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Lowaldie is an example of a town with minimal development. The only siding on the Brown's Well line without a goods shed, it was surveyed into 72 township allotments.

One allotment was dedicated as a site for an Institute.

Half of the allotments were offered for sale in 1914 but only one was sold. All unsold allotments were put up for auction in 1916. Again only one was sold. Only two buildings were ever erected in the town: a residence which was used as a hall for seven years, and the Institute.

Despite this, it had a post office, phone exchange, limited general store and grain buyer. They all operated from the residence. The Institute was also used as a school and for church services. The town had cricket and tennis clubs. [Ref: Murray Mallee Heritage Survey (1998) A & P Kloeden Bruce Harry & Associates]

 

*FUNDS OBTAINED BY CONCERT July 16

A successful concert was given in the Lowaldie Hall on Saturday evening, July 15. The proceeds were in aid of a new hall: the one now in use is too small.

 

The apple bobbing, ladies’ nail driving, and gentlemen's sewing competitions attracted a large number of entries. \

A dance followed. Supper was provided by the ladies. [Ref: Murray Pioneer and Australian River Record (Renmark) 21-7-1922]

 

*New Institute Hall

The Lowaldie institute is nearing completion, and arrangements are being made for the laying of the foundation stone on November 15. Tea and a social and dance will follow.

Mr C T Haines was the contractor. Messrs O R Williams and M Earl placed the first stone in position and Mrs George Haines put the last brick of the chimney in position. [Ref: Advertiser (Adelaide) Tuesday 12-11-1935]

 

*Foundation Stone and Opening

15 November

The ceremony of setting in the foundation stone and opening the institute was held. Mr J H Gray set in the foundation stone and Mr C W Jones opened the institute.

The speakers, who were the pioneer settlers of the district, were introduced by Mr F Ridge.

 

In the evening a concert was held, Mr J H Gray being chairman. Items were rendered by Mesdames W S Tonkin and G A Haines, Misses June Williams, Ruth McClean, Fay Tonkin, and A M Galley, and Messrs D Oakley, R Ritchie, and J A Gray.

A dance followed, Mr F O'Malley being MC. Music was supplied by Miss G M Lawson and Mr R Ritchie. A strawberries stall was in charge of Mesdames O R Williams, A Marks, and V Klaebe, and Mr J C Boyce had charge of the cool drinks. A profit of about £17 was made. [Ref: Advertiser (Adelaide) 11-12-1935]

 

*A Spinsters' Ball was held in the Lowaldie Institute in aid of the school fund. Novelty dances were won.

The MC's were Miss M Miller and Mr F O'Malley. [Ref: Advertiser (Adelaide) 5-5-1936]

 

*The first anniversary of the opening of the Lowaldie Institute was celebrated with a concert and dance and strawberry fete.

Mr J H Gray was chairman. The music for the dance was supplied by Oakley’s Orchestra. A birthday cake, made and iced by Mrs O R Williams, was won by Miss F E Griffiths. Mr A Jones was MC. More than £8 was cleared. [Ref: Advertiser (Adelaide 14-11-1936]

 

*A cricket match between Lowaldie and Yurgo resulted in a win for Yurgo. Scores:— Yurgo 104 Lowaldie 91 (R Williams 30 C Lukeman 28).

Tea was provided in the Institute.

In the evening a dance was held in aid of the cricket club. Oakleys’ Orchestra supplied the music. Mr A Nurse was MC. The takings were £6. [Ref: Advertiser (Adelaide) 13-2-1937]

 

*A social was held in the Lowaldie Institute in aid of the institute fund.

Music for the dancing was supplied by Mrs O R Williams. Mr A Nurse was MC.

A floater supper was enjoyed by those present. [Ref: Advertiser (Adelaide) 29-7-1937]

 

*The annual break-up concert of the Lowaldie school was held at the school in the form of an outdoor concert. The children trained by the head teacher (Miss L Willmott) gave several items, after which they were each given a present off the Christmas tree.

 

Prizes for good work during the year were won by Eva Hoff, Edmund Hoff, Sydney Langford, Peter Olson, Ron Roecke, and Stanley Gray.

The manual work made by the children during the year was on sale, the stalls being in charge of Ron Roecke, Edward Olson, Arthur Hoff, and Stanley Gray.

Supper was served by the women. [Ref Advertiser 22-12-1937]

 

*A dance was held in the Lowaldie Institute in aid of the Lowaldie school. Music was supplied by Oakley's Orchestra. Mr C Ern Langford was MC.

A pasty supper was supplied by the women.

 

Arbor Day was celebrated at the Lowaldie school. A sports programme was conducted for the children. Several trees and shrubs were planted. Lollies and oranges were given to the children.

Dinner and tea were supplied by the women.

A busy bee at the cricket oval grubbed the mallee stumps and put down a new pitch. [Ref: Advertiser (Adelaide) 29-7-1938]

 

*A combined Sunday School Anniversary of the Borrika and Lowaldie Sunday Schools was held at the Lowaldie Institute (Karoonda circuit). Items were rendered by both schools, 24 scholars taking part. Rev S G Forth gave a fine children's address at each service. Mrs R Williams, Lowaldie, and Miss Cowled, Borrika were the pianists.

At the close of the afternoon service, award books were presented to the scholars. Tea was provided by the ladies. [Ref: Australian Christian Commonwealth (SA) 17-11-1939]

 

*Proceeds from annual concert and dance to celebrate the sixth anniversary of opening of institute on November 29 amounted to £16 12.

Profit from this entertainment is being donated to Queen of Navy (Betty Williams) for Prisoners of War Fund. [Ref: Advertiser (Adelaide) 3-12-1941]

 

*A very successful dance was held at Lowaldie on Saturday, April 17. The hall was well filled and novelties provided much amusement. The proceeds were in aid of Red Cross and Fighting Forces Comforts Funds. [ Ref: Murray Pioneer (Renmark) 22-4-1943]

 

*At Lowaldie on Saturday evening a concert in aid of Red Cross queens was given by folk from Lowaldie and surrounding towns including Karoonda and Sandalwood.

After the concert dancing was indulged in.

The evening was very successful from a social as well as a financial viewpoint: the attendance was very good and the Lowaldie Hall was packed, people having come from miles around. [Ref: Murray Pioneer (Renmark) 24-6-1943]

 

*A social was tendered to Mr and Mrs J H Gray.

Mr Gray is a pioneer of this district, having resided there for 31 years. Mr C W Jones, on behalf of the community, presented the guests with a wallet.

Trustees of Karoonda Methodist circuit also made a presentation. [Ref: Advertiser (Adelaide 12-11-1943]

 

*Lowaldie — On February 2, a large crowd attended a welcome home dance in honour of WO Don Coombe, who after six years' service with the RAAF, has recently been discharged. A gift was presented by Mr S T Barr on behalf of Lowaldie Institute Committee and friends assembled.

Music was supplied by C Goodhand (piano accordion), E Stokes (drums) and M D Williams (piano). [Ref: Advertiser (Adelaide) 12-2-1946]

 

*A welcome home dance was recently held in the hall. During the evening an honour roll was unveiled by Mrs S T Barr. This was designed and carved by Mr Jack Peake, of Karoonda. [Ref: Advertiser (Adelaide) 12-10-1946]

 

*At Lowaldie Mr C W Jones, on behalf of local residents, presented Mr, Mrs and Miss Waters with a wireless set as a token of appreciation for service rendered during the past 18 years.

Mr Waters is the postmaster, and his wife and daughter attend to the cleaning of the hall after functions. [Ref: Chronicle (Adelaide) 17-10-1946]

 

*Busy Bees

BEES destroyed the concentration of worshippers at a recent harvest thanksgiving service at Lowaldie, near Karoonda.

The annual service is held in the local hall, but since bees have been in residence there for months, this year it was considered safer to move into the little iron kitchen adjoining. Even then, two members of the congregation were stung and the caretaker hovered in the background, ever ready with a bottle of methylated spirits for use as an antidote [Ref: News (Adelaide) 7-4-1948]

 

*Griffiths-Abbott

At the Methodist Church, Karoonda, on Saturday, March 6th the marriage was solemnised of Margaret A youngest daughter of Mrs and the late Mr H Griffiths, of Lowaldie, to Rex M only son of Mr and Mrs J Abbott, of Long Valley, Strathalbyn. The Rev A Holdway officiated, and Mrs Ron Abbott, of Karoonda, presided at the organ.

After the ceremony all journeyed on to the Lowaldie Hall, which was beautifully decorated for the occasion by her Lowaldie friends, and a dance took place. Afterwards a dainty home-made supper was served and thoroughly enjoyed by all. [Ref: Southern Argus (Port Elliot) 13-5-1948]

 

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

The Roman Catholic Deanery Catholic Church Telfs is located in the market town of Telfs in the district of Innsbruck-Land in Tyrol. The parish church Peter and Paul belongs to the deanery Telfs in the diocese of Innsbruck. The church is a listed building.

History

In 1113, the consecration of a chapel was recorded. The already existing longer parish was first mentioned in documents in 1233. 1331 called a document a parish church Saint George and 1352 a document a parish church Saints Peter and Paul. For the 1475 consecrated church fires for 1447, 1550 and 1552 have been recorded. The church became a deanery church in 1602, with the dean's office temporarily moving to Flaurling. An extension was consecrated in 1666.

Today's monumental twin-towered Romanesque church was built from 1860 to 1863 by architect Johann Eiter according to the plans of the road and bridge architect Leopold von Claricini-Dornpach and consecrated in 1886. The western Romanesque Petersturm (Saint Peter's Tower) and the eastern still Baroque Paulsturm (Saint Paul's Tower) were built in 1901 by the master builder Alfons Mayr according to the plans of architect Leopold Heiß from 1898.

Architecture

Interior of the church: After the demolition in 1981: Choir without organ prospectus: seating with aisle

The three-aisled cruciform basilica with a semicircular choir has two façade towers with coupled and provided with trefoil blind arch acoustic windows and pointed gable helmets. The aisles are equipped with transept arms with triangular gables. The transept arms are continued with sacristy buildings designed in the same way. The outer walls were divided by fields with round-arched frieze conclusion. The portals and windows are round-arched with laterally adjusted columns. The southern main façade with the towers has a rosette, a triangular gable with arched frieze and a statue of the Good Shepherd and shows a Nazarene lunette fresco with the appearance of the Risen Lord on the Sea of ​​Galilee by the painter Johann Kärle (1902).

Inside the church, clustered colums and round pillars alternate with neo-Romanesque capitals. The nave, the crossing and the choir yoke have a cross vault, the transept arms barrel vaults. The main apse and side altars are half-domed vaulted. The nave has arched windows in the aisles and clerestories. In the transepts is each a circular window. In the choir, there are round-arched three- mullioned windows to the sacristies on both sides.

In 1962, with the architect Josef Lackner followed an overpainting of the wall and vault painting with bright white for a luminous interior of the church. The organ choir was transferred to the sanctuary. In the main entrance, a square baptistry was installed in the middle between the entrance doors on the left and right with glass windows and concrete crosses. The people's stood in the middle in the transept with a seating left and right and a seating in the central ship of the nave. With the paradoxical claim A future for the past, the interior of the church was renewed (back into the past) in 1981.

Equipment

The high altar crucifix from the beginning of the 19th century was transferred here from the Calvary St. Moritzen. The right side altar bears a former procession figure Saint Sebastian by the sculptor Urban Klieber from the end of the 18th century. The station pictures around 1730/1740 are from the workshop Michael Ignaz Mildorfer. At Christmas time, a wooden nativity scene by Josef Anton Puellacher from the end of the 18th century is set up.

A bell was cast in 1740 by Johann Paul Schellener.

 

Die römisch-katholische Dekanatspfarrkirche Telfs steht in der Marktgemeinde Telfs im Bezirk Innsbruck-Land in Tirol. Die Pfarrkirche Peter und Paul gehört zum Dekanat Telfs in der Diözese Innsbruck. Die Kirche steht unter Denkmalschutz.

