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Thames Valley Police press statement - Police, fire and ambulance services remain at the scene of a large fire in Reading.
Officers were called at 2.56am today following a number of reports about the incident at a property in Rowe Court off Grovelands Road. Sadly, one person has died as a result of this incident. A number of other people remain unaccounted for. A 31-year-old man from Reading has been arrested on suspicion of arson and murder, and is in custody. We are working with our colleagues on a search and rescue operation and will exhaust all our efforts to find signs of life. We expect this phase of the operation to continue today and into the evening and perhaps beyond. Three people have been taken to hospital, and these all have non-life-threatening injuries. An additional eight people were treated by the ambulance service at the scene.
A number of other people have been evacuated and are being cared for by the local authority and partners.
RBFRS Press statements - At 2:51am on Wednesday, 15 December, we received reports of a fire at a block of flats in Grovelands Road, Reading.
Royal Berkshire Fire and Rescue Service crews from Caversham Road, Wokingham Road, Theale, Whitley Wood, Wokingham, Bracknell, Ascot, Crowthorne, Slough, two pumps from Newbury and the Aerial Ladder Platform and Incident Command Unit were sent to the scene, together with seven officers and crews from Oxfordshire County Council Fire and Rescue Service.
Upon arrival, firefighters found a fire within a four-storey block of flats, affecting all levels. Sadly, one person is believed to have died, and there are a number of others who are as yet unaccounted for.
Sections you would find there
A #statement of #CashFlow comes with three mandatory sections. We can call them as the primary section. There is a fourth section too, but it is of optional nature, and you can leave it blank. Leaving the fourth section blank is not going to put any impact on the facts mentioned in the remaining report.
These handmade pillows are the perfect statement for any couch (or chair).
Price: $28
Perfect for: homeowners, decor nuts
Hoot + Louise
109 G. E. Patterson Avenue
Memphis, TN 38103
Here and there small towns and big cities make their own display or host a traveling set of crosses, in which each marker represents 100 or 1000 aborted fetuses, for example. This is a powerful and persisting visual statement. Does the opposing position have something equally visible, though: something to show how life is different for the woman thus impacted?
A wardrobe (corset) malfunction if there ever was one.
That can't be comfortable
edit: Hahahaha, all you people searching for "wardrobe malfunction tits" - are you masochistic or something? There's plenty of boobs online and you want to look at _this_?
Government Digital Service Executive Director Stephen Foreshew-Cain speaking to GDS team about the 2015 Spending Review.
WIT: Fishtank filled with water. SB-600 flash set on Manual with 1/8 output set against tank to the right with a piece of typing paper on left of tank for reflection. SB-600 with blue gel behind the tank shot through tracing paper set on TTL. Shot from floor up with D90.
Speakers deliver their statement during the general debate at the IAEA 64th General Conference. IAEA Vienna, Austria. 21 September 2020.
Photo Credit: Dean Calma / IAEA
WASHINGTON, DC - MAY 01: Revelers gather at the fence on the north side of the White House, pose for photographs, chant 'U.S.A.! U.S.A.!' and sing the Star Spangled Banner while U.S. President Barack Obama announces the death of Osama Bin Laden during a late evening statement to the press in the East Room of the White House May 1, 2011 in Washington, DC. Bin Laden has been killed near Islamabad, Pakistan almost a decade after the terrorist attacks of Sept. 11, 2001 and his body is in possession of the United States.
Other photo "options" are available at photos.TDLphoto.com/news/2011-05-01binladenparty
Photos by Tim Lundin | Freelance | tim@TDLphoto.com - TDLphoto.com
Turtle Bay, Manhattan, New York City, New York, United States
The Chrysler Building, a stunning statement in the Art Deco style by architect William Van Alen, embodies the romantic essence of the New York City skyscraper. Built in 1928-30 for Walter P. Chrysler of the Chrysler Corporation, it was "dedicated to world commerce and industry."- The tallest building in the world when completed in 1930, it stood proudly on the New York skyline as a personal symbol of Walter Chrysler and the strength of his corporation.
