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The Fisher Building (1928) is an ornate skyscraper in the New Center area of Detroit, Michigan, United States constructed of limestone, granite, and marble. Financed by the Fisher family with proceeds from the sale of Fisher Body to General Motors, the structure was designed to house office and retail space. The building was designated a National Historic Landmark on June 29, 1989. The building also contains the 2,089 seat Fisher Theatre.
Standing on the corner of West Grand Boulevard and Second Avenue in Detroit, Michigan, the Art Deco skyscraper lies in the heart of the New Center area of Detroit. The office building rises 30-stories with a roof height of 428 feet (130 m), a top floor height of 339 feet (103 m), and the spire reaching 444 feet (135 m). The building has 21 elevators. Designed by Albert Kahn and Associates with Joseph Nathaniel French as chief architect, it has been called Detroit's largest art object. and is widely considered Kahn's greatest achievement. The year of its construction, the Fisher building was honored by the Architectural League of New York as the year's most beautiful commercial structure. The opulent three-story barrel vaulted lobby is constructed with forty different kinds of marble, decorated by Hungarian artist Géza Maróti, and is highly regarded by architects. The sculpture on the exterior of the building was supplied by several sculptors including Maroti, Corrado Parducci, Anthony De Lorenzo and Ulysses Ricci.
8-28-10:
CollegeMonthlyOct.1974-JoeCardiello-Illo
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Special thanks to Kenneth R Anderson
Joe Ciardiello
1990s
Directory tear sheet, 8.375" x 11"
I saw Joe's work for the first time Sept. 1974 when he did a caricature for Doug G. and Noë G's fledgling mag. Joe hadn't fully developed his own style yet, and his illustration struck me as a so-so Alan Cober or Jack Unruh knock-off. Boy, was I wrong, or boy, has he developed. This sample comes from about 20 years later, with a very NYC subject for Joe. His style is now instantly recognizable, and he does regular spots for The New York Times Sunday Book Review. He's terrific.
But within weeks, College Monthly folded, Joe's November issue art never ran, and he (and we) didn't get paid. Perhaps this belated appreciation will serve as minor recompense.
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Joe Ciardiello 1990s Directory tear sheet, 8.375" x 11" I saw Joe's work for the first time Sept. 1974 when he did a caricature for Doug G. and Noë G's fledgling mag. Joe hadn't fully developed his own style yet, and his illustration struck me as a so-so Alan Cober or Jack Unruh knock-off. Boy, was I wrong, or boy, has he developed. This sample comes from about 20 years later, with a very NYC subject for Joe. His style is now instantly recognizable, and he does regular spots for The New York Times Sunday Book Review. He's terrific. But within weeks, College Monthly folded, Joe's November issue art never ran, and he (and we) didn't get paid. Perhaps this belated appreciation will serve as minor recompense. === www.joeciardiello.com ===
In this photo: Doug Garr (photos), Noe Gold (photos | remove tag), Joe Ciardiello
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Joe Ciardiello Thanks Kenneth. Better late than never.
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Patrick Jb Flynn Whom among us isn’t influenced by our predecessors? It’s a little thing called history, a subject that most Americans fail miserably. I always saw Joe’s art as an amalgam of the best illustrators of that time, Milton Glazer, fused with Cober, Unruh, and the inimitable James Spanfeller.
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Kenneth R Anderson @JC - I'm honored by your attention to my fb gallery.
@PJF - indeed. What I relate to now isn't even a style thing, per se. JC seems to draw naturally from his heart, a soulful quality I always admired in James McMullen's work.
3 hours ago · LikeUnlike · 1 personPatrick Jb Flynn likes this. ·
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Noe Gold
@PJF, Spanfeller also graced the pages of this magazine due no doubt to the involvement of his AC accolytes. Kudos to you Ken for enshrining this.
www.flickr.com/photos/doctor_noe/4360653626/in/set-721576...
This is a parody ...published by College Monthly October 1974.
© 2010 noemedia.
© 1974. All rights reserved under international conventions. No material may be reproduced without written permission of the publisher.
Cover photo by Basil Pao
With retouching by Rainbow Graphics, body by Doug, hand by Noë of New York. T-shirt by Harry Gross; photo by UPI, lighting by Chris Callis, and body English by Tom King.
And check out this blog entry at ...
doctornoemedia.blogspot.com/2010/02/catcher-in-bourbon-pa...
A better view - View On Black
When the winter started to finally go away this year, I had to buy a new set of summer wheels and tires for the MINI. I wasn’t too excited to drain my bank account but having a dedicated summer and winter wheel/tire set is the safest way to handle the roads, especially when driving “spiritedly”. Of course, I added a few other suspension components as well ;-)
I’m really bummed about not having a working flash transmitter & receiver lately. It really has been limiting my creativity. I guess that’s what one can expect when they buy cheapo Cactus triggers instead of something like Cybersyncs or Pocket Wizards. Luckily, the Mt. Clemens General Hospital parking garage just happens to have some very good lighting. I parked myself on the fourth floor and hoped no one would run me over as I set up my tripod. A couple of minutes into rearranging the car and composition and WHAMMO, I got this great shot of the MINI!
Featured in Flickr Explore June 2, 2010
Wat is straô?
Straô is een jaarlijks terugkerend evenement op een aantal zaterdagen in het voorjaar, waarbij de voeten van de paarden in de zee worden 'gewassen'. De dorpen aan de westkant van Schouwen-Duiveland hebben allemaal hun eigen straô-viering.
Straô-rieen is een historisch feest en gaat ver terug in de tijd. In vroegere tijden stonden de werkpaarden de gehele winter op stal. Zodra de winter tegen het einde liep, ging men met de paarden de zee in om de voeten te wassen. Hoewel de werkpaarden van vandaag nog uitsluitend als hobby worden gehouden en zeker niet meer een hele winter op stal staan, wordt de gewoonte nog steeds in stand gehouden.
what is Straô
Straô is an annual event on a number of Saturdays in the spring, where the feet of the horses in the sea 'washed'. The villages on the west side of Schouwen-Duiveland have their own straô celebration.
Straô is a historic celebration and goes far back in time. In ancient times were the workhorses throughout the winter in the barn. Once the winter by the end went, they went with the horses to the sea in order to wash there feet. Although the workhorses of today be held solely as a hobby and certainly not a whole winter on stable, the habit still maintained.
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Aperture occupies virtually whole of interior face (left hand image).
1: recurved pointed umbo (rostrum) overhanging concave interior.
2: asymmetrical “ears” to either side of rostrum resemble scallop.
3: outer layer (periostracum) forms broad border beyond inner layer.
4: fractured calcareous inner-layer held in place by periostracum.
5: close-set concentric striae and a few indistinct radiating lines.
6: embayment on right side of shell.
Full SPECIES DESCRIPTION BELOW
PDF available at www.researchgate.net/publication/353918067_Aplysia_puncta...
Sets of OTHER SPECIES: www.flickr.com/photos/56388191@N08/collections/
Aplysia punctata (Cuvier, 1803) Account revised August 2021
Current taxonomy: World Register of Marine Species (WoRMS) www.marinespecies.org/aphia.php?p=taxdetails&id=138758
Synonyms: Aplysia rosea Rathke, 1799; Aplysia hybrida J. Sowerby, 1806.
Meaning of name: Aplysia = that which cannot be washed; punctata = spotted.
Vernacular of just this species: Spotted sea hare (English); Môrwlithen glustiog (Welsh); Aplysie ponctuée (French); gemeiner Seehase (German); Pikasti morski zajček (Slovenian); Liebre de mar manchada (Spanish);
Vernacular of any Aplysia species: Sea hare (English); Lièvre de mer (French); zeehaas (Dutch); søhare (Danish); sjöhare (Swedish); Lepre marina (Italian);
GLOSSARY below.
Shell description
A. punctata has a rudimentary vestigial shell. Its height (longest dimension) is up to 40 mm, occasionally more; about 30% of the animal’s length. It is saucer-shape with a recurved, pointed umbo (rostrum) overhanging the concave interior, and there is an embayment on the right. It somewhat resembles a pectinid with asymmetrical “ears” either side of the rostrum.
The adult shell retains no trace of the spiral coiling of the veliger stage. It consists of two layers of conchiolin. The outer layer is the periostracum. The inner layer is transparent, imperceptibly calcified and limp on young specimens (fig. 1 flic.kr/p/DJpXbt ), and on older specimens is a translucent, thin, fragile, semi-calcareous layer, often fractured into pieces held in place by the periostracum (fig. 2 flic.kr/p/DSES2X ). The periostracum layer extends to form a broad flexible border beyond the inner layer. The exterior is amber-coloured with a sculpture of growth lines, close-set concentric striae and a few indistinct radiating lines. The aperture occupies virtually the whole of the ventral/interior face. On a living animal, the shell is concealed by the mantle (fig. 23 flic.kr/p/2oJVAzt ), except within a round foramen (fig. 3 flic.kr/p/CVh5eX ). There is no operculum.
Body description
The full-grown body length is about 70 mm and the usual maximum is 120 mm, exceptionally 200 mm (fig. 14 flic.kr/p/DQm3GL & fig. 15 flic.kr/p/Dqyc3s ). It has a large head and neck (fig. 4 flic.kr/p/DjbKoD ). The snout has a centrally divided oral veil which is usually loosely rolled into forward-orientated oral tentacles and curled flaps in front of the mouth (fig. 5 flic.kr/p/CVh2bn ). The appearance varies with the degree of rolling; sometimes flaps hang down from the oral tentacles (fig. 6 flic.kr/p/DJpNXK ). The snout is separated ventrally from the foot by a gutter (ffig. 5 flic.kr/p/CVh2bn ). The cephalic tentacles are also enrolled, but the edges are fused on the basal half; they resemble a hare's ears (fig. 5 flic.kr/p/CVh2bn ). Anterolaterally of each cephalic tentacle base there is a blue-black eye on a slightly raised mound of translucent unpigmented epithelium resembling a whitish iris (fig. 5 flic.kr/p/CVh2bn ).
Two large parapodia arise from the approximate mid-point of the body and extend to about 25% body length from the posterior where they unite (fig. 7 flic.kr/p/DJpNgz ). An external seminal groove runs from a common genital aperture, close to the anterior of the right parapodium, along the neck to the opening to the penial sheath near the base of the right oral tentacle (fig. 8 flic.kr/p/DJpM2a ). Raised walls along the sides of the seminal groove meet firmly at their edges, but do not fuse, to form a tube lined with cilia that propel the contents. The penis is spatulate with curled up edges and has an external seminal groove. It is engorged and extended from the everted penial sheath during copulation (fig. 9 flic.kr/p/DSEGJ8 & fig. 10 flic.kr/p/CVacmN ).
The parapodia can be held erect (fig. 11 flic.kr/p/DJpGJc ), semi-prone revealing enclosed anatomical features (fig. 3 flic.kr/p/CVh5eX & fig. 21 flic.kr/p/2nBEfgq ), or folded down to conceal features (fig. 12 flic.kr/p/DSEC4X ).
Colours and patterns on the external surfaces of body vary greatly between individuals www.nudibranch.org/Scottish %20Nudibranchs/aplysia-punctata.html (J. Anderson) , but usually there is a general progression in ground colour during growth from rose-red when small and feeding on red algae such as Delesseria, through brown or blackish-brown when on Laminaria to olive-brown when large and on Fucus (Eales, 1921). Many have fine spots of a darker shade of the ground colour arranged in elongate blotches, varying in prominence, which often form a reticulated pattern. In addition, some have white blotches. The edge of the parapodium often has a thin white rim, sometimes accompanied by black and/or reddish bands (fig. 13 flic.kr/p/DjbzG4 ), and the tips of the tentacles and edges of foot may have similar colours. The dorsal face of the parapodium, usually held concealed against the body, is unpigmented greyish white, apart from its border.
The mantle, enclosed by the parapodia, covers the shell apart from a large round foramen, and, at the posterior-right, forms an erect funnel with the anus near its base (fig. 3 flic.kr/p/CVh5eX ). The shell covers the viscera and the anal funnel fits against the embayment on its right-posterior edge (fig. 1). The anal funnel often protrudes when the parapodia are closed, but it is able to withdraw. The gill (fig. 21 flic.kr/p/2nBEfgq & fig. 22 flic.kr/p/2nBGFnR ) is a thick set, plume-like structure of loose connective tissue and muscle fibre covered by a partly ciliated epithelium (Eales, 1921, plate I). It has thickened lobes in place of the thin filaments of typical ctenidia. It is located in the narrow mantle-cavity on the right of the parapodial enclosure (fig. 3 flic.kr/p/CVh5eX ). It is affixed at its anterior end close to a yellow osphradium. The gill is usually concealed under the shell but may be erected above it if the oxygen level is sensed by the osphradium to be low. An unpigmented opaline gland is in the floor of the mantle cavity near the anterior-right of the parapodial enclosure and just to the posterior of the common genital opening (fig. 4 flic.kr/p/DjbKoD & fig. 21 flic.kr/p/2nBEfgq ). The anterior of the foot is almost rectangular and sometimes expands into a circular outline (fig. 13 flic.kr/p/DjbzG4 ). The posterior of the foot is bluntly pointed. The pale, unpigmented, narrow sole (fig. 5 flic.kr/p/CVh2bn ) is sometimes hidden by the edges curling together (fig. 11 flic.kr/p/DJpGJc ) and it may form into a rounded sucker at the anterior (fig. 13 flic.kr/p/DjbzG4 ), but rarely at the posterior (Thompson, 1976). There is no discernible subdivision of sole into regions (Eales, 1921).
Key identification features
Aplysia punctata
1. Parapodia unite at their posterior, c. 25% body length from posterior of body; see fig.3 in Grigg (1949) (fig. 7 flic.kr/p/DJpNgz ). It swims rarely, if at all, and clumsily if it does.
2. Foramen (fig. 3 flic.kr/p/CVh5eX ), a round hole in the mantle that exposes the shell, is larger, relative to the animal's size, than the foramen on A. depilans or A. fasciata.
3. Full-grown length about 70 mm, usual maximum 120 mm.
4. Foot occasionally expands into rounded sucker (fig. 13 flic.kr/p/DjbzG4 ) at anterior but rarely, if ever, at posterior. The sole is whitish.
5. Occurs all round Britain except parts of southern North Sea and north east Irish Sea.
Similar species
Aplysia depilans Gmelin, 1791
1. Parapodia unite at their posterior close to the posterior of the animal (fig.3 in Grigg, 1949) (fig. 16 flic.kr/p/DSEwU8 ). It is unlikely that it ever swims.
2. Foramen is smaller, relative to animal's size, than foramen on A. punctata
3. Length frequently 120 mm or more, up to 300 mm.
4. Foot frequently expands at posterior into rounded sucker attached to substrate. Sole brown.
5. In Britain (2015), confined to south west England; breeds in Cornwall.
Aplysia fasciata Poiret, 1789
1. Parapodia do not unite at their posterior. See fig. 3, as A. limacina, in Grigg (1949); frequently swims gracefully, see flic.kr/p/da9ojG (R. Fernandez); www.youtube.com/watch?v=x051Lw6LMBw#t=26 (M. Pontes).
2. Tiny foramen, pore-like on raised papilla (Grigg, 1949), is far smaller, relative to animal's size, than foramen on A. punctata; often difficult to discern.
3. Length frequently about 200 mm, with weight nearly 2kg, but up to 400 mm (largest British gastropod).
4. Foot pointed at posterior.
5. Reliably recorded from Dorset, South Devon, Cornwall and Channel Islands; rare.
Aplysia parvula Mörch, 1863
This species was recorded for Britain (Bebbington & Brown, 1975) on the basis of morphological features of small A. punctata specimens. Eales (1921) reported that small red specimens grew and changed colour to typical A. punctata when fed on non-red algae in captivity, so she dismissed their identification as a distinct species. Recent DNA studies (Golestani et al. 2019) found that A. parvula is confined to the tropical western Atlantic, and no DNA evidence for it was found in specimens examined from the north eastern Atlantic or Mediterranean.
Habits and ecology
A. punctata lives in shallow unpolluted water and occasionally on shores at LWS where its algal food grows; including red algae, Ulva (fig. 4 flic.kr/p/DjbKoD ) and Fucus.
Respiration: There is no obvious inhalent siphon; Jeffreys (1869) suggested that inflow was via the foramen, but this seems unlikely. Water is probably taken in between the body and anterior of the parapodia to the narrow mantle cavity on the right containing the gill (fig. 3 flic.kr/p/CVh5eX ). The water passes over the osphradium near the anterior attached-end of the gill. The current is created by cilia on the gill and, probably, on other surfaces. The osphradium tests the water-quality; if it is oxygen deficient, the gill may erect itself clear of the overhanging shell for better access to oxygenated water (Eales, 1921). The exhalent current leaves the animal via the anal funnel, taking faeces with it (fig. 17 flic.kr/p/DJpAiX ).
Defence : A. punctata is usually well camouflaged because its colour is often similar to alga it is feeding on. When irritated, the opaline gland (fig. 4 flic.kr/p/DjbKoD ) can release via the anal funnel (fig. 17 flic.kr/p/DJpAiX ) an acrid, white, viscous secretion, mixed with purple dye from the ink gland, to repel and confuse attackers. There are a few uncertain reports of predation on adults, but crustacea eat the spawn.
Reproduction: Breeding is recorded in February-November in Britain, but is most usual in spring. A. punctata is a simultaneous hermaphrodite, but distant spacing and positioning of the male and female orifices (fig. 9 flic.kr/p/DSEGJ8 ) prevent mutual interchange of gametes between a side-to-side pair in the manner of nudibranchs. One, acting as male, climbs astride another from behind and with the anterior of its foot firmly grips the mantle and shell (through the foramen) of the lower acting female. The penis of the acting male, engorged by blood and extruded by eversion of the internal penis sheath, is inserted into the vaginal part of the other's common genital aperture (fig. 9 flic.kr/p/DSEGJ8 ). Semen from the acting-male passes from its common genital aperture, through the external seminal groove on its neck and head, edge of the penial sheath and penis into the acting-female (fig. 10 flic.kr/p/CVacmN ). Often a chain of mating individuals forms, enabling all, except those at each end of the chain, to act as male and female simultaneously (fig. 9 flic.kr/p/DSEGJ8 ).
A. punctata often extrude spawn during coupling, and it often passes from the common genital opening along the seminal groove, escaping through a wrinkle part-way along it or continuing to emerge (confusingly) at the penial aperture. The spawn is a long string of spherical egg-capsules (fig.18 flic.kr/p/DSEwrV & fig. 20 flic.kr/p/DGfnSL ). There are about 500 capsules in each cm of spawn-string (fig. 19 flic.kr/p/DjbsiX ), and each capsule contains 3 or 4 ova. Copulation/ovipositing lasts several hours or even days, and the string is extruded intermittently in sections, each of which curls and tangles with the others (Eales, 1921). Its colour changes with time, so sections of string issued at different times by a single individual may have different shades from each other with abrupt colour changes corresponding to pauses in laying (fig. 20 flic.kr/p/DGfnSL ). The final colour is brown before veliger larvae emerge into the plankton. A mating/ovipositing chain of individuals results in a tangled mass of spawn strings. A sample mass from the River Yealm, Devon, had an estimated 135 000 ova (Thompson, 1976). Veliger larvae metamorphose after 20-22 days in the plankton at 15ºC into rose-red crawlers, about 5 mm long, feeding on red algae in shallow water (Thompson, 1976).
Distribution and status
A. punctata occurs from northern Norway to the Mediterranean, but is scarce or absent from the continental coast of the southern North Sea and extends into the Baltic no further than the Kattegat, GBIF map www.gbif.org/species/5191252 . It is found in unpolluted water all round Britain and Ireland, except in the north-east Irish Sea. the North Sea from Flamborough Head to Kent and much of the east coast of Scotland where it is absent or scarce. U.K. map NBN species.nbnatlas.org/species/NBNSYS0000173903
Acknowledgements
This account would not have been possible without the assistance of Jim Anderson, Heather Buttivant, Charlotte Cumming, Jonathan Campbell, David Fenwick, Andy Horton, David Kipling, Paula Lightfoot, Penny Martin, Simon Taylor and the photographers whose images have been linked to the account; their names are given next to the links. I gratefully thank them all.
References and links
Bebbington, A. 1992. British Aplysia species. Porcupine Newsletter Vol.5 no 6: 131 – 133. pmnhs.co.uk/wp-content/uploads/2011/11/046-PNV5N6DEC92.pd...
Bebbington A, & Brown, GH. 1975. Aplysia parvula Guilding in Morch, an opisthobranch new to the British fauna. Journal of Conchology 28: 329–333.
Eales, N.B. 1921. Memoir 24 Aplysia. Proceedings and transactions of the Liverpool biological society. 35: 183 – 280.
archive.org/stream/proceedingstr35192021live#page/182/mod...
Forbes, E. & Hanley S. 1849-53. A history of the British mollusca and their shells. vol. 3 (1853), London, van Voorst. (As Aplysia hybrida); pp. 554-556. archive.org/stream/ahistorybritish05forbgoog#page/n568/mo...
Garstang, W. 1890. A complete list of the opisthobranchiate mollusca found at Plymouth; with further observations on their morphology, colours and natural history. J. mar. biol. Ass. U.K. 1(4): 399-457. plymsea.ac.uk/50/ .
Golestani, H., Crocetta, F., Padula, V., Camacho-garcía, Y., Langeneck, J., Poursanidis, D., Pola, M., Baki yokeş, M., Cervera, J.L., Jung, D., Gosliner, T.M., Araya J.F., Hooker, Y, Schrödl, M. and Valdés, Á. 2019. The little Aplysia coming of age: from one species to a complex of species complexes in Aplysia parvula (Mollusca: Gastropoda: Heterobranchia) Zoological Journal of the Linnean Society. 20, 1–52
www.researchgate.net/publication/353918067_Aplysia_puncta...
Grigg, U.M. 1949. The occurence of British Aplysia. J. mar. biol. Ass. U.K. 28(3): 795-805. plymsea.ac.uk/id/eprint/1391/ [has A. fasciata as A. limacina]
Høisæter, T. 2009. Distribution of marine, benthic, shell bearing gastropods along the Norwegian coast. Fauna norvegica 28: 5-106. www.ntnu.no/ojs/index.php/fauna_norvegica/article/view/563
Jeffreys, J.G. 1862-69. British conchology. vol. 5 (1869). London, van Voorst. pp.1-8 archive.org/stream/britishconcholog05jeff#page/n9/mode/2up .
McKay, D. & Smith, S.M. 1979. Marine mollusca of East Scotland. Royal Scottish Museum, Edinburgh.
Thompson, T.E. 1976. Biology of opisthobranch molluscs vol.1. London, Ray Society.
Current taxonomy: World Register of Marine Species (WoRMS) www.marinespecies.org/aphia.php?p=taxdetails&id=138758
Glossary
aperture = mouth of gastropod shell; outlet for head and foot.
anterolateral = situated in front and to the side of.
cephalic = (adj.) of or on the head.
cilia = (sing. cilium) microscopic linear extensions of membrane that move in rhythmic waves to create locomotion, or that move particles and liquids e.g. inhalent water currents. (Scanning electron microscope image at flic.kr/p/qQB5zj )
ciliated = (adj.) coated with cilia.
conchiolin = horny flexible protein that forms the periostracum and a matrix for the deposition of calcium carbonate to create other shell-layers.
ctenidium = comb-like molluscan gill; usually an axis with a row of filaments or lamellae on one or two sides.
ELWS = extreme low water spring tide (usually near March and September equinoxes).
epithelium = tissue forming outer layer of body surface and lining the alimentary canal and other hollow structures
everted = turned inside out and, like a sock.
foramen = natural, non-accidental, opening.
lobate = having or resembling lobes.
