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Typ: Schwarmfisch-Fänger
Flagge: Deutschland
Heimathafen: Cuxhaven
Besitzer: Erzeugergemeinschaft der Hochsee-und Kutterfischer GmbH,Cuxhaven
Betreiber: Kutterfisch-Zentrale Cuxhaven GmbH
Baujahr: 2001
Erbaut von: Tjoernvarvet in Roennarg, Schweden
Schiffs Chronik:
2001.06.03 reg. als GG 330 "Carmona" in Dyrön, Schweden
06/09/06 reg. wie BX 789 "Carmona" in Bremerhaven, Deutschland
02/12/06 reg. als GG 330 "Carmona" in Dyrön
10.10.07 reg. als NC 330 "Kristin" in Cuxhaven, Deutschland
Länge: 37.30m
Breite: 9.08m
Tiefgang: 5,80 m max.
Goss Tonnage: 460 Tonnen
Motortyp: Wärtsilä 9L20C
Leistung: 1.620 kW
Geschwindigkeit: 11,5 Knoten
Rufzeichen: DFIM
MMSI: 218125000
IMO: 9222405
Copyright © 2014 Ruggero Poggianella
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L'Alfa Romeo Giulietta Sprint, in seguito denominata Alfa Romeo Sprint, è una vettura sportiva prodotta dal 1954 al 1965; è la versione coupé del modello "Giulietta". Lo sviluppo economico del dopoguerra pose nuove sfide all'industria automobilistica, le cui impostazioni e dimensioni "artigianali" dovettero far posto ad un vero processo di "industrializzazione", per poter far fronte alle maggiori richieste della clientela. In quegli anni infatti si ebbe l'inizio della motorizzazione di massa. Per l'Alfa Romeo questo delicato passaggio coincide con la progettazione e realizzazione del modello "Giulietta", internamente denominato "Tipo 750", fu varato dall'azienda del Portello allo scopo di affacciarsi sul mercato nazionale ed europeo delle automobili di grande serie, ma subì alcuni intoppi di ordine tecnico che rallentarono l'inizio della produzione, rispetto ai tempi di avvio preannunciati, che prevedevano la presentazione della "Giulietta" al Salone di Torino del 1954 e la sua commercializzazione nello stesso anno. Il lancio della nuova vettura, la cui produzione era stata finanziata da una sottoscrizione pubblica di capitali e legata ad una lotteria nazionale che ne metteva in palio un esemplare, non poteva essere procrastinata a pena di una pesante ripercussione sulla credibilità e sul prestigio aziendali. Per questo motivo, sul finire del 1953, l'Alfa Romeo prese l'insolita decisione di presentare il modello coupé prima del modello berlina. La realizzazione della versione sportiva era stata pensata per maggiormente collegare il nuovo modello "Tipo 750" alle tradizioni corsaiole della marca e alle sue vittorie nelle competizioni. Nel programma aziendale originario, avrebbe dovuto trattarsi di una vettura allestita su meccanica della berlina, messa in vendita l'anno successivo a quello del modello di derivazione, con una produzione limitata a circa 500 esemplari annui, curata da carrozzieri milanesi. La progettazione e sviluppo della coupé era stata portata a termine congiuntamente alla berlina e, nei primi mesi del 1953, il prototipo della futura "Sprint" realizzato da Giuseppe Scarnati, poi divenuto celebre come "brutto anatroccolo", aveva già affrontato brillantemente le prove su strada. Le linee generali erano quindi già impostate e si trattava di affinare i dettagli di alcuni particolari e realizzare le carrozzerie nei pochi mesi precedenti all'apertura del Salone. Un primo intoppo si verificò per la mancata disponibilità della carrozzerie Zagato e Touring, la cui potenzialità produttiva era già saturata da altri modelli Alfa Romeo. La Carrozzeria Boneschi presentò una sua proposta, di stampo americaneggiante, che venne scartata. Fu questa la ragione che spinse il responsabile del "progetto Giulietta", Rudolf Hruska, a rispolverare i suoi contatti torinesi e chiedere l'aiuto di Mario Boano, responsabile della Ghia e di Nuccio Bertone. Hruska arruolò anche Giovanni Michelotti, quale consulente Alfa Romeo per la valutazione delle soluzioni stilistiche proposte. All'opera di affinamento lavorarono Boano, Bertone, Franco Scaglione e un giovanissimo Giorgetto Giugiaro, i quali apportarono una miriade di modifiche che, pur mantenendo l'impostazione stilistica originale, la resero gradevole ed equilibrata in ogni sia parte. Così nasce la Giulietta Sprint presentata come prototipo di pre-serie al Salone dell'automobile di Torino il 19 marzo 1954. In realtà gli esemplari proposti furono due, uno di colore rosso e uno di colore azzurro, diversi tra loro in molti particolari, ma che avevano persino il portellone posteriore apribile, vera novità per l'epoca. Tale soluzione fu poi abbandonata per la produzione in serie, in quanto si temevano infiltrazioni d'acqua, dovute alla scarsa inclinazione della zona lunotto e alla precaria tenuta delle guarnizioni dell'epoca. Il successo del nuovo modello fu tale che l'Alfa Romeo dovette immediatamente rivedere i suoi programmi produttivi. Già al termine del primo giorno di apertura del Salone, infatti, gli ordinativi superarono la prevista produzione annua di 500 esemplari. Proprio in quei giorni Boano abbandonò la Ghia che, a sua volta, si ritirò dal progetto. La Carrozzeria Bertone dovette far fronte alle commesse impreviste dell'Alfa Romeo subappaltando la costruzione delle scocche agli altri artigiani battilastra del torinese. Nel 1960 si arrivò alla produzione automatizzata di stampaggio delle scocche che sino a quel momento erano state tutte battute a mano. La costruzione della Giulietta Sprint avveniva a Torino per il corpo vettura, poi le scocche nude venivano inviate a Milano presso il Portello con le bisarche, dove venivano completate del motore, degli organi meccanici e di tutti gli interni. Il motore della Sprint, grazie alla presenza di un rapporto di compressione più elevato rispetto alla berlina e ad un carburatore doppio corpo raggiunge i 65 cavalli e la vettura arriva così ai 160 km/h. Contribuiscono al successo la linea moderna e filante ed il prezzo di 1.900.000 lire, che, pur non economico in assoluto, è però molto inferiore rispetto a quello della sorella maggiore 1900 Super Sprint coupé Touring, commercializzata in parallelo (che costa 3.210.000 lire). Veniva venduta all'epoca solo in quattro colorazioni: rosso Alfa, blu tornado, bianco gardenia e azzurro Capri.
La linea risulta piacevole e moderna e l'operazione di inserire la Giulietta Sprint in una fascia più popolare riesce molto bene. La Giulietta berlina arriva nella primavera del 1955, mentre in autunno, al Salone dell'automobile di Francoforte, vede la luce la Spider. Le cifre di vendita della gamma Giulietta raggiungono subito valori di rilievo: dalle 12 unità costruite nel 1954, si passa a 1.415 nel 1955 ed a 1.855 nel 1956.
