted exclusively for bibliographies for documents used in the series as well as those included in other compilations, at the time -- to provide serious students and scholars of history some critical leads on where to dig further. Moreover, the last two volumes (LIV and LV) were devoted exclusively for the indices.
Based from the "comments and annotations" I have read so far, the Editors, Blair and Robertson, were as fair as could be possible, within the constraints of what were available to them at the time. They served not only as editors but sometimes either of them were the original translators of many of the original documents, although they relied on translations by numerous people from various institutions. As editors, they meticulously counter-checked discrepancies from available documents and noted these in the footnotes when warranted.
However, it should be noted that "The Philippine Islands" was still in a sense "one-sided", a predominantly Western perspective, and mostly from the Spanish point of view partly because of the predominant documents selected or sometimes because those were the only documents available at the time. Also, whether intentional or not, "The Philippine Islands" was written mainly for Western readers, based on the sensibilities and perspectives of the presentation.
The aforementioned comments do not reflect on the "objectivity" of the editors, Blair and Robertson, who as stated above, were as scholarly as is possible -- within the limits of the available materials at their disposal, at the time, as opposed to propaganda or outright misrepresentation of history depending on the point of view of the historian. To illustrate this point further, as editors rather than acting as historians, Blair and Robertson correctly adopted the approach to use the terms (thus also the perspectives) of the authors of the original documents used.
The result therefore would be the presentation sometimes of conflicting points of view from different authors, e.g., that of a priest vs that of a government official about conditions in the Philippines or plight of Filipinos. Thus, the reader, much like the recipient of the "original document (in this case the King of Spain or some high government official), had to make judgement on who among the various authors is telling the truth. Rarely did the editors interject their own views, unless the document itself was an "interpretation" of other documents, and there were evidence available to the contrary, to warrant additional annotations or clarifications.
Nonetheless, because the bulk of the documents available were those of Spanish, the prevalent perspectives that came out from "The Philippine Islands" were those of representatives of the Spanish regime. Thus, the Moros (Muslims from Mindanao) were portrayed mainly as marauding pirates. The Portuguese, Dutch and English were all portrayed as invaders -- based on the assumption that Spain had the legitimate right to own the Philippines. The Indios (i.e., the natives, or Filipinos) who rebelled as "insurrectos" or simply as "indolents". [The latter prompted Rizal's famous essay on "The Indolence of Filipinos".] Unlike the portrayal of Rizal of the abuses of the Spanish friars in "Noli Me Tangere", "The Philippine Islands" presented a number of Spanish priests and civil officials who championed the cause of the natives and reported the abuses of Spanish soldiers and officers to the King of Spain.
Available documents relevant to Philippine history, especially during the Spanish and American regime, were written mostly by Spaniards and Americans. For this reason, what the outside world know of Philippine history were from the perspectives of Spaniards and Americans. For example, the incorporation of Manila is recorded in sites like "Wikipedia" June 10, 1574; the same is true with all other geopolitical regions (provinces, cities, towns, etc.) in the Philippines. In fact, there were already thriving communities, with defined chiefs (Rajahs) and "system of government" in major islands of what was to become the Philippines -- even before the Spaniards ever reached the Philippines. This was even more true in Mindanao that was why it took much longer for the Spaniards to subjugate the region.
Early struggles for freedom and better living conditions by Filipinos were seen mainly from available Spanish documents (perhaps because there were no available written documents from the natives), so that they were perceived mainly as insurections and the perpetuators as insurrectos (i.e., against an established legal order) -- terms that were similarly adopted when the Americans took over Spain as occupiers of the Philippines. The period between 1801-1898 were covered only in two volumes (LI and LII), especially during the second half of the 19th century, the most critical era when the Filipino consciousness and the desire to be free had become more evident, at least among the Filipino intelligentsia. In these 52 volumes (of more than 300 pages each) the constitution of the "La Liga Filipina", organized by Jose Rizal on Julty 3, 1892, was the only Filipino document included. "La Liga Filipina" was described in the Preface of Vol. LII as follows: "This constitution shows the Liga not to have been formed for the purpose of independence, but for mutual aid and protection of its members, and the fostering of a more united spirit among Filipinos. Nowhere does it contain a word against the sovereignty of Spain or against religion. ... The one exception that might be taken to the constitution is that implicit and unquestioning obedience to all superior commands is required from members." [I will try to write a comment on this interpretation when I get a chance.]