LWS = low water spring tide.
mantle = sheet of tissue that secretes the shell and forms a cavity for the gill in most marine molluscs. Confined to the shell-interior of most British shelled-gastropods, but also covers exterior on Aplysia.
opaline = acrid, white, viscous secretion used with purple ink by Aplysia to repel attackers.
operculum = plate of horny conchiolin, rarely calcareous, used to close shell aperture. Absent from Aplysia.
osphradium = organ for testing water quality, usually near the gill.
parapodia = (sing, parapodium) flap-like, lateral outgrowths of foot, usually held up against the sides of some sea slugs.
pectinid = member of the family Pectinidae (scallops).
periostracum = thin horny layer of chitinous material often coating shells.
plankton = animals and plants that drift in pelagic zone (main body of water).
plicate = corrugated so ridges and grooves alternate with each other on either side of axis.
rostrum = beak-like process on shell.
semen = fluid containing sperm.
seminal = relating to or containing semen.
striae = (sing. stria) usually parallel, slight, fine or narrow furrows, ridges, stripes, or streaks.
umbo = (pl. umbones) earliest part of the shell of a bivalve and some bivalve-like gastropod shells, such as in Aplysia punctata. It terminates in a beak which is best seen on an interior view.
veliger = shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap).
The 16th Avenue Tiled Steps project has been a neighborhood effort to create a beautiful mosaic running up the risers of the 163 steps located at 16th and Moraga in San Francisco.
Artists Aileen Barr and Colette Crutcher led the creation of the 163 mosaic panels that were applied to the step risers, over 300 neighbors joined us in making them, and over 220 neighbors sponsored handmade animal, bird and fish name tiles imbedded within the mosaic. The City permitting process was completed on August 18, 2004. KZ Tile, a major San Francisco tile setting company, generously agreed to set the mosaic panels into the risers and tile the step treads with rough, nonslip tile.
Our word for today from the Word of God actually comes from my life verse in Romans 8:37 . But, before we get to that, you have to hear the context. Paul talks about these things that have gone on in his life, "trouble, hardship, persecution, famine, nakedness, danger, sword." He's just talked about the worst terrain life has to offer!
If you're on a rocky or slippery road right now, it's probably covered in that list. Or whatever you're going through is nothing worse than what's on that list. Now, the response of someone who is living with spiritual four wheel drive, Romans 8:37 , "In all these things we are more than conquerors through Him who loved us." Those guys going where I can't go on those back roads, I know what they feel like - conquerors! The Bible says here that we can live with four wheel drive conquering, actually, more than conquering those things that sink most people. But, how can you be an all-terrain, all-weather Christian, especially with the difficulties you're facing right now? Well, there are four secrets in Romans 8 to four wheel drive faith. First of all you know there's a perfect plan. Verse 28 says, "We know that in all these things God works for the good of those who love him." No matter how the road or the weather looks, you trust in God believing that this road is part of His great loving plan and that if it's a bumpy road it leads to something very beautiful.
It's time that you shifted into four wheel drive for the bumpy or maybe even dangerous road ahead of you. You have a perfect plan, inexhaustible resources, unloseable love and an invincible Savior. Is there any road you can't handle? Is there any road where you cannot be more than a conqueror?
© Ronald P. Hutchcraft
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Le zèbre est-il blanc à rayures noires ou noir à rayures blanches, comme le demande une légende africaine ? Les zèbres sont avant tout reconnaissables aux bandes noires sur fond blanc de leur pelage. Si le zèbre de Burchell possède de vingt-cinq à trente raies, le zèbre de Grévy en compte environ quatre-vingts et le zèbre des montagnes quarante-trois.
Arriba: Puente grúa sobre las columnas del pórtico lindero a la futura estación Echeverría correspondiente a la prolongación de la línea B, una de las tantas obras de subte desfinanciada por el macrismo. Al frente del mismo (a la der), el viejo teatro 25 de Mayo remodelado y reinaugurado.
LAS PROMESAS DE MACRI Y LAS OBRAS
Dos megaobras mantienen este año un ritmo sostenido: Arroyo Maldonado y Teatro Colón. Pero la ampliación del subte camina a paso de hombre y son varios los proyectos que quedaron en compás de espera. El Gobierno porteño asegura que no se paralizó ninguna obra, aunque reconoce la existencia de demoras y dificultades. Hasta qué punto Macri cumplió sus promesas. Opinan los candidatos.
Foto: Propia (cualquier copia o reproducción requiere del previo permiso y/o consulta al autor).
Si querés la foto, primero consultame por correo a nicofoxfiles@hotmail.com
Texto: Por Enrique Colombano y Laura Di Marco para Noticias Urbanas.
Mauricio Macri ganó las elecciones porteñas prometiendo una avalancha de inversiones públicas, eficiencia y velocidad a una ciudad harta de la ineficiencia, la lentitud y la desinversión crónica. Se vendió a sí mismo, más que como un político, como un empresario eficaz, un ingeniero carente de las viejas mañas de la corporación política. Se vendió como alguien que venía de "afuera". Lo nuevo frente a lo viejo; los hechos frente a las palabras, sobre todo frente a las palabras de los "progres", que lo habían precedido en la gestión.
En pleno frenesí de su campaña llegó a prometer que construiría 10 kilómetros de subte por año, en una ciudad tan colapsada por el tránsito que cualquier paro de subtes la convierte en un tsunami en cuestión de minutos. Sin embargo, a un año y medio de gestión PRO, ¿cuántas de todas aquellas promesas esperanzadoras pudo concretar? ¿Cuál es realmente la obra pública de Macri y la inversión en infraestructura que está llevando adelante? ¿Cuánta plata dijo que iba a destinar a su gesta urbana, y cuánta destinó realmente? En una palabra, ¿cuánto de aquella eficiencia prometida ante las cámaras pudo llevar verdaderamente a la práctica? Como es lógico en estos casos, las percepciones varían, y sólo los números suelen darnos pistas más certeras.
Mientras el oficialismo jura que los 3.300 millones de pesos previstos para la obra pública de 2009 es el mayor porcentaje invertido en el rubro de los últimos años, y que PRO ha hecho más en un año y medio de gestión que los "progres" en muchas administraciones, la oposición responde, lapidaria, que Macri no ha hecho, directamente, obra pública, si por ella se entiende una inversión destinada a infraestructura de alto impacto. Por ejemplo, más subtes. Los legisladores del arco opositor le achacan al macrismo concentrarse en hacer cosas visibles –tales como el bacheo o la refacción de veredas–, pero no las que son más necesarias a largo plazo. Sospechan de transferencias de fondos estatales a las constructoras privadas y de conexiones non sanctas entre el oficialismo y las empresas vinculadas al grupo Macri. Le facturan que sólo inauguraron una escuela, en la Villa 21, y que, encima, es un predio que había sido previamente recuperado por los vecinos de la zona. Lanzan que del hospital prometido en Villa Lugano sólo hay una salita de primeros auxilios. Le cuestionan que este año los chicos porteños volverán a pasar frío en las escuelas por una impericia de gestión. Desde el Acuerdo Cívico y Social, el segundo candidato a legislador de Lilita, Juan pablo Arenaza, lo explica: "La Legislatura votó el año pasado una norma que le permitía a Macri destinar dinero a la mejora de la infraestructura en las escuelas, y de ese porcentaje sólo ejecutó un 40 por ciento; no queremos subtes, pero al menos que ponga gas en los colegios".
Finalmente, lanzan, de los 10 kilómetros de subte prometidos no pudo hacer ni uno solo. Macri –es sabido– acusa al Gobierno nacional y, de paso, a la escasa colaboración de Daniel Scioli en el fracaso de llevar adelante políticas con mirada metropolitana. Más aún, Gabriela Michetti, que lidera las encuestas porteñas, justificó su renuncia a la vicejefatura para pasar a la "pelea nacional" con el único objetivo de cambiar esas "injustas" reglas del juego, según los macristas.
Cristian Ritondo (PRO), presidente de la Comisión de Obras Públicas de la Legislatura, explica la situación con números en mano: "Nosotros esperábamos contar con 2.500 millones de dólares de financiamiento: 1.500 millones los iba a aportar el Banco Interamericano de Desarrollo (BID), 500 millones la Ciudad y 500 millones la Nación, porque se había hablado con el ex jefe de Gabinete, Alberto Fernández, sobre la posibilidad de trabajar juntos para el Bicentenario". La historia que sigue es conocida: el Gobierno nacional jamás consideró avalar el pedido de toma de deuda, la economía mundial entró en crisis y, por último, Fernández se fue mal del Gobierno. La realidad es que hoy las obras del subte "sobreviven" a paso de hormiga con el presupuesto asignado (116 millones de pesos), además de un 5 por ciento de lo que recauda Autopistas Urbanas S.A. (AUSA), que se destina a Subterráneos de Buenos Aires (Sbase) y que son apenas 12 millones de pesos más. Esto alcanza para mantener en funcionamiento las obras civiles, pero no para tender la red.
Este mes se debería haber inaugurado la estación de Corrientes y Pueyrredón de la línea H. No ocurrió. El Gobierno porteño sólo alcanzó a poner en funcionamiento las estaciones Puán y Carabobo de la línea A, que, encima, ya estaban terminadas desde fines de 2007.
Desde la oposición, el segundo candidato de Diálogo por la Ciudad, el ibarrista Mario Gygli, sale a cruzar a PRO: "Yo puedo demostrar, con números, que Macri miente cuando se victimiza. Él puede avanzar perfectamente con las obras de los subtes con presupuesto propio, sin pedirle plata a nadie, como lo hicimos nosotros en plena crisis de 2001, cuando construimos 11 kilómetros".
Desde el Frente para la Victoria, Francisco Tito Nenna va en la línea de Gygli cuando destaca que Buenos Aires tiene uno de los presupuestos más vigorosos del país. Y avanza: "Lo que hay es una transferencia de los recursos del Estado a empresas de construcción privadas, amigas del macrismo, que son las que se dedican a arreglar veredas y baches".
Para las obras de ampliación de la red de subtes, el macrismo había asignado inicialmente 447,5 millones de pesos, pero más adelante tuvo que recortar a 116 millones. Ya sea porque los demás fueron peores, porque lo actual no es tan malo como dice la oposición o porque la estrategia de la "acupuntura urbana" –y visible– da resultado, lo cierto es que, según las encuestas, los porteños, aunque no están del todo conformes, no le soltaron la mano a Macri. Más aún, los politólogos suelen decir que la estrategia de victimización "paga" en el caso de Macri: la gente, en general, le cree cuando culpa al Gobierno nacional. Una cosa es verdad: además del aval para el financiamiento de subtes, la Nación "cajoneó" el Fondo de Infraestructura Social (Foiso), una toma de deuda por 1.600 millones que Macri pensaba destinar a la obra social, como refacción de escuelas y hospitales.
REALIDADES Y PROMESAS
De todas las megaobras prometidas, lo cierto es que sólo dos marchan a ritmo este año: las refacciones del Teatro Colón, que terminarían en 2010 según promete el Gobierno porteño, y la del canal aliviador del Arroyo Maldonado, que permitirá evitar inundaciones en vastas zonas de la Ciudad.
Después, sí, se incluyeron obras de envergadura intermedia. Veamos: intervenciones en la Red Pluvial II –son 25 y el Gobierno porteño promete terminar la mitad este año– o las obras de la 9 de Julio Sur, a cargo de AUSA. Y finalmente, tenemos bacheo, lo más visible, la ampliación de calles, construcción de placitas, adoquinados, desadoquinados, peatonalización, muchos obreros vestidos de amarillo con la leyenda "Haciendo Buenos Aires", más bacheo, antenimiento. La famosa "acupuntura urbana". La megaobra del Teatro Colón es un tema aparte; le destinarán 106,5 millones, pero desde el Frente para la Victoria sugieren que en las demoras hay algo turbio. Nenna dirá concretamente: "Hay que estar atento porque pueden llevarnos a un proceso de privatización".
Cuando en noviembre del año pasado el ministro de Desarrollo Urbano, Daniel Chaín, fue a la Legislatura, a las reuniones previas a la aprobación del Presupuesto 2009, reconoció que este año el Gobierno porteño iba a tener que suspender obras previstas por 472 millones de pesos.
Desde el macrismo, el vocero del Ministerio de Desarrollo Urbano, Sergio Levit, es enfático cuando niega que se hayan parado obras y, en cambio, destaca los avances en la obra del Maldonado: "Es la obra más importante que se hace en Latinoamérica y la que tiene la más mayor tecnología". En verdad, lo que la administración PRO tiene para decir es que hacen lo que pueden con el dinero que tienen. Y hay muchas obras que se dejaron de lado, entre ellas la anunciada construcción de nuevos neuropsiquiátricos, el aliviador de la Cuenca Medrano-White y la megalicitación Oasis Urbanos, una construcción de espacios verdes en lugares estratégicos de la Ciudad, que fue reemplazada por un programa de licitaciones progresivas.
Desde la oposición dicen, en cambio, que Macri tiene serios problemas para encarar licitaciones de largo aliento. "No tiene cuadros capaces de llevar adelante y concluir un proceso licitatorio", dicen, palabras más o menos, desde Proyecto Sur, el FPV, el socialismo, el ibarrismo y el lilismo porteño. Precisamente, desde Proyecto Sur, el médico del hospital Argerich, Jorge Selzer, segundo candidato a legislador porteño detrás de Fabio Basteiro, lanza un último dardo al ingeniero PRO: "Debería planificarse el crecimiento
urbano y poner topes en la Ciudad, de lo contrario la polución y el consumo de energía van a ser insostenibles". El año pasado la Legislatura sancionó, luego de varios años de demora, el Plan Urbano Ambiental (PUA). La norma, ordenada
por la Constitución de la Ciudad, es la ley marco que garantiza los derechos urbanos de los porteños. De allí se desprende cómo se debe planear la Ciudad a partir de ejes como el transporte, los espacios públicos, la vivienda, la producción o el empleo. El PUA sugiere la discusión de una política interconectada y, también, la reformulación urgente del Código Urbanístico, que dice qué se puede construir y en dónde. Hoy el Código que se usa es del 77 y no responde al modelo de ciudad que propone el nuevo plan urbano. También redactar nuevos códigos de Habilitaciones y Espacio Púbico. Finalmente, ampliar la mirada a escala metropolitana, en lugar de centrarse sólo en la Ciudad, es otro de los desafíos.
A estas alturas, Macri ya debe haberse dado cuenta de que para achicar la distancia que media entre la campaña y el poder real deberá apelar sí o sí a la política. Porque con la ingeniería sola no le va alcanzar.
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Please view on black.
I'm sorry for my English-speaking friends... Here is a poem writes by my sister on the timelessness of seascapes. Enjoy !
Il reprit accidentellement le chemin de la dune
Piétinant chardons, fleurs et herbes brunes
Laissant le sable, attrapé dans sa main
Glisser le long de ses grands doigts fins
Il sent la chaleur peser sur son corps
Et la douleur que produit cet effort
Il grimpe la pente aride et ensablée
Désirant au plus fort atteindre le sommet
De là, il sait qu’il verra la mer
Enfin il retrouvera un repère
Il attend impatiemment cette rencontre
Lorsque la mer et le ciel en un s’estompent
Ses pas se font lourds sur ce sol mou
Ses pieds s’enfoncent dans le sable doux
Doux mais pourtant traître et piégeur
Car il désespère de ne pas arriver à la bonne heure
Il veut parvenir au sommet pour pouvoir admirer
Le soleil plongeant et coulant dans la mer bleutée
Il veut pouvoir voir comment le vent léger
Balaie et fait danser les hautes herbes des dunes ensablées
Il imagine le bruit sourd des vagues blanches
Les rochers et ses mares sur lesquelles il se penche
Espérant voir de cette jungle et faune maritime
Un poisson ou un crabe délogés de son lieu intime
Il présume que la pointe du rocher aperçue dernièrement
Est à présent dévoilée et se dresse fièrement
Et que la dune recule invariablement et sans volonté
Face au vent violent et à la mer déchaînée
Il se voit s’allonger dans les grains de sable blond
Respirant l’air chaud et pur à pleins poumons
Profitant de ce qui règne ici soit la quiétude
Et que soit balayée sa perpétuelle inquiétude
Il sait qu’il sera étourdi, ébloui et impressionné
Comme à chaque fois que l’aventure est renouvelée
L’histoire d’une rencontre avec une harmonie visible
L’histoire d’une rencontre avec un soi illisible
Well as you can see I'm not bored yet from shooting butterflies lol ;) I don't see these babies in winter so may as well enjoy while I can right? Here's a shot of another Red Admiral I saw recently..It really is a Red Admiral summer here..I see them everywhere I go.
"Red Admiral
an 'admirable' butterfly that migrates!"
"The Red Admiral or Vanessa atalanta (previously also known as Pyrameis atalanta) is a well-known colourful butterfly, found in temperate Europe, Asia and North America. The Red Admiral has a two inch (45-50mm) wing span."
"This large butterfly is identified by its striking dark brown, red and black wing pattern. More specifically, the dark wings possess orange bands that cross the fore wings and on the outer edge of the hind wings; white spots on the dorsal fore wings near the front margin; reddish bars on dorsal surface of all four wings."
Enjoy! Best viewed LARGE. (photograph taken in Mississauga, Ontario Canada)
Seguir con gli occhi
un airone sopra il fiume e poi
ritrovarsi a volare
e sdraiarsi felice
sopra l'erba ad ascoltare
un sottile dispiacere
E di notte passare con lo sguardo
la collina per scoprire
dove il sole non fa rumore
e guidare come un pazzo a fari spenti
nella notte per vedere
se poi e' tanto difficile morire
E stringere le mani per fermare
qualcosa che
e' dentro me
ma nella mente tua non c'e'
Capire tu non puoi
tu chiamale se vuoi
emozioni
Uscir nella brughiera di mattina
dove non si vede a un passo
per ritrovar se stesso
Parlar del piu' e del meno
con un pescatore per ore ed ore
per non sentire che
dentro qualche cosa muore
nascere un giorno una rosa rossa
E prendere a pugni un uomo
solo perche' e' stato un po' scortese
sapendo che quel che brucia non son le offese
E chiudere gli occhi per fermare qualcosa che
e' dentro me
Ma nella mente tua non c'e'
Capire tu non puoi
tu chiamale se vuoi
emozioni
tu chiamale se vuoi
emozioni.
Cunit, Tarragona (Spain).
Doing playback of the song / Haciendo el playback de la canción.
ENGLISH
The Carnival of Cunit is the oldest of the region of the Baix Penedès as we understand it at the moment since it is being celebrated of uninterrupted way from 1988; they are practically 2 weeks of different playful acts and celebration that has like central event great the cavalcade of carnival.
The cavalcade is celebrated the Saturday of carnival and is headed by Her Majesty Carnestoltes, “king of insolents” and the queen of carnival and her ladies (chosen in an act celebrated in the middle of August of the previous year); behind them it follows to him more than 60 groups of krewes and floats of all Penedès and part of Tarragona with a participation in 2006 of more than 4,500 different people disguised of thematic. The cavalcade leaves the railway station and finalizes in the square of Catalonia (square of the Casal). The route of cavalcade has a length of 3.5 kilometers where they are possible to be reunited up to 30,000 watching people (as much disguised as not). At the end of the cavalcade most of groups they go to the Platja de Calafell to make another cavalcade there.
The midnight after cavalcade is celebrated the great dance of carnival where they are distributed the prizes to the best groups as well as to the more original individual disguises, balconies and showcases of stores better adorned.
Sunday is celebrated the infantile carnival infantile with groups of animation and a "chocolatada" for the assistants when finalizing the act.
The carnivals finalize Wednesday with the burial of the sardine, in which is made a small cavalcade by the town taking for a walk the body of the Carnestoltes and finalizes in the station where is made popular "sardinada".
---------------------------
CASTELLANO
El Carnaval de Cunit es el más antiguo de la comarca del Baix Penedès tal y como lo entendemos actualmente ya que lleva desde el 1988 celebrándose de manera ininterrumpida; prácticamente son 2 semanas de diferentes actos lúdicos y de fiesta que tiene como evento central la gran rúa de carnaval.
La rúa se celebra el sábado de carnaval y es encabezada por S.M. el Carnestoltes, "rei dels pocasoltes" y la reina de carnaval y sus damas (elegidas en un acto celebrado a mediados de agosto del año anterior); detrás de ellos le sigue más de 60 grupos de comparsas y carrozas de todo el Penedés y parte de Tarragona con una participación en el 2006 de más de 4.500 personas disfrazadas de diferentes temáticas. La rúa sale de la estación de ferrocarril y finaliza en la plaza de Cataluña (plaza del Casal). El recorrido de la rúa tiene una longitud de 3,5 kilómetros dónde se pueden reunir hasta 30.000 personas espectadoras (tanto disfrazadas como no). Al termino de ésta la mayoría de grupos se dirigen a La Platja de Calafell para realizar allí otra rúa.
La medianoche después de la rúa se celebra el gran baile de carnaval dónde se reparten los premios a los mejor grupos así como a los disfraces individuales más originales, balcones y escaparates de tiendas mejor adornados.
El domingo se celebra el carnaval infantil con grupos de animación y chocolatada para los asistentes al finalizar el acto.
Los carnavales finalizan el miércoles con el entierro de la sardina, en el cual se realiza una pequeña rúa por el pueblo paseando el cuerpo del Carnestoltes y finaliza en la estación dónde se realiza una sardinada popular.
Fuente: es.wikipedia.org/wiki/Cunit
54/365 - Carolina Drama - The Raconteurs
Today was another really tough day of hard work.
It started badly with the viewing of our work on the "Tea or Coffee" weekly theme with our studio teacher, and the work we did was not what he was thinking about.
We were too late at noon to grab the equipment we needed for the work of the afternoon so we had to eat something as quickly as possible and get back to the studio to finally take away a Mamiya RB67, a studio flash and a 120 Superia 400 ISO film.
We had less then 3 hours to go to town and shoot the film in order to make portraits on location of people working.
I was with Loic, Hugo and Florent with only 1 medium format camera for all of us... 4 different places to go to, including time to meet the guys, set up, find the good light, the good settings, to shoot, and to pack all things again... And be on time at school for the economic course, the "finish to kill" last course of the day until 7.15PM...
Luckily we met Simon who's already done his job and he lend to Loic and I his own RB67.
Loic had a appointment at Corezone shop but first we went to Hurley shop to shoot my film.
I've been there several times to take some testing portrait for shool, and the guys over there are really too nice and cool ! A huge thanks to them !
So this was a testing shot we did with the 7D to test the light before shooting with the Mamiya. Can't wait to see the analog results, this was a test for our studio course and my teacher will judge me on this work.
Also Loic did some cool shot with the Corezone shop's crew who are awesome !
Today I've chosen to quote lyrics from a Jack White's band The Raconteurs because it's a huge song and it's also on the original soundtrack of an awesome surf movie with Rob Machado.
I'm a huge fan of The Raconteurs and Jack White's music in fact.
Rob Machado is the guy on the picture behind Loic, it's an awesome surfer sponsored by Hurley that you should watch surfing !
Link to the trailer of the movie "The Drifter" with Carolina Drama - The Raconteurs music on the OST.