Nel 1956, a ogni buon conto, alla normale Sprint viene affiancata la versione Veloce che si distingue per parecchi alleggerimenti - tra cui i vetri delle porte in plexiglas ad apertura scorrevole che consentono l'eliminazione anche dei tradizionali alzacristalli e che sono l'elemento distintivo estetico di questa versione, ed anche per l'assenza dei piatti cromati copri mozzi alle ruote - e per un incremento della potenza e delle prestazioni: con l'adozione di un'alimentazione a 2 carburatori Weber orizzontali a doppio corpo, il rapporto di compressione portato a 9:1 i cavalli salgono a 90 e la velocità a 180 km/h. Il prezzo di vendita della "Sprint Veloce" viene fissato in Lire 2.250.000. La Sprint Veloce è impegnata con successo nelle competizioni, soprattutto nella Mille Miglia dove, nell'edizione 1956, conquista i primi tre posti di categoria, a scapito delle Porsche 356, dotate di motori di maggior cilindrata. Fu poi messa a listino anche una versione della Sprint Veloce denominata Lusso, perché accessoriata con vetri laterali in cristallo discendente e copri mozzi cromati alle ruote. Da un incidente occorso ai Leto di Priolo nel corso della Mille Miglia, dove distrussero la vettura in un'uscita di strada, con conseguente necessità di ricarrozzare completamente l'auto, nacque un altro mito automobilistico. I fratelli Leto di Priolo si rivolsero al carrozziere Zagato per i lavori e l'atelier milanese riconsegnò loro la vettura con una carrozzeria solo leggermente più aerodinamica, ma molto più leggera come tipico dei canoni della carrozzeria Zagato. Con questa vettura si aggiudicarono molte corse e fu così che quasi tutti i piloti andarono alla Zagato per ottenere vetture dalle stesse caratteristiche, facendo ricarrozzare le loro Sprint, quasi tutte diverse l'una dall'altra secondo l'esperienza via via accumulata: queste vetture vengono chiamate chiamate SVZ (Sprint Veloce Zagato). Fu una serie di dimensioni numeriche limitate, perché la Zagato non ottenne dall'Alfa Romeo i telai "nudi", ma solo le vetture complete, e quindi con aggravi di spese ben immaginabili e difficilmente sostenibili dal piccolo carrozziere meneghino. Un altro esperimento, di tipo più aerodinamico, lo fece Michelotti che ricarrozzò un telaio Sprint Veloce con una carrozzeria altamente profilata che fu chiamata "Goccia": restò però un esemplare unico, ancor oggi esistente. Nel 1957 si pensò di dare una versione allestita appositamente ai piloti e venne coinvolto ancora una volta Bertone che, avvalendosi dell'estro e del genio aeronautico di Franco Scaglione, cominciò a delineare la futura Giulietta Sprint Speciale che entrò in produzione nel 1959, con un'aerodinamica assai evoluta ed esasperata, studiata anche con l'osservazione diretta dei flussi per mezzo di fili di lana applicati sulla carrozzeria di un'auto lanciata a forte velocità sulla Torino-Milano. Questa vettura nasceva sul telaio a passo corto (2.250 mm), che nel 1959 venne usato anche dalla Spider, e lo stesso telaio fu fornito alla carrozzeria Zagato, che allestì un esemplare più tozzo, meno aerodinamico della Giulietta SS ma più leggero di circa 100 kg e, assai importante per le competizioni, assai più maneggevole della "rivale" di Bertone. Questa versione fu chiamata Sprint Zagato. Fu così che i piloti scelsero nella quasi totalità la SZ, così venne anche ufficialmente appellata, mentre la SS leggermente modificata e dotata di paraurti anteriore, divenne una veloce granturismo di classe. Importanti innovazioni che vennero introdotte su questi due modelli furono il cambio a 5 marce di serie e i freni anteriori a tre ceppi autoavvolgenti, in grado di generare una coppia frenante assai maggiore di quella a disposizione delle Sprint Veloce. Il motore di queste due versioni venne potenziato (+10cv rispetto all'ultima Sprint Veloce) sino al notevole livello di 100 cv che portò la velocità raggiungibile a 200 km/h nel caso della SS e di qualcosa meno per la più leggera ma meno profilata SZ.
Nel 1961 la Carrozzeria Zagato provò ad attuare i principi aerodinamici del prof. Kamm, secondi i quali una coda allungata e troncata all'estremità permetteva migliori allunghi velocistici (come già dimostrato dalla versione SS un poco più veloce come punta massima alla SZ) e così nacque in un numero estremamente ridotto di esemplari la SZ Coda Tronca, che si impose in numerose competizioni anche di alto livello. Da questa versione venne studiata la successiva Giulia TZ. Nel 1958 il prezzo della Sprint sale leggermente (da Lire 1.900.000 a 1.925.000). La Giulietta Sprint subisce un importante aggiornamento nell'estate del 1958, quando viene adottato un diverso cambio con sincronizzatori Porsche in luogo di quelli Borg&Warner e fu modificata la mascherina anteriore con griglia metallica e fari più grandi, anche la fanaleria posteriore aumentò le dimensioni ed inoltre fu applicata sulle fiancate un elegante gemma per le frecce laterali con una modanatura cromata; la potenza della Sprint, grazie all'aumento di compressione portato a 8:1, viene portata ad 80 CV e le prestazioni aumentano con la velocità massima che passa a 165 km/h. L'allestimento della sprint viene unificato a quello della sprint veloce, per diminuire i costo di produzione, così anche sulla prima la leva del cambio non si troverà più al volante ma sul pavimento. La versione Veloce alleggerita con i finestrini scorrevoli con la nuova serie andrà fuori produzione, proprio in virtù del risparmio sulla produzione, per cui rimane in produzione la versione lusso ma senza questa denominazione ma semplicemente Giulietta Sprint Veloce. Nel 1961 il prezzo di tutte le Giulietta diminuisce sensibilmente: la Sprint scende da 1.925.000 a 1.735.000 Lire, la Sprint Veloce da 2.250.000 a 2.050.000 Lire.
La produzione della Giulietta Sprint sembra cessare nel 1962, quando riceve il motore da 1,6 litri dell'ultima nata Alfa, la Giulia, e si trasforma in Giulia Sprint 1600; in questa versione nuovi sono il volante ed il cruscotto, dove i tre elementi circolari erano posti orizzontalmente davanti al guidatore. Ma nel 1964, dopo la presentazione della Giulia Sprint GT (sempre disegnata dalla carrozzeria Bertone su disegno di Giorgetto Giugiaro) all'inizio solo con motore 1600, le scocche della Giulia Sprint (prodotte da Bertone) sono ancora disponibili e viene reinserita nel listino Alfa Romeo, sotto la definizione di 1300 Sprint, una versione con motore 1300 per venire incontro ai più giovani con una motorizzazione più agevolata sotto il profilo fiscale. Questa versione ha l'interno come quello della Giulia Sprint e presenta anche i freni anteriori a disco. La produzione si arresta definitivamente nel 1965. La Sprint 1300 (che è l'ultima Giulietta ad essere commercializzata) sparisce definitivamente dal listino nel novembre del 1966, quando evidentemente tutti gli esemplari prodotti sono stati venduti (le ultime Sprint 1300 sono circa 1900).
Hoy, vuelve a tocar Eden. Esta pequeña niña francesa a robado mi corazón.
No se por que, las nenas y nenes adoptados, desde que llegan a mi casa, es como que tienen un lugar especial para mí. Creo que es porque comprendo que antes tubieron otros dueños. Que no siempre es sencillo tener que venderlos. Y creo que, en el lejano caso de tener que vender alguno, me costaria que fuesen ellos.
Tengo sesiones pendientes de los nenes que he ido completando... es que sigo esperando a la cámara!!!! (y a saberla usar ^^u)
Mañana me toca la última exposición del año. Y va a ser muy complicada, porque es de la asignatura que llevo peor de todo el curso... T_T ojalá me salga bien!
Y hablando de completar a nenes.... tengo ganas de ver completa a Nirvana, la BRH que adopté! Es preciosa! pero salvo la ropa, aún me queda conseguirle su peluca y sus ojos!!! *^* algún dia...!!!
This is the Hospital of St John Without the Barrs and Chapel in Lichfield.
Found it hard trying to take shots of it from the road - too much traffic. This is the best I could get.
Some shots include the Ford Tempest car showroom opposite.
On St John Street.
Grade I listed.
Hospital of St John Without the Barrs and Chapel, Lichfield
LICHFIELD
SK1109SE ST JOHN STREET
1094-1/8/167 (South West side)
05/02/52 Hospital of St John without the
Barrs and Chapel
(Formerly Listed as:
ST JOHN STREET
(South West side)
St John's Hospital, including
Master's House and Chapel)
GV I
Almshouses and chapel. Founded 1135, by Bishop Roger de
Clinton; refounded 1495, by Bishop William Smith, when the
almshouse range was built; alterations and additions,1929, and
large addition of 1966-7 by Louis de Soissons; chapel extended
1829 and restored 1870. Brick with ashlar dressings; tile
roof; ashlar chapel.
PLAN: long range with later ranges forming U-plan, with chapel
to north. 2 storeys; 9-window range.
EXTERIOR: facade articulated by 8 large projecting stacks with
offsets, now disused; offset buttress to right end. Entrance
between 6th and 7th stacks has Tudor head in architrave with
label mould battened door with strap hinges; oval plaque
above, erected 1720, records the refounding of 1495, a
cartouche above with the arms of Bishop Smith. Most windows
are small, with brick sills, chamfered jambs and ashlar
lintels, and leaded glazing; larger window to left of
cartouche, windows to right of entrance are larger, that to
ground floor with brick label, that to 1st floor has 2-light
casement with small-paned glazing; right end has 2 small
windows to ground floor and later gabled oriel above, with
1:3:1-light single-chamfered-mullioned window.
Right return next to chapel has blocked elliptical-headed
window and leaded light. Left end has 1929 additions forming
canted angle and wing to rear, 1966 additions of single-storey
return wing and 2-storey rear wing.