Geschichte

Im Jahre 1113 wurde die Weihe einer Kapelle beurkundet. Die bereits länger bestehende Pfarre wurde 1233 erstmals urkundlich genannt. 1331 nannte eine Urkunde eine Pfarrkirche hl. Georg und 1352 eine Urkunde eine Pfarrkirche Hll. Peter und Paul. Für die 1475 geweihte Kirche wurden für 1447, 1550 und 1552 Brände genannt. Die Kirche wurde 1602 Dekanatskirche, wobei der Sitz des Dekanates zeitweise nach Flaurling wechselte. Ein Erweiterungsbau wurde 1666 geweiht.

Der heutige monumentale doppeltürmige neuromanische Kirchenbau wurde von 1860 bis 1863 vom Architekten Johann Eiter nach den Plänen des Straßen- und Brückenbaumeisters Leopold von Claricini-Dornpach erbaut und erst 1886 geweiht. Dem westlichen neuromanischen Petersturm und dem östlich noch barocken Paulsturm wurden 1901 neue einheitliche Turmabschlüsse vom Baumeister Alfons Mayr nach den Plänen des Architekten Leopold Heiß aus 1898 aufgesetzt.

Architektur

Kircheninneres: Nach dem Rückbau 1981: Chor ohne Orgelprospekt: Bestuhlung mit Mittelgang

Die dreischiffige kreuzförmige Basilika mit einem halbrund schließenden Chor hat zwei Fassadentürme mit gekoppelten und mit dreipassförmigen Blendbögen versehenen Schallfenstern und Spitzgiebelhelmen. Die Seitenschiffe sind mit Querschiffarmen mit Dreiecksgiebeln versehen. Die Querschiffarme werden mit gleich gestalteten Sakristeianbauten fortgesetzt. Die Außenwände wurden durch Felder mit Rundbogenfriesabschluss gegliedert. Die Portale und Fenster sind rundbogig mit seitlich eingestellten Säulen. Die südliche Hauptfassade mit den Türmen hat eine Rosette, einen Dreieckgiebel mit Rundbogenfries und eine Statue des Guten Hirten und zeigt ein nazarenisches Lünettenfresko mit der Erscheinung des Auferstandenen am See Genezareth des Malers Johann Kärle (1902).

Im Kircheninneren wechseln sich Bündelpfeiler und Rundsäulen mit neuromanischen Kapitellen. Das Langhaus, die Vierung und das Chorjoch haben ein Kreuzgewölbe, die Querschiffarme Tonnengewölbe. Die Hauptapsis und Seitenaltarnischen sind halbkuppelig überwölbt. Das Langhaus hat Rundbogenfenster in den Seitenschiffen und Lichtgaden. In den Querschiffen ist je ein Kreisfenster. Im Chor sind beidseits rundbogige Drillingsfenster zu den Sakristeien.

1962 erfolgte mit Architekt Josef Lackner eine Übertünchung der Wand- und Gewölbemalerei mit hellem Weiss für ein lichtvolles Kircheninneres. Der Orgelchor wurde in den Altarraum versetzt. Im Haupteingang wurde mittig zwischen den Eingangstüren links und rechts mit Glasfenstern und Betonkreuzen eine quadratische Taufkapelle eingerichtet. Der Volksaltar stand mittig im Querschiff mit einer Bestuhlung links und rechts und einer Bestuhlung im Mittelschiff des Langhauses. Mit dem paradoxen Anspruch Eine Zukunft für die Vergangenheit wurde das Kircheninnere im Jahre 1981 rückerneuert.

Ausstattung

Der Hochaltarkruzifix aus dem Anfang des 19. Jahrhunderts wurde vom Kalvarienberg St. Moritzen hierher übertragen. Der rechte Seitenaltar trägt eine ehemalige Prozessionsfigur hl. Sebastian vom Bildhauer Urban Klieber aus dem Ende des 18. Jahrhunderts. Die Stationsbilder um 1730/1740 sind aus der Werkstatt Michael Ignaz Mildorfer. Zur Weihnachtszeit wird eine Bretterkrippe von Josef Anton Puellacher aus dem Ende des 18. Jahrhunderts aufgestellt.

Eine Glocke goss 1740 Johann Paul Schellener.

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Centro antigo de Sao Paulo

 

456 anos da cidade de São Paulo: Um momento para refletir

  

Na próxima segunda-feira, 25, a cidade de São Paulo irá completar 456 anos. Nesta época, a mídia costuma fazer dossiês e oferecer opções para a população comemorar o nascimento da metrópole. No entanto, de uns anos para cá, inclusive em 2010, pode-se perceber que o “romantismo” que algumas pessoas apresentavam pela cidade de São Paulo está um pouco abalado.

 

Prova disso é o resultado de uma pesquisa divulgada nesta semana, onde foi constatado que 57% dos paulistanos deixariam a cidade se pudessem. O estudo encomendado pelo Movimento Nossa São Paulo revela que problemas como a constante violência, a precariedade dos serviços públicos e a falta de conscientização de certos individuos para questões que afetam a todos, fazem com que São Paulo seja uma cidade de dificil convivência.

 

Os problemas não param por ai. Nas últimas semanas estamos nos deparando com uma cidade sem infra-estrutura para lidar com chuvas e sem perspectiva de melhoras. Nos acostumamos a ver os rios Tietê e Pinheiros transbordarem. Cada vez mais, notícias anunciando número de mortos, em decorrência de chuvas torrenciais se tornam mais constantes nos veículos de comunicação.

 

Sabemos que São Paulo não é a única cidade brasileira que sofre com problemas como esses, mas acredito que essa data é importante para refletirmos sobre os rumos que a cidade está tomando. Só reclamar não adianta. Por isso que eu venho aqui no Respostas e pergunto a vocês o que os paulistanos têm feito pela cidade? Será que é um momento apenas para comemorar ou para refletir sobre o que pode ser feito para melhorar a qualidade de vida de quem vive aqui?

 

São Paulo é uma cidade linda, multicultural, repleta de possibilidades e oportunidades. Inspiração para muitos artistas de diversas esferas. Um lugar com identidade própria e o que caracteriza essa identidade, é o fato de ter todas as caras ao mesmo tempo. Um lugaronde a neurose urbana e a pressa constante fazem com os que aqui habitam vivam em um estressante, mas indipensável, ritmo frenético.

 

Impossível falar da cultura paulistana sem citar o samba paulistano. Berço de compositores como Adoniran Barbosa, Paulo Vanzolini e Eduardo Gudin entre outros. Eles que tantas vezes se inspiraram em São Paulo para criarem letras que foram batucadas em caixinhas de fósforo, mas que se eternizaram fazendo com que a chama do nosso samba permanecesse acesa até hoje. O que nossos sábios mestres do samba diriam se vissem os rumos que a cidade está tomando? Será que eles se sentiriam inspirados com a realidade de São Paulo ou entrariam nas estatísticas daqueles que desejam migrar daqui?

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Unter der Bezeichnung Bodensee fasst man die drei im nördlichen Alpenvorland liegenden Gewässereinheiten Obersee, Untersee und Seerhein zusammen. Es handelt sich also um zwei verschiedene, aber räumlich nahe liegende Seen, die durch den Seerhein - ein Abschnitt des Rheins - verbunden sind.

 

Der römische Geograph Pomponius Mela erwähnt als Erster um das Jahr 43 n. Chr. den Obersee als Lacus Venetus und den Untersee als Lacus Acronius, die beide vom Rhein durchflossen würden. Plinius der Ältere bezeichnet den Bodensee um 75 n. Chr. erstmals als Lacus Brigantinus nach dem damaligen römischen Hauptort am See, Brigantium (Bregenz). Dieser Name stammt von dem ursprünglich hier ansässigen keltischen Stamm der Brigantier.

Die Bezeichnung „Bodensee“ leitet sich vom Ortsnamen Bodman ab. Dieser am Westende des Überlinger Sees gelegene Ort war im frühen Mittelalter für eine gewisse Zeit als fränkische Königspfalz, alemannischer Herzogssitz und Münzstätte von überregionaler Bedeutung, weshalb der Name auf den See übertragen worden sein dürfte („See, an dem Bodman liegt“ = Bodman-See). Der Name lacus potmanicus ist seit 833 n. Chr. bezeugt und hat sich im deutschen Sprachraum zu „Bodamer See“ und schließlich zu „Bodensee“ weiterentwickelt.[2] Man vergleiche auch den Namen des Bodanrück, des Höhenzugs zwischen Überlinger See und Untersee, und die Geschichte der Familie Bodman. Die deutsche Bezeichnung Bodensee wurde von zahlreichen anderen Sprachen übernommen, siehe z.B. nl. Bodenmeer, dän. Bodensøen, norw. Bodensjøen, schw. Bodensjön, isl. Bodenvatn, finn. Bodenjärvi, estn. Bodeni järv, lit. Bodeno ežeras, lett. Bodenezers, russ. Боденское озеро, poln. Jezioro Bodeńskie, tschech. Bodamské jezero, slowak. Bodamské jazero, ung. Bodeni-tó, bulg. Боденско езеро, ukr. Боденське озеро, kroat. Bodensko jezero, alban. Liqeni i Bodenit. Auch in Asien heißt der Bodensee so, z.B. marathi बोडन से Bōdana sē, mandarin 波登湖 / 博登湖, Bódēng-hú, kor. 보덴 호 Bodaen-ho, jap. ボーデン湖 Bōden-ko.

Nach dem Konzil von Konstanz im 15. Jahrhundert verbreitete sich im (katholisch-) romanischen Sprachraum der alternative Name Lacus Constantinus mit Bezug auf die am Ausfluss des Rheins aus dem Obersee liegende Stadt Konstanz, die ihren Namen (Constantia) wiederum wohl dem römischen Kaiser Constantius Chlorus (um 300 n. Chr.) verdankt, also frz. Lac de Constance, ital. Lago di Costanza, port. Lago de Constança, span. Lago de Constanza, rumän. Lacul Constanța. Auch im romanisch beeinflussten Englisch fasste der Name als Lake Constance Fuß und wurde seitdem von dort in weitere Sprachen exportiert, z.B: kiswahili Ziwa la Konstanz. Im Rätoromanischen existiert sowohl die Form Lai da Constanza als auch Lai Bodan.

Die poetische Bezeichnung „Schwäbisches Meer“ haben Autoren der frühen Neuzeit und der Aufklärung von antiken Autoren, möglicherweise Tacitus übernommen. Allerdings lag dieser Übernahme ein Irrtum zu Grunde (ähnlich wie etwa auch beim Teutoburger Wald und dem Taunus): Die Römer hatten nämlich nicht den Bodensee, sondern die Ostsee manchmal als Mare Suebicum bezeichnet. In Zeiten, als die Römer die von ihnen so genannten „germanischen Sueben“ auch in der Nähe eines Meeres verortet hatten, war dies verständlich. Die Autoren der Frühneuzeit übersahen dies und übernahmen die Bezeichnung für den größten See mitten im ehemaligen Herzogtum Schwaben, zu dem unter anderem auch die deutschsprachigen Gebiete der heutigen Schweiz gehörten.[3]

 

de.wikipedia.org/wiki/Bodensee

en.wikipedia.org/wiki/Lake_Constance

es.wikipedia.org/wiki/Lago_de_Constanza

Please don't use this image on websites, blogs or other media without my explicit permission. My photos are © all rights reserved , i.e. I OWN THE COPYRIGHT on all the photographs displayed. They are all very low resolution for display purposes only

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" No Surrender " 1985 Film - No Surrender is a dark humour Alan Bleasdale film.

 

Set in Liverpool in the 1980's, it has many sub plots going on at the same time involving 2 sets of pensioners (one Catholic and the other Protestant), a band who can't play, a magician who can't do magic, an underworld gangland boss torturing the previous manager, a group of very old mentally handicaped patients and enough bad language to make a Chubby Brown show look PG!!!!

 

A normal night out these days.

 

www.youtube.com/watch?v=wkxnDSjF0jo

 

www.youtube.com/watch?v=zpv0zNozIG4&feature=related People who should know a lot better !

   

en.wikipedia.org/wiki/Orange_Order

 

thathideousman.blogspot.com/2011/03/book-notes-orange-ord...

 

Traffic in Southport Town Centre was brought to a standstill this lunchtime as another Orange Parade marched to Princes Park.