Again, "The Philippine Islands" relied mainly on the perspectives and restrospectives by Westerners, e.g., James A. Leroy, and cited subsequent Americans involved in the Filipino-American War and early American occupation of the Philippines to relate the efforts of Filipinos -- dubbed both by Spaniards and Americans, Insurrectos and the movements as "Insurrections" -- in their struggles to gain independence, initially against the Spain, and subsequently (not part of the series) against the colonization by the United States. It was obvious, for example, that Leroy (one of the Western experts used for the period 1860-1898) had access to orignal documents about the Katipunan and the events during the Filipino-Spanish war (a war that has not been officially recognized by the United States at the time, as you will find in the documents during the period). However, these documents were not included in "The Philippine Islands".
The global perspectives, of sources like Leroy, would have provided critical perspectives that would have complemented the more insular perspectives of the native Filipinos, e.g., Bonifacio, Aguinaldo, Mabini, etc ; or the members of reform movements in Spain, "La Solidaridad" -- but the dearth in the presentation of such documents, from the points of view of Filipinos during the Spanish period was rather grave omissions. [Note that by 1903-1909, the editors were already in contact with Filipino archivists, like Tavera, Epifanio delos Santos, etc. and quite familiar with the works of Rizal and Blumentritt. There was also evidence that they were quite aware and have access to the "very active" Philippine publications", especially during the second half of the 19th Century.
[It is possible that "copyright restrictions" could have impeded their ability to do so. It is also possible that they just did not have the documents on time and to review them as is needed in critical scholarly work, as the editors have done for the most part in "The Philippine Islands" To cite an example, in defense of the Editors, Blair and Roberston, Pigafetta's account of the circumnavigation of the world (see above) was a much later addition because the original document was not available to the Editors, in time.]
Thus, whatever might be the reasons, intentional or not, the documents selected and those that were excluded in "The Philippine Islands" have as much to do in the shaping how Philippine history is perceived currently in the world.
On the whole therefore, "The Philippine Islands" is a must reading for all Filipinos who are interested to know more about Philippine history and the fate of Filipinos, both in the past, present and in the years to come.
I believe it was Renato Constatino, a well-respected Filipino nationalist, who tried to "reconstruct" the events that led to the execution of Andres Bonifacio. Without much available documentation, he had to resort to logic and his understanding of the Filipino psyche to arrive at the most probable scenario. But, such deductions must not be taken as a substitute for what should constitute as historical fact, no matter how logical the argument might be. It is difficult enough that even an authentic historical document is saddled with the point of view of the chronicler of the event, creating an inherent bias. Thus, we should not accept as historical fact, that which is based on speculation, no matter how reputable the source might be.
History is not always an objective field but more a presentation of perspectives based from what is known, the latter usually incomplete and at times dubious.
"The Philippine Islands", a 55-volume series shown here, was an authenticated "Set No. 124" of the 1,000 printed of the first edition; owned by the Boston Public Library (BPL), the oldest public library in the United States and one of the largest libraries in the world. The copies were kept in the "Special Collections" section and not found in general circulation. Thus, the books as shown were arranged solely for purposes of photographing "The Philippine Islands" series. The collection of BPL, about the Philippines is actually quite extensive, especially during the American colonization. The collection includes original documents of the Anti-Imperialist League, a significant movement with chapters in the major cities of the United States just before the end of the 19th Century until the early 20th Century, that were opposed to the concept of colonization in general and more specifically the American colonization of the Philippines. As an official repository of federal documents, BPL also has under microfilm or in the internet, all official documents from Congressional hearings and the various branches of the US federal government.