History of Construction
The Chrysler Building had its beginnings in an office building project for William H. Reynolds, a real-estate developer and promoter and former New York State senator. Reynolds had acquired a long-term lease in 1921 on a parcel of property at Lexington Avenue and 42nd Street owned by the Cooper Union tor the Advancement of Science and Art. In 1927 architect William Van Alen was hired to design an office tower to be called the Reynolds Building for the site. Publicized as embodying new principles in skyscraper design,*' the projected building was to be 67 stories high rising 808 feet, and it was "to be surmounted by a glass dome, which when lighted from within, will give the effect of a great jewelled sphere."-' In October, 1928, however, the office building project and the lease on the site were taken over by Walter P. Chrysler, head of the Chrysler Corporation, who was seeking to expand his interests into the real estate field.
Walter Percy Chrysler (1875-1940), one of America's foremost automobile manufacturers, was a self-made man who worked his way up through the mechanical an; manufacturing aspects of the railroad business before joining the Buick Motor Company as works manager in 1912. Because of his success in introducing new processes and efficiencies into the automobile plant, he rose quickly through the administrative ranks of General Motors (which had absorbed Buick) before personality conflicts with William C. Durant, head of General Motors, forced Chrysler to leave. In 1921 he reorganized Willys-Overland Company, and then took over as chairman of the reorganization and management committee of the Maxwell Motor Company, eventually assuming the presidency. This enabled Chrysler to introduce in 1924 the car bearing his name which presented such innovations as four-wheel hydraulic brakes and high compression motor.
Over 50 million dollars worth of cars were sold the first year, and in 1925, the Maxwell Motor Company became the Chrysler Corporation, Dodge Brothers was acquired in 1928 giving the Chrysler Corporation additional manufacturing facilities, a famous line of cars, and putting it in a position to challenge the leadership of Ford and General Motor By 1935, when Chrysler retired from the presidency of the Chrysler Corporation to become chairman of the board, the company was second in the automobile industry ir. volume of production.
It was while Chrysler was aggressively expanding his corporation in 1928 that he took over the office building project from Reynolds. In his autobiography, Chrysler said that he had the building constructed so that his sons would have something to be responsible for. He could not have been unaware, however, that the building would become a personal symbol and further the image of the Chrysler Corporation — even though no corporate funds were used in its financing or construction. To that end Chrysler worked with architect William Van Alen to make the building a powerful and striking design.
William Van Alen (1882-1954) studied at Pratt Institute before beginning his architectural career in the office or Clarence True, a speculative builder. Severs! years later while continuing his studies at the Beaux-Arts Institute 01 Design in the atelier of Donn Barber, Van Alen entered the office of Clinton * Russell as a designer. In 1908 he won the Paris Prize of the Beaux-Arts Institute and entered the Ecole des Beaux-Arts and the Atelier lLaloux. According to architect Francis S. Swales, "
His work at the Ecole indicated that the training was providing him with the mental freedom necessary to think independently, instead of merely the usual school -cargo of elements of architecture and a technique or competition by rules."0 Returning to New York in 1912 he introduced the concept of "garden11 apartments and also designed the Albemarle Building, a skyscraper without cornices. In the 1920s he became known for his innovative shop-front designs and for a series of restaurants for the Child's chain. With the Chrysler Building, Van Alen was able to apply modern principles of design to the skyscraper but at the same time created such a striking image that critic Kenneth Murchison dubbed him "the Ziegfield of his profession.
'In the 1930s he pioneered in prefabricated housing designs although they were never widely produced. Van Alen served for four years in the 1940s as director of sculpture for the Beaux-Arts Institute of Design, and he was a member of the American Institute of Architects and the National Academy of Design.
Work began on the Chrysler Building on October 15, 1928, when Chrysler acquire the lease, with clearance of the site. Construction proceeded rapidly; foundations to a depth of 69 feet were completed early in 1929, and the steel framework was completed by the end of September of that year.
The design of the building, however, was altered from that for Reynolds. Chrysler, in his autobiography, credits himself for suggesting that it be taller than the 1000-foot Eiffel Tower. The design of the crowning dome was also changed, and the addition of a spire, which the architect called a "vertex," made the Chrysler at 1046 feet the tallest building in the world at the time. Kenneth Murchison fancifully depicts Chrysler urging Van Alen to win the race to construct the world's tallest building.