 

www.qlocal.co.uk/southport/news_list/Orange_Lodge_March_I... See Comments

 

forums.icnorthwest.co.uk/viewtopic.php?f=29&t=14740&a... " Discussion " From The Message Boards - Members of the online community respond to the major issues of the day .

 

Do you think the Orange Lodge should pay for the July 12 policing costs?

 

www.southportvisiter.co.uk/southport-news/southport-south...

 

Southport Orange Parade organisers given a clear message after 16 people were arrested

 

www.liverpoolecho.co.uk/liverpool-news/local-news/2011/07...

 

See Comments - Let's have a heated debate

 

www.liverpool-lol.co.uk/ Liverpool Loyal Orange Lodge Site

 

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The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.

 

In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!

 

So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.

 

Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)

 

The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.

 

In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.

 

In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.

 

In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.

 

A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.

  

Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)

 

Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.

 

In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.

 

In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.

 

In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.

 

Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.

 

A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.

 

CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)

 

Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.

 

In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.

 

In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.

 

In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.

 

A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.

 

CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)

 

Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.

 

In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.

 

In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.

 

In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.

 

Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.

 

CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)

 

Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.

 

In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.

 

In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.

 

In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.

 

Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.

 

CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)

 

Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.

 

In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.

 

In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.

 

In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.

 

What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.

 

CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)

 

The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.

 

In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.

 

In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.

 

In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.

 

What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.

 

CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)

 

Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.

 

In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.

 

In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.

 

In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.

 

What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.

 

Junior Saloon Car Championship (Race 1 Result FINAL)

 

The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.

 

In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.

 

In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.

 

In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.

 

What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.

 

Kumho BMW Championship (Race 1 Results)

 

Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.

 

In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.

 

In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.

 

In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.

 

Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.

  

Kumho BMW Championship (Race 2 Results FINAL)

 

In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.

 

In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.

 

In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.

 

And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.

 

That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.

 

See You All At The Next One!

             

© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Gardens

 

Link to Cincinnati Zoo's Web Site ..............

 

Cincinnati Zoo

  

"Link to the Cincinnati Zoo's Flickr photostream".

  

Cincinnati Zoo

 

Mexican Wolf

 

Canis lupus baileyei

  

Also known as "el lobo", the Mexican wolf is the smallest subspecies of the North American gray wolf. Wolves live in family groups called packs. The wolf parents are the leaders of the pack, called the alpha pair. The rest of the group includes their sons and daughters and possibly a few other close relatives. The wolf family eats, sleeps, travels, plays, and hunts together as a team. By hunting cooperatively, wolves can bring down prey much larger than themselves such as elk. While wolves may occasionally take down unprotected livestock, they much prefer wild prey. Once exterminated from the wild, Mexican wolves are being reintroduced into their former range in Arizona and New Mexico.

A wolf's howl can be heard more than five miles away.

A wolf's sense of smell is about 100 times better than a human's.

Dogs are descendents of wolves domesticated over thousands of years.

  

Fact File

  

Where to see them: Wolf Woods

 

Height: 4.5 to 5.5 ft

 

Weight: 60 to 80 lbs

 

Lifespan: 12 to 15 yrs in captivity

 

Habitat: Mountain and forest

 

Diet: Elk, deer, peccaries, rabbits, rodents, and carrion

 

Risk Status: Species at Risk (Endangered—U.S. Endangered Species Act)

 

***************************************************************************************************************

 

Have a nice night everyone!

6/5/13 2:20 PM

 

I don’t mind admitting these strobes are whipping my ass. So far I’ve winged it without the destructions. I have to wait for my wife to read me the destructions for the umbrellas. They are frustrating me. Then I have to buy a set of extension cords to plug the strobes in and figure out the hot shoe remote. @Sigmon Whitener, @Sammy Roberts, HELP! I’ll search the web for a tutorial. @Sammy, when you come to visit I may force you to help!

 

6/5/13 11:46:17 PM

 

Just setting up the umbrellas about whipped my butt. i got them up tonight. Now I have to run wires and figure out the remote synch. I have a synch that sets on my hot shoe and three extra cords that seem to go to no where. I may just turn these on and use available light.........I'll be forced sooner or later to go to a sight to see if anyone has a demo. I've got a lot of learning to do and these may just lie in the garage and replace my Van.

 

I get the soft box cloths, the snoot and I have some filters but the night might be over for me.

My extension cords etc are tied up with my PA in my trailer and it is pouring rain.

  

6/6/13 7:40 PM

 

I moved the strobes into the living room with built in Dry wall and outlets. I will be forced to dust the living room now. I may have set a trap for my wife and I to trip and fall down the steps! Yes, I did the floor job but didn’t know what I was doing there either. I will fix everything! First I have to learn how the synchs work!

 

I figured out how to turn on two of the three strobes but can’t figure out the sync receiver. I don’t think my D-600 has a plug in. Maybe the D-7000 does but it is in the shop. I will check the D-90. But just turning on the lights makes for some fun!

I really have to work on the light positions etc and have to give in and watch a tutorial on how to sync up the strobes. I have plugged in and out of every PA system known to man using adapters from hell but I can't find anywhere to plug into the D-600. I'll look at my other cameras. I may be doomed to buy another camera specifically for the strobes.

 

Practicing Pet Photography! Bad focus in the eyes...... I have to increase the aperture and shoot on manual. Obviously being behind the camera instead of using a remote would be better. However I thought maybe a running set up of a system might be fun for the group.

 

If I can make those strobes work correctly I may do some portrait work for friends. See the shadow off the magazine on my chest? I have to do things like turn the overhead light off. This is without the kicker or gold Umbrella flash. I also only used the modeling lights on the strobes as I can't figure out the syncs yet. If I do i may be dangerous. This means if you get any clients and need some excuse to come to Winston to shoot you can use my stuff. i have about three or four other backdrops to try. We need to get some curtains to take care of the outside light coming in. I am close but really need some practice.

 

Also you can see if you blow this up the magazine labels lose focus. So i also have to get the aperture down, which means setting the numbers higher f/16 an up....maybe that will help the depth of field.

 

www.flickr.com/photos/shanesflyingdiscshow/sets/721576339...

ⓒRebecca Bugge, All Rights Reserved

Do not use without permission.

 

The church (in Swedish Lunds Domkyrka) was originally built in the beginning of the 12th century in the Romanesque style - the high altar, dedicated to St Lawrence (Sankt Laurentius), was consecrated in 1145. But the church has been altered several times after this, leaving only the apse in its original form. The first of these alterations came as early as after a fire in 1234 in which the church suffered severely. There were also some major renovations made in the 1510s by German artist Adam van Düren. But the most substantial alterations were made by Carl Georg Brunius and Helgo Zettervall in the 19th century when the church was given what they thought was a more clean, medieval look - ignoring later additions to the church, but also ignoring how the church originally had looked like (most notable of these changes being the two western towers where the original towers were torn down and replaced by completely different looking towers of the 19th century gone medieval type).

To many users of Secondlife, mesh- assets created in external 3D modeling programs, has become an essential part of their user experience. But what if mesh never happened?

 

In Svarga, an ecosystem dating back to SL's earliest years, we can see what the world would look like. Unlike many other older, non-mesh simulators, there are also ZERO laggy sculpts. Everything you see around my avatar, including the bee, is 100% made from in world tools. Prims! Additionally, all textures are 512 or smaller.

 

Most astonishingly, every living thing in the simulator is actually *alive*. Scripted herbivores munch on grass, and carnivores eat the herbivores. Flowers and trees release seeds, and weeds bob on the water. Despite this incredible dedication to a life like scripted ecology, there was zero lag even at the highest graphic levels my system could handle.

 

Want to perfect optimizing your content for Secondlife? Head to Svarga, and study how they did it without modern tools.

There are times when I feel like I have been sitting in the silt and grime for longer than I remember, and my feet are heavy with the weight of the congealed mud webbed between my toes. This isn't normal. Surely it's not normal. The sun needs to reach out and tear a hole in the sky like 4 days past, when the light danced along my arm like little ants catching glimpses of fortune and prosperity.

The homeless in rural Florida have proven what I believed in all along. That they could help each other without paid staff, when given the proper resources. Homeless veterans, men, women, and children have shown that they can take a hand up, instead of a handout, and get their lives back in order. In less than three years there were five shelters; two for homeless Veterans.

 

We recently closed one shelter because the Mission in Citrus eliminated 75% of the homeless Veteran problem in Citrus County, and due to the slowdown in our present economy. Our shelters are geared to operate at the lowest cost, and to be moved or closed when necessary. They are located close to jobs and resources.

 

Close to 450 former residents still keep in contact with me through email, Facebook, or phone. I am so very proud of them, as their accomplishments are no less than a miracle. We are not faith based but live by faith. No one is forced to go to church, but over 90% attend services each week at the church of their choice. Our saying is that God runs things around here. And He does. Miracle after miracle has occurred during the past four years. A Good Samaritan to all in need. We are struggling now, as we have been denied funding because we do not have anyone who can write grants properly. But we are working on that. And all of the praise, glory, and honor, we give to God for all His blessings.

 

Over two thousand people were helped back into society since 2009, by using fewer dollars and more sense. Their success record is 80%, which is much higher than the national average. There are no security cameras or locked doors. Our foundation is based on that no one should lose their freedoms that so many Veterans have died for, unless they are a criminal. Since February 1st 2013, over 42 people moved into homes with jobs. That may seem small to many, but it was over 50% of our residents living at our shelters. Fourteen were children. Five were entire families.

 

Our 1st Veteran's shelter was opened on less than $5000, and a lot of faith. It is now approaching its fourth year of operation. Veterans have returned to society into their own homes after receiving their much deserved benefits. Similar shelters were built using millions. Formerly homeless Veterans run the shelter, after being helped themselves. All give a volunteer commitment. Fund raising is now in progress to increase their capacity. Our second shelter was designed after the John Wayne-type outposts in the old west. In rural areas, the homeless have to walk between 12-50 miles for help and services. The outpost provided meals, shelter, laundry, showers, and much more. It served many Veterans living in the woods and swamps, and those traveling around the country. The model was highly successful, before it’s closing due to lack of funds... Our next project is a mobile command center called Angels on Wheels. It will be able to help Veterans in any area with full service. The mobile vehicle will enable the Mission in Citrus to reach out to many Veterans, who are currently receiving little to no help.

 

“If we do not help them, who will?”

 

The Mission in Citrus Homeless Shelters were founded in 2008, after the Executive Director “I “became homeless. My research and personal experience showed that traditional shelters were not working, and too much of their budgets were spent on administration expenses, and not on the residents. Too many criminalized homelessness. Most of the homeless are not criminals; they just need the resources to get their lives back in order. A hand up, not a hand out. The focus is on jobs, and our Hire the Homeless program has been highly successful. The residents also help operate the shelter by paying for their upkeep with donations, once they find employment or receive disability. They volunteer thousands of hours to Habitat for Humanity, area food banks, Sertoma Club, Lion's Club, and many other nonprofits. No one is allowed to sit around. All earn their keep.

We have overcome many obstacles in the past four years, from 60 tents to 5 shelters. We had major fights with everyone from the Fire Marshal, Sheriff’s Dept., and many other agencies, including County Commissioners. We now have positive working relationships with all of them. We have earned their respect. We still have a long way to go.

 

Grant writing is hard because there is little time after helping so many people each day. We beg for 80% of our operating funds using collections sites, such as Wal-Mart, and County flea markets. Over 1000 people were helped last year with $120,000. The Mission in Citrus continues to fight for homeless rights. Our emails are sent to numerous government officials each day. Homelessness can decrease through more accountability of dollars. One shelter gets Federal funds, while operating at an annual cost of $38,000 a bed. It is cheaper to go to Harvard.

 

Our residents age from four days old to 72 years old. The new face of homelessness has become many homeless women and children. We are expecting two new babies in the next month. The days of the old homeless stereotype are over. The present economy is taking no prisoners.

Our long term goals are to share our system with others, and to increase our homeless Veterans beds by 150 by buying a motel. We soon hope to start a successful in-house drug and alcohol treatment shelter. The Mission in Citrus could easily become a movie as so many miracles have occurred there. When I turned 51 last year, over 200 former residents visited, Face booked, emailed, or called. That does not happen at normal shelters.