Light :
- 1 flash Elinchrom D-Lite4 with Portalite softbox at min power on the left of the sofa, fired with PC synch cable
Canon EOS 7D - Sigma 24-70mm f/2.8 DG macro EX
Sébastien Huruguen
Best to: View Large and On Black
These tiny soft pink beauties are dedicated to Taty's friend Flemming - fmc.nikon.d40 - www.flickr.com/photos/fmc550uz/
Most of you know about the good news, and if you haven't read it as yet, see yesterday's photo: www.flickr.com/photos/tatyveli/2619772149/
Other photos dedicated to friends of Taty will follow at random, and without knowing any of you, so please don't be upset about the order I am placing your photo online, and be patient until you'll see yours, Thank you - Wishing you all a very nice week ahead
And if you wish to see her on a few photos - see my stream. - Willem
In Southern California, we have deserts, we have mountains, and we have deserts in our mountains. At an elevation of 4,000 feet, this is one beautiful example of a desert in the mountains, with its own kind of fall colors.
The contrasts between the reds, grays, tans, browns, and greens were quite striking during the day, but I would not have been able to capture them, since they were too extreme. I think the perfect time would have been at first light or just before sunset, but I didn't expect such beautiful scenes, so we didn't arrive in time for a morning shoot and we were still busy with testing in the afternoon, so there wasn't time before sunset.
This was shot at about 30 minutes after sundown and the colors are pretty true, but the sky was still blown and when I compensated for that, the rest of the scene was too dark. I wish I would have brought my tripod, so I could have made an HDR, but if I did, it probably would have looked fake, since it already kind of does in this single shot.
This is a portrait of my father (top) with his parents. My father lived from September 8, 1923 to May 2, 2009. I never knew either of these adults, my grandparents, since both died before I was born.
___
Photo was taken by "The Maitland Studio", Stratford, Ontario, Canada around 1928. I scanned the original, did some cloning and healing to clean it up a bit, and tweaked lighting and contrast.
The photo itself was 4x6 inches, and sepia. I left something of the presentation, which I think is very nicely done. It is printed on very thick paper, the border of which is "roughed up" to show the white that you see -- sort of the "fuzzy border" decor of its time. The photo is mounted on a thick cardboard backing, with the decorative corners shown here. That in turn is mounted on a larger folding cardboard "stand".
A few things I find interesting about this portrait:
* the very dark background ensures that nothing but the people is shown; I am guessing that in studio there was a dark sheet behind them.
* The main (sole?) source of lighting seems to be above and slightly to the right of the photographer, unlike modern studio practice.
* There is vignetting bottom and top (but not sides). This is strongly applied at bottom, interesting because it blocks the adults' midsections. Is this just to focus attention up to the faces, or is there an element of modesty, perhaps?
* They are smiling -- the mother clearly so and the other two somewhat so. There is a clear attempt to show them all as "pleasant" -- common practice now, but very different from the "severe" portraits of the era before this photo. Perhaps by the 1920s exposures could be short enough to allow for a more "natural" look than earlier, when the subject had to sit as if frozen in stone through a longer exposure.
Later edit (after most of the comments below): I forgot to mention the most important thing that I like here: the placement of the child above the parents. I don't know if that has ever been standard practice -- it certainly isn't now -- but I think it is brilliant.
And I think the photographer did an excellent job.
Much Better Viewed Large On Black, Click Here
After visiting the Grand Canyon in May, we spent an afternoon visiting Williams, Arizona and walking down the old town's Route 66 admiring the vintage buildings, cafes and shops. We still didn't see it all and want to return for another visit soon. Above is a photo of what I think is a beautiful 1950 Ford outside Pete's Gas Station Museum on Route 66 in Williams. I enhanced this photo with PhotoShop filter Fractalius.
INFORMATION ON PETE'S GAS STATION MUSEUM:
Pete's Route 66 Gas Station Museum is a homage to old time gas stations, part museum and part gift shop, specializing in a collection of gas station memorabilia, including old gas pumps, vintage oil cans, vintage signs and equipment. It's owned, operated and is being restored by Pete's son. It's been a station for a very long time but the current building was built in 1949. It operated as a gas station till 1989 when it ceased operation and the tanks were removed from the ground. It sat idle for several years but is now whipped back into presentable shape. Half of the garage is a museum and the other half is a gift shop. The late 1940’s classic Ford sedan out front is Pete's.
INFORMATION ON THE 1950 FORD:
Although all Fords looked nearly identical during the 1949-1951 model years the cars themselves were dramatically changed underneath. The reason was that the '49 was a dog of a machine that rode poorly, rattled and shook, and was fraught with defects. During its 17-month production run it caused nothing but trouble for the company, but well over a million of them were sold to a public starved for new cars.
By the 1950 model year's fall of '49 introduction, Ford engineers had solved most of the major problems with the cars. The loosy-goosey '49's frame and body were stiffened and thickened in many areas, body sealer was pumped into weld joints, door weatherstrip was redesigned and the front end was re-engineered. The old one, Ford's first fully independent front suspension, was impossible to align so the '50 model was given the addition of a redesigned torsional stabilizer and a bunch of other tweaks. The rear springs were relocated as well in a response to customer complaints about bouncy ride.
The gas filler neck was removed from the body and put behind a little flap door and the bumpers were strengthened to allow the cars to be jacked up. Many earlier '49 Fords were attempted to be jacked up at the side of the road, only to find the bumpers and brackets bending hopelessly out of place and the wheel still on the ground.
Many other refinements were put into the 1950 models in an attempt to keep customers from going over to Chevrolet and, for the most part, the result was quite acceptable. The base engine was the same flathead inline 6 from earlier years. It was a very good engine that put out 95 horsepower. The venerable flathead V8 was optional. It put out 100 horsepower and didn't suffer the piston-slap and timing gear problems of earlier engines.
Sedans and business coupes were upholstered in striped gray fabric or broadcloth, but customers could opt to get the same thing in tan. Vinyl was used on the sides and tops of seats and the door panels were done in the same material as the seats. Headliners too were done in broadcloth and the stamped-steel instrument panels were done in either gray or tan. These were the days of rubber floor mats, by the way, and only the very top-end models offered carpet. "Magic-Air" heaters were optional too.
The 1950 model lineup included 2-door and four-door sedans, business coupes, convertibles and station wagons. The top of the line was the Crestliner, a gussied-up and heavily trimmed model that very few people bought because Ford didn't advertise it in any noticeable way, and it was about $200 more expensive than the other models. That was a lot of money in 1950.
1950 Fords were basic cars. Transmission offerings were limited to the 3-speed manual (three on the tree!) with an optional overdrive that was touted as "automatic," in the sense that it would cut in at speeds above 27 mph and return to normal below about 20 mph. Tires were 6.00 X 16, which was typical of the day. Whitewalls were a big deal back then, but tire life was pitiful by today's standards. Ten-thousand miles was a long, long life for a tire.
1950 Ford Collectability: 1950 Fords are actually quite popular with collectors. Convertibles and wagons (wagons?) are the most sought-after, with fully restored examples routinely selling in the $30,000+ range. Crestliners are virtually non-existent and very valuable.
1949 Fords, by contrast, are not popular with knowledgeable collectors for all the reasons above. Besides, most of them were junked long, long ago and a good-condition '49 is a rare thing to find.
This link is just in Dutch unfortunately. Here is a brief translation I just cooked up:
In early times only the Steenweg ‘Rock road’, could be found here. An old road paved with cobblestones which connected the ‘Grootbrug’, or ‘Large Bridge’ and the present day Steenweg, part of an important route from Bavay in the North of present day France to Utrecht in the Netherlands. A canal was dug in the 13th century along the Steenweg which connected the river Dijle and the Koolvliet. On the Eastern bank of this canal a Vismarkt (fishmarket) was built.
In 1532 this canal was put underground and the Vismarkt moved to where it nowadays. The last part of the canal on the Ijzeren Leen was filled up in 1675.
The name Ijzeren Leen dates from the 17th century, and stems from the iron railings (ijzeren leuningen), which were put along the canal in the century before. They were probably manufactured between 1531 and 1534 and restored between 1783 and 1927.
(source: Bouwen door de eeuwen heen in Vlaanderen)
Nowadays the Ijzeren Leen called the Champs Elysees of Mechelen. It contains the ‘Schepenhuis’, which is the former town hall. This houses a small museum with 16th and 17th century art.
Artizen HDR Lock06
The Victoria and Albert Museum (often abbreviated as the V&A) in London is the world's largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. Founded in 1852 as the South Kensington Museum, the V&A has since grown to now cover some 12.5 acres[2] and 145 galleries. Its collection spans 5000 years of art, from ancient times to the present day, in virtually every medium, from the cultures of Europe, North America, Asia and North Africa.
The holdings of ceramics, glass, textiles, costumes, silver, ironwork, jewellery, furniture, medieval objects, sculpture, prints and printmaking, drawings and photographs are among the largest and most comprehensive in the world. The museum possesses the world's largest collection of post-classical sculpture, the holdings of Italian Renaissance items are the largest outside Italy. The departments of Asia include art from South Asia, Japan, China, Korea and the Islamic world. The East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection, alongside the Musée du Louvre and Metropolitan Museum of Art, New York, is amongst the largest in the world.
Alongside other neighbouring institutions, including the Natural History Museum and Science Museum, the V&A is located in what is termed London's "Albertopolis", an area of immense cultural, scientific and educational importance. Since 2001, the Museum has embarked on a major £150m renovation program[3] which has seen a major overhaul of the departments including the introduction of newer galleries, gardens, shops and visitor facilities. Following in similar vein to other national UK museums, entrance to the museum has been free since 2001.
from wikipedia
Please bare with me as this story is not an easy one.
I was invited by an aquaintance to join him on an organised photoshoot.The photoshoot was apparently held every year and organised by a dutch photography service run by dutch photographer Hugo fermont (www.fotograficus.nl)
Photographers and models could get together in a small village called "Doel" in Belgium and which lies close to the dutch border in the midst of the great Harbour of Antwerp ( Belgium) (Antwerpen in Flemish/Dutch).Now this village is about to dissapear and a big part of it has already been demolished.Now you have to take in account that people still live there ! If your interested in the perrils of the people of "Doel" and in the turmoil it caused in the belgian press and with the public oppinion see : www.doel2020.org
The village has to dissapear because of the expansion of the port of Antwerp.
Exactly the same has happened in the late fifties, early sixties with other villages in the vicinity of Doel.
So history always repeats itself and lately it does so faster and faster.
Suggestions have been made to turn Doel in an art/artist's village and preserve it thusly : www.kunstdoel.net/en
Quien no tiene para contar alguna historia de la puta mili....bueno yo no porque por aquél tiempo aun no se había incorporado la mujer en el ejercito, no existía tal posibilidad, así que soy una mera espectadora más de todos aquellas batallas que me han contado otros que si vivieron el panorama del servicio militar reglamentario. Cuántas anécdotas quizás os haga recordar a muchos de vosotros , situaciones agradables y otras desagradables y que os hago ahora buscar en el baúl de vuestros recuerdos…
Navegando por internet, encontré un artículo sobre este tema, una de esas historias de la mili y en la que muy posiblemente alguno pueda sentirse identificado por haber vivido una situación similar o parecida.
A mi , la verdad, me causó gracia el leerlo, así que he decidido acompañar ese artículo en la presentación de esta singular foto donde parecen estos gansos estar en formación...esperando pasar revista, o esperando que toquen diana, o esperando que suene la marcha militar….
Así que ¡¡ ARR , firmes !!...empieza ya :
Para algunos estas historias de la puta mili, lejos de aquél lugar y de aquél tiempo vuelven a reproducirsele en su vida , de tal modo que el Cuartel ha cambiado de nombre y se le llama ahora Hogar Familiar……., y sin querer agraviar a ninguna mujer por supuesto, pero quien no ha oído decir a él eso de : ¡¡“ Mi señora es un sargento” !! y a ella gritar Pepee pero donde vas con esos zapatos sucios!!!...Pepe, pero si no te has cortado el pelo!!!!!....Pepeeeeee y esa barba!!!!!!....Pepeeee pero metete la camisa por dentro del pantalón!!! y nada, al final empieza la discusión y terminas arrestado en casa…y a dormir en el catre que tenías por aquellos entonces en el calabozo - en la actualidad algo más cómodo, porque en casa es el sofá-… porque claro en la cama ya ni se te ocurra meterte…20 días de arresto sin catarlo!!,.( ya sabéis “el qué” cuando se dice eso)….
Son “historias de la puta mili “ que parecen que nunca tienen fin.
María.-
Querol, Tarragona (Spain).
A beautiful view from the road.
Una bonita vista desde la carretera.
ENGLISH
Querol is a municipality in the comarca of Alt Camp, Tarragona, Catalonia, Spain.
Querol was occupied by the Frankish troops towards year 950. The first documentary reference is in a letter of king Lotario, dated year 988.
In the 993 it belonged to Ansulfo, countal vicar of Gurb that, in its testament, left some territories of its castles of Montagut, Querol and Pinyana to the Monastery of Sant Cugat. In 996, Sendredo and its wife Matressinda sold, among other goods, the three mentioned castles to Hugo of Cervelló. In 1053, Guerau Alemany of Cervelló put in tribute and under the authority of Ramon Berenguer I of Barcelona, the three mentioned castles, in addition to the one of Pontils. This tribute was repeated in 1062.
The castles comprised the barony of Cervelló or of the Llacuna, and towards end of 13th century the castle of Querol became in center of the Barony of this name. The castle and the village were sacked and set afire in 1400, and both received manifold attacks in all the wars that knocked down the country.
The Barony of Querol was always tie to the Cervelló, of which it passed towards 1528 to the Barberà family, castelans of Vilafranca of the Penedès, and towards 1597 to the Saiol, which had it until 19th.
------------------------------
CASTELLANO
Querol es un municipio y localidad de la comarca del Alt Camp en la provincia de Tarragona, Comunidad Autónoma de Cataluña, España.
Querol fue ocupado por las tropas francas hacia el año 950. La primera referencia documental se encuentra en una carta del rey Lotario, datada el año 988.
En el 993 pertenecía a Ansulfo, vicario condal de Gurb que, en su testamento, dejó algunas tierras de sus castillos de Montagut, Querol y Pinyana al Monasterio de Sant Cugat. En el 996, Sendredo y su mujer Matressinda vendieron, entre otros bienes, los tres castillos citados a Hugo de Cervelló. En 1053, Guerau Alemany de Cervelló puso en homenaje y bajo la autoridad de Ramón Berenguer I de Barcelona, los tres castillos mencionados, además del de Pontils. Este homenaje fue repetido en 1062.
Los castillos formaban parte de la baronía de Cervelló o de la Llacuna, y hacia finales del siglo XIII el castillo de Querol se convirtió en el centro de la Baronía de este nombre. El castillo y la población fueron saqueados e incendiados en 1400, y ambos recibieron múltiples embates en todas las guerras que asolaron el país.
La Baronía de Querol estuvo siempre vinculada a los Cervelló, de los cuales pasó hacia 1528 a la familia Barberà, castelanos de Vilafranca del Penedès, y hacia 1597 a los Saiol, los cuales la poseyeron hasta el siglo XIX.
This is one of artist Dale Chihuly's glass art displays at the Desert Botanical Garden in Phoenix, Arizona. The exhibition at the Garden is named "Chihuly: The Nature of Glass" and Chihuly's work is displayed from November 22, 2008 to May 31, 2009. The Nature of Glass exhibit features new and unique works of glass artfully located throughout the Garden. Dale Chihuly is known for his innovative glass sculptures, and his work is immediately recognizable for its grand scale and vibrant colors. This is Chihuly's first exhibition in an outdoor desert environment.
“The artist permits and encourages photography of the artwork in this exhibition for educational and non-commercial use only.”
INFORMATION ON ARTIST DALE CHIHULY:
Dale Patrick Chihuly (b. September 20, 1941 in Tacoma, Washington, United States) is an American glass sculptor. Chihuly graduated from high school in Tacoma. Supported by his mother, after his brother George's death in a flight-training accident in Florida and his father's death of a heart attack, he enrolled at the College of the Puget Sound (now University of Puget Sound) in 1959.
In 1967, he received a Master of Science in sculpture from the University of Wisconsin-Madison, Chihuly lives and works in his 25,000 square foot (2300 m²) studio, nicknamed "The Boathouse" for its former use, on Lake Union. Since losing the vision in one of his eyes in a car accident in 1976, Chihuly (who wears an eyepatch) no longer has the depth perception necessary to handle the molten glass himself. Instead, he conceptualizes each project with paint and canvas and then employs a team of artists to do the work.
About his work: His fascination with abstract nature forms comes from his mother's garden in Tacoma, Washington. One of his sculptures would be prominently displayed on the sitcom Frasier, which is set in nearby Seattle. His love for the ocean and its creatures is also reflected in his art.
Over the past forty years, Chihuly's glass sculptures have explored color, design, and assemblage. Although his work varies in size and color, he is best known for his multipart blown masterpieces. Also interested in Irish culture, he has produced a sizeable volume of "Irish cylinders," which are more modest in conception than his blown glass works.
Some of Chihuly's works cover whole ceilings of casinos and hotels, while others are hand-sized abstract flowers. Chihuly uses intense colors to bring his work to life. He is also known for using neon and argon.
Chihuly uses nature as a setting for his pieces, and tries to create his pieces as though they are part of nature. He sometimes entwines his pieces around tree branches and trunks. He also suspends them in space and floats them in water. Although it is not widely known, some components of Chihuly's installations (for example, the stacked aqua-colored chunks that decorate the Tacoma "Bridge of Glass") are made of an acrylic-type material rather than glass.
Source: Wikipedia
INFORMATION ABOUT THE DESERT BOTANICAL GARDEN:
Nestled amid the red buttes of Papago Park, the Desert Botanical Garden hosts one of the world’s finest collections of desert plants. One of only 44 botanical gardens accredited by the American Association of Museums, this one-of-a-kind museum showcases 50 acres of beautiful outdoor exhibits. Home to 139 rare, threatened and endangered plant species from around the world, the Garden offers interesting and inspiring experiences to more than 300,000 visitors each year.
A charter member of the Museum Association of Arizona and National Center for Plant Conservation, the Garden is fully accredited with the American Association of Museums and American Association of Botanical Gardens and Arboreta. It continues to build on its 63-year legacy of environmental stewardship, and has become nationally and internationally renowned for its plant collections, research and educational programs.
Source: www.dbg.org/index.php/about
This is a photo of the old abandoned Ludlow Cafe on Route 66 in Ludlow, California. The Ludlow Cafe served its last ice cream malt years ago.
The original photo was taken by Jonas Hansson, a very good Swedish friend of mine, on his trip with his father Hans in 2006 (via their vintage Volvo PV convertible) across the USA on Route 66. With Jonas' permission, I've been selecting some of my favorite photos of their road trip along the "Mother Road" and doing some post processing... enhancing, cropping, tone mapping, special effects, etc.
The original photo was not so great. I used Photoshop to crop and enhance the photo, and then my Photoshop filter "Fractalius" to turn it into a digital painting/drawing. This is one that looks much better when viewed large.
Below is a link to Hans and Jonas' blog about their historic trip:
hanssonroute66.blogspot.com/2006/07/information-in-englis...
LUDLOW, CALIFORNIA, THE TOWN THAT REFUSES TO DIE:
Today, Ludlow is a town that refuses to die. Ludlow is really three towns in one. It is a ghost town of two eras; the mining era and old Route 66. When Interstate 40 was built the Route 66 Ludlow died. Residents picked up and moved north another block to meet the Interstate. It is the Interstate that keeps Ludlow alive today.
Located along the railroad tracks of the 35th parallel, Ludlow became a water stop for the Atlantic and Pacific Railroad in 1882 (now the Santa Fe RR). The discovery of ore in the nearby hills assured the town of growth in the late 1880's. The decline of mining and rail traffic in the 1940's spelled Ludlow's decline. Ludlow is a ghost town of two eras; it was also a stop on old Route 66. When Interstate 40 was built Ludlow died a second time. Businesses moved once more to meet the demand of travelers on the new Interstate leaving another collection of highway memories baking in the intense Mojave heat.
During the heyday of Route 66 Ludlow was a welcome stop for the tired and thirsty traveler, a place to rest and get away from the heat of the Mojave Desert. This second more modern ghost town tells a tale of the glory days of Route 66 when travelers would stop for a bite to eat or get repairs on their cars. If they were heading west they knew that the next day they would be on the golden shores of the Pacific Ocean.
Ver grande sobre fondo negro I View large on black
Mas fotos en éste monográfico:
Hoy es para mí un día triste, muy triste, jodida e inmensamente triste.
Hace unas pocas horas he recibido como un mazazo la indeseable noticia del fallecimiento de mi buen y querido amigo, el Doctor Luis Alberto Melograno Lecuna.
Pocas horas antes de abandonarnos, nos dejaba éste mensaje en su página de facebook donde, tan sólo desde hace unos meses, una legión de seguidores vivía pendiente de su evolución y de sus vivencias a través de una especie de club de fans, un grupo de seguidores del Doctor Melograno Lecuna, creado especialmente con ese fin. Decía en ese último mensaje:
“(...) Nuestra vida es muy corta y el tiempo pasa volando...Si alguien sabe que el sentido de la vida es algo distinto y mejor que el de desarrollar nuestros talentos para hacer cosas trascendentes para nuestra especie, por favor que me pase el dato(...)”
Dr. Luis A. Melograno Lecuna.
He querido titular esta trilogía de fotos con una cita de su querido y admirado maestro Jorge Luís Borges, que estoy seguro que él aprobaría con orgullo, y que además es un claro reflejo de lo que ha sido su vida, su intensa y bien aprovechada vida, a pesar de su cortedad, pues ha sido un hombre renacentista, polifacético, inquieto por cualquier actividad humana que se moviese a su alrededor. Un hombre de una vasta cultura e innumerables vivencias, viajero impenitente y gran conversador. Todo un lujo de ser humano. Un hombre próximo, cariñoso, siempre dispuesto a embarcarse en cualquier proyecto, para con su esfuerzo personal, satisfacer las demandas de las personas de su entorno, a pesar de que su entorno era muy, muy grande.
Tuve oportunidad de conocerte, amigo, virtualmente como a tí te gustaba decir, a través de la página flickr, ese gran punto de encuentro para todos los fotógrafos del orbe, cuando uno de los primeros estadíos de tu enfermedad te tuvo postrado, y tú aprovechaste la ocasión para, utilizando este espacio como una válvula de escape, darnos a conocer una ingente cantidad de tú material fotográfico. Desde un primer momento supe que había tenido la enorme fortuna de haberme topado con un ser especial, con un ser excepcional, con una de esas personas con las que merece la pena compartir escenario en esta puñetera vida. Tu optimismo, tu alegría de vivir, tus conocimientos y tu generosidad y amplitud de miras no me dejó indiferente ,y supe desde ese mismo instante, que tendría un amigo para siempre al otro lado del Atlántico.
Recuerdo con enorme cariño y emoción, uno de los primeros mensajes que me enviaste:
Hola, Chema!
Cuando por primera vez aparecí en Firenze, mientras me acercaba en la Galería de la Academia de Bellas Artes a la espectacular escultura del David, escoltada a ambos lados de gran pasillo de paredes ocre pálido por los famosos "prisioneros" de Buonarroti, me surgió instintivamente un comentario sobre ese artista colosal que a los 28 años pudo gestar semejante obra.
Fue así que llegué hasta la base de la escultura, y extendí mi mano hasta tocarle el dedo gordo del pie izquierdo (sin que nadie me viera para que no me llamara a la atención), mientras murmuraba una frase que a mi enteder (desde la profunda admiración y el afecto), resumía lo que en mi despertaba el genial Michelangelo.
Simplemente dije: "Éste es un hijo de la gran puta"
Con el mismo respeto y admiración y hablando de fotografía, querido Chema, debo decir... que eres un hijo de la gran puta...