With the help of other Filipinos, our goal is to place many of our historical documents online, as part of the Likas-Philippines project, so that they are freely available to every Filipino and those who want to learn more about the Philippines and Filipinos. As gargantuan as this project is, this is only a first stage, our ultimate goal must be to have our ongoing history be written by Filipinos, rather than by foreigners -- so that we have a say in our fate. The second stage includes writing and archiving our "history of today", as well as the recent past.
Unless we do the second stage, Philippine history will continue to be written and shaped by other peoples of the world. You can have a say on this, if that is what you wish to happen.
CGC
_________
***Our goal in the archives section of "Kasaysayan: Philippine History" is to archive key documents about Philippine history -- rather than write history of the Philippines -- so that the internet documents could be used as reference materials by casual visitors, as well as "primary source" for serious students and as cross reference for scholars of Philippines history. Thus, fidelity to the contents of the original materials will be observed, including its errors. [Some of the errors were noted in the end volumes.]
In the future, when there are enough volunteer scholars of Philippine history would participate in the "Kasaysayan: Philippine History" project, new annotations (much like the Editors have done in the original publication) to update the names of places, or shed more light to events based from additional documentations that were not available at the time.
Sogno Intenso - Villa Ada Posse
ascolta!!!
Ogni giorno entra una luce che
Pare diversa da quella del giorno prima
Sensazione che mi fa capire cos’è cos’è
che mi spinge avanti x la mia strada
Ogni giorno entra una luce che
porta con se gli umori della giornata
E ripenso a quel sogno intenso che
ha colpito la mia vita
Vedo un sogno la terra che appare
Come un organismo capace di sentire
Ogni movimento ogni cosa che accade
Come fosse un corpo condannato a soffrire
Vedo un sogno la terra mi appare
Come una donna che mi parla e che mi dice
Mi spiega di com' è stanca di dover sopportare
Un’umanità che nn è in grado di capire
Per ogni albero abbattuto nessun seme piantato
Ogni luogo conosciuto subito viene inquinato
Ogni mare pulito presto viene contaminato
E non c’è equilibrio che viene rispettato
Viviamo come parassiti sopra un corpo malato
Dominando un mondo artificiale da noi costruito
Elogiamo e difendiamo quello che abbiamo creato
Dimenticando quel legame vitale
che ci ha consentito di trovare un’esperienza così profonda e densa
Su un pianeta che ci ha dato tutta la sua accoglienza
Ma la nostra conoscenza è diventata arroganza
Ci ha distolto dal significato dell’esistenza
C’è gente che pensa che c’è un dio in trascendenza
Ma la vena su cui cammina nn gli ha dato mai importanza
Allora È l’evidenza la sofferenza della grande madre
che si trova in decadenza
Vedo un sogno.....
Questo pianeta a noi ci ha dato l’ospitalità
Ci ha donato la bellezza e la qualità
Ci ha fornito l’alimento
E soddisfatto necessità
Noi succhiamo le risorse
Nulla indietro si da
Abbiamo perso ormai l’idea della sacralità
Così come era diffusa nell’antichità
Per cui la terra era come una divinità
Misteriosa abbondante e colma di prosperità
Ma è ormai impossibile e inevitabile
Provare a fermare il tempo
che scorre veloce inesorabile
Abbiamo perso il contatto con ciò che ha un valore incalcolabile
È probabile che al danno recato sia separabile sto mondo inevitabile
Non c’è nulla di umano che con la natura è paragonabile
Nessun mondo virtuale alla madre terra è sostenibile
non c’è uomo colpevole che si senta responsabile
di quello ke ha fatto alla terra di cm la resa invivibile
........
Vedo un sogno la terra mi appare....
Vedo un sogno la terra mi appare.....
This ran in shorter, more readable form on Seattlest.
This is Red Mill Burgers, in Seattle's Interbay neighborhood at 1613 West Dravus.
This store opened in 1998. The first store was a bit north in the Phinney Ridge, and opened a few years earlier.