 

They take great pride as they have become a family, and lift each other up. We have two quotes. “If we do not help them…Who will? “And “We follow the parable of the good Samaritan.” We help all in need. In our history, we have never failed to feed and help anyone who has entered our gates. We even take food and water into the woods and swamps for many hard core Veterans, who have lost faith in society.

 

About The Mission in Citrus

 

Our Mission is to help all in need to the best of our ability. We follow the parable of the Good Samaritan, as there are no requirements for our services. We constantly reinvent the wheel to make it all work. The faces of homelessness can change as well as each individual’s circumstances. And there have been very few that we have not been able to help. Veterans have become our priority as we have seen their suffering the most.

 

To all the past and present residents of the Mission in Citrus. I am so very proud of you. You made it work. God gave us the direction and help through many. God bless you all and much Love to all of you

 

James M Sleighter – Founder and Executive Director of the Mission in Citrus

youtu.be/6M-MtZkZOzw?t=2s Full Feature

 

Starring Marshall Thompson, Kynaston Reeves, Michael Balfour, Kim Parker, Stanley Maxted, Gil Winfield, Shane Cordell, Terry Kilburn, James Dyrenforth, Peter Madden, Meadows White, and Lala Lloyd. Directed by Arthur Crabtree.

In December 1958 Eros Films, Ltd. had another British B sci-fi movie touring American. Fiend Without A Face (FwoF) ran as the B feature to "Haunted Strangler." Both were British productions being marketed in America by MGM. This is another example of the blurry line between sci-fi and horror. FwoF itself exists in that blurry zone. Mysterious, invisible "mental vampires" killing their victims takes up the bulk of the film. The final showdown with the creatures is classic monster movie. Yet, the tie-in to the customary misguided scientist and atomic energy keep FwoF in the sci-fi orbit.

Synopsis

A Canadian farmer is killed just outside of an American Air Force base in remote Canada. The villagers were already up in arms over the mere presence of the base (jets frightened their cows) so are convinced there is a mad GI on the loose. Major Jeff Cummings befriends the slain farmer's sister, Barbara. The base tests their super radar system again, but like before, it falters just as it seems to be succeeding. Something is draining off the atomic energy. More murders stir up the towns folk to revolt. Jeff is certain that a reclusive genius, Professor Walgate, is the key. Yet more murders occur, each preceded by a rhythmic thumping and squishing sound. Eventually, Walgate confesses that he was working on Thought Materialization -- telekinesis. He needed more power, so fabricated an energy hijacking device to siphon off the air base's transmitted power. (that's why the tests always failed) The extra power worked, but created separate beings rather than intensifying Walgate's own thoughts. The invisible beings escaped his lab and began to 'feed' on townsfolk by sucking out their brains. They need the reactor's power to exist. Jeff rushes to blow up the control room. The reactor is going into overload, so the beings become visible. Dozens of the brain and spinal cord things surround the house. They break in, kill a few people, but can also be killed. Many are. Just as one of the beings has got Barbara, the reactor is shut down. It falls limp. The brain things dissolve into foam. Jeff kisses Barbara. The End.

The monster murder mystery element is fairly well played so it keeps interest up. Once visible, the brain-things have some interest too. As a monster movie, it has some merit. Killer brain-creatures are quirky enough to stay interesting.

 

The Cold War provides a backdrop, but isn't the focus. The Air Force base's mission is early radar detection of Soviet aircraft coming over the pole. One could see the brain-things as manifestations of deadly atomic energy. (the invisible killer)They seem to fit better the usual science-gone-wrong theme.

Dr. Walgate fills the archetypal role of the naive scientist. He meant well with all his research and work. But, like many naive scientists who had gone before him, his assumptions prove wrong. His work gets away from him and becomes a force of destruction, not one of good for mankind. It has been fairly customary for the naive scientist to die at the hands (or whatever) of his creation. Walgate makes the noble sacrifice at the end, letting the creatures attack him while Jeff gets away.

The brain-creatures are akin to the "Id Monster" in Forbidden Planet. Man's most basic thoughts, if given independence, prove primal and ruthless. As a nuclear cautionary tale, the brain-creatures, man's primal thoughts, prove deadly if given atomic power. The stop-motion animation of the brain-creatures is not too bad. It's not Harryhausen, but it works.

We're told that the brain-creatures suck out the brains and spinal cord of their human victims. So, it interesting that the brain-creatures are depicted as brain shaped. They have a segmented spinal column which they use inch-worm-style for locomotion. They ARE what they eat.

The brain-creatures break the atomic reactor's control rods so people can't shut it down (the creatures need the radiation to exist). It is curious that screenwriters solve the problem with good old dynamite. Jeff blows up the control room to shut down the reactor. ?? The reactor core was already out of control. Why would less control help?

 

Bottom line? Most of FwoF is a fair horror flick with "mental vampires" and agonizing victims. Things get more interesting when the brain-creatures surround the house. Sure, the movie has its flaws, but is an entertaining 50s sci-fi. 4

 

Iloca IIa with Jlitar 3.5/45 V in Prontor-S shutter

 

The top model of the early Iloca cameras. The "II" indicates a rangefinder, and the "a" a body shutter button. An amazing camera, without question, very compact and very massive. Similar cameras of that time without rangefinder and with a 3- or 4-element lens usually have front lens focusing, the according upgraded versions with rangefinder move the whole lens inclusive shutter then, here the designer found another solution: for focusing only the rear lens is moving, so it can easily be coupled to the rangefinder, and shutter and front lens are firmly mounted to the camera body. The distance can be set with the lever near the lens, and it is displayed in the small hole on top.

 

The film is loaded through the bottom, like on a historic L*ica, with the same problem. It's very difficult to push the film over the sprocket wheel, so it is easier to do the "L*ica-cut", extend the film tip by removing some perforation on the upper side. I read, that some Ilocas have a removable DOF-chart on the back to make film loading easier, but mine hasn't. Instead the DOF-chart is in the top of the camera bag. Without back door the camera has another annoying feature: it has a double exposure lock and the shutter button is unlocked by turning the sprocket wheel, to which you have no access, so it is impossible to test the shutter without film. Luckily my exemplar has a solution for that problem: at the place where the shutter release lever was on models without body shutter button is a small slot. You can release the shutter there with the help of a tooth pick. This is extremely helpful when you've pressed the shutter button without tensioning the shutter before. (The cable release is locked together with the shutter button.)

Unfortunately the rangefinder of my copy is out of order. The semi-transparent mirror in the viewfinder part is more or less completely transparent, so you can't see the double image. I think, my camera is not the only early Iloca with that fault.

Another peculiar thing: the top housing is only hold by the two transport wheels, there are no extra screws.

After removing top and bottom of the camera, you can unmount the casing. Four screws are hidden under the leatherette beside the lens barrel. I did that and found ... pieces of film in the film chamber behind the lens - not really a surprise.

 

In most articles about Iloca you can read, that Wilhelm Witt was the owner of the company. Meanwhile I found out, that he wasn't its founder, but it was Walter Illing, in 1947. Obviously he was responsible for the "Il" in Iloca. Also the lens of my Iloca I is labeled with "Jlling Jlitar", however, the lenses were produced by Enna, Isco or Steinheil.

Copyright © 2011 Ruggero Poggianella. All rights reserved.

Please, do not use my photos without my written permission.

 

La Cattedrale di Palermo, dedicata alla Vergine Maria Santissima Assunta in cielo, è un grandioso complesso architettonico composto in diversi stili, dovuti alle varie fasi di costruzione.

Eretta nel 1185 dall'arcivescovo Gualtiero Offamilio sull'area della prima basilica che i Saraceni avevano trasformato in moschea, ha subito nel corso dei secoli vari rimaneggiamenti; l'ultimo è stato alla fine del Settecento, quando, in occasione del consolidamento strutturale, si rifece radicalmente l'interno su progetto di Ferdinando Fuga.

Nel 1767 infatti, l'arcivescovo Filangieri aveva commissionato a Ferdinando Fuga un restauro conservativo dell'edificio, teso solamente a consolidarne la struttura. I lavori ebbero inizio solo dal 1781, eseguiti non dal Fuga ma dal palermitano Giuseppe Venanzio Marvuglia e durarono fino al XIX secolo inoltrato. I rifacimenti del Marvuglia furono in realtà molto più invasivi e radicali dei progetti dell'architetto fiorentino, che pensava invece di conservare, almeno in parte, il complesso longitudinale delle navate e l'originario soffitto ligneo. Il restauro intervenne a cambiare l'aspetto originario del complesso, dotando la chiesa della caratteristica ma discordante cupola, eseguita secondo i disegni del Fuga. Fu in quest'occasione che si distrusse la preziosa tribuna che Antonello Gagini aveva innalzato all'inizio del XVI secolo e che era ornata di statue, fregi e rilievi. Anche le pittoresche cupolette maiolicate destinate alla copertura delle navate laterali risalgono al rifacimento del 1781.

In questa cattedrale, sintesi di storia e di arte dell'ultimo millennio, oltre ai sovrani normanni, furono anche incoronati Vittorio Amedeo II di Savoia e Carlo III di Borbone, figure importanti della storia siciliana.

La cattedrale è fiancheggiata da quattro torri d'epoca normanna ed è sovrastata da una cupola. A sud è collegata al Palazzo Arcivescovile con due grandi arcate ogivali si cui s'innalza la torre campanaria con l’orologio.

La facciata principale sulla via Bonello presenta decorazioni dovute a maestri lapicidi trecenteschi e quattrocenteschi. L'aspetto goticheggiante deriva dalla presenza delle torri a bifore e colonnine e dalle merlature ad archetti che corrono lungo tutto il fianco destro della costruzione.

Il fianco destro della costruzione, con le caratteristiche torrette avanzate e l'ampio portico in stile gotico-catalano (l'attuale accesso), eretto intorno al 1465, si affaccia sulla piazza. Il portale di questo ingresso è opera di Antonio Gambara, eseguita nel 1426, mentre i battenti lignei sono del Miranda (1432). La Madonna a mosaico è del XIII secolo; i due monumenti alle pareti, opere del primo Settecento, rappresentano Carlo III di Borbone a destra e Vittorio Amedeo II di Savoia a sinistra.

La parte absidale stretta fra le torricelle è quella più originale del XII secolo, mentre la parte più manomessa è il fianco sinistro. La facciata sud-occidentale, che guarda l'arcivescovado, va riferita ai secoli XIV-XV.

L'interno, che ha subito profonde trasformazioni tra la fine del Settecento e i primi dell’Ottocento, è a croce latina con tre navate divise da pilastri (gruppi tetrastili con 4 colonne incastonate provenienti dalla antica costruzione rogeriana) con statue di santi che facevano parte della decorazione della tribuna del Gagini.

Nella navata destra, la prima e la seconda cappella, comunicanti fra di loro, custodiscono le tombe imperiali e reali dei normanni, intorno alle quali ruota una storia romanzesca e ricca d'interesse. Ruggero II, re dal 1130, aveva stabilito già nel 1145 che il Duomo di Cefalù da lui fondato diventasse il mausoleo della famiglia reale. In tal senso aveva predisposto la sistemazione di due sarcofagi in porfido, un granito molto prezioso e di notevole durezza, originario dell'Egitto, dal colore rosso cupo che, nell'antichità, era usato esclusivamente per le commissioni imperiali. Alla sua morte nel 1154, però, egli venne sepolto nella cattedrale di Palermo in un avello di porfido dalla forma molto più semplice. Nel 1215 Federico II fece trasportare i due sarcofagi da Cefalù alla cattedrale di Palermo destinandoli a sé e al padre Enrico VI. Il sarcofago di Federico II è sormontato da un baldacchino con colonne in porfido e l'urna è sorretta da due coppie di leoni; insieme a quelli di Federico II sono stati conservati anche i resti di Pietro II d’Aragona. Le altre tombe sono quelle di Costanza d'Aragona (1183-1222), sorella del re d'Aragona e moglie di Federico II, di Gugliemo, duca d'Atene figlio di Federico III d'Aragona, e dell’imperatrice Costanza d'Altavilla, figlia di Ruggero II e madre di Federico II.