Rear elevation has 4-centred entrance to cross-passage with
brick arch and niche above with C19 statue. 2-light, 3-light
and single-light windows to left; to right are six 2-storey
canted bays of 1929 with 1:2:1-light windows.
INTERIOR: some flat joists with runout stops; front corridor
inserted 1929. Chapel has single-vessel nave and sanctuary,
with north aisle of 1829.
East end: coped gable with kneelers and offset angle
buttresses to right; segmental-pointed window of 5
double-cusped lights, small window of pointed arch above and
enriched C19 rainwater head to left; blind return has cornice.
North aisle has coped west gable with kneelers and gabled bell
cote, angle buttresses; 3-light west window has intersecting
tracery; north return has similar windows flanking
buttress/stack.
South elevation has offset buttresses; double-chamfered
pointed entrance to left end; 2-light plate tracery window,
lancet, 3-light window and 2-light square-headed window both
with Perpendicular tracery, and traceried lancet to right end.
INTERIOR: roof has cusped arch braces to collars and queen
struts; sanctuary has blocked 3-light square-headed window to
north; 3-bay arcade to north aisle has octagonal piers and
head stops to hoods; north aisle has king post roof; west end
has vestibule with re-used panelling. Fittings: sanctuary has
bolection-moulded fielded panelling, fluted frieze and
cornice, large central panel with frieze with grapes and
wheat; piscina to south with arch over restored bowl; gabled
tabernacle to north; encaustic tiles. Aisle has organ to west
end and small octagonal font.
Monuments to members of the Simpson family to west end and C19
stained glass to south; 1984 east window by John Piper.
The hospital was founded as a place of refuge for pilgrims
after the city gates were closed, run by a community of
Augustinian brothers and sisters; it was refounded as an
almshouse and school in 1495, the school becoming the Grammar
School in the C16.
(Victoria History of the County of Stafford: Oxford: 1970-:
P.279-89; Clayton H: St John's Hospital Lichfield: Lichfield:
1984-).
Listing NGR: SK1176909160
One of the chimneys.
Taken without looking through the viewfinder, focusing done by guessing the distance. Only slightly off!
The grain on the Kodak Portra 800 is amazingly smooth! Based on one roll, I can say I prefer Kodak Portra 800 over Fuji Pro 800Z, definitely.
Do not use without permission!
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Mendocino County, California
I think photos would be better without the christmas lights. I know where it is now, and maybe next time I am in the area I will try again for more pictures sans lighs.
camera: Fujica GSW690II 6X9 medium format rangefinder
lens: EBC Fujinon 65mm f/5.6
film: Fujichrome Provia 400X RXP
filter: B+W UV
support: tripod
scan: PCV
Hartley is the third of the parishes that make up modern Longfield.
Situated down a long and narrow leafy lane, a modern church centre built against the west end is the fist thing you see after leaving the car park.
Inside, there are some fine wall paintings surviving, and interesting glass.
------------------------------------------
In 1876 Hartley was described as a quiet, out of the way place with hop gardens on every hand, three or four comfortable farmhouses, a smith's forge and a few scattered cottages. The church of All Saints is mentioned as the only building of interest. The present building dates from the early 12th century and, like so many others, probably replaced one of Saxon origin. Amongst our neighbours, the churches of Fawkham, Ridley and West Kingsdown are of a similar age.
The church, which is flint with tiled roof, is a simple one comprising nave and chancel without aisles or chapels. A vestry and porch were added in the 19th century. All that remains of the Norman church are two small round-headed windows, one to the left of the porch as you enter the church, and the other in the north wall, and the impressive south door which still contains the original oak panels and wrought iron hinge work.
During the 13th century the chancel and chancel arch were rebuilt and, with the insertion of two large windows in the nave, the church took on its present shape. The only other remaining part of the medieval church is in the nave roof. Looking up, one can see the fine oak tie beams linking the north and south walls. On the top of these are three crown posts indicative of a 15th century date.
There is little in the church to remind us of the next three centuries. The parish registers should start in 1538 but the earliest register is lost. Now the registers of baptisms, marriages and burials start in 1712 and continue without a break to the present day. A Book of Remembrance was placed in the chancel in 1981 and records the names of departed loved ones.
During the last hundred years the church has undergone some necessary repairs and alterations. The east wall was rebuilt and vestry added in 1860-3. The stained glass in the south windows is of Victorian origin. The west wall and turret were rebuilt in 1892 and the porch in 1899. The bell turret, which existed in medieval times, is known to have been extensively repaired in 1750 and again in 1818. This caring work continues and the east window, which was filled with stained glass in 1898 to the memory of Adam Tait, was restored and re-ordered by the Friends of All Saints and parishioners with the generous assistance of the P & O Company in 1987.
www.fawkhamandhartley.org.uk/History/All%20Saints%20Churc...
-------------------------------------------
HARTLEY.
NEXT adjoining south-eastward lies Hartley, called in Domesday, Erclei, in the Textus Roffensis, Herdei.
This parish, which is but little known or frequented, contains about twelve hundred acres, part of which is a large wood, called Hartley-wood, containing one hundred and fifty acres, at the northern boundary of it; the soil of it is chalky, light, and much covered with flints. The church stands on the hill, round which there is no village, though here, and at Hartley-green, about a quarter of a mile northward from it, there are several stragling houses. The western part of this parish lies in the valley, called Hartley-bottom, along which the road leads to Wrotham and Trosley.
This place, at the taking the survey of Domesday, was part of the vast possessions of Odo, the great bishop of Baieux, and half-brother to the Conqueror; under the general title of whose lands it is thus described there.
Ralph Fitz Turald holds Erclei of the bishop (of Baieux.) It was taxed at one suling. The arable land is . . . . . In demesne there are 2 carucates and 9 villeins, with 6 cottagers, having 3 carucates. There are 3 servants, and wood for the pannage of 10 bogs. The whole manor was worth 3 pounds, and now 100 shillings; a certain woman held it.
In the same record, a little further on, under the same title of the bishop of 'Baieux's lands, is this entry:
Ralph Fitz Turald bolds Erclei of the bishop (of Baieux.) It was taxed at 1 suling. The arable land is half a carucate, and there are now 30 acres of arable. In demesne there is 1 carucate and 6 villeins, having half a carucate. There are 12 acres of meadow. In the time of king Edward the Confessor and afterwards, it was 40 shillings, now 4 pounds. Hunef, held it of earl Harold.
On the disgrace of the bishop of Baieux, which happened about four years after the taking this survey, all his lands and possessions became forfeited to the crown.
THE MANOR OF HARTLEY, soon after the Conqueror's reign, became part of the possessions of the noble family of Montchensie, (fn. 1) one of whom, Warine de Montchensie, was owner of it in the reign of king John. In the 37th year of king Henry III. he ob tained a charter of free-warren for this manor, and died next year, being then reputed one of the most valiant, prudent, and wealthy men in this kingdom. He left a son and heir William, and a daughter Joane, who had married William de Valence, the king's half brother. William de Montchensie, two years after, had possession granted of all his father's lands; not long after which, he took part with the discontented barons; and when the king was made prisoner at the battle of Lewes, in the 48th year of his reign, and the barons had summoned a parliament in his name, he was one of the chief of those that sat therein. (fn. 2) Notwithstanding, he was afterwards taken at Kenilworth, a little before the battle of Evesham, and his lands seized, yet he had soon after such favor shewn him, for his sister's sake, that they were freely restored to him again; and in the 6th year of king Edward I. he obtained full pardon, with other favors afterwards, among which was that of the view of frank-pledge, and the courts belonging to it in all his lands. He was killed at the siege of Drosselan-castle, in Wales, in the 17th year of that reign, leaving one daughter and sole heir, Dionisia, who was shortly afterwards married, through the king's means, to Hugh de Vere, third son of Robert, earl of Oxford, who in the 17th year of it had possession granted of the lands of her inheritance. In the 1st year of king Edward II. he was summoned to the king's coronation, as was Dionisia his wife, by whom it seems he had no issue; for on her death, in the 7th year of that reign, it was found that she died possessed of this manor of Hartley, among others, holding it of the king in capite, and that Adomar de Valence, earl of Pembroke, son of Joane and William de Valence before-mentioned, was her next heir. (fn. 3)
Aymer, earl of Pembroke, was greatly favored and employed both by king Edward I. and II. but in the 17th year of the reign of the latter, attending the queen into France, he was murdered there, in revenge, for the death of the earl of Lancaster, this earl being one of those who had passed sentence of death upon him at Pontefract two years before. (fn. 4) He left no issue, though he had three wives. Upon which John, son of John de Hastings, by Isabel his wife, the earl's sister, and John, son of John Comyn, of Badenagh, by Joane his other sister, were found to be his coheirs and next of kin, but Mary de St. Paul, his widow, surviving him, had next year for her dowry an assignation of this manor, among others. She died possessed of it in the 51st year of king Edward III. (fn. 5) Upon which it came to John de Hastings, great grandson of John de Hastings before-mentioned, who was found to be coheir, and next of kin to Aymer de Valence, earl of Pembroke.