No elijo una sola foto tuya como favorita, porque todas lo son, y no tiene sentido derivar a mi listaddo de fotos todo tu photostream. Simplemente voy a él, y lo disfruto. Sólo puse, por una cuestión de agradecimiento, la primer HDR que publicaste y me dedicaste.
Por lo visto, no existen las casualidades, sino las causalidades...
Y en ese sentido, Flickr ha sido (lo sigue siendo) una fuente de energía y estética y amigos virtuales y ganas de vivir...
Un abrazo,
Betto
Aún me aborda una triste sonrisa cuando releo tus palabras escritas, que en aquellos momentos me sorprendieron con un inmerecido orgullo. Nunca podrás saber cuánto te las agradecí en aquel momento. O quizás sí. También me obsequiaste con un emotivo testimonial que aparece en mi perfil de flickr, y que desde entonces ha sido para mí un pequeño tesoro que conservo y conservaré con agradecimiento y cariño hacia tu persona.
A raiz de ello comencé a seguirte a través de tus múltiples blogs y páginas, a conocer tu obra, a leer tus escritos, con los cuales pude ligeramente aproximarme a atisbar la dimensión de tu obra y de tu persona. Betto, desde luego que en el momento de entregar la cuchara no lo has hecho con las manos vacías, ni mucho menos. Si hay que rendir cuentas ante alguien o algo del aprovechamiento de una vida, es un hecho bien cierto, que tu llevas el zurrón lleno de experiencias y vivencias intensamente aprovechadas y sentidas, intensamente trabajadas en beneficio siempre de la gente que hemos tenido la gran suerte de convivir y compartir contigo el camino a recorrer en algún momento de tu existencia.
Cuando tuve más confianza contigo, tuve la osadía y atrevimiento de solicitar de tí una presentación escrita para el catalogo de mi exposición fotográfica Una historia de 36.520 días. No sólo tuviste la amabilidad y generosidad de contagiarte de mi entusiasmo con el proyecto, escribiéndome una de las presentaciones más emotivas y más bellas que cualquier fotografo haya podido tener, sino que, en un alarde de imaginación, ingenio y creatividad, elaboraste una pequeña cita para cada una de las fotografías, para juntando todas ellas, componer un precioso poema exaltando el edificio de la casa consistorial vallisoletana, que era el tema sobre el que versaba la exposición. No escatimaste ni un minuto de tu tiempo para, desde el mismo momento en que te presenté la propuesta, aceptáses el reto, y desde el día siguiente ya te pusieses manos a la obra, solícito y entrañable, como te mostrabas siempre que alguien se acercaba a tí o requería de tí. Recuerdo entrañablemente a mi paisano y amigo Angel María de Pablos, recitando tu poesía el día de la inauguración de la exposición, mientras los presentes seguíamos con la vista todas y cada una de las fotos, acompasando nuestras miradas con la lectura del texto.
Quiso la fortuna que, casi coincidiendo con la inauguración de la exposición, tuviéses que acudir a un reclamo que te hicieron desde España para participar en unas jornadas sobre educación, en las que volviste a presentar tu proyecto de educación integracionista, y gracias a lo cual pudiese tener la ocasión y el inmenso honor de conocerte en persona, de compartir un tiempo contigo. Tuve la oportunidad de poder disfrutar de tres cortas pero intensas horas contigo en Madrid, robándoselas a tu apretada agenda y, compartiendo mesa y mantel, departir sobre lo divino y lo humano, en una intensa conversación donde no recibí de tí otra cosa si no buenos consejos, fruto de tus conocimientos, tu gran bagage cultural, tu arrolladora personalidad, y sobre todo tu gran experiencia vital y vitalista. De vuelta a Valladolid, regresaba ilusionado por el hecho de haberte podido conocer. Todo un lujo, que he querido plasmar y recordar con estas tres fotos que realicé con motivo de dicho encuentro.
A partir de ahí todos los acontecimientos se han desarrollado mucho más rápido de lo que todos hubiésemos deseado. He seguido tu enfermedad de una forma silenciosa, leyendo todas tus experiencias vitales frente a la enfermedad que te ha ido acorralando. Experiencias que tú generosamente nos has brindado y compartido a través del blog que, enmarcado por tu ironía y con cierto tono burlesco, fruto de tu fino sentido del humor, -recuerdo cómo nos reímos cuando me contáste como tuviste sospechas de la existencia de tu enfermedad,- titulaste socarronamente ¡A pelear se ha dicho!, hasta que hoy finalmente, hace escasas horas, has perdido tu última batalla, ahora ya tu guerra. Pero lo has hecho, no con una rendición -hubiera sido impensable en tí-, ha sido muy a pesar de tu inmensa voluntad, y de tu desbordado amor por la vida.
Betto, has vivido deprisa, pero también has muerto deprisa. Nos dejas una enorme sensación de frustración y vacio, un pequeño hueco en el alma, una cicatriz que será dificil de cerrar, pero también un recuerdo imborrable, y esa impronta que solo la buena gente deja en herencia a las personas que les han rodeado y compartido vivencias con ellas. Lloro tu muerte, pero me cabe la inmensa satisfacción y el bello recuerdo de haberme podido contar entre tus amigos. Mi abrazo emocionado, igual al que nos dimos cuando nos despedimos el día en que se hicieron estas fotografías, va para tu esposa Fátima, y para tus hijos y nietos, de los que tanto me hablaste, a los que profesabas un inmenso cariño, y de los que te sentías tan orgulloso.
Allá donde estés, donde coño quiera que vayamos, si es que vamos a algún lugar cuando la parca nos cursa visita, te llegará este recuerdo en forma de humilde homenaje y admiración hacia tu persona. A mí, al menos me habrá servido de desahogo, para deshacer ese nudo en la garganta que se ha apoderado de mí desde el momento que he recibido la dolorosa noticia.
¡Hasta siempre, Betto!, porque siempre estarás en mi corazón y en mis recuerdos.
“75 millones por nada”
Foto: Propia (cualquier copia o reproducción requiere del previo permiso y/o consulta al autor).
Si querés la foto, primero consultame por correo a nicofoxfiles@hotmail.com
Texto: Por Germán López.
El candidato a diputado nacional, Aníbal Ibarra, denunció que las empresas Roggio y Dycasa “recibieron 75 millones de pesos” del Gobierno de Mauricio Macri “para que no hagan nada con los subtes”. Ibarra aseguró a adnciudad.com que “tardaron 10 días en firmar ese contrato y entregar 75 millones por nada”.
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El candidato a diputado nacional Aníbal Ibarra denunció este miércoles al mediodía que el Gobierno de Mauricio Macri “entregó 75 millones de pesos a dos empresas para que no hagan nada en los subtes”. El destituido Jefe de Gobierno sostuvo que “no es que no hay plata en la Ciudad” sino que está mal administrada.
“Macri tiene 5 mil millones de dólares, cuenta con los recursos que nunca ningún Jefe de Gobierno tuvo, y encima dice que no tiene plata, entregó 75 millones de pesos a dos empresas para que no hagan nada en los subtes”, dijo Ibarra en la conferencia de prensa.
“Además, tardaron sólo 10 días en firmar ese contrato y entregar 75 millones contra nada”, explicó y agregó: “Las empresas que recibieron la plata para los subtes son Roggio y Dycasa”.
“En lo que es manejo de recursos, endeudando la Ciudad, gobernando con déficit, hay un manejo que se va a notar en los próximos años. El año pasado sacaron 120 millones de obras en escuelas y lo mandaron a baldosas. Deberían estar haciendo mucho más con los recursos que tienen”, concluyó.
En diálogo con adnciudad.com, Ibarra dio más detalles de la denuncia: “En noviembre pasado, el Gobierno de la Ciudad le otorgó 34.600.000 pesos a la empresa Dycasa y 39.600.000 pesos a Roggio, como adelanto de las obras por un total de 500 millones de pesos que debían realizarse en la extensión de la línea A (Dycasa) y de la línea B de subtes (Roggio)”.
A lo que añadió: “La idea era hacer las cocheras para los vagones de ambas líneas, pero acto seguido el macrismo transfirió los 300 millones de pesos destinados a tal fin a otra repartición, desfinanciando las obras”.
Frente a lo cual Ibarra expresó: “Actualmente no hay ningún adelanto en las obras previstas en las líneas de subtes, ni tampoco hay un reclamo de devolución de los adelantos, dado que ahora no hay recursos para concluir los trabajos”.
En imagen: En Floresta, sobre Avenida Rivadavia, el tránsito sortea las obras complementarias correspondientes al emplazamiento de la futura Cochera Taller posterior a Nazca. Las mismas, siguen paralizadas por desfinanciamiento y mala administración del Gobierno de Macri.
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This is what I keep searching,
This is the place where I would love to die,
This is my land of serenity,
This is my land of landscape,
This is the land of my mother,
This is my Bangladesh,my peaceful Bangladesh.
A boatman is passing the Dholesshori river during sunset. Kuicchamara(কুইচ্যামারা),Munsiganj.Bangladesh
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.
I see these shots of my dear brother Jeffre and I am filled with the sense of conflicting paths life offers...the beauty and wonder that was outside our doors coupled with the dread of having to return him to that darker place that is his mind...wishing that all of his moments could be cloaked in this gentle beauty.
To feel so helpless whilst watching a loved one struggle with their demons is a place I have not known in recent times...knowing that no matter how difficult thoughts were for me, they were 100 times more loaded for my dear brother...
There is a gossamer thin line between peace and turmoil, thin as a gently rushing cloud...be gentle with yourself dear bro'.
- large -
Where: Sweden, Östergötland, Linköping. google maps.
When: 20110202
How and why: The light and the shapes. I made sure to include the shadows and light in the foreground as much as possible.
Editing: The scene was mostly black and white but the heavy light and contrast created some chromatic aberrations so I had to desaturate anyway.
on Explore
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Www.bighugelabs.com/scout.php?mode=history&id=5498380224
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5 days ago:302
4 days ago:236
61 hours ago:259
49 hours ago:264
37 hours ago:212
25 hours ago:186
12 hours ago:265
17 minutes ago:282
Highest position: 186 on Wednesday, March 9, 2011
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tool
Photos from you and your contacts in Explore
on March 10th, 2011:
Large, 45 mm high, long-dead, eroded specimen with imbricate (flounced) growth lines surviving in grooves between spiral cords; magnified X4 in inset.
Cast up from offshore onto storm beach strandline, Kirkcudbright, S.W. Scotland, July 1968.
Full SPECIES DESCRIPTION BELOW
PDF avaialable at www.researchgate.net/publication/369537725_Ocenebra_erina...
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Ocenebra erinaceus (Linnaeus, 1758).
Synonyms: Murex erinaceus Linnaeus, 1758; Ocenebra erinacea [misspelling in Graham, 1988]; 45 unaccepted subspecies and varieties listed on WoRMS.
Current taxonomy: World Register of Marine Species (WoRMS)
www.marinespecies.org/aphia.php?p=taxdetails&id=140405
Vernacular: European sting winkle, European oyster drill (English); Gwichiad coliog (Welsh); Stekelhoren, Geschubde stekelhoren (Dutch); Großes Seekälbchen, Gerippte Purpurschnecke, Gerippte Felsschnecke, Austernbohrer (German); Cormaillot (French); Ψευτόστρομπος (Greek).
GLOSSARY below.
Shell description.
The matt, opaque, solid shell grows sublittorally to 50 mm high and 25 mm wide (Fretter & Graham, 1985) fig. 01 flic.kr/p/2op3qCC, but most intertidal specimens are less than 30 mm high fig. 02 flic.kr/p/2op6v13 . The body-whorl is about 75% of the shell’s height. Those in the Mediterranean are larger (Jeffreys, 1867), occasionally up to 65 mm high (Pers. comm. Jakov Prkić, 18 March 2023), are generally more colourful and ornate fig. 03 flic.kr/p/2op3Kef & fig. 04 flic.kr/p/2op6tN8 and there are some differences in body features. The differences may be geographical variation, but it would be helpful if differing specimens could be molecularly sequenced.
Each of the tumid whorls has an angled shoulder and eight or nine widely spaced, strong costal ribs which are crossed by two major, rounded spiral cords on the spire whorls and by eight or nine on the body-whorl fig. 05 flic.kr/p/2op6th8 ; minor cords are also present. There are low knobs where the cords and costal ribs intersect. Numerous flounced growth lines cross the spiral cords and grooves and give the whole shell an imbricate appearance fig. 06 flic.kr/p/2op6t35 & fig. 07 flic.kr/p/2op8Aq1 unless eroded, when they survive longest in the grooves fig. 01 flic.kr/p/2op3qCC . On adults the most recently formed costal rib acts as a labial varix which thickens the palatal lip of the aperture fig. 05 flic.kr/p/2op6th8 unless there has been recent new growth fig. 06 flic.kr/p/2op6t35 . The sutures between the whorls are deep and sinuous. The sculpture becomes more pronounced with age. The shell exterior is yellowish white fig. 05 flic.kr/p/2op6th8 with varying amounts of brown which may create bands associated with the spiral cords or costal ribs fig. 08 flic.kr/p/2op6sCH . The protoconch, lacking obvious sculpture, has about two and a half tumid, smooth whorls about 1 mm in diameter fig. 02 flic.kr/p/2op6v13 which, when not eroded, form a sharp apical point.
The height of the aperture is about 60% of the shell height fig. 02 flic.kr/p/2op6v13 . It is approximately ‘P’ shaped with the nearly straight inner lip (parietal and columellar) and long siphonal canal forming the upright, and the palatal lip forming the curve. On young shells the canal is open fig. 02 flic.kr/p/2op6v13 . Later the columellar lip expands over the canal to roof it fig. 08 flic.kr/p/2op6sCH to a greater or lesser degree. All lips are pure white and the parietal lip tends to spread onto the adjacent body-whorl. The palatal lip may consist of the labial varix or a thin, finely folded lip projecting a minimal fig. 05 flic.kr/p/2op6th8 or moderate fig. 06 flic.kr/p/2op6t35 distance beyond the varix, depending on recent growth and erosion. It meets the parietal lip at about 90°. On mature shells, the palatal lip often has interior protrusions which correlate with the spiral grooves of the exterior fig. 09 flic.kr/p/2op8Yue . The interior of the aperture is smooth and glossy white.
The operculum fig. 10 flic.kr/p/2op7LKL has a fairly straight columellar-parietal edge. Its palatal edge is curved except for a straight basal section which, with the columellar-parietal edge, forms a wedge which fits into the siphonal canal. Centrally, it is dark reddish brown, but a wide peripheral zone is translucent yellowish fig. 11 flic.kr/p/2op6rLh .The outer face, made of conchiolin produced by the opercular groove, has a marginal nucleus with many fine, surrounding, concentric growth lines. The inner face has a non-marginal, excentric nucleus surrounded by broad, concentric, bands of adventitious conchiolin produced by a ring of gland cells in the opercular disc fig. 10 flic.kr/p/2op7LKL . Both interior bands and exterior growth lines are visible through the translucent operculum when viewed against a backlit white background; the patterns cross each other fig. 11 flic.kr/p/2op6rLh . The inner face has an area of rougher texture where the columellar muscle attaches to it. The edge of the attachment area is visible as a curved line unaligned with either growth lines or adventitious bands. Apart from the rough muscle-attachment, the inner face of operculum has a shiny varnished surface fig. 10 flic.kr/p/2op7LKL . The operculum is flexible so it can fit the aperture tightly behind the interior protrusions, if any, of the palatal lip fig. 09 flic.kr/p/2op8Yue or bend round the body fig. 12 flic.kr/p/2op8XAa .
Body description
The flesh is translucent white or yellowish white with many opaque white blotches, and yellow, sometimes saffron (Jeffreys, 1867), distally on the cephalic tentacles fig. 12 flic.kr/p/2op8XAa & fig. 13 flic.kr/p/2op8XsQ , but the yellow may not be developed on small juveniles fig. 07 flic.kr/p/2op8Aq1 and juveniles less than 5 mm high in the Adriatic may have grey and black bodies fig. 37 flic.kr/p/2opNWxW . Dark viscera are visible in parts of the body rarely extended into view fig. 14 flic.kr/p/2op7KP7 .
The small dorsoventrally flattened head consists of two diverging cephalic tentacles with thick bases tapering about two thirds of their length to an eye fig. 12 flic.kr/p/2op8XAa & fig. 14 flic.kr/p/2op7KP7 beyond which they are slender. Ventrally there is an opening slit (rhynchostome) fig. 15 flic.kr/p/2op8WGX for eversion of the pleurembolic feeding proboscis which can extend greatly; there is no permanently external snout. The radula, buccal mass and true mouth are in the distal end of the proboscis fig. 14 flic.kr/p/2op7KP7 when extended. The short rachiglossan radula has in each row of three colourless, transparent teeth a wide, central, rachidian tooth with many small cusps (points) flanked on either side by a longer marginal tooth. The cusps on the anterior rows are usually worn down by boring into the shells of prey.
The translucent yellowish white mantle roofs the mantle cavity fig. 12 flic.kr/p/2op8XAa and a folded portion fig. 14 flic.kr/p/2op7KP7 extends as a respiratory siphon through, but rarely beyond, the siphonal canal of the shell fig. 17 flic.kr/p/2op6qtC . The mantle covers the body but is translucent enough to reveal the organs when the animal is removed from the shell fig. 22 flic.kr/p/2op8VfZ . The edge of the mantle is thickened, more yellowish and less translucent fig. 12 flic.kr/p/2op8XAa .
The short, broad foot is about 33% the length of the shell fig. 18 flic.kr/p/2op6qhA . When fully spread it is widest at the anterior fig. 19 flic.kr/p/2op7JJm but it can vary to circular fig. 20 flic.kr/p/2op3Ek2 . There are no distinct propodial tentacles, but the agile foot can fold readily and bring the sides and flexible front corners together fig. 17 flic.kr/p/2op6qtC to manipulate prey or, in the case of females, manoeuvre egg capsules. The opening to the inverted accessory boring organ is on the medial fold line of the sole a short distance from the anterior. It is difficult to detect except when the sucker-like boring organ is everted to hold and to soften the shell of the prey for boring by the radula. A little further posterior than the boring gland on females there is an opening to the ventral pedal gland into which the foot inserts each newly laid egg capsule for final shaping and subsequent fixing to the substrate.
Dorsally the foot is coloured as the body but the yellowish white sole lacks opaque white marks except where those on the dorsum show through the thin periphery fig. 20 flic.kr/p/2op3Ek2
Behind the right tentacle, males have a large, white penis fig. 21 flic.kr/p/2op6pqL .
Removal of the shell fig. 22 flic.kr/p/2op8VfZ & fig. 23 flic.kr/p/2op8wre will show a large, yellowish, pinnate ctenidium and a smaller, pinnate, red-brown osphradium resembling a ctenidium in structure. The following organs may be visible through the translucent mantle: the greenish hypobranchial gland, rectum, black rectal gland, heart, kidney and the visceral lump containing the digestive gland and, in the breeding season, the ovary or testes.
Key identification features
Ocenebra erinaceus
1. Maximum height 50 mm, width 25 mm (W/H 50%) fig. 01https://flic.kr/p/2op3qCC . Littoral specimens usually to 30 mm high.
2. 8 to 9 costal ribs. Numerous imbricate growth lines fig. 06 flic.kr/p/2op6t35 .
3. Most recently formed costal rib forms a labial varix on or near palatal lip fig. 05 flic.kr/p/2op6th8 .
4. Two major spiral cords on the spire whorls and 8 to 9 on the body-whorl fig. 05 flic.kr/p/2op6th8 . Minor cords are also present.
5. Shell yellowish white with pure white aperture lips and siphonal canal. Open fig. 02 flic.kr/p/2op6v13 or closed fig. 08 flic.kr/p/2op6sCH siphonal canal often slightly longer than the aperture above it.
6. Cephalic tentacles translucent white with opaque white marks and yellow distally fig. 12 flic.kr/p/2op8XAa , but small juveniles may lack the yellow fig. 13 flic.kr/p/2op8XsQ .
7. Egg capsules 6 to 13 mm high. Shaped like a hot water bottle with sloping shoulders. Sometimes have a raised rib giving triangular cross section. Narrow aperture on a short neck has a small protruding plug. Whitish turning to yellow or purple with age fig. 24 flic.kr/p/2op6oKN .
8. Norway to Morocco and Mediterranean. Lives on rocky substrate all round Britain except east Scotland. Lower shore and sublittoral. Does not live in the Baltic or on continental coasts of the North Sea; multiple records of it at
waarneming.nl/species/20959/maps/?start_date=2000-08-29&a...
are fossils in sand dumped to replenish Dutch beaches (Han Raven, pers. comm. 14 March 2023).
Similar species
Shells have intraspecific variations with interspecific overlap, and features may be eroded or indiscernible on images, so use of more than one feature is advisable for reliable identification.
Ocinebrellus inornatus (Récluz, 1851)
O. inornatus “is very similar to Ocenebra erinaceus and is very difficult to distinguish due to the morphological variability of both” (Trigo et al. 2018). First arrivals of this invasive species are frequently mistaken for O. erinaceus. Large unworn adult shells of O. inornatus show the most distinct sculptural features. The form of egg capsules and colour of tentacle tips are diagnostic in north-west Europe.
1. Maximum height 63 mm (fig. 27 flic.kr/p/2op7GK1 ).
2. Usually 8 to 9, occasionally 4 to 12 costal ribs (Amano & Vermeij 1998 in Goud et al. 2008) on body-whorl. They are more prominent and angulated at the shoulder giving a more pronounced turreted effect than on Ocenebra erinaceus fig. 25 flic.kr/p/2op8vQj . No imbricate growth lines are visible in images of O. inornatus available for this account fig. 26 flic.kr/p/2op7GSA .
3. On large mature specimens the ribs on the body-whorl may be blade-like with the final one flaring out widely from the lip, level with the substrate fig. 27 flic.kr/p/2op7GK1 . But the more frequent smaller specimens have costal ribs and a labial varix like those on O. erinaceus fig. 25 flic.kr/p/2op8vQj .
4. 4 to 7 spiral cords on the body-whorl (Lützen et al, 2011).
5. Shell white with varying amounts and shades of brown. Aperture lips and siphonal canal white are sometimes whitish and brownish in parts. Siphonal canal is often slightly shorter than aperture above it.
6.Cephalic tentacles distally pure white without any yellow beyond the eye fig. 26 flic.kr/p/2op7GSA & fig. 28 flic.kr/p/2op3CD1 but some may be white faintly tinted brownish or pinkish proximally below the eye fig. 29 flic.kr/p/2op7Grf .
7. Egg capsules 15 to 20 mm high. Shaped like a kite with rounded lateral corners and a face strongly flexed so its two wings bend towards each other. Its tall neck tapers to a narrow aperture. Initially whitish turning yellow with age fig. 24 flic.kr/p/2op6oKN .
8. China, Korea, Japan and Sakhalin Island. Preys on Magallana gigas and has been accidentally translocated with commercial shipments of M. gigas to Pacific coasts of North America and to Europe from Iberia to Denmark. Locally common and a pest on oyster beds Not yet recorded in Britain (pers. comm. S. Taylor, Marine Recorder of Conchological Soc. G.B. & Ireland,15 March 2023) but because of difficulty in differentiating it from Ocenebra erinaceus it might be present unrecognised.
Ocinebrina aciculata (Lamarck, 1822)
1. Usual maximum height 15 mm and width 10 mm.
2. Eight to ten broad costal ribs on body-whorl. Slightly imbricate growth lines raised at irregular intervals, but not as prominently as on Ocenebra erinaceus.
3. Thin, crenulate palatal (outer) lip has no labial varix fig. 30 flic.kr/p/2op8TJc .
4. 18 to 20 spiral ridges on the body-whorl.