Van Alen himself had personal reasons for achieving this goal, as a former partner, ii. Craig Severance, was constructing the Bank of Manhattan, 40 Wall Street, at the same time with the aim of making it the world's tallest skyscraper. Thinking that the Chrysler Building would be only 925 feet high, Severance added a 50-foot flagpole to his building making it 927 feet. Meanwhile, Van Alen designed the 185-foot spire which would make the Chrysler Building the tallest. The spire was fabricated, then delivered to the building in five sections, and assembled secret at the 65th floor.
In November, 1929, it was finally raised into position by a 20-ton derrick through a fire tower in the center of the building, then riveted i place, the whole operation taking about 90 minutes. This engineering feat capture the popular imagination as well as that of professionals, and it helped to further the progressive image of the Chrysler Building. However, the Chrysler lost its height distinction two years later with the construction of the Empire State Building.
The first tenants moved into the Chrysler Building in April, 1930, even though construction was not completed. Formal opening ceremonies were held on May 27, 1930 in conjunction with the annual meeting of the 42nd Street Property Owners and Merchants Association. A bronze tablet was placed in the lobby of the building "in recongnition of Mr. Chrysler's contribution to civic advancement." The building was considered finished in August, 1930, but curiously, the completion date recorded in the records of the Manhattan Building Department is February 19, 1932.
The Chrysler Building and Art Deco
Waiter P. Chrysler wanted a progressive image and a personal symbol. Van Alen strove* to create such an image using the tenets of modernism as he interpreted them. In so doing he designed a building which has come to be regarded as one of the outstanding examples of Art Deco architecture.
The term. Art Deco, which is also referred to by several different names such as the Style Moderne and Modernistic, is adopted from the Exposition International: des Arts Decoratifs et Industrie]s Modernes--an important European influence or. the American Art Deco sty!e--held in Paris in 1925.
In the period following the first World War, architects in Europe and the united States had begun to simplify traditional design forms and to use -industrial materials in innovative ways in order to characterize the modern age.
The Art Deco style seemed to lend itself particularly well to skyscraper design because the skyscraper, more than any other building type, epitomized progress, innovation, and a new modern age. Although the Art Deco style was short-lived, it coincided with a great building boom at the end of the 1920s in New York. The many-skyscrapers which were erected in the Art Deco style gave New York and its skyline a characteristic and romantic image, popularized in theater and films, which persisted until the next great building boom of the early 1960s. In the Chrysler Building, Van Alen used a variety of materials, techniques, and design forms which are characteristic of Art Deco.
The Chrysler Building rises 77 stories in a series of setbacks which accord with the regulations of the 1916 New York zoning prdinance. As a freestanding tower occupying about half a block, the building is visible from four sides. Like many Art Deco architects. Van Alen believed strongly in designing steel structures so that they would not be imitative of masonry construction.'- Also unlike many earlier skyscrapers, the design of the Chrysler did not follow the formula of a column with ornamental base, bare shaft, and ornamental capital; rather the design was to be of interest throughout the entire height.13 Both the great height of the building and the mandated setbacks aided Van Alen in making this design decision,
The first four stories of the building cover the entire site arid are faced with polished black Shastone granite at the first story and white Georgian marble above. The most striking features of this portion of the building are the two entrances, on Lexington Avenue and 42nd Street. Each entrance rises for h height of three stories in proscenium fashion and is enframed by Shastone granite. Set back within the deep reveals of the entrances are sets of revolving doors beneath intricately patterned metal and glass screens.
The treatment is such as to heighten the dramatic effect of entering the building --a concern of Art Deco design There is a one-story entrance on 43rd Street. Also at first story level are iarge show windows for shops, framed in metal. Windows for offices may be seen at the second, third, and fourth stories. Ornamental spandrels are set at the bases of the second story windows. The exposed metal frames of the entries and windows art of "Nirosta" steel, a kind of rust-resistant, chromium nickel steel, manufactured for the first time in the United States specifically for the Chrysler Building according to a German formula from Krupp. This use of a new. material is in keeping with Art Deco principles.
Above the fourth story, the building is penetrated on the east and west sides by light courts extending to the face of the tower, while on the north and south the structure gradually rises in a series of setbacks. The facing of the walls through the first setback at the sixteenth story is of white brick with contrast! white marble strips creating a basketweave pattern. The use of a variety of colo and textures is characteristic of Art Deco. Windows are set in a regular grid pattern. An. unusual feature of all windows in the building is that they have no reveals; frames are set flush with the walls. This was seen is another means of indicating modernity and progress.