John de Hastings before-mentioned, was then an insant, and at the coronation of king Richard II. being not quite five years old, claimed to carry the great golden spurs; and shewing sufficient evidence of his right to do that service, it was adjudged to him, and a deputy allowed him for that purpose, by reason of his non-age. He was afterwards unfortunately killed at a tournament at Woodstock, anno 13 king Richard II. (fn. 6) having married Philippa, daughter of Edmund Mortimer, earl of March, by whom he left no issue. Upon his death Reginald, lord Grey, of Ruthyn, was found to be his cousin, and next heir of the whole blood, as descended from John de Hastings and Isabel his wife, one of the sisters and heirs of Aymer de Valence, earl of Pembroke.
Philippa, countess of Pembroke, survived her husband; and having afterwards married Richard Fitzalan, earl of Arundel, (to whom she was second wife) he had this manor in dowry with her.
The earl was sined for this marriage four hundred marcs to the king, in consideration of which he was pardoned. Some time after which, observing the dangerous tendency of the times, and the implacable hatred that reigned in the king's breast against him, he retired into the country, having obtained a special dispensation from attending the parliament, or any other public employment. Notwithstanding which, the king searing him, soon afterwards got him into his power by fair words, and then sent him to prison, and quickly after brought him to his trial; and though he pleaded the king's promises and charter of pardon, he received a most severe sentence, to be drawn, hanged, quartered, &c. The rigour of which was somewhat softened, for he only lost his head at London, the king himself being a spectator of the execution. After his death his widow Philippa still kept possession of this manor, of which she was possessed at the time of her death, in the 2d year of king Henry IV. she then bearing the title of countess of Pembroke. (fn. 7)
On this, Reginald, lord Grey, of Ruthyn, became entitled to it, as next of kin, and heir of Aymer, earl of Pembroke, and as such at the coronation of king Henry IV. he carried the great golden spurs. Great quarrels arising between this Reginald, who had large possessions in Wales, and Owen Glendower, they had recourse to arms, and in the sequel Reginald was taken prisoner by the latter in Wales, and was obliged to give ten thousand marcs for his ransom; to raise which king Henry IV. in his 4th year granted licence to Robert Braybrooke, bishop of London, and others, then feoffees of several of his lordships, to fell the manor of Hertelegh, among others, towards raising that sum. (fn. 8) They sold it to John Urban, of Southfleet, who died possessed of it in the 8th year of king Henry V. (fn. 9) as did his son John in the 4th year of king Henry VI. (fn. 10) on which it came to his sister Emma Penhale, who died next year, (fn. 11) and left it to her son, and he held it in the 2d year of king Edward IV. as appears by the book of Dover in the exchequer.
In the 13th year of king Henry VII. William Cressel, esq. died possessed of the manor of Hartley, which he held of the king in capite by knight's service. (fn. 12) His son, Richard Cressel, in the beginning of the next reign, sold it to Draper; who passed it away to Ballard; and he conveyed it to William Sedley, esq. of Southfleet, at the latter end of the reign of king Edward VI. (fn. 13) in whose descendants it continued, in the same manner as the manor of Southfleet did, down to Sir Charles Sedley, bart. of Nuthall, in Nottinghamshire, who, in 1770, sold it to William Glanvill Evelyn, esq. of St. Cleres, in Ightham, the present owner of this manor.
Charity.
JOHN WALKER, esq. of Fawkham, who died in 1625, by his will bequeathed a coat, and a gown of good russet cloth, to two of the poorest men, and two of the poorest widows of this parish; to be delivered on Christmas-day yearly to each. After which they were to attend the service in the church of Fawkham, and then return to his mansion-house there, where they were to have a plentiful dinner. (fn. 14)
HARTLEY is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester. The church is dedicated to All Saints. It is a small building, consisting of one isle and a chancel, having a pointed steeple at the west end, in which are two bells.
Among other inscriptions in this church, on the north side is a memorial for James Burrow, gent. of Kingsdown, obt. 1728, æt. 53; and for Elizabeth, his wife, daughter of John Cox, gent. of Stansted, obt. 1729; above, these arms, azure three fleurs de lis ermine impaling sable a chevron argent, between three attires of a stag fixed to the scalp of the second.
¶It is a rectory, and was formerly of the patronage of the Talbots, earls of Shrewsbury; to whom it came from their ancestor, Gilbert Talbot, who on the death of Mary de St. Paul, widow of Aymer de Valence, earl of Pembroke, in the 51st year of king Edward III. was found by inquisition to be her heir, and next of kin. It was lately in the patronage of the earl of Plymouth, (fn. 15) afterwards of the reverend Thomas Blomfield, and since of his son, Thomas Blomfield, esq. who sold his interest in it to Richard Forrest, esq. who died in 1796. Since which it has been sold by the trustees appointed by his will, to the reverend Mr. Bradley, rector of this parish, who married Mr. Forrest's daughter, and he is now owner of this advowson.
In the 15th year of king Edward I. this church was valued at twelve marcs. By virtue of the commission of enquiry, issuing out of chancery in 1650, it was returned, that Hartley was a parsonage, with a house, and eight acres of glebe land, all worth sixty pounds per annum; one master Eves enjoying it, and preaching there. (fn. 16) It is valued in the king's books at seven pounds, and the yearly tenths at fourteen shillings. It is now of the value of about two hundred guineas per annum.
6x4 postcard size card. This is my card to MMM-challenge. Theme was stitches.
Acrylic paints, paper image, ink, sewing string, tulle, colored pencil, oil pastels and rub ones.
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📷 photographer: Bernard Egger :: rumoto images
event:
ENNSTAL-CLASSIC 2008 Chopard Grand Prix
Sir Stirling Moss, MB 300 SLR
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Jean Sage
Der 1940 geborene Franzose war zwischen 1977 und 1985 Sport-Direktor bei Renault. Das war jene abenteuerliche Epoche, in der Renault zum Turbo-Pionier der Formel 1 wurde.
Begonnen hat alles 1959, als bei der Mont-Blanc Ralye ein Copilot "voller Todesangst" davon rannte, worauf Jean seinen Platz einnahm, obwohl er keine Lizenz besaß.
Von 1959 bis 1961 arbeitete er als Journalist, 1962 startete er seine Rennfahrer-Karriere, 1965 und 1966 war er auch als Profi-Pilot bei Rallies unterwegs.
Mit Larrousse hatte er in der Korsika-Rallye 1966 einen schweren Unfall, der ihm einen Halswirkelbruch bescherte: "Daher meine gebeugte Haltung."
Heute ist er als Renn-Historiker und Chef der Technischen Abnahme bei internationalen Oldtimer-Rennen gefragt, wenn er nicht gerade selber ein Juwel aus seinem Rennstall anheizt. Zur Ennstal-Classic kam er auf Achse mit seiner Ferrari SWB Berlinetta.
LEGAL NOTICE • This work is a copyrighted protected image © Bernard Egger | All Rights Reserved | no release | no flickr API
None of my works, no part of this photostream may be published, copied, reproduced, stored in retrieval system, or transmitted, in any form or by any means, without my prior express permission.
📷 licence:
To buy the rights to use and publish this photo, to obtain a license or to get a version in higher resolution, please contact:
photo.egger [at]gmail.com and klick here... for more.
Todos los Derechos Reservados • Tous droits réservés • Todos os Direitos Reservados • Все права защищены • Tutti i diritti riservati
📷 photographer:
Bernard Egger :: rumoto images
event:
ENNSTAL-CLASSIC 2008 Chopard Grand Prix
----
Ein legendäres Duo am Steuer eines Mercedes-Benz 300 SLR, Baujahr 1957, mit dem Stirling Moss und Denis Jenkinson 1955 mit #722 die Mille Miglia gewannen.
Der 300 SLR als letzter Vertreter der 300SL-Modellreihe war ein reiner Rennwagen und mechanisch eher mit dem Formel-1-Wagen W 196 verwandt. Der Roadster hat ebenfalls einen Gitterrohrahmen, jedoch verfügt er einen 282-PS-3-Liter-Achtzylinderreihenmotor, Einspritzung, Wälzlager und eine leistungsstarke Zwangssteuerung.