Sul pavimento della navata centrale è stata realizzata, durante i rifacimenti moderni, una meridiana in marmo con tarsie colorate che rappresentano i segni zodiacali, (opera di Giovan Battista Piazzi astronono qui collocata nell'anno 1801). Il ricco altare del Sacramento, in bronzo, lapislazzulo e marmi colorati, è stato realizzata su disegno di Cosimo Fanzago(XVII secolo). Nel presbiterio si dispone il bellissimo coro ligneo tardo-quattrocentesco in stile gotico-catalano e il trono episcopale, ricomposto in parte con frammenti d'antichi mosaici del XII secolo. Durante la fase dei restauri della fine del XVIII secolo, fu incaricato il pittore di Sciacca Mariano Rossi di decorare la Cattedrale. Gli affreschi, secondo il disegno originale, dovevano ricoprire il catino dell'abside, la volta del coro, la cupola e la navata centrale, e dovevamo rappresentare idealmente il ristabilimento della religione cristiana in Sicilia ad opera dei Normanni. Mariano Rossi iniziò nel 1802 e non terminò tutto il lavoro, ma ancora oggi si possono ammirare gli affreschi nel catino dell'abside, dove sono rappresentati Roberto il Guiscardo e il conte Ruggero che restituiscono la chiesa al vescovo Nicodemo e nella volta del coro, dove è dipinta l'Assunzione di Maria Vergine.

A destra del presbiterio si trova la cappella di Santa Rosalia, patrona di Palermo, con le reliquie e l'urna d'argento, opera seicentesca di Matteo Lo Castro, Francesco Ruvolo e Giancola Viviano, portata in processione durante la festa patronale il 15 luglio. I due altorilievi di Valerio Villareale, rappresentano: Santa Rosalia invoca Cristo per la liberazione della peste e l'Ingresso delle gloriose reliquie di Santa Rosalia a Palermo. Oltre al coro ligneo in stile gotico-catalano del 1466 e ai resti marmorei della tribuna gaginiana riadattati, di alto interesse artistico sono la statua marmorea della Madonna con Bambino di Francesco Laurana, eseguita insieme ad altri aiuti nel 1469, la pregiata acquasantiera (posta al quarto pilastro) opera incerta di Domenico Gagini e la Madonna della Scala eseguita nel 1503 da Antonello Gagini e posta sull'altare della sacrestia nuova.

© Copyright 2012 Francisco Aragão

© ALL RIGHTS RESERVED. Use without permission is illegal.

© TODOS OS DIREITOS RESERVADOS. Usar sem permissão é ilegal.

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Portuguese

O Largo de São Sebastião é um importante ícone para o cenário histórico e cultural de Manaus, relacionado diretamente com o ciclo econômico da Borracha que abrange o final do século XIX e início do século XX. Uma vez que o Turismo deve ter por finalidade a intensificação das relações humanas, além do consumo visual do lugar, surge a necessidade de um levantamento histórico a respeito dos patrimônios que compõe o Centro Histórico de Manaus, relevantes para a reafirmação da identidade cultural da população manauense, uma vez que a sociedade interpreta os diferentes períodos históricos por meio da valorização dos patrimônios que integram o seu contexto social. Sendo assim, por meio de um levantamento bibliográfico e documental, e a partir de um recorte temporal e espacial, o Largo de São Sebastião é apresentado dentro dos seus simbolismos, de sua relevância histórica e cultural e da sua importância para o Turismo na cidade de Manaus.

A HISTÓRIA DO LARGO

Em decorrência do ciclo econômico da Borracha, que já se fazia presente na exportação regional desde 1827, Manaus deveria se apresentar moderna, limpa e atraente .

Então, com a justificativa de modernizar e embelezar a cidade, os governantes da época passaram a se preocupar mais com a aparência do lugar, tendo em vista a atração de mais investimentos e a visibilidade internacional da então Tapera de Manaus .

Foi assim que Manaus rendeu-se a influência da Belle Époque, movimento que surgiu na França, entre o final do século XIX e o início do século XX, e visou a melhoria da qualidade de vida e estruturação das cidades.

É importante salientar também que as obras urbanísticas as quais Manaus foi submetida na época possuem influência direta do complicado traçado urbano aplicado pelo prefeito de Paris, o Barão Haussman, na própria cidade de Paris.

É nesse período de transformações urbanísticas e culturais marcantes que convém falar da praça, mais precisamente do Largo de São Sebastião, como espaço de sociabilidade e palco de importantes manifestações caracterizadoras de uma sociedade e dentro de um contexto histórico definido.

Ao falar do Largo de São Sebastião, imediatamente faz-se necessário abordar também os patrimônios que estão intimamente ligados a sua história e que se constituem como referências turísticas para a cidade de Manaus, como: o Teatro Amazonas, a Igreja de São Sebastião e o Monumento de Abertura dos Portos do Amazonas ao Comércio Mundial.

Inicialmente, o local onde hoje se situa a Praça de São Sebastião era uma pequena roça de propriedade do Tenente-coronel Antônio Lopes de Oliveira Braga e ficava localizado entre as ruas do Progresso, da Feliz Lembrança e de Gonçalves Dias.

No dia 7 de setembro de 1867, o médico Dr. Antônio Daví Vasconcelos de Canavarro, então Diretor das Obras Públicas, mandou preparar o referido terreno para que fosse erguido no mesmo uma coluna de pedra, de seis metros de altura e com quatro faces lisas, em homenagem ao ato de abertura do rio Amazonas ao comércio mundial.

Por volta de 1898, tornou-se necessário construir outro monumento em vista da necessidade de embelezamento do Praça de São Sebastião, já que a coluna apresentava em processo de deterioração. Mário Ypiranga (1972, p. 45) afirma ser o dia 5 de setembro de 1900 a data provável de inauguração oficial do Monumento de Abertura dos Portos do Amazonas ao Comércio Mundial.

O artista italiano Domenico de Angelis é o autor do monumento atual, porém, não foi o mesmo quem executou o projeto, uma vez que era normal o artista italiano contar com uma equipe de apoio. Domenico de Angelis não chegou a ver o monumento como um todo instalado no Largo de São Sebastião, uma vez que o mesmo faleceu em março de 1900, ou seja, antes da inauguração do monumento.

Mário Ypiranga tece algumas críticas com relação ao Monumento de Abertura dos Portos do Amazonas ao Comércio Mundial, já que o mesmo não apresenta nenhum traço característico da região amazônica, a não ser o escudo do Amazonas. O calçamento em torno do Monumento de Abertura dos Portos do Amazonas ao Comércio Mundial foi executado por Antônio Augusto Duarte, que calçou a praça com paralelepípedos de granito de origem portuguesa nas cores pretas e brancas, uma alusão ao encontro das águas negras do rio Negro com as águas barrentas do rio Solimões.

Anos antes da instalação do Monumento de Abertura dos Portos do Amazonas ao Comércio Mundial, tem-se a inauguração do Teatro Amazonas, considerado o símbolo mais importante do auge do ciclo econômico da Borracha na região amazônica.

Em 1883, o presidente José Paranaguá sugeriu a construção do Teatro no terreno que se localizava em frente a Praça Paysssandu, uma vez que o local apresentava-se ventilado e localizava-se bem no centro da cidade.

Porém, a existência do igarapé do Espírito Santo no local tornava o terreno impróprio para receber tal obra. Assim, foi escolhido o terreno localizado em frente a Praça de São Sebastião, que pertencia ao tenente coronel Antônio Lopes Braga. O local foi desapropriado em 1884 para o início da construção do teatro, por ordem do Presidente José Paranaguá.

A cor original do Teatro Amazonas é um assunto que gera polêmicas entre autores e pesquisadores da área. Otoni Mesquita afirma que o uso da cor rosa era freqüente nas fachadas dos prédios do século XIX. Além disso, a fachada divulgada em 1893 apresentava a 3 O ato de abertura do rio Amazonas ao comércio mundial deu-se em 7 de dezembro de 1866 pelo então Imperador do Brasil D. Pedro II. cor rosa, o que pode ter definido a escolha da mesma cor. Porém, o autor Mário Ypiranga Monteiro diz que a pintura cor-de-rosa do teatro é recente e de autoria do engenheiro Victor Troncoso.

Outro tema norteado por dúvidas e simbolismos é a cúpula de ferro do Teatro Amazonas. No acervo do teatro é possível encontrar um projeto metálico da cúpula, datado de 1894 e de autoria do desenhista Willy von Bancels, o mesmo autor da planta da cidade de 1893.

A armação de ferro é de origem européia e as telhas envernizadas foram importadas da região francesa da Alsásia. A grandiosidade da cúpula, que apresenta as cores verde, amarela, azul e branca, uma alusão direta a Bandeira Nacional, era uma forma de lembrar aos barcos estrangeiros que aportavam em Manaus que os mesmos estavam em terras brasileiras. É válido lembrar que na época era possível observar o Teatro Amazonas de quase todas as partes da cidade.

A construção da cúpula no alto do Teatro Amazonas foi alvo de inúmeras críticas na época. Tal fato é ratificado em vários documentos oficiais datadas da época, onde é possível até mesmo encontrar editais chamando concorrentes para a demolição da cúpula.

Após inúmeras paralisações no andamento das obras de construção do Teatro Amazonas, em virtude de vários motivos, o mesmo foi inaugurado oficialmente em 31 de dezembro de 1896. Consequentemente, a edificação atual do Teatro Amazonas não corresponde ao projeto original.

Assim como o Monumento de Abertura dos Portos do Amazonas ao Comércio Mundial e o Teatro Amazonas, a Igreja de São Sebastião tem uma importância fundamental para a história do Largo de São Sebastião. Tal fato é ratificado pelo próprio nome do largo, na época de concepção apenas praça, influenciado diretamente pela presença da igreja no local.

Otoni Mesquita afirma que a referência mais antiga a respeito da construção da Igreja de São Sebastião é datada de novembro de 1868, conforme os relatórios da província. A construção da Igreja de São Sebastião é datada de 1888, na qual a direção é atribuída a Gesualdo Machetti. Durante todo o período de edificação da igreja, verificam-se várias paralisações nas obras e modificações no projeto arquitetônico.

Porém, a partir de 1911, a queda dos preços da Borracha provocou o fechamento dos seringais na Amazônia. A economia do látex entrou em declínio principalmente no ano de 1913 e, em 1920, foi confirmada a falência da Borracha na região. Assim, os delírios de uma sociedade cuja economia baseou-se unicamente na produção da Borracha, um dos principais erros dos governantes da época, transformaram-se em angústias e decepções, refletidas na decadência de muitas famílias importantes na cidade de Manaus e nas ruínas de muitos patrimônios ao longo do tempo.

 

Fonte : Revista Eletrônica Aboré Publicação da Escola Superior de Artes e Turismo – Edição 03/2007

ISSN 1980-6930

MEMÓRIAS DO LARGO DE SÃO SEBASTIÃO

Jhonathan Nogueira Martiniano. e Elizabeth Filippini.

 

http://noamazonaseassim.com/a-historia-do-largo-de-sao-sebastiao/

 

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“It is time for our people to live in freedom, without walls and checkpoints”, urged President of the Palestinian National Authority Mahmoud Abbas in his address to MEPs on Thursday. He conveyed his people’s gratitude to the European Parliament for recognising a State of Palestine and criticised Israel for pursuing its occupation of Palestinian territories.

 

The “Palestinian nation wants to live in full sovereignty [...] and the EU, being a major player, is helping to create an embryo Palestinian State”, said President Abbas. He asked MEPs for more help to find a fair and just two-state solution based on the 1967 borders. Mr Abbas also welcomed the recent French initiative to revive the Middle East peace talks, but advocated for setting a deadline for these talks to end.

 

President Abbas also condemned the use of violence and terrorist attacks as a means to build a state, warning that terrorism could be eradicated from the region only if Israel puts an end to its occupation of Palestinian territories. “Israel has turned our country into an open prison”, he said.

 

European Parliament President Martin Schulz said that helping to ensure the stability and proper functioning of Palestine is a moral duty for EU. “Your presence here today, the day after President Rivlin delivered his address, sends a strong signal that the will to achieve a lasting peace between Israel and Palestine is still alive”, he added.