The old photo at the Seattle Municipal Archives shows the same building in 1960, with "Interbay Pharmacy" painted on the side. Needless to say there was no Starbucks in the background.
Whenever I look at photos taken by government employees, I think "why?" More than 9 times out of 10 there was a good reason to take the photo and then subsequently archive it -- it wasn't a random photo like you or I take. Sometimes you can tell by the file that it's in, or the assession number. Other times it's the story of the building or business that clear it up. It takes a bit of digging to find that.
A quick web search shows that Interbay Pharmacy is older than 1960. Google Books has several trade magazines like a 1907 edition of "The Pharmaceutical Era" which mention Interbay Pharmacy. This first mention is worth quoting:
"W. S. Pierce, proprietor of the Interbay Pharmacy, Seattle, Wash., was blown by a gas explosion from the rear end of his store almost to the front door the other day. When he opened his store, Pierce started a fire in the gas stove, but he had no sooner applied the match to the jet than he felt himself propelled toward the door. The explosion had driven out the glass, thus making a clear path into the street."
A 1916 issue of "The Era Druggist's Directory of the United States..." lists Interbay Pharmacy, but gives a different address: 1500 Grand Boulevard. I've looked at enough engouh old plat maps of Magnolia to know that Dravus used to be known as Grand Boulevard. So the pharmacy used to be over at 15th.
But we're still missing the story here. I'm going to switch to tutorial mode to show you how I found out the "why" and at the same time learned an important part of this neighborhood's history.
When I'm dealing with a property, after a quick web search the next thing I like to do is open King County's Property Viewer or iMap to check it out. I'll cheat for you. Here's 15th and Dravus. Down in the bottom right, expand "Imagery" and choose "1936 B/W Aerial Photos". After the map refreshes, it shows that 15th Avenue used to look quite a bit different. It was just a small local road like 14th or 16th. 1500 Dravus, which would be the northwest corner, is right in the middle of the blank space. (The square are property, and long lines are roads; blank space is public property, usually streets.)
The assessor's report for 1613 Dravus, meanwhile, tells us that the Red Mill building was constructed in 1959.
The scenario is beginning to play out... a city employee photographs the new home of Interbay Pharmacy in 1960. The old home at some point became a city street.
The next step is to hit the Seattle Times archives and see what it says. These archives are one of the greatest and most frustratingly hidden secrets in local history. 1900-1923 are currently only available through a database called World Newspaper Archive, available locally through the University of Washington. From 1923-1980 are also covered in a database called America's GenealogyBank, which you can get at from home with your library card, click the link here.
I narrowed the search to newspapers, in Washington, and just for the kewords "15th widening" in 1952-1960. Result #4, 1959-06-02 page 20, is perfect:
"The city began condemnation proceedings in Superior Court... yesterday for widening 15th Avenue West form West Garfield Street to the Ballard Bridge.
"Twenty-two feet will be taken on much of the west side of the avenue. The east side will not be affected.
...
"A six-lane depressed roadway will go beneath Dravus Street, whish will remain at its present grade.
...
"Wilcox said 98 pieces of real estate are involved. He said settlements are being arranged with all but five owners."
So there's our story. Interbay Pharmacy, as well as all of the other pioneer businesses at the intersection of 15th and "Grand Boulevard" -- and all of the well-established homes on the main street between Seattle and Ballard -- were destroyed in 1959 to widen 15th to add six lanes of traffic.
It's odd that such a big deal is made about Interstate 5 and the other freeways, but no one talks about major widening projects like this. The monorail project which was supposed to be built to Ballard would have run on 15th. I remember an editorial in the Times or PI which railed that 15th was inhospitable to people, it was a car street that wasn't built for mass transit. There were so many editorials arguing that we couldn't afford to transform our city, which was built for car travel. But when you really look back, you find that our city was, of course NOT built for cars, but built for streetcars and people. We spent truckloads of money to rebuild it for cars.
Strips like 15th are still recovering from the economic hammer that was dropped.
BTW, Red Mill has great burgers. Get some onion rings while you're at it! There's bus service on 15th if you can afford the time and money.