Die Fahrleistung ließ einem seinerzeit den Atem stocken: 219 km/h im vierten Gang und 290 km/h im fünften Gang...
[Quelle: Ennstal-Classic]
ENNSTAL-CLASSIC - Chopard Grand Prix - Sir Stirling Moss, MB 300 SLR
Anthony van Dyck
Cupid and Psyche
1639-40
Royal Collection, Windsor
Cupid and Psyche is without doubt one of the most beautiful paintings undertaken by Van Dyck for Charles I. It is a late work, possibly dating from 1639-40, thinly painted throughout with several changes visible to the naked eye and some passages, particularly in the landscape, unresolved to the extent that the painting might not have been properly finished. Significantly, when first recorded in the Long Gallery at Whitehall Palace the picture was unframed. Both these factors might have some bearing on the circumstances of the commission. It has been suggested, for example, that the subject relates to the decoration of the Queen's Cabinet at Greenwich, which was initiated towards the end of 1639 by Rubens and Jacob Jordaens but was never completed - although a certain amount of preparatory material by Jordaens is recorded. Alternatively, the painting could have been made in the context of the celebrations for the marriage of Princess Mary to William II of Orange (April-May 1641).
The story of Cupid and Psyche was well known at the English court. The source is The Golden Ass by Apuleius . Van Dyck has chosen the moment when Cupid discovers Psyche overcome by sleep after opening the casket which Venus had requested her to bring back, unopened, from Proserpine in Hades. This was one of the tricks set by Venus in Psyche's attempt to find Cupid. Compositionally, there is a kinship with paintings of Adam and Eve or the Annunciation. It is stated traditionally that Psyche's features resembled those of Van Dyck's mistress, Margaret Lemon.
Van Dyck's role as court painter seems primarily to have been directed towards portraiture, even though he was a supremely able painter of poesie in the Italian tradition. Cupid and Psyche is the only mythological composition known to survive from the time of the artist's full employment at the English court (after 1632). Bellori records that other mythological paintings were made but these are now lost. This accounts for the long gap between the Rinaldo and Armida (Baltimore, Museum of Art), which the king commissioned in 1630 before the artist settled permanently in London, and Cupid and Psyche. In many ways the later painting may be seen as a summation of Van Dyck's art in this field. The composition successfully combines the artist's feeling for landscape with his understanding of the human form, both aspects being conveyed through superb draughtsmanship, here successfully conflated by the skilful use of diagonals. The sense of movement implied by Cupid's arrival contrasts with the stillness of Psyche asleep to create a tension that is the very essence of the picture, matching perfectly the contrast within the story itself between Beauty (Psyche) and Desire (Cupid). Such ethereal neo-Platonic ideals, which were open to various interpretations about love and the soul, were nurtured as part of the court life of Charles I and Henrietta Maria.
Stylistically, the principal inspiration is Titian, whose pictures were such a major feature of Charles I's collection, but the highly charged poetic feeling, refined use of colours balancing warm and cold hues, and delicate modelling of human flesh that Van Dyck brings to the painting anticipate French Rococo art, especially the work of Watteau. In addition, it should not be forgotten that Cupid and Psyche was painted on the eve of the outbreak of the Civil War, so in many respects the choice of subject and the poetic intensity of the painting have a certain poignancy when seen in an historical context.
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Senza ombra di dubbio è un posto da visitare e che non dimenticherete. Il buio e il suono dei tamburi nella notte, i fumi delle bancarelle che vendono cibo, i fuochi, la varietà di persone che lo popola sono un ricordo vivido nella mia mente. Jemaa el Fna è la piazza al centro della quale si sviluppa la città vecchia di Marrakech. È circondata a nord dal souk, a est dalla Kasbah. Patrimonio orale dell'umanità Unesco è trafficatissima giorno e notte: tanti i turisti, ma la massima parte delle persone che la popolano sono marocchini. È sede di bancarelle che vendono diversi genere di merci (dalla frutta, alle spremute, alle stoffe, a oggetti usati contro le malattie). La mattina è dominata da incantatori di serpenti, acquaioli, decoratrici con l'hennè. Ma fate attenzione perché tutto ha un prezzo. La foto scattata con la scimmia o con il cobra che vi saranno messi in testa o il ritratto dell'acquaiolo (non bevete l'acqua se ci tenete allo stomaco, però) andranno remunerati e vi conviene contrattare il prezzo prima per evitare sgraditissime sorprese. La sera a dominare la piazza buia sono invece concerti, cantastorie e le decine di affollatissime bancarelle dedicate al cibo e che offrono in particolare economici brochettes (spiedini di carne o pesce), con i fumi delle grigliate che si elevano sopra la piazza illuminati dalle luci. Uno stand vale l'altro e mangiarci è un'esperienza da fare.
La Piazza Jema El-Fna è uno dei punti di ritrovo principali di Marrakech. Nel 2001 l'Unesco l'ha denominata Patrimonio Orale e Immateriale dell'Umanità. È situata a lato dei vari suk e a partire dalle ore 17.00 si riempie di venditori di succhi di frutta naturali, frutta secca, donne che dipingono il corpo con l'hennè, incantatori di serpenti, musici, venditori ambulanti, tassisti, veggenti, turisti e addirittura dentisti! Inoltre è circondata da piccole moschee e la chiamata alla preghiera diventa un vero spettacolo. I caffè più famosi della città si trovano proprio qui: Il Café De France, l'Argana... Tutti hanno terrazze in cui sedersi per sorseggiare tè alla menta o cenare con vista sulla piazza. A ora di cena,in particolare durante il tramonto, vengono improvvisati punti di ristoro che propongono pietanze di carne, pesce o cuscus.
La Piazza Jemaa el Fna è la piazza centrale di Marrakech, luogo dichiarato dall'UNESCO "di tradizione orale". Qui si recano gli "Gnaouas", un gruppo di musicisti locali, a suonare musica e percussioni, accompagnati da incantatori di serpenti o di scimmie. Si raccontano storie, si balla, si mangia fino a tarda ora. Durante il giorno la piazza, che si trova accanto alla Kutubia, è quasi vuota a causa del gran caldo. Nel pomeriggio iniziano ad apparire i primi tavoli e le prime sedie, assieme ai venditori di cibo e a coloro che preparano carne alla griglia e cous-cous. Durante il giorno si può prendere un succo d'arancia, spremuto all'istante, accompagnato da datteri e dolci tipici. Il momento migliore rimane il tardo pomeriggio, quando la piazza si riempie di gente del posto, persone arrivate dal deserto per vendere tessuti o animali magici in grado di curare qualsiasi malanno, famiglie che vengono a mangiare.
Jamaa el Fna (Arabic: ساحة جامع الفناء jâmiʻ al-fanâʼ) is a square and market place in Marrakesh's medina quarter (old city). The origin of its name is unclear: Jemaa means "congregational mosque" in Arabic, probably referring to a destroyed Almoravid mosque. "Fanâʼ" or "finâ'" can mean "death" or "a courtyard, space in front of a building." Thus, one meaning could be "The mosque or assembly of death," or "The Mosque at the End of the World". A more likely explanation is that it refers to a mosque with a distinctive courtyard or square in front of it. Marrakesh was founded by the Almoravids 1070-1072. After a destructive struggle, it was falling to the Almohads in 1147. Following this, Jamaa el Fna was renovated along with much of the city. The city walls were also extended by Abou Yacoub Youssef and particularly by Yacoub el Mansour 1147-1158. The surrounding mosque, palace, hospital, parade ground and gardens around the edges of the marketplace were also overhauled, and the Kasbah was fortified. Subsequently, with the fortunes of the city, Jamaa el Fna saw periods of decline and also renewal. The place remains the main square of Marrakesh, used by locals and tourists. During the day it is predominantly occupied by orange juice stalls, youths with chained Barbary apes, water sellers in colourful costumes with traditional leather water-bags and brass cups, and snake charmers who will pose for photographs for tourists. As the day progresses, the entertainment on offer changes: the snake charmers depart, and late in the day the square becomes more crowded, with Chleuh dancing-boys (it would be against custom for girls to provide such entertainment), story-tellers (telling their tales in Berber or Arabic, to an audience of appreciative locals), magicians, and peddlers of traditional medicines. As darkness falls, the square fills with dozens of food-stalls as the number of people on the square peaks. The square is edged along one side by the Marrakesh souk, a traditional North African market catering both for the common daily needs of the locals, and for the tourist trade. On other sides are hotels and gardens and cafe terraces offering an escape from the noise and confusion of the square. Once a bus station, the place was closed to vehicle traffic in the early 2000s. The authorities are well aware of its importance to the tourist trade, and a strong but discreet police presence ensures the safety of visitors. The idea of the UNESCO project Masterpieces of the Oral and Intangible Heritage of Humanity came from people concerned about the Jamaa el Fna. The place is known for its active concentration of traditional activities by storytellers, musicians and performers, but it was threatened by economic development pressures. In fighting for the protection of traditions, the residents called for action on an international level, to recognize the need for the protection of such places - termed "cultural spaces" - and other popular and traditional forms of cultural expression. UNESCO encourages communities to identify, document, protect, promote and revitalize such heritage. The UNESCO label aims to raise awareness about the importance of oral and intangible heritage as an essential component of cultural diversity. The spectacle of Jamaa el Fna is repeated daily and each day it is different. Everything changes - voices, sounds, gestures, the public which sees, listens, smells, tastes, touches. The oral tradition is framed by one much vaster - that we can call intangible. The Square, as a physical space, shelters a rich oral and intangible tradition.