  

Read more:

www.europarl.europa.eu/news/en/top-stories/20160617TST326...

 

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Dal punto di vista storico sono stati i Saraceni ad occuparsi intensamente dell’olivicoltura in terra salentina, secondo quanto attestato da Bonaventura da Lama, il quale, nel 1724, fa riferimento ai fatti avvenuti tra il 769 ed il 963, un arco temporale in cui l’area oggi denominata Salento venne popolata da boschi di ulivi; si devono ai Saraceni anche l’introduzione del torchio per la produzione di olio e la coltivazione della varietà Cellina. Probabilmente quelli che sono giunti ai nostri giorni non sono gli ulivi originariamente impiantati dai Saraceni, come presumibile dalle continue modifiche subite dal paesaggio. I maestosi uliveti che popolano i paesaggi salentini contemporanei possono essere il risultato di impianti ed innesti su olivastri realizzati dai monaci basiliani e dalle popolazioni che con loro giunsero nel Salento dal Peloponneso, dalla Morea e dalle isole dell’arcipelago greco.

Degne di particolare menzione sono le piante secolari, colossali e maestose, veri monumenti naturali attualmente oggetto d’attenzione e tutela grazie ad una legge regionale. La Puglia intera, nonché il Salento, vengono spesso ricordati dai turisti di passaggio, nonché dai visitatori abituali per le bellezze naturalistiche: il mare, le lunghe spiagge e gli oliveti. Distese di tronchi deformati dal tempo, tutti uguali eppur diversi nella struttura, nella forma, nella chioma ormai imponente, gli ulivi secolari si stagliano sul panorama salentino, conferendogli odori e colori tipici e, ormai, tradizionali. L’albero di ulivo è, certamente, uno dei simboli per eccellenza del Salento: ne sono stati stimati circa 50-60 milioni su tutto il territorio e molti di essi sono secolari. Le caratteristiche geologiche, nonché la scarsa necessità di cure, fanno sì che gli ulivi resistano per anni, lustri, e, addirittura, secoli, alle intemperie, alla forza distruttrice del vento e della pioggia e all’insopportabile caldo torrenziale delle estati salentine. Chi li guarda resta spesso incantato e ammaliato nel pensare che quegli alberi, probabilmente, potrebbero raccontare più storie e tradizioni di un libro di “culacchi”. Ma è soprattutto la loro forma che lascia a bocca aperta, grandi e bambini: la pianta cresce molto lentamente e col passare del tempo il tronco si trasforma, diventando sempre più contorto, piegandosi su se stesso e, dopo lungo tempo, spaccandosi nel mezzo. È in questo momento che diviene casa per molteplici razze d’animaletti, di varia taglia. La corteggia assume diverse sfumature di colore a seconda dell’età del tronco, nonché della penetrazione della luce solare che brucia e secca il legno; laddove il sole non batte, infatti, il legno tende a restare più umido e, talvolta, a marcire.

Sebbene l’aspetto caratteristico degli ulivi, in special modo di quelli secolari, sia il tronco, non bisogna dimenticare che il vero elemento essenziale si cela nella grande chioma: miriadi di palline piccole e scure dalle quali ricavare l’oro verde del Salento, l’olio d’oliva, ormai esportato e conosciuto in tutto il mondo.

Al di là del valore commerciale, questi alberi hanno un valore storico e, per taluni aspetti, anche affettivo e per questo devono essere costantemente tutelati e salvaguardati da eventuali disboscamenti od espianti: spesso, infatti, i privati scelgono di adornare le proprie ville espiantando ulivi secolari che, se non ricollocati in un terreno idoneo, rischiano di seccare. Ma, ancora, soprattutto negli ultimi anni, con l’avvento di una condizione di crisi economico-finanziaria, spesso si sceglie di disboscare intere aree prima destinate alla coltivazione di alberi di ulivo per lasciar posto a nuove colture più produttive o, peggio, all’installazione di impianti tecnologici.

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Naked without sails

There are probably ten billion shots of the ceiling of the San Francisco Public Library from this vantage on the fifth floor.

Without Tracked Protections Kit

Some people have toys without boxes... I have several boxes without toys.

 

Maybe someone wants a box for their toy? This box has the card and the stand.

 

Then there is also some assorted accessories (though a fuku is hardly an accessory when you are Sailormoon). A couple gloves (not dirty, it's just the angles and lighting), couple wands, a couple tiaras... the discs belong to a long-gone gold locket that I do have a couple of still in package.

 

Some actual Dolls are here.

 

~~

All these (and more) need new homes as I'm going to a different country for an extended stay soon so send me a Flickr Mail message (access through the arrow that appears near my profile photo when mousing over it) if interested.

without decoration after repainting

Φτάσανε πριν από λίγο και με το αίμα τους να στάζει από τα χίλια τους φρέσκο ποτάμι αιμοβόρων ανθρώπων, αιμοσταγών μακελάρηδων που κρυμμένοι είναι μέσα στα όμορφα ρούχα τους.

Για αυτήν και για αυτόν ομιλώ τώρα προσπαθώντας να τους παρουσιάσω ως το τσίρκο του Αδάμ και της Εύας, που παρέμεινε έξω από τον παράδεισο κουβαλώντας ένα γερμανικό MG-42.

Αυτός Βρετανικής καταγωγής με το ρολόι του να γυρνά ανάποδα σημεία των καιρών και σε χνώτα αλλωνών, και τότε είναι που καταλαβαίνεις πως γεννιούνται οι άθλιοι υποκριτές.

Ηθοποιός που γατζώθηκε πάνω σε κορμί γυναικός προκειμένου να αναρριχηθεί μέσα σε μια χώρα διαφορετική, και εκ πρώτης όψεως εκπορνευμένος φαίνεται ολόγυμνος σαν και αυτή.

Αυτή φυσικά προσπαθεί να ρίξει γέφυρες αντίπερα του ατλαντικού ωκεανού που μια ημέρα θα γίνει ο τάφος της όμως, προκειμένου να πουλήσει όσο περισσότερα δισκάκια ποδηλάτου μπορεί.

Τέτοια και άλλα πολλά κάνουν σχεδιάζοντας τη μοίρα τους που κάποια στιγμή στο μέλλον θα κοπεί, και πριν καλά καλά καταλάβουν το γιατί πέθαναν τόσοι πολλοί στη Γερμανική κατοχή.

Στο δεύτερο παγκόσμιο πόλεμο τους έχω τοποθετήσει άρτια πλασμένους σαν πιόνια που είναι κάποιων που δεν φαίνονται όμως, και στο τέλος αυτοί θα γελάνε μαζί τους περισσότερο από όλους.

Αυτούς τους αποκαλούν γάμους συμφερόντων κι όσες μαχαιρίες έδωσες τόσες και θα λάβεις στο κορμί σου μωρή της απάντησαν, δίνοντας της το μαχαίρι να σκοτώσει όσους περισσότερους μπορεί.

Τώρα αν η προηγούμενη σχέση ήταν ο Άγγλος ασθενής ας ρωτήσετε τη ζουρλή που το έκανε μαζί του, προκειμένου να εισχωρήσει σε προκεχωρημένη γραμμή που έχει έξοδο σε Βρετανική Θάλασσα.

Μα όπως έγραψα πριν εξαπατήθηκε και χρησιμοποιήθηκε σεξουαλικά κι ύστερα από όλα αυτά, επέστρεψε ξανά κατόπιν εντολής φυσικά για να συνεχίσει το έργο στο σώμα του ηθοποιού.

Ο βίος ανθόσπαρτος θα φαίνεται μα το τσάι καυτό θα πέφτει στο κορμί τους υποφέροντας ολημερίς, μα στο κάτω κάτω της γραφής η πέτσα τους αναίσθητη είναι από καιρό γεμάτη λίπος ζωικό.

Υ.Γ...Αχαμνά..."MG-42"

I hardly ever study the churches I am about to visit. Rather, rely on my first impressions, and how the multitude of elements hang together.

 

This does mean, sometimes, I have missed obvious details. But for the most part, I notice what is unusual at the time.

 

And then upon returning home, I research the building and the history of the parish, and my main two resources are posted below.

 

Also, churchcrawling can be a lonely hobby, spending hours and hours pouring over details with hardly anyone to share it with. Sometimes, on a Saturday morning, we weekly church clean is in progress, and one or two wardens might ask you questions.Even fewer of them might be interested.

 

So, in Wormshill, talking to the ringers, I was told that there was a coffee morning on at Frinsted, and a warden might be present.

 

This was after I lamented that the church was locked again.

 

So, drive back the two miles and call in the village hall. And ask about the key.

 

So, this is what we did.

 

This resulted in a lady taking me back to her house to meet her husband, Malcolm.

 

Can I see inside the church?

 

Why do you want to do that?

 

I explain the Kent church project.

 

Are you interested in the building or fittings?

 

And thinking that this was because of thefts, I said if needed I would not snap the fittings if needed.

 

But Malcolm backtracked. Oh no, you can photograph what you want to.

 

Meet me at the porch in ten minutes.

 

So, we did.

 

The church was dark inside, and Malcolm told us about his church. Very proud he was too.

 

And it became clear why.

 

The chancel and north chapel were decorated.

 

Decorated in the English Gothic Revival, by Hussey and then, later, Scott. These have been recently renovated, using the original stencils.

 

It was incredible. Like The Grange transported to the countryside. I think Pugin would have liked it.

 

Sadly, in the north chapel, a plaster panel had dropped off, so the pews were covered and access restricted, but Malcolm unlocked the door and let us in.

 

I walked round with a huge smile on my face, waxing lyrical about the church, and Malcolm enjoyed telling us the story of his church.

 

Without doubt, the best church visit this, or any other year.

 

------------------------------------------

 

Not for those wishing to find a medieval church, although there is evidence of an old building here in the form of a Norman window and crownpost roof. It is of interest that the nineteenth-century work carried out first by Hussey (1856) and then by Scott (1870) for the Pemberton Leigh family is in complete contrast to the work commissioned at nearby Kingsdown by the family at the same time (see separate entry). The second phase of work included the wonderful stencilling of the church, recently restored to the designs of G.G. Scott Jr. The majority of the furnishings are also Victorian and show the quality that only a fortune could buy in post-industrialised England

 

www.kentchurches.info/church.asp?p=Frinsted

 

-----------------------------------------

 

FRINSTED

LIES the next parish north westward from Wichling. It is written in Domesday, Fredenestede; in antient deeds, Freyhanestede; and in later ones, most usually, Frensted, alias Wronsted.

 

That part of this parish northward of the church is in the division of East Kent, but the church itself, and the remaining part of it is in that of West Kent.

 

THE PARISH extends on both sides of the valley, called Syndall, or Newnham-bottom, through which the high road leads from Ospringe, through Doddington and Newnham, to Hollingborne hill, on each side of which the hills rise very steep, the summits of them being in general covered with wood grounds. On the east side of this valley, on the hill close to the woods, is Rinsted-court; and on the hill on the west, Yokes court, and Madams-court; and still further westward, the village and church. The soil of it is poor, and covered with flints, much like that of Wichling, before described; but the rising hills on each side of the valley are mostly chalk.

 

There is a district in this parish, consisting of about fifty acres of land, called Minis-hill, over which the manor of Whornes-place, near Rochester, claims jurisdiction.

 

This parish was part of those possessions which William the Conqueror gave his half-brother Odo, bishop of Baieux, under the general title of whose lands it is thus entered in the book of Domesday, taken about the year 1080:

 

Hugh, the grandson of Herbert, and Adelold the chamberlain, holds of the bishop (of Baieux) Fredenestede. It was taxed at one suling. The arable land is three carucates. In demesne . . . . Three villeins having seven oxen. There is a church, and two acres of meadow and an half, and wood for the pannage of two hogs. It is, and was worth, separately, twenty shillings. Leunin held it of king Edward.

 

About four years after taking the above survey, the bishop was disgraced, and the king his brother seized on this estate, among the rest of his possessions, which were all consiscated to the crown. After which, this manor came into the possession of Jeffry de Peverel, and with other lands, made up the barony of Peverel, as it was then called, being assigned to him for the desence of Dover-castle, of which it was held by him in capite by barony.