5. Shell dark brown fig. 30 flic.kr/p/2op8TJc , may show red of body within when well lit in water fig. 31https://flic.kr/p/2op7G27 . Dead worn shells are paler. Sigmoid, pearlescent white, parietal-columellar (inner) lip fig. 30 flic.kr/p/2op8TJc does not extend onto body-whorl. Siphonal canal open and orange-buff, when young, closed when older.
6. Cephalic tentacles and whole body intense red flecked with yellowish white spots fig. 31 flic.kr/p/2op7G27 . Tips of tentacles and siphon paler.
7. Egg capsules barrel shaped (Wigham & Graham, 2018).
8. Found often in proximity of Perforatus perforatus (Cirripedia) from the Mediterranean to Bretagne, Scilly Isles and south-west England.
Urosalpinx cinerea (Say, 1822). fig. 32 flic.kr/p/2op6ngR
1. Maximum height 40 mm, width 20 mm.
2. 10 to 12 low, sometimes inconspicuous, costal ribs on final whorl.
3. Thin, crenulate palatal (outer) lip thickens and develops internal ribs with age. No labial varix.
4. 16 to 18 spiral ridges on the body-whorl, eroded where they cross the costae, so no protruding nodules. Sometimes spiral ridges more prominent than costae.
5. Shell yellowish or grey with brownish white aperture lips and siphonal canal. Open siphonal canal half the length of the aperture above it.
6. Flesh is cream with dark marks on tentacles and mantle edge.
7. Egg capsules about 5 mm high. Flattened oval attached to substrate with a thin stem. Wide, slightly everted aperture has recessed plug. Buff or yellowish fig. 24 flic.kr/p/2op6oKN
8. Nova Scotia to Florida. Introduced from America with commercial Magallana gigas to south-east England and the Netherlands. Lower shore and sublittoral to 15 m.
Nucella lapillus (Linnaeus, 1758)
1. Usual maximum height 45 mm, to 65 mm sublittorally.
2. No costal ribs. Numerous imbricate growth lines on small juveniles occasionally persist on adults fig. 33 flic.kr/p/2op8SiB .
3. No labial varix. Lip thin when young, thickened when full grown.
4. Shell often worn smooth fig. 34 flic.kr/p/2op3AEX but some have about 2 spiral bands on the spire whorls and about 10 on the body-whorl fig. 35 flic.kr/p/2op6kjQ .
5. Shell usually whitish; sometimes yellowish, and bands of various colours may occur fig. 34 flic.kr/p/2op3AEX . Aperture lips and siphonal canal usually white but can have patches of other colour.
6. Body and cephalic tentacles pure white fig. 34 flic.kr/p/2op3AEX .
7. Egg capsules are spindle shaped, up to 10 mm high and 4 mm wide, on a short thin stalk. Yellowish white becoming yellow or sometimes purple or brownish with age fig. 24 flic.kr/p/2op6oKN .
8. White Sea to Gibraltar, not Baltic (low salinity), and Greenland to New York. Common on hard substrate all around Ireland and Britain, avoiding low salinity of inner estuaries.
Habits and ecology
O. erinaceus lives on rocky shores at LWST and sublittorally to 150 m on stony substrate.
It feeds on bivalves, barnacles and tube dwelling worms, boring holes through their shells to rasp out the flesh with its radula. It takes about ten days to bore into and consume an oyster with its everted proboscis fig. 16 flic.kr/p/2op8y3A .
The strong shell affords protection against predators. When active, little of the animal protrudes beyond its shelter fig. 18 flic.kr/p/2op6qhA and the operculum protects nearly half of the foot. In Croatia those in shallow water are often covered with algae which conceal them fig. 36 flic.kr/p/2op3zyP . When sealed, the long siphonal canal protects the siphon so it can remain safely extended for respiration when the animal is retracted into the shell fig. 09 flic.kr/p/2op8Yue .
Inhalant water entering through the respiratory siphon has its quality checked by the pectinate osphradium at the inner end of the siphon before passing through the larger pectinate ctenidium fig. 22 flic.kr/p/2op8VfZ & fig. 23 flic.kr/p/2op8wre .
O. erinaceus breeds in late April and May in Britain. The male fertilizes the female internally with its long penis. Egg capsules from the oviduct are manoeuvred one at a time by the female’s flexible foot into the ventral pedal gland where they are moulded before being fixed to rock or shells. Several capsules are laid close together, and females often lay in company. The egg capsules are 6 to 13 mm high, and are shaped like a hot water bottle with sloping shoulders. Sometimes a raised rib creates a triangular cross section. The narrow aperture is on a short neck and has a protruding plug. The capsules are initially whitish turning to yellow or purple with age fig. 24 flic.kr/p/2op6oKN . After nine or ten weeks, most of the young emerge from the capsule as crawling juveniles, but about 14% emerge as late veliger, swimming larvae with a well developed four-lobed velum and a foot. They lose the velum within five days (Wigham & Graham, 2018).
Like Nucella lapillus, females in the vicinity of boats treated with Tributyltin (TBT), an anti-fouling biocide, experience imposex, the malformation of the oviduct causing sterility. Near Plymouth and Falmouth docks, England, about 90% of female O. erinaceus were so affected in studies from 1991 to 1995 (Gibbs, 1996). Even so, the reproductive failure was less than that experienced by N. lapillus perhaps because of arrival of swimming late veligers, which N. lapillus lacks, from less affected areas.
Distribution and status
O. erinaceus occurs from the Azores and the Mediterranean to its winter-cold induced limits in northern France and south-east Scotland. It does not live in the Baltic or on continental coasts of the North Sea; multiple records of it at
waarneming.nl/species/20959/maps/?start_date=2000-08-29&a...
are fossils in sand dumped to replenish Dutch beaches (Han Raven, pers. comm. 14 March 2023) and probably some misidentified Ocinebrellus inornatus. These misleading records have transferred to GBIF at www.gbif.org/species/4364689 . Because of the mild Atlantic drift in winter, it extends up the west coast of Ireland and Britain to Orkney and Shetland. The U.K. distribution map at species.nbnatlas.org/species/NHMSYS0021055838 probably shows the true position (accessed March 2023), but there, too, fossils are present in pleistocene glacial drift (Forbes & Hanley, 1853) from which they may be washed out onto beaches.
In the past, the limits have shifted. During the exceptionally severe winters 1928 - 1929 and 1962 - 1963, the population along the British North Sea coast was almost annihilated (Lützen et al., 2011). With global warming it is possible that it may spread north of its current limits, but recording of any change should be based on live specimens as the solid shells persist for long periods after death.
Acknowledgements
For use of images I thank Philippe Boissel, Pierre Corbrion, Valentin Engelbos, Marion Haarsma, Gabriel Paladino Ibáñez, Kaila Wheatley Kornblum, Michal Maňas, Alen Petani, Jakov Prkić, Malcolm Storey, Simon Taylor, Freek Titselaar, Albert van den Bruele, Daniëlla van Dijk and Stefan Verheyen. For helpful discussion and information I thank Han Raven and Stefan Verheyen.
Links and references
Forbes, E. & Hanley S. 1849-53. A history of the British mollusca and their shells. vol. 3 (1853), London, van Voorst. (As Murex erinaceus)
archive.org/details/historyofbritish03forbe/page/370/mode...
Fretter, V. 1941 The genital ducts of some British stenoglossan prosobranchs J. Mar. Biol. Ass. 25(1): 173-211.
plymsea.ac.uk/id/eprint/1194/1/The_genital_ducts_of_some_...
Fretter, V. and Graham, A. 1962. British prosobranch molluscs: their functional anatomy and ecology. London, Ray Society.
Fretter, V. and Graham, A. 1985. The prosobranch molluscs of Britain and Denmark. Part 8 – Neogastropoda. Suppl. 15, J. Moll. Stud.
Gibbs, P.E. 1996. Oviduct malformation as a sterilising effect of tributyltin (TBT)-induced imposex in Ocenebra erinacea (Gastropoda: Muricidae). J. Moll. Stud., 62 (4): 403 to 413. academic.oup.com/mollus/article/62/4/403/1053911 (open access).
Goud, J., Titselaar, F. & Mulder, G. 2008. Weer een ‘verstekeling’: de Japanse Stekelhoren Ocinebrellus inornatus (Récluz, 1851) (Gastropoda, Muricidae) levend aangetroffen in de Oosterschelde. Spirula 365: 132 to 134. natuurtijdschriften.nl/pub/1002492
Graham, A. 1988. Molluscs: prosobranch and pyramidellid gastropods. Synopses of the British Fauna (New Series) no.2 (Second edition). Leiden, E.J.Brill/Dr. W. Backhuys. 662 pages.
Hayward, P.J. & Ryland, J.S. (eds.) 1995. Handbook of the marine fauna of North-West Europe. Oxford University Press.
Jeffreys, J.G. 1862-69. British conchology. vol. 4 (1867). London, van Voorst. (As Murex erinaceus) archive.org/details/britishconcholog04jeffr/page/306/mode...
Lützen J., Faasse, M., Gittenberger, A., Glenner, H. and Hoffmann, E. 2011. The Japanese oyster drill Ocinebrellus inornatus (Récluz, 1851) (Mollusca, Gastropoda, Muricidae), introduced to the Limfjord, Denmark. Aquatic Invasions 7(2): 181–191.
www.aquaticinvasions.net/2012/AI_2012_2_Lutzen_etal.pdf
McKay, D.W. & Smith, S.M. 1979. Marine Mollusca of East Scotland. Edinburgh, Royal Scottish Museum.
Oehlmann, J., Fioroni, P., Stroben, E. and Markert, B. 1996. Tributyltin (TBT) effects on Ocinebrina aciculata (Gastropoda: Muricidae): imposex development, sterilization, sex change and population decline. Sci. Total Environ. 188: 205-223
www.bio.uni-frankfurt.de/55030905/Oehlmann-et-al-1996-STO...
Trigo, J.E.; Diaz Agras, G.J.; Garcia Alvarez, O.L.; Guerra, A.; Moreira, J.; Pérez, J.; Rolán, E.; Troncoso, J.S,; Urgorri, V.. 2018. Guia de los Moluscos Marinos de Galicia. Servicio de Publicacións da Universidade de Vigo.
Wigham, G.D. & Graham, A. 2018. Marine gastropods 3: Neogastropoda. Synopses of the British Fauna (New Series) no.62. (206 pages). Field Studies Council,Telford, England.
Glossary
acrembolic = (of proboscis) entirely invertible/eversible like finger of glove.
adventitious = in an unusual anatomical position.
aperture = mouth of gastropod shell; outlet for head and foot.
buccal mass = anterior of digestive system including a radula, odontophore and muscles.
cephalic = (adj.) of or on the head.
cf. = (abbreviation of Latin ‘confer’) compare with.
cilia = (pl.) vibrating linear extensions of membrane used in locomotion.
coll. = (or “in coll.”, abbreviation of “in collectionem”) in the collection of (cf. leg.).
columella = axis of gastropod shell spiral, exposed on final whorl by aperture.
columellar = (adj.) of or near central axis of spiral gastropod.
columellar lip = lower (abapical) part of inner lip of aperture.
conchiolin = horny flexible protein which forms the operculum of most marine gastropods, the periostracum and a matrix for the deposition of calcium carbonate to create a mollusc’s shell. Chemical structure C30H48O11N3; ‘chitinous’ as it resembles, though not identical to, chitin (C8H13O5N)n.
costa = (pl. costae) axial rib crossing shell whorl at about right-angles to any spiral striae.
costal = (adj.) of, or arranged like, costae.
ctenidium = comb-like molluscan gill with filaments either side of a rachis .
cusp = raised point or prominence on crown of a tooth.
digestive gland = organ which acts like the liver and pancreas in mammals to absorb food.
distal = away from centre of body or from point of attachment.
dorsoventrally flattened = as if pressed flat from above.
efferent = (adj. of vessel) carrying haemolymph away from an organ.
efferent branchial vessel = vessel along rachis of ctenidium which carries oxygenated haemolymph away from the ctenidium to the heart for circulation to organs.
ELWST = extreme low water spring tide (usually near March and September equinoxes).
everted = turned inside out from the body.
height = (abbreviation H.) distance from apex of shell to base of aperture.
hypobranchial gland = gland which secretes mucus to trap and consolidate particles from inhalant water. Probably other biologically active compounds produced. On contact with air and light, mucus changes from greenish through red to purple.
imbricate = arranged to overlap like roof tiles.
inverted = turned outside in like a sock.
labial varix = especially strong or broad costa (rib) near edge of outer lip of aperture.
leg. = (abbreviation of legit) collected/ found by (cf. coll.)
LWST = low water spring tide, two periods of a few days each month when tide falls lowest.
mantle = sheet of tissue that secretes shell and forms a cavity for the gill in most marine molluscs. mantle edge = only part that produces exterior layers of shell. When flounced, it makes protruding shell-growth that forms imbricate sculpture.
odontophore = tongue-like structure of cartilage supporting radula.
opercular = (adj.) of the operculum.
operculum = plate of horny conchiolin, rarely calcareous, used to close shell aperture.
osphradium = organ for testing inhalant water for particles and/or chemicals produced by pollutants, prey or predators.
parietal lip = upper part of inner side of gastropod aperture.
periostracum = thin horny layer of chitinous material often coating shells.
pers. comm. = personal communication by face-to-face conversation, telephone, letter or email.
pleurembolic proboscis = basal part (only) of proboscis inverts to form a sac for rest of proboscis to be retracted into without inversion. (cf. acrembolic).
proboscis = internal feeding tube, containing the buccal mass with radula; only extended when feeding.
protoconch = apical whorls produced during embryonic and larval stages; different in form from other whorls forming teleoconch.
proximal = towards the centre of the body or point of attachment.
rachidian = (adj.) median/middle tooth in each row of teeth on radula.
rachiglossan = (adj.) of radula with a many-cusped, rachidian tooth, and single marginal tooth at each side.
rachis = central shaft/main axis of a feather or gill plume.
radula = chitinous ribbon of teeth; extended on odontophore to rasp food.
rectal gland = black or brown diverticulum of the rectum lying over it. Found in O. erinaceus and other Neogastropoda. Its function is unknown.
velum = bilobed flap on veliger larva, with beating cilia for swimming.
rhynchostome = opening on ventral surface of head for eversion of a proboscis.
sigmoid = curved in two directions like letter ‘S’ but often with shallower curvature.
suture = groove or line where whorls of gastropod shell adjoin.
teleoconch = entire gastropod shell, apart from apical protoconch.
tumid = bulging, distended, swollen, distinctly convex.
tumidity = the condition of being tumid.
varix = (see labial)
veliger = shelled larva of marine mollusc; swims by waving cilia on velum (bilobed flap).
In September of 2004, John L. Hennessy, President of Stanford University, made the unprecedented decision to reject Device to Root Out Evil, a sculpture that had been commissioned by the President's Panel on Art by the American sculptor Dennis Oppenheim. Hennessy feared a potential controversy because the sculpture is an inverted church. In a statement, Hennessy said the piece was "not appropriate" for the campus.
Following this announcement, the local and national press reported a dismayed and sometimes outraged reaction to the President’s verdict from those who felt that the University should not use hidden decisions to avoid controversy.
Later, Oppenheim has announced that the Benfic Foundation, a private foundation, located in Vancouver, British Columbia has purchased "Device to Root Out Evil" for over three-hundred thousand dollars and it is permanently installed at Harbour Green Park, the longest continuous waterfront park in downtown Vancouver. At the present site, the twenty-five foot aluminum structure shimmers against the waterfront background. Hand-blown deep red glass shingles and blue-glass windows reflect sunlight during the day and are illuminated from within at night. The sculpture's new home enables Vancouver citizens and visitors to permanently enjoy the conversation which Device to Root Out Evil evokes. The sculpture is part of the The Vancouver International Sculpture Biennale Open Spaces 2005/2006.
The artist maintains that his interest is in exploring the dialogue between architecture and sculpture. Device to Root Out Evil "withdraws functionality from architecture." To those reading religion into the work, he answers that "Turning the church upside down makes it more aggressive, but not blasphemous."
One of the most beautiful and charming places in Paris - smaller and more intimate than the Tuileries and the Luxembourg gardens. A place to rest in, relax, shop, and watch people surrounded by magnificent architecture.
Originally known as the Place Royale, the Place des Vosges was built by Henri IV from 1605 to 1612. A true square (140 m x 140 m), it embodied the first European program of royal city planning. The Place des Vosges, inaugurated in 1612 with a grand carrousel to celebrate the wedding of Louis XIII and Anne of Austria, is the prototype of all the residential squares of European cities that were to come. What was new about the Place Royale in 1612 was that the housefronts were all built to the same design, probably by Baptiste du Cerceau, of red brick with strips of stone quoins over vaulted arcades that stand on square pillars.
Former illustrious Residents of the Place des Vosges:
No. 1bis Madame de Sevigné was born here
No. 6, ""Maison de Victor Hugo"" Victor Hugo from 1832–1848, in what was then the Hôtel de Rohan-Guéménée, now a museum devoted to his memory, managed by the City of Paris
No. 7 Sully, Henri IV's great minister
No. 8 poet Théophile Gautier and writer Alphonse Daudet
No. 11 occupied from 1639-1648 by the courtesan Marion Delorme
No. 15 Marguerite Louise d'Orléans, wife of Cosimo III de' Medici
No. 17 former residence of Bossuet
No. 21 Cardinal Richelieu from 1615–1627
No. 23 post-impressionist painter Georges Dufrénoy {From Wikpedia}"
PREMESSA: Non ho riletto neanche una volta cosa ho scritto, quindi potrebbe trattarsi di un'immane porcata piena di errori VV;;
www.bjditalia.com/viewtopic.php?f=30&t=2029
Età: 17 anni
Compleanno: 14 Febbraio
Orientamento sessuale: Omosessuale. (Si innamora del cugino)
Frase preferita: Frasi sconnesse durante il sonno.
Ama: La libertà, il violino, la campagna, il suo gatto Marcel ed in generale tutti gli animali, specialmente quelli selvatici.
Odia: Il pianoforte, la tradizione musicale che caratterizza la sua famiglia da generazioni e i suoi genitori per avergliela imposta.
Vorrebbe: Essere libero di decidere.
Curiosità: E' vegetariano. Non mangerebbe carne neanche sotto tortura. Il suo cognome significa "Il ghiro rosso". Il suo primo maestro di piano era un vecchio po’ strano. Ha una cugina italiana, Aida, (bambola di Harukachan) a cui da piccolo era molto affezionato.
Dopo la rinuncia all'eredità di Sartre, Mallarmé, secondogenito dei Le LoirRouge, antica e potente famiglia aristocratica francese, divenne l'erede designato di ogni bene, compresa la tradizione musicale della casata.
Legare a sè i più talentuosi pianisti di buona famiglia provenienti da tutta Europa era, per i Le LoirRouge, più un’ossessione che un desiderio. La rigidissima politica matrimoniale perpretrata per generazioni dall’antica casata era famosa in tutto l’ambiente artistico-musicale, e per un musicista di talento del periodo, il sol pensiero di potersi legare ad essa era la massima aspirazione a cui poteva ambire.
Ma negli ultimi decenni, le cose stavano cambiando.
Mallarmé, il futuro erede del ramo centrale della famiglia, non si rivelò meno problematico del figlio maggiore.
Al contrario del primogenito dei Lanflyte, talentuosa famiglia austriaca a cui l’ultima generazione dei Le LoirRouge si erano legati, Mallarmé era un ribelle.
Cresciuto nel cuore delle campagne parigine, a parte una piccola, incoraggiante parentesi infantile, ben presto il suo rifiuto del pianoforte fu talmente assoluto da suscitare l’ansia e la preoccupazione dei genitori.
I numerosi tentativi di riportare il fanciullo allo sgabello con le buone ebbero come risultato quello di ingigantire un’avversione sempre maggiore verso l’elegante strumento di famiglia.
Fu quasi per burlarsi della volontà dei genitori che Mallarmé, tramite dei mercanti di passaggio, acquistò un modesto violino per pochi denari.
Un violino.
Ulteriore motivo di vergogna per i suoi genitori, arma di riscatto ed espressione personale per sè stesso,
Mai strumento più infimo e volgare aveva varcato la soglia di casa Le LoirRouge.
Mallarmé si ritrovò facilmente in quell’archetto mosso senza schemi, senza alcuno spartito, senza alcuna preparazione. Le sue mani destreggiavano lo strumento con una tale abilità e maestria da lasciar pensare che, per tutti quegli anni, il violino non era stato altro che una parte di sè stesso che attendeva solo il momento opportuno per ricongiugersi. Una’appendice del suo corpo da difendere con la stessa tenacia con cui si proteggerebbe soltanto un organo vitale.
Non era un particolare amore per la musica ad unirlo ad esso, quanto la forza che riusciva ad estraplolarvi.
Ciò che in un primo momento venne intesa solo una ribellione adolescenziale, ben presto si tramutò in un reale problema per l’eredità culturale della famiglia, già duramente provata dalla rinuncia del figlio maggiore.
Fu così che ebbero inizio i viaggi di Mallarmé in Austria, ospite presso la famiglia di origine della madre; Johanna Lanflyte.
Di tradizione musicale non certo inferiore ai Le LoirRouge, casa Lanflyte poteva, al contrario di quest’ultima, vantare dell’incommensurabile talento al pianoforte del loro unico unico figlio maschio, Liszt.
Il diciannovenne austriaco non poteva rendere i propri genitori più felici.
Era perfetto: gentile, talentuoso e – soprattutto - obbediente. Un pò troppo silenzioso forse, ma non era il caso di fargliene un difetto.
Istruito direttamente dal padre sin dalla più tenera età, la sua tecnica era tale e quale, se non superiore, a quella del genitore. A quale miglior erede poter aspirare?
E soprattutto, per i Le LoirRouge, quale miglior compagnia, se non la sua, in grado di riportare il cocciuto cugino sulla giusta strada?
Le estati trascorse in casa Lanflyte avrebbero giovato molto, al giovane rampollo di casa; Di questo, I Le LoirRouge ne erano assolutamente convinti. E non solo; istruire Mallarmé al pianoforte sarebbe stato formativo anche per il cugino Liszt, che avrebbe potuto approfittare di quest’esperienza per affinare il proprio stile, già per sè maturo.
Così come i rapporti avuti in passato, anche i punti che accomunavano i due cugini erano pressoché inesistenti.
L’esuberanza e la caparbietà di Mallarmé spiazzavano e stordivano il pianista austriaco, abituato ad una vita scandita da ritmi e doveri ben precisi. A sua volta, l’estrema accondiscenza ed obbedienza alle assurde regole di famiglia, facevan apparire Liszt, agli occhi del cugino, come qualcosa di più simile ad un burattino privo di anima, che ad un suo coetaneo in carne ed ossa.
Ma nel giro di pochi mesi, Mallarmé rinacque a nuova vita.
Se il suo spirito di rivalsa riuscì in qualche modo riscattare anche l’anima del cugino viennese, incrinando la coltre imperturbabile di apatia ed indifferenza sotto cui essa era seppellita; contemporaneamente, anche la saggezza ed il carattere mite di Liszt non lasciò integra tutta la rabbia e l’insicurezza covata all’interno del giovinetto.
Senza che se ne accorgesse, il pianoforte, quello strumento così odiato, aveva smesso di apparirgli così orribile.
E anche quel mondo, sì. Quell’asfissiante mondo cui tanto aveva auspicato di abbandonare proprio come suo fratello, no...non era così male. Tutto aveva preso un’altra piega, da quando c’era l’Austria;
Da quando c’era Liszt.