Jamaâ El Fna (en arabe : جامع الفناء, littéralement en français: "assemblée des trépassés" est une place située à Marrakech à côté de la mosquée Koutoubia. Ce haut-lieu touristique attire sans cesse plus d'un million de visiteurs venus pour assister aux spectacles animés par les charmeurs de serpents, les dresseurs de singes, les conteurs, les musiciens et d’autres artistes populaires, jeux, dessin au henné, etc... du début de soirée jusqu'à l'appel de la prière de l'aube. L'espace culturel de la place Jemaa el-Fna a été inscrit par l’UNESCO en 2001 en tant que patrimoine culturel immatériel de l'humanité. Elle se distingue aussi par des orateurs qui racontent des histoires ou vantent les mérites de produits magiques. Son nom de "assemblée des trépassés" vient du fait qu'elle servait autrefois à l'exposition, sur ordre du Sultan, des têtes des condamnés à mort qui venaient d'être exécutés. Certains jours, on pouvait ainsi compter jusqu'à quarante-cinq têtes. Elle est le théâtre d'une explosion meurtrière le 28 avril 20113. L’attentat, provoqué par une bombe actionnée à distance dont l'auteur présumé a été arrêté le 5 mai 2011, a fait 17 morts dont 8 français.
taking a break from conceptual photography. Doesn't keep the ideas from constantly rushing in though.
"A man was brought to Jesus, a dumb demoniac. And when the devil was cast out, the dumb man spoke and the people were amazed. ‘Nothing like this has ever been seen in Israel’ they said. But the Pharisees said, ‘It is through the prince of devils that he casts out devils.’
Jesus made a tour through all the towns and villages, teaching in their synagogues, proclaiming the Good News of the kingdom and curing all kinds of diseases and sickness.
And when he saw the crowds he felt sorry for them because they were harassed and dejected, like sheep without a shepherd. Then he said to his disciples, ‘The harvest is rich but the labourers are few, so ask the Lord of the harvest to send labourers to his harvest.’"
– Matthew 9:32-37, which is the Gospel for the 14th Tuesday in Ordinary Time.
Detail from 'Our English Coasts' (Strayed Sheep), c.1852 by William Holman Hunt, housed in the Tate Britain gallery in London.
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Portuguese
A Igreja de Nossa Senhora do Rosário, a Matriz de Pirenópolis, é um templo católico, localizado na cidade de Pirenópolis, Goiás.
Para o povo goiano a Igreja de Nossa Senhora do Rosário é o maior centro da fé católica, e ainda daquelas que, pelo sincretismo, têm no local o ponto máximo da religião. É a mais tradicional igreja católica estado de Goiás, dedicada a Nossa Senhora do Rosário, padroeira dos pirenopolinos. A imagem de Nossa Senhora do Rosário veio para Pirenópolis em 1727, sendo a padroeira da cidade.
English
Pirenópolis is a town located in the Brazilian state of Goiás. It is well known for its waterfalls and colonial architecture, and a popular festival involving mounted horses called Festa do Divino Espírito Santo which takes place 45 days after Easter.
The history of Pirenópolis begins in 1727 when it was founded with the name of Minas de Nossa Senhora do Rosário de Meia Ponte, Meia Ponte (half a bridge) because half of the bridge over the Almas River was swept away in a flood. The first colonizers were Portuguese who came for the gold easily found in the Rio das Almas. From 1750 to 1800 there was a golden age when four churches were built and Pirenópolis competed with Vila Boa (present day Cidade de Goiás) as the richest town in the province. After 1800 a downturn over gold mining was set and the part of the population emigrated. With the change of commercial routes to Anápolis, the city became economically isolated. The first newspaper in the province, the Matutina Meiapontense, was published in Meia Ponte in 1830 by Joaquim Alves de Oliveira. In 1890 the city changed its name from Meia Ponte to Pirenópolis, the city of the Pireneus, the mountains located nearby. In 1960 with the construction of Brasília there was an intensive exploitation of the famous Pedra de Pirenópolis (quartzite-micáceo). In the 1980s the hippies arrived with their alternative communities and production of handicrafts. Pirenópolis was born again with a huge influx of tourists, especially from Brasília. Churches were restored and all the electrical wiring was put underground.
Pyrenópolis (archaic orthography), later Pirenópolis , means “the City of the Pireneus”. Its name comes from the mountain range that surrounds the city, that is Mountain range of the Pireneus . According to local tradition, the mountain range received this name for having in the region immigrant Spaniards, probably Catalans. Because of some similarity with their native Pyrenees of Europe, a mountain chain situated between Spain and France, they had then given this mountain range the Latin name of Pireneus.
Listed as an architectural, urbanistic, landscape and historical heritage for IPHAN - the Institute of National Historic and Artistic Heritage, in 1989, the city has a Historical Center with large, ornate houses and churches of the 18th century, such as: First Church of Our Lady of the Rosary (1728–1732), Churches of Our Lady of the Carmo (1750–1754) and the Church of Our Lord of the Bonfim (Pirenópolis) (1750–1754), and buildings such as the Theater of Pirenópolis, a hybrid style between colonial and neo-classic, of 1899, and the Cine-Pireneus, built in the art-deco style, of 1919 and the House of Chamber and Jail constructed in 1919 as an identical restoration of the 1733 original.
The climate is humid sub-tropical with two well-defined seasons: the rainy season, which goes from October to March, and the dry season, which goes from April to September. Parts of the municipality are mountainous and maintain some climatic variations due to altitude.
The economy is based on agriculture (coffee, citrus fruits, soybeans, and corn), cattle raising (130,000 head in 2006), services, public administration, and small transformation industries. There are several small food, clothing, and furniture industries.
Major attractions include Igreja Nossa Senhora do Rosário de Meia Ponte, the oldest church in Goiás, and the church Igreja Nosso Senhor do Bonfim. It also has a hippie-like colony which markets clothing and silverwork.
Today Pirenópolis is known all over Brazil for its popular festivals, especially the "Cavalhadas", introduced in 1826, in which horsemen representing Moors and Christians recreate a battle fought by Charlemagne. This tradition, part of the Festival for the Holy Spirit (Festa do Espírito Santo), was brought to the town by Portuguese settlers.
The Festas de Cavalhadas feature a parade beginning with a bugle fanfare announcing the knight's pages, then the mounted knights displaying their colors. Wearing fantastic papier-maché helmets, the Christian knights wear blue, the Moors wear red.
The battle lasts for three days and attracts thousands of visitors to the town. The Cavalhadas take place in medieval costume, with the highlight being the mock battle, performed in the city's bullring. The Moors, of course, are defeated and convert to Christianity. For information on the cavalhadas (in Portuguese) see Cavalhadas
The town has been restored artistically with its stone paved streets and colonial houses (casarões). The Almas River, a tributary of the Tocantins River which flows north to form the Serra da Mesa artificial lake, passes near the town and is crossed by a restored wooden bridge. There is an old theater, cinema, and a museum of the cavalhadas.
Waterfalls are the primary tourist attraction for Pirenopolis and Corumba. Around the town, in a distance of 15 km., there are more than twenty spectacular waterfalls with pristine water. Some of them are enormous such as the Salto de Corumba (which disappeared for decades when prospectors diverted the waters for dredging). Other waterfalls are formed by a series of cascades. Many are on private property and are operated as a business. Other falls can be found on hiking trails. One of the longest rivers in the state of Goiás, the Corumbá River has its source near Pirenópolis.