In the next setback, ending at the twenty-fourth floor, there is a vertical emphasis with piers of white brick alternating with vertical window strips. Aluminum spandrels between the windows aid this effect. Spandrels at the twentieth twenty-first, and twenty-second floors are adorned with polished abstract relief ornament. At the corners of the twenty-fourth floor are placed conventionalized pineapples, about nine feet high, of "Nirosta" steel, which had been fabricated < the site.
The next three stories, through the twenty-seventh, form the third setback. Horizontal banding and zigzag motifs in gray and black brick contrast with the verticality of the setback below. The fourth setback, to the thirty-first story marks the emergence of the tower shaft from the lower masses. At the thirty-first floor the corners of the building are extended outward and crowned by huge ornamental Chrysler radiator caps in "Nirosta" steel, spanning about 15 feet.
The- extension was necessary to overcome the optical effect that would otherwise make the tower appear wider at the top than at the base. Also at this floor is a frieze ir. gra; and white brick of stylized racing automobiles with polished steel hub caps. Th ornamental features are overt symbols of the Chrysler Corporation and characteristic of the types of effects created by Art Deco architects.
The building had a number of innovative and desirable features. THe soundproofed office partitions were of steel made in interchangeable sections so that arranges! of any office suite could be changed quickly and conveniently. Under-floor duct systems carried wiring for telephone and electric outlets.
The elevators, specifically at Chrysler's instruction, were capable of speeds of 1000 feet per minute although city codes in effect in 1930 only allowed 700 feet per minute. The building also had three of the longest continuous elevator shafts in the world To enhance public access to the building, an underground arcade led to the IRT subway system. The connection was strongly opposed by the IRT, but Chrysler prevailed and the passageway was built at his expense. In the dome was the private-Cloud Club, which still exists, and, in the very topmost floor, a public observation deck.
On display was Walter P. Chrysler's box of handmade tools, the emblem of his enterprise and personal success. The observatory has been closed for many years.
Conclusion
Critics such as Lewis Mumford who favored the International Style denigrated the Chrysler Building for its "inane romanticism,... meaningless voluptuousness, ... /and/ void symbolism," " but it was these qualities which captured the popular imagination and helped make it one of the most famous buildings in New York. We can appreciate the comments of the editor of Architectural Porum who wrote:
It stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambition and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards.
The Chrysler Building still stands proudly in the New York skyline, its gleaming spire and soaring tower capturing the eye and imagination of the viewer. While it may no longer symbolize the Chrysler Corporation, it still embodies the romantic essence of the Art Deco skyscraper in New York City, with its dramatic effects, elegant materials, and vivid ornamental details. Built as a monument to progress in commerce and industry, it remains as one of New York's finest office buildings and great examples of the Art Deco style.
- From the 1978 NYCLPC Landmark Designation Report
Harvard scientist issues alien statement as 'not natural' space object approaches Mars
He's issued an 'immediate attention' warning to Congress and the United Nations
Is this fake or not (??)
Remember that foreign space object hurtling towards us at break-neck speed?
Well, the suspected comet, 3I/ATLAS, soared past Mars earlier this week, giving astronomers a closer glimpse. And now, Harvard scientist Avi Loeb has warned of the worrying reality if the object were, in fact, a hostile visitor from another planet.
The apparent space rock was first spotted back in July by a space telescope at Río Hurtado, Chile. It's thought to be an 'interstellar' space rock, having traveled from well beyond our solar system, and now through ours. Only two other interstellar objects have ever been identified; Oumuamua in 2017 and Borisov in 2019.
The European Space Agency (ESA) got a closer look at 3I/ATLAS as it passed Mars between 1 and 7 October. During its closest approach on 3 October, the comet was still 30 million kilometers away.
But ESA’s ExoMars Trace Gas Orbiter managed to capture blurry footage showing a small white dot; the comet’s core surrounded by a cloud of gas and dust called a coma.
The Flickr Lounge, I is for Intriguing - street performers seen at the Farmer's Market last Saturday. I suspect they have something to do with the Green Party, an assumption based on the fact that all the main political parties were present in some shape-or-form in central Paderborn that day and this lot were using dustbins as props.