Che sia stata proprio la distanza caratteriale tra i due giovani, che sia stata l’imbarazzante diversità tra un paio di note sconnesse su un odiato pianoforte, ed un altro paio su violino di bassa fattura in mano ad un cugino di cui aveva a mala a pena sentito parlare in passato, beh...non ha alcuna importanza.
Il loro amore, privo di alcuna logica, di alcun fondamento, di alcun precedente, stravolse le loro vite come nulla aveva mai fatto prima d’allora.
I due cugini si ritrovarono disarmati dinnanzi ad una passione riflessa non più su un pentagramma da seguire rigorosamente o su un archetto da muovere in piena libertà; bensì nel calore dei propri corpi uniti, nelle effusioni scambiate in gran segreto nei meandri dell’immensa tenuta, nel piacere di stare insieme senza pensare a niente.
Ma non durò a lungo;
Riconoscenti ai Lanflyte per l’ottimo lavoro svolto sul proprio erede, i Le LoirRouge furono ben lieti di stringere l’ennesima alleanza matrimonale; Le nozze, già programmate con una donna di cui Mallarmé sconosceva persino il nome, furono il sipario che scese d’improvviso sul loro mondo idilliaco.
In nessun’altra occasione, prima di allora, Liszt era reso conto di non aver mai lottato per qualcosa, nella sua vita.
Più simile ad un cane, egli aveva sempre accettato qualsiasi cosa gli venisse imposta, senza sè e senza ma.
Gli era stato dato e gli era stato tolto; ed egli aveva sempre accettato qualsiasi cambiamento o decisione senza batter ciglio.
Ma non questa volta.
Il gesto estremo di scagliarsi all’improvviso con il suo cavallo contro l’automobile venuta a portar via Mallarmé fu certo un errore dettato dalla disperazione quanto dall’inesperienza.
Le conseguenze non le aveva valutate.
Dopotutto, erano sempre stati gli altri a valutare ogni cosa al posto suo.
Ma quel che è sicuro, è che quella esperienza insegnò a Liszt il significato di perdere tutto in un solo istante.
Nel devastante urto che ne conseguì, l’auto con a bordo i Le LoirRouge si ribaltò, finendo fuori strada.
I familiari ne uscirono indenni; o quasi.
Per la medicina del tempo, Il grave trauma cranico riportato da Mallarmé era sufficiente a condannare una persona a morte certa.
Ma non morì.
Disgraziatamente, non fu così.
Perchè solo la morte avrebbe potuto portare con se tutta la vergogna, la delusione ed il disonore, giunti a colpire impietosamente le due famiglie come un fulmine al ciel sereno.
Morte che non sopraggiunse, e che proprio per questo, per loro si sarebbe tradotta in una sopravvivenza cento volte più letale di qualsiasi ferita.
E a servire tutto ciò su un piatto d’argento fu proprio Liszt.
Liszt, il figlio perfetto che ogni buona famiglia vorrebbe vantare.
Liszt, che ferito e sanguinante, non si preoccupò più di celare quei bizzarri sentimenti che lo avevano legato per tutto il tempo al cugino venuto dalla Francia a sconvolgere la sua anima.
Ormai era tutto chiaro.
Meglio un figlio morto, che inutile.
Già.
Meglio un figlio morto.
Lo shoc fu enorme, inutile dirlo.
E, forse, fu proprio questo che permise alle loro menti di elaborare la via di fuga più comoda per tutti.
Diseredare un figlio sarebbe servito soltanto ad infangare ulteriormente il nome buon nome delle due famiglie, per cui vi era un’unica alternativa. Un’alternativa decisamente molto più consona al caso.
Mallarmé era morto.
Vittima di un’incidente stradale che stroncò la sua giovane esistenza all’età di diciassette anni.
Le gravi crisi di narcolessia che da quel momento in poi tennero Mallarmé rilegato a letto in stato di semicoscienza, a volte anche per intere settimane, si prestarono molto bene al caso.
Per quanto riguarda Liszt, le fratture riportate alla gamba che lo vollero claudicante a vita non erano state le uniche che non conobbero guarigione.
La sua mano, così anche il suo cuore e la sua anima, anche esse erano rotte.
Con un solo colpo di spugna, la sua carriera da pianista venne definitivamente stroncata.
Proprio come il suo amore per un essere che non doveva amare.
Annullate le nozze, i Le LoirRouge fecero ritorno in Francia a compiangere il figlio perduto per poi, dopo qualche mese, fare armi e bagagli e trasferirsi altrove.
L’esempio fu seguito anche dai Lanflyte che, soffocando sul nascere il chiacchierio spicciolo delle famiglie aristocratiche del circondario, abbandonarono la ridente residenza austriaca per trasferirsi in Ungheria, lasciandosi alle spalle ogni focolaio di vergogna.
Liszt, ovviamente, era uno di questi.
Accudito soltanto dai membri più fidati della servitù dell’ex residenza dei Lanflyte, la presenza del fanciullo dai capelli rossi che giaceva addormentato, nascosto nei meandri dell’enorme villa austriaca che ma in passato era sprofondata in un tale e assoluto silenzio, divenne quasi leggendaria.
Con la sua unica, silenziosa compagnia, escludendo la presenza della servitù, Liszt trascose così la sua vita immerso nella solitudine, nella lettura e nella monotonia quotidiana della sua vita, adesso più che mai priva di alcun valore.
Rapito da un sonno senza sogni, Mallarmé aveva solo brevi momenti di lucidità, del tutto insufficienti persino a permettergli di lasciare la propria camera sulle sue gambe.
Permettergli di vedere un medico era fuori discussione: Il giovane pianista, legamente, era morto.
Girava voce che in Francia fosse stato addirittura celebrato un funerale in suo onore, a cui avevano preso parte musicisti provenienti da tutta Europa.
Qualcosa cominciò a mutare con l’arrivo della piccola Ewa, una bambina polacca senza fissa dimora, che con le sue piccole dita, innocenti ed incapaci come, un tempo, lo erano quelle di Mallarmé, rimosse la polvere depositatasi sul vecchio e maestoso pianoforte di casa Lanflyte...
PS: Geo, ho deciso di taggarti vista la discussione sulla fidanzata di Mallarmé avuta tempo fa X°D
I recently returned from a trip to the state of Oregon, where I was treated to some of the most breathtaking landscapes you can imagine. We were very fortunate to have two experienced guides to take us into some of the most remote areas of the state. I brought home some of my best images to date, most of which would not have been possible without Jason and Maria to lead the way. I am indebted to them. On this particular outing they indulged my desire to capture the light of the setting sun on the west face of the mountain to the point that we arrived back at the car in near total darkness.
This was a hard earned image taken from near the top of Castle Dome in Castle Crags State Park, looking back into Oregon from just over the border in California. To get to this vantage point requires a 5-1/2 mile round trip hike with an elevation gain of 2,200 ft. to a total elevation of approx. 5,500 ft. This really tested my endurance, but it was worth every step.
See where this picture was taken. [?]
Take a stroll along the winding paths around Sleeping Beauty Castle and you might stumble upon Snow White Grotto. The centerpiece of this attraction is a wishing well where Snow White's voice can be heard singing similarly to the wishing well scene in the original full length animated feature. But look across the water up into the "forest" and you'll spot these marble statues of Snow White and the seven dwarfs - along with a few of Snow White's forest friends. The marble statuettes were sent to Disneyland anonymously from Italy in 1961. The statues were modeled after soaps and Snow White was only slightly taller than the dwarfs, which is why forced perspective is used in the scene. Snow White is placed by herself at the top above all the dwarfs.
Snow White Grotto
Fantasyland
Disneyland
Anaheim, California
August, 2008
This picture made it to Flickr Explore October 22, 2008 - #457 - thanks everyone!
Thanks for visiting, Flickr friends!
I was tagged by Anna.Teresa, sooo:
1. I HATE gum and eggs; the mere smell of both make me want to gag. Lol.
2. I can drink milk with ANYTHING edible, seriously<3
3. I like the left side of my body (face and all) better than my right.
4. I used to have size 00 gauges, but then figured out they were completely pointless.
5. I have the best memory for the smallest, most random things.
6. I may not look it, but I'm Hispanic (Colombian and Puerto Rican) and speak/read/write fluent Spanish. My hips (don't lie) and curves are proof of my Latin blood.
7. Despite that, I'm actually quite petite; 5'2" and 105 lbs.
8. I have this super obsession with sunrises, sunsets, the sky in general, stars, and anything space-related. And Taylor Swift. Lol
9. 7 is my absolute favorite number. It's everywhereee, and in the Bible tons! Next is 11. I don't like even numbers at ALL.
10. I'm Christian; part of The Church of Jesus Christ of Latter-Day Saints aka LDS aka Mormon (:
BTW- I am discontinuing my 365 project. I'm a little disappointed in myself because I feel as though I never commit to anything, but it really IS so hard some days to take and upload good shots when you're busy 24/7. I'll probably still upload almost every day, but I'd rather not have the 365 pressure.
Phi Công Trần Thế Vinh - Phi Vụ Cuối Cùng
Bài viết của Giáo Sư Nguyễn Xuân Vinh
tvvn.org/forum/showthread.php?t=781
Tập sách "Trần Thế Vinh và Phi Vụ Cuối Cùng" (nhà văn Ngọc Thủy suoi_van@yahoo.com) đã mô tả lại sự chiến đấu hào hùng cùng sự hy sinh cao cả của một người phi công dũng cảm của Không Lực Việt Nam Cộng Hòa trong những năm biến cố lịch sử của đất nước:
Đó là vào đầu mùa hè năm 1972, một mùa hè đỏ lửa đã được ghi lại bằng những chiến tích oai hùng trong quân sử của Quân Lực Việt Nam Cộng Hòa. Từ cuối tháng ba, cộng sản Bắc Việt đã xua quân đợt đầu tiên vào mặt trận Quảng Trị, là thành phố nằm ở địa đầu giới tuyến. Với sự chỉ đạo và viện trợ võ khí của Nga Sô và Trung Cộng, Việt cộng đã mở cuộc xâm lăng miền Nam với một lực lượng quân sự hùng hậu gồm nhiều sư đoàn bộ binh và một sư đoàn pháo yểm trợ.
Để mở đầu chiến dịch Nguyễn Huệ, vào ngày 29-3-72, Việt cộng cho pháo kích dữ dội vào Đông Hà-Quảng Trị và lần đầu tiên địch quân cho xung trận hai trung đoàn chiến xa dùng những chiếc T-54 và PT-76 do các đàn anh Cộng sản Nga-Tàu cung cấp. Việt cộng đã tưởng trong tuần lễ đầu sẽ nuốt trọn được vùng tiền phương của Quân khu I. Nhưng, ngay trong những ngày đầu, địch quân đã gặp sự chống trả mãnh liệt của ta và các cố vấn Nga-Tàu khi chỉ vẽ chiến thuật cho đàn em Việt cộng đã không ngờ đến sự di động nhanh chóng và khả năng yểm trợ không địa của Không Quân Việt Nam Cộng Hòa. Truớc tình hình chiến sự khẩn cấp ấy, ngày 1-4-72 phi đoàn 518 thuộc Sư Đoàn 3 Không Quân, từ căn cứ Biên Hoà, đã nhận được lệnh tăng phái cho Sư Đoàn 1 Không quân tại Đà Nẵng.
Trong số hai mươi phi công lái khu trục cơ Skyraider của phi đoàn 518/SĐ 3 KQ, có môt chàng trai trẻ tên là Trần Thế Vinh. Trong phi vụ đầu tiên vào ngày 2-4-72, đại úy Trần Thế Vinh với 8 trái bom dưới cánh chiếc phi cơ AD 6 của anh đã tung hoành đảo lộn giữa vùng trời khói lửa, bất chấp vùng núi non hiểm trở và trần mây thấp ngoài tuyến đầu, cộng thêm vào sự đe dọa của trung đoàn phòng không địch được trang bị hỏa tiễn SAM (Surface-to-Air Missile), bắn lên không ngớt.
Chàng phi công tài hoa và anh dũng đã trổ tài thiện xạ thần sầu, để qua 4 vòng thả bom, triệt hạ được 6 chiến xa giặc. Trong vòng 6 ngày khởi đầu của chiến cuộc, trong 5 phi vụ hiểm nghèo, Trần Thế Vinh đã hạ được 20 chiến xa giặc.
Chiến công lừng lẫy, phá mọi kỷ lục diệt chiến xa của anh, đã được các phóng viên chiến trường không hết lời ca ngợi trên báo chí. Ngày thứ Bẩy 8-4-72, đài Truyền Hình Việt Nam, trong chương trình "Tường Thuật Chiến Trường", đã phỏng vấn thiếu tá Lê Quốc Hùng, phi đoàn trưởng phi đoàn khu trục 518/SĐ 3 KQ, và ông đã hết sức hãnh diện khi nói đến tài năng và tinh thần chiến đấu của các bạn đồng đội và đặc biệt ca ngợi người phi công dũng cảm Trần Thế Vinh, giờ đây đang được báo chí gọi là Anh Hùng Diệt Tăng Địch.
Qua ngày hôm sau, trong phi vụ cuối cùng của quãng đời ngắn ngủi của con người tài hoa và dũng cảm Trần Thế Vinh, mới hai mươi sáu tuổi xuân, anh đã gẫy cánh, và theo tầu xuống lòng đất, sau khi triệt hạ thêm được một chiến xa địch, để lại thương tiếc cho toàn dân miền Nam. Sáng ngày 9-4-72, là ngày anh bay đi vĩnh viễn về cõi vô cùng, Đài Truyền Hình Sàigòn có chương trình tưởng niệm các chiến sĩ đã hy sinh, và giọng ngâm bài thơ "Tưởng Niệm Đại Úy Không Quân Trần Thế Vinh" của ca nghệ sĩ Hồng Vân đã làm nhiều người cảm thương và rơi lệ. Những ngày sau, hình ảnh của Trần Thế Vinh, người anh hùng không quân gẫy cánh trên bầu trời Tri.-Thiên đã được phóng lớn và treo trong công viên trước mặt Toà Đô Chính Sài Gòn, để dân chúng đô thành có nơi tưởng niệm người chiến sĩ đã hy sinh cho Tổ Quốc và Không Gian.
Giáo Sư Nguyễn Xuân Vinh
*************************
www.nhaccuatui.com/bai-hat/bai-vinh-thang-cho-mot-loai-ch...
Bài Vinh Thăng Cho Một Loài Chim
Tác giả: Trầm Tử Thiêng
Tiếng hát: Thái Thanh
(trích Băng Nhạc Thanh Thúy 11 do Thanh Thúy thực hiện năm 1973)
----------
Chào đón cuộc đời gian nan,
Vinh sinh ra trong thời loạn
từng khóc từng cười bao phen
lênh đênh trôi theo vận tối.
anh vẫn tin có một ngày
bao xích gông bao tù đày
Buồn thua ra đi
tên Thương trở về đây.
Đợi giữa một đời … trăm năm
anh em hơn thua … tồi tệ !
Đợi giữa một đời …trăm năm
anh em quên nhau …thật dễ !
Vinh sống non nửa đời người
hoen tuổi xanh hoen nụ cười
Nhiều khi phân vân
người hay ta là người ?
Quê hương ta đó
Anh em ta đó
Trần Thế Vinh
gian nan nhiều rồi
anh mơ mai sớm có nắng ấm.
anh mơ mai sớm có hòa bình.
anh mơ non nước …
Tình chứa chan dưới trời bình minh.
Một sớm lửa hờn dâng cao
Nung sôi quê hương mùa hạ
Giục cánh đại bàng tung mây
Lao thân trong sương bạc xóa
anh trút bom trên hận thù
anh rải mây đem mịt mù
và anh hiên ngang như chim sắp trời cao.
từng phút đợi chờ mong manh
Rưng rưng con tim đồng đội
Lệch cánh đại bàng trong mây
âm u không gian lạc lối
anh đuối tay
buông nặng nề …
Ôi kiếp chim quen bội thề …
một giây bay đi
ngàn năm quên bạn bè !
anh lên cao vút
anh lên cao vút
Trần Thế Vinh
Chim Thương về ngàn
anh bay lên cõi có ánh sáng
anh bay lên cõi không hận thù
Anh bay lên mãi
Trần Thế Vinh vĩnh biệt ngàn thu ...
Toàn dân ngùi ngùi thương đau,
khi tin chim thiêng lâm nạn.
Toàn dân ngậm ngùi thương đau,
khi tin chim thiêng về tổ.
anh vắng bay trên trời này
nhưng bóng anh sáng ngời hoài
Từ trong tim tôi muôn năm không mờ phai.
Còn thương tình người hôm qua
Xin anh cho tôi cầu nguyện
Còn xót tình người hôm qua
Xin anh cho tôi lời khấn
Đêm lúc trăng sao ngời ngời
Tôi ngước cao lên bầu trời
Gọi to lên câu Việt Nam ơi muôn đời!
Quê hương anh đó
Quê hương tôi đó
Trần Thế Vinh
Anh kêu gọi người
Sao cho mai sớm dưới nắng ấm
Anh em Nam Bắc nguôi hận thù
Tay đón tay nắm
Cùng hát vang dưới trời Việt Nam!
Madrid (Spain).
ENGLISH
Lavapiés is a barrio of the city of Madrid, centred on Plaza de Lavapiés.
It was the Jewish quarter of the city until the expulsion of the Jews in 1492, the church of San Lorenzo being built on the former site of the synagogue. The name literally means "wash feet", and seems to refer to the ritual washing of one's feet before entering the temple, possibly in the fountain in Plaza de Lavapiés.
It has long been a neglected area of the city. An inscription on a fountain in Plaza de Cabestreros is the only monument to the Spanish Republic in Madrid, such mentions having been systematically removed elsewhere during the Franco regime. The ruins of Escuelas Pías, a religious school, were left to stand for many years after it was burned down by supporters of the Popular Front in 1936. Only in 2002 the ruins were converted into a university library.
In the late 1980s and 1990s, Lavapiés had acquired a reputation as a "vertical slum", with its tenement blocks either empty or occupied by older people paying low rents. As a result, it became the most important location for okupación, or squatting, in Madrid.
More recently, it has become the focal point for immigrant populations, particularly Chinese, Arabs and people from the Indian subcontinent. It has been estimated that around 50% of the population is of foreign origin.
More info: en.wikipedia.org/wiki/Lavapi%c3%a9s
-----------------------
CASTELLANO
Lavapiés es el nombre de una plaza del centro de Madrid (España). Ha dado nombre también a una calle, un barrio y una estación de metro.
En su origen Lavapiés fue la judería o barrio judío de la ciudad. La actual Iglesia de San Lorenzo ocupa el solar que antaño ocupaba la sinagoga, que se comunicaba con la plaza de Lavapiés a través de la calle que hoy se llama de la Fe, llamada entonces calle de la Sinagoga. A partir de 1391 se reconstruyó la aljama y, por orden de los Reyes Católicos, fue rodeada de una muralla que cerraba sus puertas al anochecer. El motivo, según los historiadores, era proteger a sus habitantes más que aislarlos, pues la relación entre la judería y el concejo era por entonces excelente.
Muchas familias judías vivieron en el barrio de Lavapiés hasta los días de la expulsión, en 1492. Sólo algunos judíos madrileños notables (especialmente los médicos) estaban autorizados a vivir fuera de Lavapiés, para que pudiesen auxiliar a sus enfermos durante la noche. La expulsión decretada por los Reyes Católicos dejó a Lavapiés y a Madrid sin judíos. Muchos años después, llegarían de nuevo algunos judíos de Lisboa, Egipto, Túnez y otros lugares de África.
Cerca de la calle del Salitre, en la ladera de Buena Vista, mirando al Santuario de Atocha, aparecieron vestigios de lo que pudo ser un cementerio hebreo (ya que no se encontraron en él objetos cristianos) previo a la expulsión de 1492.
Parece que el nombre de Lavapiés podría proceder de una fuente que había en la plaza, donde se hacía el lavado ritual de las extremidades inferiores antes de acudir al templo. En cualquier caso, sí es cierto que en la plaza hubo una importante fuente hasta finales del siglo XIX. Lavapiés es el nombre original del barrio: la denominación El Avapiés, antigua, es en realidad una ultracorrección de Lavapiés, nombre más antiguo que el anterior.
La denominación manolo y manola que se da a los castizos madrileños procede de Lavapiés, y se dice que tiene su origen en la profusión del nombre Manuel, con el que se bautizaron muchos judíos para escapar a la expulsión en 1492. Los manolos rivalizaban con los chulapos y chulapas, procedentes éstos del barrio de Malasaña. Hoy en día se suelen emplear ambos términos indistintamente para referirse a la gente vestida con el atuendo tradicional madrileño.
A finales de los años 1980 Lavapiés era un barrio habitado exclusivamente por gente mayor, típicamente en casas viejas y de pequeñas dimensiones construidas alrededor de un patio (lo que se llama corrala, aunque su denominación correcta es la de casa de corredor). Por eso se ha hablado de chabolismo vertical. La abundancia de casas abandonadas y de viviendas de renta baja atrajo en los años 80 y 90 a multitud de jóvenes con pocos recursos, entre ellos numerosos okupas: Lavapiés ha sido, probablemente, la zona de Madrid con mayor densidad de casas ocupadas, y en ella tuvieron lugar las primeras experiencias de ocupación de la capital. Hoy en día la okupación casi ha desaparecido, pero sigue siendo el barrio con mayor cantidad de asociaciones y movimiento vecinal de Madrid.
En una segunda oleada, y por las mismas razones, acudieron al barrio centenares de inmigrantes. Se calcula que alrededor del 50% de la población del barrio es de origen no español. De hecho, eventos como el año nuevo chino o el ramadán tienen casi más resonancia en Lavapiés que, por ejemplo, la navidad.
Más info: es.wikipedia.org/wiki/Lavapi%c3%a9s
Zoo - Barcelona (Spain).
ENGLISH
The Bottlenose Dolphin is one of the most common and well-known dolphins. Recent molecular studies show it is in fact two species, the Common Bottlenose Dolphin (Tursiops truncatus) and the Indo-Pacific Bottlenose Dolphin (T. aduncus). It inhabits warm and temperate seas worldwide and may be found in all but the Arctic and the Antarctic Oceans.
Bottlenose Dolphins are still occasionally killed in dolphin drive hunts for their meat or because they compete for fish. Bottlenose Dolphins (and several other dolphin species) often travel together with tuna, and since the dolphins are much easier to spot than the tuna, fishermen commonly encircle dolphins to catch tuna, sometimes resulting in the death of dolphins. This has led to boycotts of tuna products and a "dolphin-safe" label for tuna caught with methods that do not endanger dolphins.
Bottlenose Dolphins (as well as other dolphins) are often trained to perform in dolphin shows. Some animal welfare activists claim that the dolphins there are not adequately challenged and that the pools are too small; others maintain that the dolphins are well cared for and enjoy living and working with humans.
Direct interaction with dolphins is used in the therapy of severely handicapped children and adults, and many report it as having a highly positive effect.
The military of the United States and Russia train Bottlenose Dolphins as military dolphins for wartime tasks such as locating sea mines or detecting and marking enemy divers. The USA's program is the U.S. Navy Marine Mammal Program, located in San Diego, California.
In the town of Laguna in south Brazil, a pod of Bottlenose Dolphins is known to drive fish towards fishermen who stand at the beach in shallow waters. One dolphin will then roll over, which the fishermen take as sign to throw out their nets. The dolphins feed on the escaping fish. The dolphins were not trained for this behaviour; the collaboration has been going on at least since 1847. Similar cooperative fisheries also exist in Africa, and have been reported through recorded history.