 

Nicholas de Gerund afterwards held this manor, with the advowson of the church, of which he died possessed in the 52d year of Henry III. holding it of the king in capite, as one knight's see. After which, the family of Crombwell became possessed of it; one of whom, Richard de Crombwell, was owner of it in the 8th year of Edward II. being younger brother of Sir John de Crombwell, knight-banneret. Ralph de Crombwell, his successor, next year, obtained a charter of free warren for his lands in this parish, and at his seat here, since called Meriam-court, and now commonly, Madams-court.

 

In the next reign of king Edward III. this estate was again come into the possession of the family of Gerund, in which, however, it did not remain long, for Richard le Gerund leaving an only daughter and heir Maud, she carried this manor and seat in marriage to Sir Henry de Chalshunt, who in the 20th year of that reign, paid aid for the manor of Wrensted, alias Frensted, with its appurtenances, holding it by the like service, as did his descendant Henry de Chalfhunt, at his death, in the 9th year of Richard II. when it was found, that John Bedeford, Roger Tournour, Sibill Jarconville, and Agnes, daughter of Walter at Style, were his heirs and next of kin; at which time it was likewise found, that this manor was held of the manor of Ospringe.

 

Soon after which, this manor, with the mansionhouse, called Wrensted, and now most usually Rinstedcourt, with Meriam, or Madams-court, and the advowson of the church of Wrensted, was conveyed by sale to Robert le Hadde, who was resident here in the reign of Henry IV. being descended from ancestors who had been resident at Chart Sutton, in this county, for many generations, Rob. Hadde being of that parish in the reign of Henry III. In his descendants this estate continued down to Henry Hadde, esq. of Frinsted, who died possessed of this manor, with the advowson of the church, and the other estates above-mentioned, in the 23d year of queen Elizabeth, leaving two sons, Arnold and Matthew, who was counsellor-at-law, of Lincoln's-inn, of which he was rector, the former of whom succeeded him here, and two years afterwards, anno 25 Elizabeth, alienated this manor, with its appurtenances, together with the rest of his estates in this parish, to Edward and George Hills. Arnold Hadde, esq. after the sale of this estate, resided in St. Alphage parish, in Canterbury, as his descendants did for several generations afterwards, till the end of the last century, and several of them lie buried in that church. They bore for their arms, Gules, three bucks heads caboshed, or, borned argent, between the borns of each a cross patee fitchee, argent. (fn. 1)

 

Edward and George Hills joined in the sale of the manor of Frinsted, with Rinsted, alias Wrensted-court, and the lands belonging to it, to Edward Jackman, esq. of Hornchurch, in Essex, and he, in the 5th year of James I. passed it away to Oliver Style, esq. of Watringbury, who died in 1622. Upon the death of whose descendant, Sir Thomas Style, bart. who died in 1702, an agreement was entered into by his heirs for a partition of his estates among them, which was confirmed by an act, passed anno 2 and 3 of queen Anne. In this partition, the manor of Frinsted, with Rinstedcourt, was allotted to Margaret, his only daughter by his second wife, who in 1716 sold it to Mr. Abraham Tilghman, descended from those of Snodland. He was a commissioner of the navy, and of the victuallingoffice, and dying in 1729, was buried in the south isle of this church, where there is a monument erected to his memory. He bore for his arms, Per fess, sable, and argent, a lion rampant, counterchanged, crowned, or. He was succeeded here by his son Abraham Tilghman, esq. who resided here till his death in 1779. He left by Olivia his wife, one of the two daughters and coheirs of Charles Finch, esq. of Chatham, one daughter Elizabeth, who married the Rev. Pierrepont Crompe, of Newnham, in Gloucestershire, son and heir of Thomas Cromp, esq. of Newnham, in that county, by Rebecca, the other daughter and coheir of Charles Finch, esq. He bore for his arms, Or, a chevron, voided gules, on a chief of the second, three escallops of the first. He afterwards resided here, and died in 1797, leaving his widow surviving, who now resides here, and one son Robert-Thomas, and a daughter, Henrietta Maria, the former of whom is now entitled to the see of this estate.

 

MADAMS-COURT, formerly called Meriams-court, as has been already mentioned, passed from Arnold Hadde in the 25th year of queen Elizabeth, with the rest of his estates in this parish, to Edward and George Hills, and they joined in the sale of Meriam, or Madams-court, to Archer, from which name it passed, in the reign of Charles I. to Thatcher, by a female heir of which family it passed in marriage to Batcheler, some of whose descendants lie buried in this church, one of whom, Mr. William Batcheler, at length alienated it to James Chapman, gent. of Milton, whose son Ed ward Chapman, esq. of Otterden, died in 1765, leaving by his wife, daughter of the Rev. Mr. Dennis, of Leyborne, one son, James Chapman, esq. now of Faversham, who is the present owner of it.

 

YOKES-COURT is a manor in this parish, which in the reign of Henry III. was part of the possessions of Fulk de Peyforer, whose descendant William de Peyforer, in the 20th year of Edward III. paid aid for it as half a knight's fee, which he then held at le Yoke, in this parish, of the honor of Ledes.

 

He soon afterwards alienated this manor to Roger Northwood, who died in the 35th year of that reign possessed of this manor of Yoke, held of the king in capite, by the service of making his suit at the gate of the castle of Leeds, from month to month, in lieu of all other service whatsoever. His descendant, John Northwood, esq. died possessed of it anno 4 Henry V. leaving his two sisters his coheirs, who entitled their husbands, John Barley, esq. of Hertfordshire, and Sir John Norton, of this county, to their respective shares of their brother's estates.

 

From one of them this manor was alienated to John Dyggs, esq. of Barham, whose descendant James Dyggs, esq. of Barham, died in the 27th year of Henry VIII. then holding this manor in capite by knight's service. He left two sons, John, who was of Barham, and Leonard, whose descendants were of Chilham-castle. His son John Dyggs, the eldest, succeeded him in this manor, and died in his life-time, leaving a son William, whose son Christopher Diggs, esq. of Barham, having levied fines of all his lands anno 15 and 17 Elizabeth, quickly afterwards alienated this manor to Archer, from which name, in the reign of Charles I. it passed by sale to Thatcher, of which name there were inhabitants of the adjoining parish of Wormsell, as appears by the parish register there, as early as king Henry the VIIIth's reign. These of Frinsted bore for their arms, Gules, a cross moline, argent, on a chief, or, three grasshoppers proper. In the name of Thatcher this manor continued, till by a female heir Mary, daughter of Thomas Thatcher, it went in marriage to Mr. Henry Bing, of Wickhambreux, on whose death, his son Mr. John Bing, became possessed of it. He died in 1766, and was buried in the north chancel of this church, leaving one son Henry, and two daughters; Mr. Henry Bing, the son, succeeded his father in the possession of this manor, of which he is the present owner. A court baron is held for it.

 

Charities.

JOHN WIATT, of Milsted, by will in 1722, gave the moiety of several pieces of land in Milsted, Frinsted, and Wormsell, containing about twenty acres, for sending four poor children yearly to school, to learn to read, vested in the minister and churchwardens, and of the annual value of 2l. 4s.

 

The number of poor constantly relieved are about sixteen; casually twelve.

 

FRINSTED is, within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.

 

The church, which is dedicated to St. Dunstan, is situated westward from the village, but in the northern part of the parish; it consists of two isles and two chancels, the northern one belonging to the estate of Yokes-court, in it are several memorials for the Thatchers and the Bings. In the south isle is a monument for Abraham Tilghman, esq. who died in 1729. Against the north wall in this chancel, in a recess, is an antient tomb, with an engrailed arch over it. It has a square beacon tower at the west end of it, in which hang four bells. In the church yard is an altar tomb; under it, in a vault, lie buried A. Tilghman, esq. who died in 1779, and Olivia his wife; and the Rev. Mr. Crompe, and Henrietta-Maria, his daughter.

 

¶This church was formerly appendant to the manor of Frinsted, as has already been mentioned, and seems to have passed with it from Arnold Hadde, esq. toge ther with the rest of his estates in this parish, to Edward and George Hills, who alienated the manor of Frinsted, with Rinsted-court, to Edward Jackman, esq. and Meriam-court, or Madams-court, as it is now called, together with the advowson of the rectory of Frinsted, to Archer, from which name it passed with it, to Thatcher, in whose descendants it continued till Mary, daughter of Thomas Thatcher, carried it in marriage to Mr. Henry Bing, whose descendant, Mr. Henry Bing, gent. of this parish, is the present possessor of it.

 

In Strype's Stow's Survey, it is said, that in the reign of Edward III. the church of Frethensted, in the diocese of Canterbury, belonged to St. Catherine's hospital, near the Tower; and Tanner in his Monasticon, says, in patent 3 Edward III. p. 2, m. 2, is a licence for appropriating that church to the above-mentioned hospital, which cannot be reconciled to the records above-quoted, in which the advowson of the church of Frinsted is found to have been vested in the several owners of the manor of Frinsted.

 

This rectory is valued in the king's books at 9l. 11s. 8d. and the yearly tenths at 19s. 2d. and is of the yearly certified value of 71l. 7s. 4d.

 

In 1640 it was valued at sixty pounds. Communicants fifty.

 

www.british-history.ac.uk/survey-kent/vol5/pp554-561

Parked without a centerstand. That's the only thing I miss.

Bridgestone T31 (Feedback, Prestaties op natte weg en Sportiviteit) on the front

Bridgestone Battlax BT-021 on the rear.

 

120/70 ZR17 front

190/50 ZR17 rear

 

In principle, machines with less than 25,000 kilometers are very rare, if one is found, it usually costs 3,000 euros or more. Important for all: You should be in a checkbook. While the chassis components and the frame age well, the engine can certainly cause problems, especially when it comes to racetrack booby. The first SRAD (model T) had a cylinder head gasket that was too thin, which was also adopted three times in the MOTORRAD 50,000 kilometer endurance test of that time. This problem has been resolved since 1997. In the endurance test motorcycle, the cylinder head also warped. In addition, the piston pins and the upper connecting rod bearings showed heavy wear. The timing chain tensioner also often causes problems, so it is essential to watch out for unusual noises in this area. The model W from 1998 with injection eliminated many of these devils of defects and is more steadfast, despite seven horsepower more power.

Paddy swims unaided for the first time.

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Without thinking.

 

Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved

 

Without mysteries life would be very dull indeed.

What would be left to strive for if everything were known?

 

Charles de Lint

 

Please do not use this image without my prior consent.

 

OLIVER PEOPLES Aero Aviator Sunglasses. Polished Chrome Frame with Maroon Polarized lens Lens. Lens Size 54mm. D.B.L. 17mm.

 

What more need me say when picture says all? It is one of the three "Fight Club" Sunglasses. Brad Pitt wore it in the scene when two Tyler meet the first time on the airplane. Tyler Durden was babbling about:

 

"You know why they put oxygen masks on planes?"

"Oxygen gets you high. In a catastrophic emergency, you're taking giant panicked breaths. Suddenly you become euphoric, docile. You accept your fate. It's all right here. Emergency water landing - 600 miles an hour. Blank faces, calm as Hindu cows."

 

Most Audience respond the same "That's, um... That's an interesting theory."

 

Brad Pitt actually own this pair and wear it off screen. Aero54 is usually too big for me, but I bought it for the movie collection. Lens & frame size has to stay true to the movie. Lens was purchased separately and I honestly don't know the name for it. It is not "Cherry Bomb" lens for sure. I asked OP store on Madison Avenue to set it up for me. The end of the day I only know it is polarized and made of glass instead of plastic.

 

I'm pretty sure that I am not the only one with "Fight Club" request.

  

Production Date: Circa 1940

Source Type: Postcard

Publisher, Printer, Photographer: W. C. Spangler News Agency, E. C. Kropp Company (#21445-549

Postmark: October 6, 1947, Jacksonville, Florida

Collection: Steven R. Shook

 

Tenney and Hilbert Published Market Price in 2009: $3-$6

 

Source: Tenney, Fred, and Kevin Hilbert. 2009. Large Letter Postcards: The Definitive Guide 1930s to 1950s. Atglen, Pennsylvania: Schiffer Publishing, Ltd. 176 p.

 

Copyright 2010. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.