ODC, Monochrome
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Intellectual Copyright: As of this morning I'm pretty darn sure someone has taken an image of mine without permission, possibly more than one. Despite my privacy and permission being set, from day one of being active on Flickr, so that only I can download and print my images and not allowing 3rd party sharing, etc, it still can (and will) happen from what I can tell.
The insult added to this injury is the fact that this person actually contacted me enquiring about buying a print of this image. I'm participating in a public forum for myriad reasons, but having my pictures misappropriated is not one of them. Not impressed!
Wandering around the city centre on St Patrick’s day, you’ll meet many diverse fun fashion statements to say the least… classy greens, sassy golds and demure nods to patriotism as people roll out in their Sunday best, while others parade full-on costumes ranging from the adventurous to the really out there ! (And that’s not including the official parade!)
This Paddy’s Day, we’re celebrating street fashion on a day of eclectic Irish fashion!
The National Leprechaun Museum and the SCOOP foundation joined up to give everyone (Dubliners and visitors) the chance to show off their Paddy’s Day Finery to the whole world, and set up a picture-book-photo-booth for them to get snapped in!
Entrants got snapped by our photographers on our set and then posted online… winners will be voted on by a worldwide audience! (There’s a range of categories and spot prizes to be won!)
Let us know your favourite by tweeting about it #lookoftheirish!
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The National Leprechaun Museum opened its doors in March 2010. Since then it has welcomed in excess of 150k visitors through its doors to explore Irish folklore, mythology and storytelling through our unique interactive experience.
Rave reviews from the likes of Time magazine, the Guardian, the BBC, and even the cast of Jackass, highlight the uniquely enjoyable experience for adults and children alike, exploring the world of Irish folklore in a series of fun and interactive spaces led by our great storytellers.
OPEN EVERY DAY!
10.30 – 18.30 (Last entry at 17.45)
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The SCOOP (Support Children Out Of Poverty / Stop Corruption On Our Planet) is a young, innovative and hard working organisation working and creating out of Dublin City, Ireland.
They endeavour to raise funds through their own events and unique ideas, in order to build schools and opportunities for children and young people caught in the poverty trap in the some of the poorest and more corrupt parts of the world.
They also wish to create a different type of charity in Ireland; one that utilises young and talented people to keep creating new and positive methods to achieve their many goals and aspirations.
Watch this space!
Registered charity CHY 18767
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Photography by Martin Bures & Jennette Donnelly
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The assignment was the utilization of the high and/or low range of the shutter speed for varying effects and results, applied onto any subject of your choosing. The concept was to capture objects of varying colours moving in front of a still model in a controlled lighting environment, creating an abstract and surreal relationship between the subject and the objects. During the execution of the concept, the object best fitting was coloured paper sheets, threw around the model, shoot at a shutter speed of 2-6 seconds, while the aperture didn’t do much for the depth of field given the black backdrop and tightness of the space, it did control how the light on the model and the paper sheets were received which were kept around at a small 13. The concept was not followed through fully as the coloured papers did not achieve the intended effect, while some shoot included a multicoloured dispositioned objected in front of a still model, most were shoots of the most and playing with lights, colours, and flash impression. The black backdrop definitely compliments the ghostly colours and the lighting, creating in some shoot a void effect where the subject is framed in darkness. It goes without saying the shoots with the thrown paper sheets created a layer of flowing stream of colour that seemed liquid and could be interpreted as forming shapes framing the model.
I became an aunt for the 3rd time on January 13, 1998. Arianna Marie Gomez was healthy and adorable, the product of my half-brother, Henry and his second wife, Sandy’s marriage. For the first few years of her life, we were lucky enough to see “Ari” regularly. The unfortunate dissolution of Henry and Sandy’s marriage would change that.
As time passed I would wonder about Ari. How was she handling the divorce? Did she ever see her dad? What were her favorite subjects in school? Did she ever think about me?
Thanks to the magic of Facebook, I was able to re-connect with Ari. On my computer screen I saw a hint of that child I knew now in the body of a woman. In her posts she talked about school, her friends and music from people I had never heard of, all in a language I wasn’t quite sure was English. Who was this stranger? With that question in mind, I made my way up to Sacramento.
What I hoped to capture in my three short visits were a collection of images that would define who Ari is now. Instead they revealed who Ari is to ME now. In Spanish, the word for aunt is “tia”. As a sign of respect, I call all my aunts and uncles “tia” or “tio”. Ari is a girl who knows I’m her aunt but doesn’t call me “tia”. This distance made her extremely shy and self-conscious; the complete opposite of the sassy profile pictures I saw online.