More info: en.wikipedia.org/wiki/Bottlenose_Dolphin
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CASTELLANO
De las más de 30 especies de delfines que existen, el delfín mular o delfín hocico de botella (Tursiops truncatus) es el más común y más conocido de la familia de los Delphinidae. Ello se debe a que con frecuencia se tiene en cautiverio, pues su naturaleza sociable y su inteligencia lo convierten en la estrella de muchos espectáculos.
En estado salvaje, estos delfines grises viven en grupos de hasta 10 ó 12 individuos. Como otros delfines, se sirven de un sistema de "eco" para localizar su alimento y, a menudo, cooperan entre ellos para acorralar a sus presas. Frecuentemente surcan la estela dejada por los barcos y, a veces, se acercan a los nadadores y los dejan jugar con ellos.
Habitan en los mares cálidos y templados de todo el mundo y pueden encontrarse en todos los océanos a excepción del Ártico y el Antártico.
La especie se conoce comúnmente por su carácter y curiosidad amistosos. Es frecuente que un zambullidor sea investigado por un grupo de ellos. De vez en cuando, los delfines han rescatado a zambullidores en peligro llevándolos a la superficie, un comportamiento que también demuestran hacia los miembros en peligro de sus propias especies. En noviembre de 2004, un informe más dramático de la intervención de un delfín vino de Nueva Zelanda: un gran tiburón blanco se acercó a tres salvavidas, nadando a 100 m de la costa cerca de Whangarei. Un grupo de delfines, detectando al parecer el peligro de los nadadores, se reunió y los rodeó firmemente por cuarenta minutos, previniendo un ataque del tiburón.
Las apariciones de los delfines en la mitología y las leyendas son numerosas, y atestiguan de la relación entre el hombre y los delfines desde la antigüedad. La mitología griega cuenta que estos mamíferos marinos antes que delfines fueron hombres, concretamente unos piratas que intentaron vender al dios Dionisio como esclavo, y este como castigo los convirtió en dichos cetáceos. En la mitología romana Neptuno, el dios romano del agua y el mar, siempre era representado con su característico tridente y rodeado de delfines. Se trasmite la leyenda que entre los antiguos cristianos los delfines es el simbolismo de la regeneración del individuo.
Desde la época de la Guerra Fría los delfines se usan por parte del la Marina estadounidense con fines bélicos debido a su gran inteligencia: ya sea como colocadores de minas, como espías (transportando equipos de detección ópticos o electrónicos) o directamente como soldados, atacando a buzos o embarcaciones. Estos delfines están bajo una Unidad que se conoce como "Unidad de Mamíferos Marinos". El Pentágono ha confirmado el uso de delfines en el Golfo Pérsico para el dragado de minas y la detección de buceadores.
Al igual que los perros antitanque, los delfines son entrenados y usados con fines bélicos, en este caso en el medio subacuático. Se los adiestra para que transporten, coloquen o remuevan minas explosivas magnéticas bajo el casco de embarcaciones militares metálicas. Cuando colocan minas, su labor no es suicida, ya que huyen tras la colocación de la bomba y pueden ser usados para una futura nueva misión.
Más info: es.wikipedia.org/wiki/Delf%c3%adn_mular, es.wikipedia.org/wiki/Cerebro_del_delf%c3%adn#Capacidades...
There are 15 web pages listing Ottawa, Gatineau & area half marathoners. This web page lists the area half-marathoners who have first names starting with an S to Stephen.
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For the names of the other half-marathon runners, go to the set called "Ottawa-area Half-marathoners" which has links to the full directory of names i.e., all 15 web pages.
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To access race statistics AND pictures (if available), first click on this Sportstats’ link and enter the runner's last and first names, and then click on Search.
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The names are derived from the following half-marathon races:
i) 2010 Canada Army Run (link for photos only)
ii) 2010 Ottawa Fall Colours (link for photos only)
iii) 2010 Nine Run Run (link for photos only)
iv) 2011 Winterman (link for photos only)
v) 2011 Ottawa Race Weekend (link for photos only)
vi) 2011 Canada Army Run (link for photos only)
vii) 2011 Scotiabank Waterfront (link for photos only)
The pictures are available for sale from ASI Photos, Zoom Photo, etc.
---------------------------------
(list no. 13, in order by first name)
1….S Bastien Elie….Plantagenet….M30-39
2….S Bastien Taillefer….Ottawa….M20-29
3….S Moran….Gatineau….M40-44
4….Saad Mokdad….Petawawa….M20-29
5….Sabine Mersmann….Pembroke….F45-49
6….Sabrina Avery….Ottawa….F20-29
7….Sabrina Bradford….Ottawa….F25-29
8….Sabrina Cornwall….Ottawa….F25-29
9….Sabrina Kalapati….Ottawa….F20-29
10….Sabrina Mayer….Ottawa….F20-24
11….Sabrina Mehes….Ottawa….F25-29
12….Sabrina Quraeshi….Ottawa….F50-59
13….Sabrina Sengupta….Ottawa….F25-29
14….Sacha Guilbault….Stittsville….M30-39
15….Safeta Nalic….Ottawa….F40-49
16….Sage Martin….Petawawa….F30-34
17….Said Irene….Gatineau….M50-59
18….Salim Hammad….Ottawa….M25-29
19….Salli Dambrowitz….Kinburn….F35-39
20….Sally Floyd….Nepean….F40-44
21….Sally Gelpke….Ottawa….F40-49
22….Sally Plant….Ottawa….F55-59
23….Sam Boardley….Ottawa….F30-34
24….Sam Brownrigg….Gatineau….M19
25….Sam Cui….Ottawa….M19
26….Sam Geller….Ottawa….M19 & under
27….Samanta Jacques-Arsenault….Ottawa….F30-34
28….Samantha Hunter….Ottawa….F20-29
29….Samantha Calder-Sprackman….Ottawa….F20-24
30….Samantha De Benedet….Ottawa….F20-29
31….Samantha Moreau….Petawawa….F40-49
32….Samantha Newton….Ottawa….F30-39
33….Samantha Omand….Nepean….F19 & under
34….Samantha O'neill….Ottawa….F20-29
35….Samantha Rivest….Kanata….F20-29
36….Samantha Ruddy….Ottawa….F20-24
37….Samantha Ryder….Petawawa….F20-29
38….Samantha Stagar….Ottawa….F30-39
39….Samantha Stergaros….Ottawa….F40-44
40….Samba Forget….Ottawa….F40-49
41….Samer Forzley….Nepean….M30-39
42….Samira Afrand….Ottawa….F20-29
43….Samuel Breau….Ottawa….M20-29
44….Samuel Chenevert….L'Ange Gardien….M30-39
45….Samuel Galante….Nepean….M40-49
46….Samuel Morin….Gatineau….M25-29
47….Samuel Roy….Gatineau….M25-29
48….Samuel Valle….Gloucester….M20-29
49….Samy El-Jaby….Ottawa….M20-29
50….Sander Post….Ottawa….M30-39
51….Sandi Horner….Stittsville….F50-54
52….Sandi Wensink….Ottawa….F45-49
53….Sandi Wright….Ottawa….F30-39
54….Sandor Gyuk….Orleans….M40-49
55….Sandra Bellemare….Ottawa….F30-39
56….Sandra Billings….Barry's Bay….F40-44
57….Sandra Boyko….Ottawa….F40-49
58….Sandra Campbell….Ottawa….F30-39
59….Sandra Chong….Ottawa….F30-39
60….Sandra Contant….Cornwall….F45-49
61….Sandra Cook….Orleans….F30-39
62….Sandra Craig-Browne….Orleans….F30-39
63….Sandra Derby….Ottawa….F45-49
64….Sandra Faubert….Orleans….F40-49
65….Sandra Faught….Petawawa….F40-49
66….Sandra Forbes….Kanata….F50-54
67….Sandra Gage….Ottawa….F40-44
68….Sandra Hession….Ottawa….F60-64
69….Sandra Huertas….Ottawa….F35-39
70….Sandra Kelly….Ottawa….F50-54
71….Sandra Kuchta….Ottawa….F30-34
72….Sandra Lalonde….Ottawa….F50-54
73….Sandra Lett….Nepean….F45-49
74….Sandra Macleod….Ottawa….F40-49
75….Sandra Monaghan….Ottawa….F55-59
76….Sandra Monforton….Ottawa….F40-49
77….Sandra Moore….Almonte….F45-49
78….Sandra Moorman….Ottawa….F40-44
79….Sandra Nevill….Ottawa….F40-49
80….Sandra Plourde….Kanata….F30-39
81….Sandra Roberts….Gatineau….F40-49
82….Sandra Ryan….Brockville….F25-29
83….Sandra Troccoli….Ottawa….F40-49
84….Sandra Waller….Maxville….F40-44
85….Sandro Mazzucato….Ottawa….M40-44
86….Sandy Bell….Stittsville….F45-49
87….Sandy Brennan….Kanata….F40-49
88….Sandy Clark….Orleans….F40-44
89….Sandy Dale….Ottawa….M40-49
90….Sandy Dos Santos….Ottawa….F35-39
91….Sandy Fredette….Ashton….F50-54
92….Sandy Macleod….Ottawa….F40-49
93….Sandy Moger….Orleans….F50-59
94….Sandy Nicholls….Kemptville….F55-59
95….Sandy Noonan….Prescott….M35-39
96….Sandy Solowjew….Almonte….M60-69
97….Sandy Whittaker….Ottawa….F30-39
98….Sanja Denic….Ottawa….F20-29
99….Sanjana Sivasalapathi….Nepean….F19 & under
100….Sanjay Vachali….Gatineau….M30-39
101….Sanjeev Bhanjana….Ottawa….M40-49
102….Sara Boucher….Ottawa….F20-29
103….Sara Clark….Ottawa….F20-24
104….Sara Frost….Ottawa….F30-39
105….Sara Javadi Nejad….Ottawa….F20-24
106….Sara Jones….Ottawa….F35-39
107….Sara Kemp….Gatineau….F35-39
108….Sara Krenosky….Ottawa….F30-34
109….Sara Leblond….Ottawa….F30-39
110….Sara Lopes….Ottawa….F25-29
111….Sara Lyman….Ottawa….F20-29
112….Sara Mcconnell….Ottawa….F30-39
113….Sara Rock….Ottawa….F35-39
114….Sara Strawczynski….Ottawa….F25-29
115….Sara Tubman….Ottawa….F30-39
116….Sara Wilson….Manotick….F45-49
117….Sarah Abrahams….Ottawa….F30-34
118….Sarah Abrahams….Ottawa….F30-39
119….Sarah Anson-Cartwright….Ottawa….F45-49
120….Sarah Armstrong….Ottawa….F30-39
121….Sarah Beare….Petawawa….F20-29
122….Sarah Beaupre….Petawawa….F25-29
123….Sarah Bendell….Kanata….F55-59
124….Sarah Blair….Nepean….F30-34
125….Sarah Boardman….Ottawa….F35-39
126….Sarah Boettcher….Stoney Creek….F40-49
127….Sarah Bowes Christie….Perth….F30-39
128….Sarah Brown….Ottawa….F40-44
129….Sarah Carkner….Ottawa….F20-29
130….Sarah Choquette-Fuks….Ottawa….F25-29
131….Sarah Clowater….Ottawa….F20-24
132….Sarah Connor Gorber….Ottawa….F35-39
133….Sarah Coombs….Kemptville….F19 & under
134….Sarah Crowder….Ottawa….F25-29
135….Sarah Crowe….Gatineau….F30-34
136….Sarah Currie….Kanata….F30-39
137….Sarah Curtis….Ottawa….F25-29
138….Sarah Curtis….Ottawa….F20-29
139….Sarah Davison….Ottawa….no age
140….Sarah Derks….Chesterville….F40-49
141….Sarah Dolan….Ottawa….F20-29
142….Sarah Dooley….Ottawa….F20-29
143….Sarah Fisher-Reid….Ottawa….F30-39
144….Sarah Gee….Ottawa….F20-29
145….Sarah Geiger….Ottawa….F50-54
146….Sarah Gray….Carleton Place….F20-29
147….Sarah Green….Kanata….F40-49
148….Sarah Hasler….Ottawa….F20-24
149….Sarah Hebert….Chelsea….F30-39
150….Sarah Heer….Petawawa….F30-39
151….Sarah Herweyer….Russell….F25-29
152….Sarah Higgins….Stittsville….F20-29
153….Sarah Hudson….Nepean….F20-29
154….Sarah Jayne Blair….Nepean….F30-39
155….Sarah Kennedy….Ottawa….F35-39
156….Sarah Lockhart….Ottawa….F25-29
157….Sarah Lyons….Ottawa….F25-29
158….Sarah Macmillan….Ottawa….F20-24
159….Sarah Mather….Ottawa….F25-29
160….Sarah Matthews….Nepean….F30-39
161….Sarah Mcdonald….Ottawa….F19 & under
162….Sarah Mcwhinnie….Stittsville….F30-39
163….Sarah Moorcroft….Nepean….F30-34
164….Sarah Muldoon….Kanata….F30-39
165….Sarah Murdoch….Ottawa….F20-29
166….Sarah Murphy….Gatineau….F25-29
167….Sarah Mustapha….Ottawa….F20-29
168….Sarah Myers….Morrisburg….F20-24
169….Sarah Orchard….Ottawa….F40-44
170….Sarah Patriquin….Ottawa….F20-29
171….Sarah Payne….Ottawa….F30-39
172….Sarah Powers….Ottawa….F30-39
173….Sarah Rampersad….Ottawa….F25-29
174….Sarah Rietschlin….Ottawa….F30-39
175….Sarah Scott….Ottawa….F20-29
176….Sarah Shackell….Ottawa….F19 & under
177….Sarah Spencer….Ottawa….F65-69
178….Sarah Taylor….Ottawa….F20-24
179….Sarah Tessier….Russell….F30-39
180….Sarah Trautrim….Pembroke….F19 & under
181….Sarah Waddell….Hammond….F20-29
182….Sarah Waters….Ottawa….F35-39
183….Sarah Wiles….Ottawa….F30-39
184….Sarah Wilkinson….Ottawa….F30-34
185….Sasha Pellerin….Gatineau….F20-29
186….Sasha Richards….Kanata….F30-34
187….Sasha Simek….Ottawa….F30-34
188….Saskia Meuffels….Ottawa….F50-59
189….Satvinder Bawa….Ottawa….M40-49
190….Savannah Pulfer….Ottawa….F19 & under
191….Savitha Rao….Ottawa….F40-49
192….Savvas Farassoglou….Gloucester….M30-39
193….Scot Bryant….Orleans….M45-49
194….Scott Armstrong….Ottawa….M30-39
195….Scott Beauchamp….Ottawa….M30-39
196….Scott Blain….Beachburg….M50-59
197….Scott Bowen….Ottawa….M30-39
198….Scott Brown….Stittsville….M30-34
199….Scott Bush….Nepean….M25-29
200….Scott Campbell….Petawawa….M30-39
201….Scott Carlyle….St. Albert….M30-39
202….Scott Carnie….Pontiac….M40-44
203….Scott Clucas….Maitland….M40-49
204….Scott Colvin….Ottawa….M40-49
205….Scott Couillard….Ottawa….M19
206….Scott Doran….Ottawa….M40-49
207….Scott Duxbury….Ottawa….M20-29
208….Scott Ellis….Ottawa….M20-29
209….Scott Evans….Greely….M40-49
210….Scott Felman….Ottawa….M30-39
211….Scott Fenton….Stittsville….M40-49
212….Scott Ferguson….Ottawa….M40-44
213….Scott Guenther….Ottawa….M40-49
214….Scott Harrald….Ottawa….M40-44
215….Scott Healey….Ottawa….M40-49
216….Scott Heath….Cornwall….M40-44
217….Scott Hodgins….Kanata….M40-49
218….Scott Jewer….Kanata….M30-39
219….Scott Lang….Petawawa….M30-39
220….Scott Macklin….Ottawa….M40-44
221….Scott Matys….Ottawa….M20-24
222….Scott Mcdonald….Luskville….M45-49
223….Scott Mcleod….Greely….M40-49
224….Scott Miller….Stittsville….M45-49
225….Scott Mitchell….Petawawa….M40-49
226….Scott Moffatt….Smiths Falls….M35-39
227….Scott Moir….Ottawa….M50-59
228….Scott Munro….Ottawa….M50-54
229….Scott Parrington….Nepean….M25-29
230….Scott Rawlings….Ottawa….M40-49
231….Scott Robertson….Metcalfe….M30-39
232….Scott Rogers….Stittsville….M30-39
233….Scott Rowland….Ottawa….M40-44
234….Scott Rudan….Ottawa….M20-29
235….Scott Schultz….Ottawa….M30-39
236….Scott Shaver….Lanark….M35-39
237….Scott Simpson….St. Albert….M40-49
238….Scott Snyder….Ottawa….M35-39
239….Scott Strachan….Perth….M40-44
240….Scott Tessier….Ottawa….M40-44
241….Scott Tomlinson….Ottawa….M30-39
242….Scott Townley….Ottawa….M40-49
243….Scott Vernon….Kanata….M35-39
244….Scott Walker….Nepean….M45-49
245….Scott Wiebe….Ottawa….M35-39
246….Sean Adams….Ottawa….M19 & under
247….Sean Boushel….Gatineau….M40-49
248….Sean Byers….Ottawa….M25-29
249….Sean Campbell….Kemptville….M30-39
250….Sean Clancy….Ottawa….M50-59
251….Sean Dauphinee….Ottawa….M25-29
252….Sean English….Orleans….M20-24
253….Sean Fallon….Kanata….M30-39
254….Sean Gagnon….Stittsville….M30-39
255….Sean Hanstke….Ottawa….M30-39
256….Sean Hinds….Ottawa….M30-39
257….Sean Keating….Ottawa….M25-29
258….Sean Keating….Ottawa….M20-29
259….Sean Lewis….Richmond….M19 & under
260….Sean Macginnia….Ottawa….M25-29
261….Sean Maddox….Ottawa….M40-44
262….Sean Mcelhinney….Ottawa….M30-39
263….Sean Mcgrath….Ottawa….M60-69
264….Sean Mcnair….Gloucester….M20-29
265….Sean Moore….Gatineau….M30-34
266….Sean Muir….Carleton Place….M40-44
267….Sean Murphy….Carleton Place….M35-39
268….Sean Nowostawsky….Ottawa….M20-29
269….Sean O'Brien….Ottawa….M30-39
270….Sean O'Brien….Ottawa….M40-49
271….Sean O'reilly….Ottawa….M20-24
272….Sean Salter….Orleans….M35-39
273….Sean Sinclair….North Gower….M20-29
274….Sean Sonier….Ottawa….M20-24
275….Sean Trenholm….Petawawa….M30-39
276….Sean Young….Stittsville….M20-29
277….Sebastian Citro….Ottawa….M50-59
278….Sebastien Blanc….Gatineau….M30-39
279….Sebastien Defoy….Gatineau….M40-44
280….Sebastien Gravelle….Gatineau….M25-29
281….Sebastien Hug….Ottawa….M30-34
282….Sebastien Lavoie….Gatineau….M35-39
283….Sebastien Plourde….Ottawa….M25-29
284….Sebastien Taillefer….Ottawa….M20-29
285….Sebastien Thiboutot….Gatineau….M35-39
286….Sebastien Vinette….Ottawa….M20-29
287….Sebastien Williamson….Ottawa….M20-24
288….Selena Grinham….Gatineau….F20-29
289….Selena Neily….Petawawa….F30-39
290….Selva Trebert-Sharman….Rockland….F30-39
291….Semir Nalic….Ottawa….M19 & under
292….Sepideh Ziaei….Nepean….F25-29
293….Sera Chiuchiarelli….Ottawa….F25-29
294….Sereena Trottier….Ottawa….F30-34
295….Serena Stavenjord….Nepean….F19 & under
296….Serge Arseneault….Orleans….M40-49
297….Serge Benvenuti….Ottawa….M40-49
298….Serge Boucher….Gatineau….M40-49
299….Serge Carignan….Orleans….M40-49
300….Serge Couture….Chelsea….M40-49
301….Serge Decoeur….Petawawa….M40-49
302….Serge Demers….Ottawa….M40-49
303….Serge Dussault….Gatineau….M40-49
304….Serge Froment….Limoges….M40-49
305….Serge Gouin….Gatineau….M30-39
306….Serge Guindon….Gatineau….M45-49
307….Serge Marguerie….Manotick….M55-59
308….Serge Menard….Petawawa….M30-39
309….Serge Provencher….Gatineau….M50-54
310….Serge Richard….Ottawa….M30-39
311….Serge Sabourin….Russell….M35-39
312….Serge Sylvestre….Ottawa….M50-59
313….Sergio De Franco….Ottawa….M30-34
314….Sergio Tomasi….Petawawa….M40-49
315….Seth Bocknek….Ottawa….M20-24
316….Seyi Okuribido-Malcolm….Ottawa….F30-39
317….Shahab Rezaei-Zadeh….Petawawa….M20-29
318….Shakila Khan….Nepean….F30-39
319….Shamiah Mcgilp-Gallivan….Ottawa….F25-29
320….Shana Rogerson….Almonte….F35-39
321….Shanda Allard….Ottawa….F25-29
322….Shanda Pelletier….Gloucester….F30-34
323….Shane Brennan….Ottawa….M40-49
324….Shane Brown….Ottawa….M20-29
325….Shane Lafreniere….Smiths falls….M40-49
326….Shane Lebeau….Rockland….M40-49
327….Shane Leston….Ottawa….M20-29
328….Shane Skinner….Elizabethtown….M25-29
329….Shane Westgate….Nepean….M40-49
330….Shaneen Meghji….Ottawa….F35-39
331….Shani Gates….Brockville….F40-44
332….Shanna Bancroft….Orleans….F20-29
333….Shanna Delorme….Limoges….F25-29
334….Shanna Killen….Ottawa….F20-24
335….Shannon Bellefeuille….Kanata….F20-24
336….Shannon Bradey….Cantley….F25-29
337….Shannon Bush….Ottawa….F20-29
338….Shannon Carr….Ottawa….F25-29
339….Shannon Clair….Elgin….F30-39
340….Shannon Clark….Petawawa….F19 & under
341….Shannon Farnham….Stittsville….F19 & under
342….Shannon Fisher….Ottawa….F35-39
343….Shannon Fitzpatrick….Ottawa….F30-39
344….Shannon Forrest….Brockville….F35-39
345….Shannon Holt….Kanata….F30-39
346….Shannon Leblond….Ottawa….F25-29
347….Shannon Malcolm….Ottawa….F30-34
348….Shannon Marini….Ottawa….F25-29
349….Shannon Matheson….Nepean….F40-49
350….Shannon Mcmillan-Kunstadt….Ottawa….F30-39
351….Shannon Moore….Kanata….F20-29
352….Shannon Nix….Ottawa….F40-44
353….Shannon Olson….Ottawa….F30-39
354….Shannon Renaud….Ottawa….F45-49