A new attraction to Pirenopolis is the small ecovillage and permaculture design institute located a few kilometers outside of town called the IPEC or The Institute of Permaculture and Ecovillage of the Cerrado. Bringing in foreign students through study abroad programs such as Living Routes, visitors get a first-hand account of the possibilities of sustainable living.
Wikipedia
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without the border, I think this is SOOC. I know it's not even but oh well, I just figured out how to do it so...shuttie.
more from yesterday with Elizabeth and Mary! this is Mary. check out her photostream!
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La quinta edizione del festival organizzato da Wired Italia. Due lunghi fine settimana in cui vivere l’innovazione nell’economia, nella scienza, nella politica, nell’intrattenimento, nella cultura. Milano e Firenze si trasformano per un fine settimana nel luna park della scienza e della tecnologia. Oltre 150 relatori, performance artistiche, laboratori di stampa 3D, droni in volo, videogame, film, documentari, speed date sul lavoro, maratone di coding e workshop per tutte le età. A Milano da venerdì 26 a domenica 28 maggio ai Giardini Indro Montanelli.
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ore 10:00
Come si combatte l’Isis (sui social)
Speaker
Abdalaziz Alhamza - Fondatore Raqqa is Being Slaughtered Silently
Abdalaziz Alhamza, nato a Raqqa nel 1991, è un giornalista e attivista siriano, che oggi vive a Berlino. È fondatore e portavoce del progetto Raqqa is Being Slaughtered Silently (RBSS), gruppo di citizen journalism fondato dall’esilio in Turchia, che informa sulle violenze compiute da Isis in Siria, grazie alle informazioni passate da cittadini rimasti all’interno della città. Nel gennaio 2016 l’International Business Times ha descritto RBSS come “la più credibile fonte di informazioni dall’interno di Raqqa”.
Alhamza è laureato in biologia e da studente ha organizzato numerose proteste contro il governo siriano. È stato arrestato varie volte dal regime e più volte ha ricevuto minacce per la sua attività da Isis. RBSS ha vinto nel 2015 l’International Press Freedom Award dal Committee to Protect Journalists e il premio del Foreign Policy Global Thinkers Award.
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ore 10:30
Tra calcio e futuro
Speaker
Diletta Leotta - Conduttrice Sky Sport
Giulia Diletta Leotta, 1991, è conduttrice a Sky Sport. Si è laureata in Giurisprudenza alla LUISS di Roma con una tesi dal titolo Il contratto di lavoro sportivo. Ha iniziato la sua carriera televisiva nel 2010, a diciannove anni, sulla rete locale Antenna Sicilia, affiancando Salvo La Rosa nella conduzione dell’11º Festival della nuova canzone siciliana e nel programma di intrattenimento Insieme. L’anno successivo è passata a Mediaset dove ha condotto la trasmissione Il Compleanno di La5 sull’omonima rete digitale. Nel 2012 diventa una delle conduttrici di Sky Meteo 24.
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ore 12:30
Serie internazionale
Speaker
Salvatore Esposito - Attore
Salvatore Esposito nasce a Napoli il 2 febbraio 1986. Sin da bambino nutre la passione per la recitazione. Raggiunta la maggiore età inizia i suoi studi di recitazione presso la Scuola di cinema di Napoli per poi trasferirsi a Roma dove studia con l’acting trainer Beatrice Bracco.
Ha fatto il suo esordio televisivo nel 2013 con Il clan dei camorristi, interpretando il ruolo di Domenico Ruggiero. Nel 2014 arriva il successo al grande pubblico con Gomorra – la serie, Salvatore interpreta Genny Savastano.
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ore 13:00
Lavoro e ricchezza nell’epoca dell’ Intelligenza Artificiale
Speaker
Jerry Kaplan - Esperto di Intelligenza Artificiale e Imprenditore
Jerry Kaplan è un esperto di Intelligenza Artificiale noto in tutto il mondo, un innovatore, seriael entrepreneur, educatore, futurista e autore di best sellers. Ha fondato quattro startup della Silicon Valley, due delle quali sono divenute società di fama, e insegnato alla Stanford University. Hanno parlato di lui tutti i principali quotidiani in lingua inglese e le riviste specializzate di tutto il mondo
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ore 14:00
La strada della musica
Speaker
Michele Bravi - Cantante
Michele Bravi esordisce nel 2013 con la vittoria di XFactor Italia.
Portato alla vittoria da Morgan e presentato al grande pubblico con un pezzo scritto per lui da Tiziano Ferro e Zibba, Michele pubblica il suo EP di debutto “La Vita e la Felicità”. A Gennaio 2014 il primo singolo “La Vita e la Felicità” viene certificato disco d’oro.
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ore 14:30
Il tocco vincente
Speaker
Mara Maionchi - Produttrice discografica
Mara Maionchi (Bologna, 22 aprile 1941) è una produttrice discografica e personaggio televisivo italiano.
Attualmente considerata la figura femminile di maggiore spicco nella discografia italiana, producendo sia per conto di major come Sony e Warner che come produttrice indipendente attraverso la sua etichetta, sostenendo tuttavia in numerose dichiarazioni che la vera scena musicale – intensa e multisfaccettata – è all’estero e che in Italia “si fa quel che si può”.
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ore 15:00
Maniaca di SerieTV
Speaker
Miriam Leone - Attrice
Nasce a Catania. Ha frequentato il Liceo Classico Gulli e Pennisi ad Acireale e la Facoltà di Lettere e Filosofia dell’Università degli Studi di Catania. Studia contemporaneamente recitazione. Nel 2008 partecipa e vince sia la fascia di Miss Italia che quella di Miss Cinema.
Nel 2010 debutta come attrice sia sul grande schermo con il film Genitori & figli – Agitare bene prima dell’uso, di Giovanni Veronesi, con Silvia Orlando e Margherita Buy, sia sul piccolo schermo con il film TV Il ritmo della vita, diretto da Rossella Izzo e trasmesso su Canale 5.
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ore 15:30
Indie a chi?
Speaker
Lo Stato Sociale - Musicisti
Nel 2012 esce il loro primo album, Turisti della democrazia, al quale fa seguito un tour di 200 concerti in Italia ed in Europa. Nel 2013, ad un anno dalla prima pubblicazione, Turisti della democrazia viene ripubblicato in edizione deluxe, in formato doppio CD. Il primo CD presenta la tracklist originale mentre il secondo CD comprende tutti gli 11 brani del disco originale coverizzati da 11 artisti, oltre a tanti remix e inediti. Alla ripubblicazione dell’album, segue un lungo tour dello spettacolo di teatro-canzone Tronisti della democrazia, nel quale le canzoni dell’album d’esordio sono alternate a monologhi e sketch a formare “un minicorso in 5 atti di buone maniere”. Con Turisti della democrazia, tra i più discussi album usciti in ambito indie rock in Italia, la band bolognese ha ricevuto la Targa Giovani Mei e il Premio SIAE “Miglior Giovane Talento dell’Anno” e altri riconoscimenti.
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ore 16:00
L’uomo che ha dato forma al pc
Speaker
Mario Bellini - Architetto
Mario Bellini è un architetto e designer noto in tutto il mondo. Ha ricevuto il Premio Compasso d’Oro otto volte e 25 delle sue opere sono nella collezione permanente del MoMA di New York, che gli ha dedicato una retrospettiva nel 1987. È stato direttore della rivista Domus (1985-1991). Ha progettato numerose mostre d’arte e di architettura sia in Italia, sia all’estero, l’ultima a Palazzo Reale con i capolavori di Giotto (2015).
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ore 16:00
C’è risata e risata
Speaker
Saverio Raimondo - Stand Up Comedian e conduttore CCN
Saverio Raimondo, 33 anni, comico satirico, è stato definito sulle pagine di Repubblica “l’unico stand up comedian italiano che sembra vero” e “il comico più bravo in circolazione” da Aldo Grasso del Corriere della Sera. È il comico di punta di Comedy Central Italia (canale 124 di Sky) per il suo show CCN – Comedy Central News, striscia satirica di grande successo di pubblico e critica, giunta alla terza stagione – attualmente in corso, in onda tutti i mercoledì alle 22 – e per la quale ha vinto il Premio Satira Politica per la Tv Forte Dei Marmi.