Copyright © 2012 Ruggero Poggianella Photostream.

All rights reserved. Please, do not use my photos without my written permission.

Please note that the fact that "This photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.

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Cisternino è un comune italiano della provincia di Brindisi in Puglia. Fa parte del prestigioso club de I borghi più belli d'Italia. Si affaccia sulla valle d'Itria, nella cosiddetta Murgia dei trulli. Fino al 1927 è stata Terra di Bari. Sull'ultimo lembo della Murgia sud orientale pugliese si affaccia a sud-ovest sulla valle d'Itria tempestata di trulli. l territorio del comune di Cisternino fu abitato, fin dal Paleolitico medio-superiore, da nuclei umani provenienti dal nord della penisola o dall'area siculo-africana e che lasciarono, sulle colline dove fissarono i loro accampamenti stagionali, numerose tracce della loro vita, dedita alla caccia e alla raccolta di frutti spontanei e tuberi. Ancora oggi, nella zona di monte Specchia, sui colli di Restano e sulle incolte balze di Serra Amara, si rinvengono utensili preistorici d'ogni genere: punte di zagaglie, lame, raschiatoi e bulini per incidere ossi. Queste comunità umane andarono sempre più infittendosi, fino a raggiungere un numero considerevole di insediamenti nell'Età del Bronzo; decine di stazioni di questa età sono state recentemente localizzate in varie zone del territorio e quelle di Maselli, Ibernia piccola, Carperi, monte d'Alessio, monte le Fergole e Figazzano, hanno un'importanza non indifferente per la comprensione della preistoria brindisina.

Il nome Cisternino deriverebbe dall'eroe eponimo Sturnoi, compagno di Diomede, che dopo la Guerra di Troia avrebbe fondato una città vicina che, in seguito, occupata dai Romani, fu chiamata Sturninum, l'attuale Ostuni. L'abitato sarebbe stato saccheggiato dai Goti e successivamente sarebbe andato in rovina. L'attuale centro storico di Cisternino sarebbe rinato grazie ai monaci basiliani che nel Medioevo, lo chiamarono Cis-sturnium (al di qua di Sturnium). La prima testimonianza sul Casale di Cisternino è data dalla scoperta, al di sotto della chiesa romanica di S. Nicola, dei resti di una piccolo tempio cristiano, edificato realisticamente intorno all'anno 1000. Papa Alessandro III, con una bolla pontificia del 26 febbraio 1180 assegnava questa chiesa ed il Casale di Cisternino al Vescovo di Monopoli.

Il simbolo di Cisternino è lo scudo sormontato da una corona è suddiviso a croce di Sant'Andrea di rosso e d'oro. Al centro vi è un pastorale d'argento accostato da due rose di rosso sull'oro.

Comunemente chiamato Cistranese, il dialetto della parte centrale delle ultime colline della Murgia pugliese è il risultato della stessa sfumatura culturale del territorio: incrocio naturale tra influenze joniche/lucane e murgiano/baresi. A poche decine di chilometri a sud si trova il confine con il Salento. La lingua e il dialetto vive e si sviluppa naturalmente in relazione alle attività dei suoi abitanti, degli scambi culturali, sociali ed economici, della storia, della tradizione e della memoria orale popolare.

Nonostante oggi rientri nel territorio della Provincia di Brindisi, Cisternino mantiene i suoi legami con la Terra di Bari alla quale era legata prima del 1927, anno di costituzione della nuova circoscrizione provinciale. Questi legami sono evidenti soprattutto nel dialetto e nella cultura, tipica del sud-est barese e non di origini salentine.

Fra le manifestazioni folkloristiche più attese a Cisternino, c'è sicuramente Pasquetta. Chiamata nel dialetto dei suoi abitanti “Pasquarèdde”, questa festività si svolge presso il Santuario della Madonna d'Ibernia, dove ci si reca con dei dolci tipici (a forma di borsetta con due uova sode per i bambini, con uno a forma di bambola con un uovo sodo per le bambine), chiamato “u churrüchele”, esso porterebbe prosperità e fecondità. Non a caso, quella d'Ibernia è la Madonna della vita, della fertilità e dell'abbondanza, il santuario è molto utilizzato per celebrare il matrimonio sia per i motivi appena indicati che per la collocazione del tutto unica e panoramica. La più importante manifestazione alla quale partecipa l'intera popolazione cittadina è la festa dei santi patroni della città di Cisternino, San Quirico e Giulitta. Tale manifestazione cittadina rispetta tutte le più importanti tradizioni locali come decorazioni luminose, eventi religiosi , concerti bandistici ed in fine fuochi pirotecnici. Più semplicemente chiamata "la festa di San Quirico" cadendo sempre nella prima settimana di Agosto rappresenta per la popolazione locale e turistica la conclusione del periodo estivo. Di particolare importanza sono le consuete e più moderne edizioni del Festival Pietre che Cantano, del "Festival Internazionale Bande Musicali Valle d'Itria", del Festival Suoni Sacri e dal Pianeta, dell'Alterfesta. Le sagre più rinomate, invece, che si svolgono tra Cisternino e le sue frazioni, sono: la sagra delle orecchiette e quella del coniglio, che si svolgono nel mese di agosto, e la sagra dell'uva, che si tiene a settembre. Queste sagre sono sia un momento di ritrovo e di allegria per tutti i cittadini, ma soprattutto una maniera importantissima di tenere ancora vitale il patrimonio folkloristico di ogni regione, la base per l'identità della città, come del cittadino che la abita.

Without oils on their feathers the Anhinga has to sun after fishing to dry out. Something I did not know until recently. But this one really did not like us hanging around while sunning.

MICAELA REBELO Portraits by gga©

 

Fotografia: Gabriel García de Alba

Modelo: Micaela Rebelo

Gaffer/Productor: Román Pino

Maquillaje: Adrian War

Peindaos: Diana Desirée

Locaciones: Romiina Montero

 

Locacion: Hotel In Fashion

www.infashionhotel.com/

Lugar: Playa del Carmen, México

  

photo by gabriel garcia de alba

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EHANG GHOST SPECIFICATIONS AND FEATURES: Transmitter: PCM or 2.4GHz (at least Six Channels), Battery: 5400mah Li-po battery, Flight Precision: ± 0.5meters, Maximum angle of rotation: 360°, Drone Speed: 6 - 15meters/second, Control distance: 1000 meters (With G-Box Bluetooth), G-Box: 433mHz, 80mw, standard Bluetooth communication device, Flight time: Without guard rings and camera: about 26 minutes, With guard rings and without camera: about 14 minutes, Without guard rings and with camera: about 20 minutes, Drone Weight: With guard rings - 790 grams, 5400 mAh Battery: 320 grams, 2700mAh Battery: 180 grams, Gimbal: 225grams, 3-blade propeller: 10 grams per piece, Guard ring: 40 grams per piece, HD Camera: 60 grams, Landing gear: 31 grams per piece, Diagonal Distance: 36.0 cm, Motor: EHang EH9812 and EH9812R (reversible Motor), Drone Height: 10.0 cm, Height with Landing Gears: 19.0 cm, Battery: XT60 connector, 3-cells, 11.1 Volts, 5400 mAh, Li-po, GPS: UBlox 6M parallele compacted compass, Wind Resistance: < 10.7 meters /second, Night mode has LED lights to track drone in the sky, The Pilot can integrate with a third-party recording monitor to preview the photos and videos as the drone is flying, The G-BOX is a wireless interface unit designed specifically for controlling and interfacing with the GHOST Drone. The GHOST App cannot operate the Ghost without a G-BOX, Independently Flight Control System with ultra-fast processing capacity enable quick response at millisecond level. Ehang Ghost 2D Gimbal: extremely stable and high-precision Gimbal made of aircraft aluminum alloy material. Simple overall design makes the gimbal light and stable even the drone is heavily shaking, AUTO-RETURN: Auto return mode will be activated if the connection is lost, DATA SYNC: Flight data os the Drone’s current condition shows in the App, within 1000 meters-communication distance, POINT-TO-POINT FLYING: point the finger on the map and the Drone flies to that spot. No more “blind Flying”, TILT MODE: Tilt mode is an innovation to realize leveraging gestures to control the Drone, ONE-CLICK HOVER COMMAND: One-click hover command plays as a brake tohold Ghost at its current spot in the air for emergency situation, MICRO CONTROL MODE: It can adjust the Drone’s position in any direction over shorter distances, AUTO FOLOW MODE: The Ghost will automatically folow the Pilot when he/she makes turns and change direction, always keeping the camera on the Pilot. Original Ehang Ghost 3-Leaf CW/CCW Propeller, Propeller Guards, Motor and Propeller Assembled, Original Motor: EHang EH9812, Ehang EH9812R, (Reversible Motor). GPS - UBlox 6M compacted compass, Battery Charger (Ehang Ghost), Flight Controll Board (Ehang Ghost) G-Box: 433mHz, 80mw, Standard Bluetooth, 3S Battery, 11.1 volts, 5400 mAh, Li-po, ESC - Electronic Speed Controller (Ehang Ghost), Available Models: 1 - EHang Ghost Basic, 2 - Ghost Aerial with 2D gimbal and 3 - Ghost Aerial Plus with HD camera. Ehang Ghost: Deep and Vivid Colors.

IDEAFLY APOLLO SPECIFICATIONS AND FEATURES: Cool Appearance and Convenient for Carrying: the portable, streamlined design reflects the aesthetics of its industrial design, while also allowing the Pilot to easily pack it into a backpack for transport. Precise Hovering and Self-leveling with GPS: IdeaFly Apollo has an integrated flight control system including compass and GPS that provide precise position hold, fail safe and semi-autopilot. The aircraft flies stably under the control of iFly, barometer and GPS. Fail-Safe Mode: If the Apollo loses the signal from the controller for any reason or reaches preset 100 meter high or 300 meter distance limits, the return to home feature will initialize. The aircraft will ascend to 18 meters, then make a straight-line course back to the home position specified during GPS calibration. Once home the Quadcopter will safely descend to the ground and power itself off. 2 Axis Stabilization Gimbal: IdeaFly Apollo has an external adjustable gimbal designed for Boscam and GoPro cameras. Other similar light weight camera can also be mounted on the gimbal. Compared to those simple camera mounts that come with the kits made by other manufacturers, the gimbal on Apollo is controlled by the flight controller system and is self-leveling. A pilot can also tilt the camera to look up and down by turning the position on the transmitter. The Pilot conveniently capture flight footage for exciting POV shots. 2.4GHz Transmitter included: IdeaFly Apollo contains a remote controller and receiver, which help the Pilot avoid the inconvenience of purchasing such things. The only thing needed to do is to add TX batteries (8 x AA dry cell or NiMH). Stabilized Manual, Auto Hover, and Return to Home Modes: The IdeaFly Apollo quadcopter has three different flight modes. The stabilized manual mode is semi-autopilot and a pilot has more control than other modes. In auto hover mode the quadcopter will stop as soon as you release the controls, and will stay hovering at a fixed horizontal and vertical position. This setting is the easiest to fly and is generally preferred for shooting video as the Quadcopter won't drift or be as susceptible to wind gusts. If return to home mode is trigged the aircraft will return the takeoff position automatically. To work Return to Home requires proper calibration and connection to more than four GPS satellites. Low Voltage Protection : The IdeaFly Apollo offers two levels of low voltage protection, a function of the iFly autopilot system. It prevents your multi-rotor from crashing or other harmful consequences caused by low battery voltage. In the first level of protection, the LED indicator blinks red to warn the Pilot. In the second level protection the system will trigger the aircraft to land automatically. High-Intensity LED Indicators: LED status light on quadcopter provides with various kinds of feedback and warnings. Colors alternate between red, blue and purple and can either be flashing or solid.

 

Without yellow.

4M79 0820 Felixstowe South Dbc to East Mids Gatewaay Tml Dbc intermodal servce gets underway from the port.

 

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Some of my photos from Wekfest East in NJ. I had the pleasure of working with some awesome people at Canibeat to cover the event.

 

Check out the feature on the Canibeat site: www.canibeat.com/2013/09/wekeast-wekfest-east-coast-elite...

 

Also check out my entire coverage on my website: www.jschusteritsch.com/wekfest2013