355….Shannon Ryan….Ottawa….F30-34
356….Shannon Sheil….Ottawa….F40-44
357….Shannon Summers….Ottawa….F30-39
358….Shannon Watson….Ottawa….F19 & under
359….Shannon Weatherhead….Ottawa….F20-29
360….Share Duggan….Ottawa….F30-39
361….Shari Dejong….Orleans….F30-39
362….Shari Goodfellow….Ottawa….F40-44
363….Shari Keyes….Morrisburg….F45-49
364….Shari Keyes….Morrisburg….F40-49
365….Shari-Lynn Lawson….Stittsville….F40-49
366….Sharla Riley….Ottawa….F30-39
367….Sharleen Boudreau….Gatineau….F55-59
368….Sharon Barr….Stittsville….F40-49
369….Sharon Brodo-Smith….Ottawa….F45-49
370….Sharon Chomyn….Ottawa….F50-59
371….Sharon Etmanskie….Nepean….F40-49
372….Sharon Fine….Kanata….F30-39
373….Sharon Hiebert….Ottawa….F30-34
374….Sharon Johnston….Ottawa….F30-39
375….Sharon Karidis….Nepean….F30-39
376….Sharon Kozicki….Kanata….F40-49
377….Sharon Lavine….Ottawa….F55-59
378….Sharon Lee….Kanata….F45-49
379….Sharon Murphy….Ottawa….F70+
380….Sharon Priestman….Arnprior….F30-39
381….Sharon Singleton….Pembroke….F40-49
382….Sharon Tobin….Ottawa….F50-59
383….Sharron Miller….Cornwall….F50-59
384….Sharye Marcus….Nepean….F50-59
385….Shaun Burridge….Nepean….M20-29
386….Shaun Dolter….Ottawa….M30-34
387….Shaun Dunne….Oxford Mills….M55-59
388….Shaun Hassanali….Nepean….M20-29
389….Shaun Jackson….Gatineau….M30-34
390….Shaun Klein….Ottawa….M30-34
391….Shaun Morrow….Ottawa….M40-44
392….Shauna Devlin….Ottawa….F25-29
393….Shauna Graham….Ottawa….F40-44
394….Shauna Hanratty….Ottawa….F30-39
395….Shawn Bardell….Ottawa….M30-39
396….Shawn Bedard….Stittsville….M30-39
397….Shawn Boyle….Orleans….M20-29
398….Shawn Crockett….Cornwall….M45-49
399….Shawn Dandy….Ottawa….M25-29
400….Shawn Delay….Nepean….M40-44
401….Shawn Dickie….Pembroke….M20-24
402….Shawn Dolan….Ottawa….M35-39
403….Shawn Garbutt….Ottawa….M45-49
404….Shawn Hamilton….Arnprior….M40-44
405….Shawn Hebert….Gatineau….M35-39
406….Shawn Hoag….Russell….M40-49
407….Shawn Hollinger….Ottawa….M30-39
408….Shawn Leroux….Ottawa….M30-34
409….Shawn Maloney….Gatineau….M20-29
410….Shawn Mccleery….Ottawa….M50-54
411….Shawn Mcintaggart….Kanata….M35-39
412….Shawn Murphy….Ottawa….M50-59
413….Shawn Murray….Ottawa….M50-59
414….Shawn Osborne….Ottawa….M50-59
415….Shawn Osborne….Ottawa….M30-39
416….Shawn Pigeon….Ottawa….M20-29
417….Shawn Rivers….Ottawa….M40-49
418….Shawn Robertson….Gatineau….M50-59
419….Shawn Rodgers….Ottawa….M20-29
420….Shawn Russell….Stittsville….M30-34
421….Shawn Rycroft….Ottawa….M30-39
422….Shawn Villeneuve….Ottawa….M30-34
423….Shawna Colbey….Ottawa….F25-29
424….Shawna Hunt….Ottawa….F30-39
425….Shawna Moffatt….Ottawa….F30-39
426….Shawna Thornhill….Nepean….F30-39
427….Shawnda Parsons….Orleans….F40-49
428….Shawnna Van Drunen….Ottawa….F30-39
429….Shawntel Burt….Ottawa….F20-29
430….Shayne Chamberlain….Orleans….M40-49
431….Shayne Mullin….Ottawa….M50-59
432….Sheah Gaston….Ottawa….F25-29
433….Shehryar Sarwar….Ottawa….M40-49
434….Sheila Appleton….Brockville….F40-49
435….Sheila Barth….Ottawa….F45-49
436….Sheila Bondesen….Ottawa….F30-39
437….Sheila Currie….Ottawa….F40-49
438….Sheila Forward-Davis….Ottawa….F40-49
439….Sheila Maclean….Petawawa….F45-49
440….Sheila Macleod….Ottawa….F50-54
441….Sheila Mason….Nepean….F35-39
442….Sheila Mcisaac….Ottawa….F50-59
443….Sheila Osborne-Brown….Ottawa….F40-49
444….Sheila Reid….Nepean….F50-54
445….Sheila Reid….Ottawa….F50-59
446….Sheila Robertson….Ottawa….F60-69
447….Sheila Ryan….Pembroke….F50-59
448….Sheila Sankey….Ottawa….F35-39
449….Shelagh Haynes….Orleans….F20-29
450….Sheldon Andrews….Ottawa….M30-39
451….Sheldon Cole….Deep River….M20-29
452….Sheldon Rice….Petawawa….M40-49
453….Shelley Baran….Stittsville….F30-39
454….Shelley Brown….Ottawa….F40-49
455….Shelley Chambers….Ottawa….F45-49
456….Shelley Cruise….Ottawa….F35-39
457….Shelley Doering….Nepean….F30-39
458….Shelley Hindle….Munster….F40-49
459….Shelley Mcdonald….Kanata….F40-49
460….Shelley Mcdonald….Ottawa….F40-49
461….Shelley Mcgoff….Metcalfe….F20-24
462….Shelley Millar….Ottawa….F35-39
463….Shelley Milton….Gatineau….F35-39
464….Shelley Moody….Gatineau….F40-49
465….Shelley Moorhead….Nepean….F40-44
466….Shelley Murdock….Nepean….F50-54
467….Shelley Neill….Nepean….F35-39
468….Shelley Rossetti….Ashton….F30-39
469….Shelley Slocombe….Orleans….F35-39
470….Shelley Sourges….Ottawa….F40-49
471….Shelley Steenwyk….Brockville….F40-44
472….Shelly Mccracken….Elizabethtown….F40-44
473….Shelly Nesbitt….Kanata….F40-49
474….Shelly O'brien….Stittsville….F50-59
475….Shelly Stackpole….Ottawa….F30-39
476….Shelly Williams….Kanata….F40-44
477….Shena Riff….Ottawa….F30-39
478….Shera Richer….Ottawa….F20-24
479….Shereen Ismael….Ottawa….F40-49
480….Sheri Beaulieu….Stittsville….F30-39
481….Sheri Cayouette….Kanata….F40-49
482….Sheri Gareau….Pembroke….F55-59
483….Sheri Mccready….Ottawa….F40-44
484….Sheri Mcmullen….Athens….F30-34
485….Sheri Steeves….Kemptville….F40-49
486….Sheri Venedam….Ottawa….F30-34
487….Sheri Vermette….Orleans….F30-39
488….Sheridan Cheng….Nepean….F20-24
489….Sherri Boucher….Ottawa….F30-34
490….Sherri Mackenzie….Ottawa….F35-39
491….Sherri Ryan….Greely….F40-44
492….Sherri Wilson….Ottawa….F40-44
493….Sherrie Guthrie….Kemptville….F35-39
494….Sherry Beaudry….Rockland….F40-49
495….Sherry Burke….Almonte….F40-49
496….Sherry Camm….North Gower….F40-49
497….Sherry Campbell….Ottawa….F40-44
498….Sherry Carson….Ottawa….F50-54
499….Sherry Hamilton….Gatineau….F30-39
500….Sherry Strowbridge….Ottawa….F40-49
501….Sheryl Urie….Ottawa….F40-49
502….Shevaughn Murta….Ottawa….F25-29
503….She-Yang Lau-Chapdelaine….Ottawa….M20-29
504….Sheyla Dussault….Nepean….F30-39
505….Shin Hung….Ottawa….M35-39
506….Shinjini Pal….Ottawa….F25-29
507….Shinobu Lacelle….Ottawa….F25-29
508….Shireen Khaliq….Ottawa….F40-49
509….Shirlanne Schroeder….Killaloe….F25-29
510….Shirley Carruthers….Ottawa….F35-39
511….Shirley Curran….Wakefield….F40-49
512….Shirley Diener….Ottawa….F40-44
513….Shirley Ivan….Kanata….F45-49
514….Shirley Lazurko….Athens….F55-59
515….Shirley Trottier….Ottawa….F55-59
516….Shirley Ward….Ottawa….F55-59
517….Shona Gray….Renfrew….F30-39
518….Shona Humphrey….Petawawa….F40-49
519….Shoujit Mitra….Kanata….M35-39
520….Sian Williams….Ottawa….F45-49
521….Sidney Ben….Ottawa….M35-39
522….Sierra Phillips….Ottawa….F20-29
523….Silvana Di Gaetano….Ottawa….F50-59
524….Silver Buckler….Metcalfe….M30-39
525….Silvesta Ng….Kanata….M30-39
526….Silvia Zanon….Ottawa….F40-49
527….Simon Amirault….Carleton Place….M19
528….Simon Button….Ottawa….M19
529….Simon Deschenes….Gatineau….M35-39
530….Simon Desrosiers….Gatineau….M30-34
531….Simon Duval….Ottawa….M25-29
532….Simon Ferguson….Ottawa….M30-34
533….Simon Gollish….Ottawa….M19
534….Simon Good….Ottawa….M50-59
535….Simon Hart….Ottawa….M20-29
536….Simon Hetherington….Stittsville….M45-49
537….Simon Jomphe Tremblay….Gatineau….M20-29
538….Simon Jones….Ottawa….M20-29
539….Simon Kalechstein….Deep River….M30-34
540….Simon Keneford….Ottawa….M40-49
541….Simon Lalonde-Beaudoin….Gatineau….M19
542….Simon Larouche….Gatineau….M30-39
543….Simon Mason….Ottawa….M40-44
544….Simon Page….Gatineau….M40-49
545….Simon Pierre Dubreuil….Gatineau….M25-29
546….Simon Roussin….Ottawa….M30-39
547….Simon Shearman….Almonte….M40-49
548….Simon Sukstorf….Ottawa….M45-49
549….Simone Charron….Ottawa….F19 & under
550….Simone Durocher….L'Orignal….F25-29
551….Simone Rose-Oliver….Ottawa….F50-54
552….Simon-Pierre Lamoureux….St Albert….M25-29
553….Sindy Dobson….Kanata….F45-49
554….Siobhan Flynn….Ottawa….F20-29
555….Siobhan Jones….Ottawa….F35-39
556….Siu Hong Yu….Ottawa….M30-34
557….Sky Schryer….Perth Road Village….F20-24
558….Skye Purdy….Ottawa….M20-29
559….Slobodan Delev….Gatineau….M50-54
560….Sofie Mauger….Ottawa….F30-34
561….Sohail Robert….Ottawa….M35-39
562….Sohaila Moghadam….Ottawa….F40-49
563….Solajo Couturier….Gatineau….M30-39
564….Solange Berube….Orleans….F50-59
565….Solita Pacheco….Ottawa….F40-49
566….Somphane Souksanh….Ottawa….F20-29
567….Sondra Macdonald….Ottawa….F20-29
568….Sonia Alexander….Gatineau….F40-49
569….Sonia B Land….Gatineau….F40-49
570….Sonia Baptista….Ottawa….F20-24
571….Sonia Barrette….Vars….F40-44
572….Sonia David….Gatineau….F40-44
573….Sonia Desnoyers….Embrun….F30-39
574….Sonia Granzer….Ottawa….F30-39
575….Sonia Kluck….Ottawa….F20-29
576….Sonia Laneuville….Orleans….F30-39
577….Sonia Lefebvre….Gatineau….F40-44
578….Sonia Leroy….Ottawa….F40-49
579….Sonia Mclean….Rockland….F40-49
580….Sonia Mendes….Ottawa….F35-39
581….Sonia Moioli….Ottawa….F35-39
582….Sonia Raganold….Ottawa….F30-39
583….Sonia Smee….Ottawa….F50-54
584….Sonja Adcock….Gatineau….F50-59
585….Sonja Mcfadyen….Ottawa….F25-29
586….Sonja Renz….Gloucester….F20-29
587….Sonja Schmidt….Almonte….F30-39
588….Sonny Ballinger….Ottawa….M20-24
589….Sony Singh….Ottawa….M35-39
590….Sonya Bisson….Ottawa….F40-49
591….Sonya Coward….Ottawa….F30-34
592….Sonya Oleinikow….Petawawa….F40-49
593….Sophia Giaccone….Ottawa….F20-24
594….Sophia Khan….Carp….F45-49
595….Sophie Amberg….Ottawa….F30-39
596….Sophie Belisle….Ottawa….F25-29
597….Sophie Breton….Ottawa….F20-29
598….Sophie Brunet….Chelsea….F20-29
599….Sophie Caron….L'Orignal….F20-29
600….Sophie Chatel….Gatineau….F35-39
601….Sophie Coupal….Cantley….F35-39
602….Sophie Daz….Ottawa….F20-29
603….Sophie Daze….Ottawa….F25-29
604….Sophie Deslauriers….Gatineau….F30-39
605….Sophie Dumoulin….Greely….F30-39
606….Sophie Forget….Ottawa….F20-29
607….Sophie Gauvreau….L'Ange-Gardien….F20-29
608….Sophie Godbout-Beaulieu….Ottawa….F20-24
609….Sophie Gravel….Ottawa….F40-49
610….Sophie Hollingsworth….Orleans….F30-39
611….Sophie Lebel….Ottawa….F30-39
612….Sophie Lucier….Ottawa….F25-29
613….Sophie Martel….Gatineau….F35-39
614….Sophie Morin….Ottawa….F25-29
615….Sophie Oliver….Ottawa….F40-44
616….Sophie Richer….Gatineau….F25-29
617….Soraya Moghadam….Ottawa….F40-44
618….Soren Antosz….Ottawa….M30-34
619….Sorya Gopalan….Ottawa….F30-34
620….Sotero Ramirez….Ottawa….M40-44
621….Spencer Olson….Ottawa….M35-39
622….Sridhar Erukulla….Kanata….M40-49
623….St Phane Siegrist….Gatineau….M40-49
624….St Phanie Dicaire….Gatineau….F30-39
625….St Phanie Seguin….Orleans….F30-39
626….Stacey Beumer….Ottawa….M40-49
627….Stacey Brennan….Ottawa….F30-34
628….Stacey Fox….Ottawa….F35-39
629….Stacey Grenier….Orleans….F30-34
630….Stacey Lance….Ottawa….F20-29
631….Stacey Lillico….Osgoode….F20-29
632….Stacey Martin Bafi-Yeboa….Ottawa….F30-34
633….Stacey Streng….Carleton Place….F40-44
634….Staci Walsh….Ottawa….F19 & under
635….Stacie Carey….Ottawa….F20-29
636….Stacie King….Cornwall….F30-39
637….Stacy Kauk….Ottawa….F30-39
638….Stacy Levac….Ottawa….M30-34
639….Stacy Wakeford….Ottawa….F40-49
640….Stadig Malcolm….Kemptville….M35-39
641….Stan Baldwin….Orleans….M60-69
642….Stan Druskis….Ottawa….M40-44
643….Stan Sinclair….Prescott….M40-44
644….Stan Staple….Ottawa….M60-69
645….Steacy Kavaner….Gananoque….F40-49
646….Steeve Pratte….Ottawa….M30-39
647….Stefan Beaudoin….Nepean….M40-49
648….Stefan Bilan….Ottawa….M45-49
649….Stefan Lehmeier….Ottawa….M30-34
650….Stefan Reinecke….Ottawa….M35-39
651….Stefan Van Kessel….Ottawa….M30-39
652….Stefania Parnanzone….Ottawa….F20-29
653….Stefanie Green….Brockville….F35-39
654….Stefanny St-Laurent….Chelsea….no age
655….Stella Gaerke….Ottawa….F40-49
656….Stella Lui….Ottawa….F25-29
657….Stenio Tabicas….Gatineau….M30-34
658….Stepha Currie-Mccarragher….Orleans….F35-39
659….Stephan Bazin….Ottawa….F40-44
660….Stephan Cronier….Orleans….M30-39
661….Stephan De Wit….Ottawa….M30-39
662….Stephan Dirnberger….Val-des-Monts….M30-39
663….Stephan Ethier….Ottawa….M35-39
664….Stephan Lemaire….Orleans….M30-39
665….Stephane Barry….Val-des-Monts….M45-49
666….Stephane Bedard….Kanata….M40-44
667….Stephane Bedard….Kanata….M40-49
668….Stephane Blanchard….Gatineau….M30-39
669….Stephane Boudrias….Gatineau….M30-39
670….Stephane Burelle….Orleans….M40-49
671….Stephane Castonguay….Ottawa….M40-49
672….Stephane Gagne….Gatineau….M40-44
673….Stephane Gosselin….L'Ange Gardien….M30-39
674….Stephane Gregoire….Embrun….M40-49
675….Stephane Kelly….Gatineau….M45-49
676….Stephane Kroetsch….Cantley….M25-29
677….Stephane Lavigne….Alexandria….M40-44
678….Stephane LAVIGNE….Alexandria….M40-44
679….Stephane Montpetit….Orleans….M35-39
680….Stephane Parent….Ottawa….M45-49
681….Stephane Perras….Vars….M30-39
682….Stephane Raynaud….Ottawa….M30-39
683….Stephane Siegrist….Gatineau….M40-49
684….Stephane Sirard….Gatineau….M35-39
685….Stephanie Abdon….Petawawa….F30-39
686….Stephanie Bean….Orleans….F25-29
687….Stephanie Bell….Orleans….F35-39
688….Stephanie Berry….Stittsville….F20-24
689….Stephanie Borowyk….Kanata….F25-29
690….Stephanie Bougie….Plantagenet….F20-24
691….Stephanie Brodeur….Ottawa….F30-39
692….Stephanie Brule….Orleans….F19 & under
693….Stephanie Corbett….Ottawa….F30-34
694….Stephanie Cote….Ottawa….F30-39
695….Stephanie Courcelles….Greely….F40-49
696….Stephanie Cowan….Carp….F35-39
697….Stephanie Currie-Mccarragher….Orleans….F30-39
698….Stephanie Dicaire….Gatineau….F35-39
699….Stephanie Dort….Petawawa….F30-39
700….Stephanie Dowling….Ottawa….F20-29
701….Stephanie Ducharme….Orleans….F30-39
702….Stephanie Duhaime….Ottawa….F30-34
703….Stephanie Dunne….Nepean….F50-59
704….Stephanie Earle….Ottawa….F20-29
705….Stephanie Emard….Stittsville….F30-39
706….Stephanie Fortin-Provost….Limoges….F19 & under
707….Stephanie Gauthier….Ottawa….F20-29
708….Stephanie Geary….Ottawa….F20-24
709….Stephanie Gervais….Ottawa….F25-29
710….Stephanie Goods….Ottawa….F30-34
711….Stephanie Gordon….Ottawa….F30-39
712….Stephanie Haley….Ottawa….F20-29
713….Stephanie Hornby….Ottawa….F20-29
714….Stephanie Howard-Davies….Ottawa….F65-69
715….Stephanie Jack….Ottawa….F25-29
716….Stephanie Jeffrey….Deep River….F30-34
717….Stephanie Johnson….Ottawa….F30-39
718….Stephanie Jones….Ottawa….F20-29
719….Stephanie Justus-Aloia….Ottawa….F30-34
720….Stephanie Kellar….Manotick….F19 & under
721….Stephanie Kinsella….Ottawa….F30-34
722….Stephanie Langford….Ottawa….F50-59
723….Stephanie Levasseur….Pembroke….F30-39
724….Stephanie Mcmullen….Gatineau….F30-39
725….Stephanie Mombourquette….Kemptville….F30-39
726….Stephanie Newberry….Nepean….F25-29
727….Stephanie Ouellette….Gatineau….F30-34
728….Stephanie Racine….Gatineau….F30-39
729….Stephanie Reddoch….Martintown….F45-49
730….Stephanie Rivers….Nepean….F50-59
731….Stephanie Robertson….Ottawa….F35-39
732….Stephanie Rose….Kemptville….F30-39
733….Stephanie Seguin….Gatineau….F30-39
734….Stephanie Semeniuk….Ottawa….F30-39
735….Stephanie Strittmatter….Orleans….F25-29
736….Stephanie Vanderpool….Ottawa….F25-29
737….Stephanie Vivier….Ottawa….F30-39
738….Stephanie Zellerer….Kanata….F20-24
739….Stephen Anderson….Ottawa….M30-39
740….Stephen Barry Plotz….Brockviile….M30-39
741….Stephen Bignucolo….Ottawa….M20-29
742….Stephen Bisson….Nepean….M35-39
743….Stephen Boyd….Orleans….M25-29
744….Stephen Budzinski….Orleans….M40-44
745….Stephen Bygott….Cardinal….M30-39
746….Stephen Cadieux….Kanata….M40-49
747….Stephen Chapman….Ottawa….M25-29
748….Stephen Chisnall….Orleans….M19
749….Stephen Clayton….Ottawa….M55-59
750….Stephen Crossman….Ottawa….M20-24
751….Stephen Day….Ottawa….M50-59
752….Stephen Donachey….Ottawa….M45-49
753….Stephen Donoghue….Ottawa….M35-39
754….Stephen Fryer….Nepean….M40-49
755….Stephen Goodman….Kanata….M40-49
756….Stephen Granleese….Ottawa….M50-54
757….Stephen Hunt….Stittsville….M40-49
758….Stephen Inskip….Ottawa….M35-39
759….Stephen Jacobsen….Ottawa….M40-49
760….Stephen Knox….Ottawa….M50-54
761….Stephen Laplante….Ottawa….M50-59
762….Stephen Lee….Nepean….M45-49
763….Stephen Lee….Ottawa….M55-59
764….Stephen Long….Ottawa….M40-44
765….Stephen Lowe….Orleans….M50-59
766….Stephen Mcgibbon….Perth Road….M50-54
767….Stephen Molaski….Kanata….M40-49
768….Stephen Osmond….Ottawa….M20-29
769….Stephen Pinsent….Ottawa….M40-44
770….Stephen Richards….Ottawa….M40-49
771….Stephen Roberts….Kanata….M45-49
772….Stephen Roster….Ottawa….M40-49
773….Stephen Shew….Ottawa….M40-49
774….Stephen Sunquist….Rockland….M35-39
775….Stephen Symons….Ottawa….M20-24
Photo Credit: .asiorders.com
I've travelled from Texas
To Old Loussianne
Through mountains and valleys and plains
Footsore and weary
I rested a while
On the banks of old Pontchartrain
The fairest young maiden
That I ever saw passed by when it started to rain
We both found a shelter
Beneath the same tree
On the banks of old Pontchartrain
I ventured a smile but she thought I was bold
I hastened to try and explain
Somehow I knew I would linger a while
On the banks of old Pontchartrain
We hid from the shower and hour or so
She asked me how long I'd remain
I told her I spend the rest of my days
On the banks of old Pontchartrain
As time drifted by we fell deeper in love
A love that would just bring her pain
I knew that one day I would leave her alone
On the banks of old Pontchartrain
I just couldn't tell her that I ran away
From a jail on the West Texas plain
I prayed in my heart I would never be found
To the banks of old Pontchartrain
Then one day a man put a hand on my arm
Said I must go west the same day
I said I couldn't without saying goodbye
On the banks of old Pontchartrain
Tonight I sit here alone in my cell
I know that she is waiting in vain
And hoping and praying someday to return
On the banks of old Pontchartrain
...............Hothouse Flowers
HDRI (3 exposures by three different HDRs)in Photomatix, Panorama in Photostitch, Polaroid-Filter (Alien Skin Exposure 2, Plug-In for PS), Unsharp Mask (overall 9 separate shots)
Info:
Exposures: 1/6 Sec.; 1/25 Sec.; 0.6 Sec.;
0.3 Sec.; 1/13 Sec.; 1.3 Sec.;
0.5 Sec.; 1/8 Sec.; 2 Sec.;
Aperture: f/3.5
ISO-Speed: 100
Focal Length: 18mm