My hope is to continue this project into the future and, in turn, continue to develop our relationship. These images serve as an introduction for the audience and a re-introduction for me.
Statement von Generalsekretär Johannes Kyrle zur Befreiung des im Jemen entführten Österreichers Dominik N. und zwei weiteren Geiseln aus Finnland. Aussenministerium, Wien, 09.05.2013, Foto: Dragan Tatic
Strobist info: 580EXII triggering Alien Bee B800 (3/4), shoot through umbrella camera left. Camera right silver reflector.
48 Pontiac - Do a Google image search for "Pontiac hood ornaments" sometime ....... probably the most photogenic.
1306 Government Street, Victoria, BC
Statement of Significance
Description of Historic Place
The Palace Cigar Store is a two-storey, brick commercial building located on the west side of Government Street within Victoria’s Old Town. The building features a prominent arcade of three round-headed windows, each springing from a pair of columns, across the upper storey. The ground floor has a retail storefront with a central recessed entrance.
Heritage Value
The Palace Cigar Store is symbolic of the development of Victoria’s Old Town during the city’s early twentieth century economic renewal. At the time, there was increasing demand for retail space downtown, which resulted in construction activity along Government Street as the main shopping district. This building was an investment property for Heinrich Siebenbaum (1859-1942) who was born in Schleswig-Holstein, Germany, and arrived in Canada in 1893. By 1899, he was the operator of the Palace Saloon in the adjacent Adelphi Building at the corner of Government and Yates Streets. 1306 Government Street was opened as the Palace Cigar Store, with offices above. Siebenbaum’s business was destroyed in 1915 in local attacks on German commercial properties after the sinking of the Lusitania in World War One.
The Palace Cigar Store is additionally significant as an example of the transition from the Late Victorian era to the Edwardian era at a time when architectural styles, as well as building technologies, were changing. It typifies the late persistence of the Romanesque Revival style, as shown in the round-arched window openings on the upper floor. The ground floor was originally a single arched opening, further emphasizing a Romanesque character, but was later modernized to a rectangular storefront in line with changing commercial tastes.
Source: City of Victoria Planning Department
Character-Defining Elements
Key elements that define the heritage character of the Palace Cigar Store include its:
- location on Government Street, part of a grouping of late-nineteenth and early-twentieth century historic masonry buildings in Victoria's Old Town
- continuous commercial use
- siting on the front and side property lines, with no setback
- commercial form, scale and massing, as expressed by its two-storey height, symmetrical rectangular plan and flat roof
- masonry construction, including pressed brick façade, common brick side and rear walls, and stone cornice
- Romanesque Revival style details, such as round-arched window heads, coupled columns with foliate cushion capitals, simply articulated archivolts, and corbelled brickwork
- fenestration, such as one-over-one double-hung wooden-sash windows with fixed semicircular transoms
- early storefront with central entry and plate glass display windows
- Canada's Historic Places
In a statement today, the United Nations Assistance Mission in Afghanistan (UNAMA) welcomed the timely completion of the adjudication of complaints by the Independent Electoral Complaints Commission, and the announcement of the final list of candidates for the country’s 2014 Presidential and Provincial Council polls by the Independent Election Commission. The Secretary-General’s Special Representative, Ján Kubiš (centre image), wished the 11 Presidential candidates and the 2,713 Provincial Council candidates, with the latter including 308 women, a productive and fair campaign.
"The completion of the candidate nomination period marks another important step for the Afghan people in the process of electing the country's next leader and Provincial Councils," said Mr. Kubiš. The UN envoy also urged Afghan electoral and state bodies, and the candidates and their teams, to take all measures to ensure the election process and their conduct are marked by the highest degree of integrity, free from internal and external interference and fraud.
Shown here, IEC officials announce the final list at a news conference in the Afghan capital, Kabul.
Photo: Eric Kanalstein / UNAMA
Statements und Podiumsdiskussion: "Neue Heimat – Neue Perspektiven: Aufstieg durch Migration"
v.l.n.r.: Dr. Michael Werz, Cem Özdemir, Tamar Jacoby, Howard Duncan
Foto: CC-BY-SA Stephan Röhl / www.boell.de