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ore 16:30
Il suono dal caos
Speaker
Levante - Musicista
Levante nasce a Caltagirone e cresce a Palagonia (Catania) in una famiglia affollata da menti creative. A nove anni scrive le prime canzoni e soltanto ad undici inizia a suonare la chitarra, rubandola al fratello, per la pura esigenza di musicare i propri testi. Dopo la morte del padre, lei e la madre si trasferiscono nella magica città di Torino. Qui tante sono le collaborazioni, i contratti andati male, i dischi mai usciti e gli anni di manifestazioni musicali, provini e gavetta.
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ore 17:00
Non è bello ciò che è bello, ma che bello che bello che bello
Speaker
Maccio Capatonda - Attore e Regista
Nino Frassica - Comico e Presentatore
Maccio Capatonda, pseudonimo di Marcello Macchia, è un attore, regista e comico italiano. Ha partecipato ai programmi televisivi Mai dire Lunedì e Mai dire Martedì. Precedentemente aveva fondato a Milano la Shortcut Productions, insieme a Enrico Venti, suo storico amico, anche lui di Chieti. Ha lavorato per AllMusic e lavora stabilmente sul web, affianco all’attività televisiva. Nel 2013 è ideatore, regista e interprete principale della serie televisiva Mario. In un primo tempo si è dedicato (accompagnato dal suo inseparabile gruppo) alla produzione di finti reality televisivi, come il Divano Scomodo e il Gabinetto.
Nel 1985 Arbore coinvolge Nino Frassica nel varietà “Quelli della notte” nei panni di frate Antonino da Scasazza, organizzatore di un improbabile concorso a premi. Seguono “Indietro tutta” dove veste i panni del bravo presentatore e mette in scena una spassosa parodia del tipico conduttore televisivo. Partecipa successivamente a “Fantastico”, “Domenica In”, “Scommettiamo che…?”, “I Cervelloni”, “Acqua calda”, “Colorado Cafè” e “Markette” condotto da Piero Chiambretti. Nel 1999 inizia l’avventura della fiction televisiva “Don Matteo” con Terence Hill, Flavio Insinna e successivamente Simone Montedoro, giunta ormai alla decima serie. Nino interpreta il ruolo del maresciallo dei Carabinieri Nino Cecchini.
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ore 17:30
Comicità all’italiana
Speaker
Herbert Ballerina - Attore e Comico
Maccio Capatonda - Attore e Regista
Herbert Ballerina, pseudonimo di Luigi Luciano, nato a Campobasso il 7 marzo 1980, è un attore, comico, conduttore radiofonico e produttore cinematografico italiano. Dopo essersi laureato al DAMS di Bologna si trasferisce a Milano entrando a far parte della Shortcut Productions di Marcello Macchia ed Enrico Venti (in arte Maccio Capatonda e Ivo Avido), inizialmente come assistente e poi come attore e autore. Con Marcello Macchia è protagonista, con lo pseudonimo di Herbert Ballerina, di numerosi trailer umoristici trasmessi all’interno dei programmi televisivi Mai dire Lunedì e Mai dire Martedì.
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ore 18:00
La democrazia della rete
Speaker
Luigi Di Maio - Vicepresidente della Camera
Nato a Avellino il 6 luglio 1986, ha conseguito il diploma di liceo classico ed è giornalista pubblicista. Eletto nella circoscrizione XIX (CAMPANIA 1) nel 2013 alla Camera dei Deputati con il Movimento Cinque Stelle, diventa il più giovane Vicepresidente della Camera. È uno dei volti di punta del Movimento Cinque Stelle, per molti naturale candidato alle prossime elezioni.
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ore 18:30
Non smetto più
Speaker
Sydney Sibilia - Regista, Sceneggiatore e Produttore cinematografico
Luigi Di Capua - Regista, sceneggiatore e attore
Francesca Manieri - Sceneggiatrice
Sydney Sibilia, nato a Salerno nel 1981, è un regista, sceneggiatore e produttore cinematografico italiano. Sydney Sibilia inizia a realizzare cortometraggi insieme all’amico Fabio Ferro nella loro natìa Salerno. Nel 2007 si trasferisce a Roma e successivamente realizza un cortometraggio che ottiene numerosi riconoscimenti, Oggi gira così (2010), prodotto dalla Ascent Film e scritto insieme a Valerio Attanasio.
Sempre con Valerio Attanasio, scrive la sceneggiatura della sua opera prima Smetto quando voglio. Il film, prodotto dalla Fandango di Domenico Procacci, dalla Ascent FIlm di Matteo Rovere e da Rai Cinema, viene distribuito nelle sale cinematografiche nel febbraio 2014, riscuotendo un successo sorprendente e ottenendo 12 candidature ai David di Donatello 2014. Nel 2017 è nelle sale il seguito, Smetto quando voglio – Masterclass, in attesa del terzo episodio.
Regista, sceneggiatore e attore. Insieme a Matteo Corradini e Luca Vecchi è il fondatore del collettivo The Pills, nato nell’estate del 2011. Il collettivo è diventato celebre grazie alla web serie omonima che ha debuttato su YouTube nello stesso anno, diventando immediatamente fenomeno del web. Dopo il successo ottenuto anche con la seconda stagione, nel 2014 la serie approda su Italia 1. Nello stesso anno, The Pills sono autori insieme a Matteo Rovere, Luca Ravenna, Sydney Sibilia e Daniele Grassetti della serie tv Zio Gianni in onda su Rai2. Il 21 gennaio 2016 esce nelle sale il loro primo film, The Pills – Sempre meglio che lavorare.
Sceneggiatrice tra le più apprezzate in Italia, è laureata in filosofia.
Tra i suoi lavori: Zanzibar. Una storia daAmore, di cui ha curato anche la regia, Passione sinistra, Il rosso e il blu, La foresta di ghiaccio, Vergine giurata, Veloce come il vento, Nemiche per la pelle, il corto Era ieri, Come fai sbagli e il successo Smetto quando voglio.
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ore 19:00
L’identità della bellezza
Speaker
Samuel - Cantante e Musicista
Samuel Umberto Romano, conosciuto semplicemente come Samuel (Torino, 7 marzo 1972), è un cantautore e chitarrista italiano. È il frontman del gruppo dei Subsonica, in cui è anche compositore e autore dei testi delle canzoni insieme a Max Casacci e Davide Dileo, meglio conosciuto come Boosta.
Nel 2016 ha annunciato attraverso le proprie pagine Facebook e Instagram di essere al lavoro sul suo primo album da solista, anticipato il 9 settembre 2016 dal suo primo singolo da solista, La risposta, seguito tre mesi dopo da Rabbia.
Shaggy
Alcatraz - Milano
16 Ottobre 2013
ph © Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
With a commanding presence, a distinctive voice that is recognizable throughout the world and titles such as artist, businessman, philanthropist and Grammy Award winner, Shaggy is and has been a forced to be reckoned with. A son of the brambly streets of Kingston, Jamaica, his discipline-which he credits to his military background-has been the foundation of his success.
In 1993, Shaggy exploded on the music scene with his debut album “Pure Pleasure.” His remix of the Ska classic Oh Carolina from that album was an instant hit in England and other countries. Shaggy followed up with his sophomore album “Boombastic” in 1995. “Boombastic” went certified platinum, won a Grammy Award in 1996 for Best Reggae Album and topped an impressive chart list that included the Top 40 Rhythmic charts, Hot 100, Billboard 200, among others.
Wanting to take a more hands on approach with his career, Shaggy, along with his manager Robert Livingston and legendary producer Sting International formed Big Yard Music Group in 1996. With its state-of-the-art equipment and highly trained staff, Big Yard set out to “create a central space filled with opportunities” and has been instrumental in the careers of artists such as Brian & Tony Gold, Kiprich, Rayvon, Rik Rok and Voicemail. Today, the label is responsible for the careers of Richie Loop, Christopher Martin and D-Major.
With the formation of Big Yard Music Group and the success of “Boombastic,” Shaggy forged ahead and recorded his third installment “Midnight Lover” in 1997. Fast forward to 2000, Shaggy released his fourth album “Hotshot” on MCA Records label. “Hotshot” went Diamond worldwide and Platinum 6 times in the United States. Notable singles from that album included It Wasn’t Me and Angel. It Wasn’t Me received a Grammy nomination. Single Luv Me, Luv Me featuring Janet Jackson was released on the Soundtrack for the movie “How Stella Got Her Groove Back.” The album also won best selling album at the 2002 Juno Awards.
In 2002 and 2005 Shaggy released “Lucky Day” and “Clothes Drop” respectively. “Lucky Day” went certified Gold while single Strength Of A Woman made the Top 40 mainstream charts. “Clothes Drop” received a Grammy Nomination for Best Reggae Album. Thereafter, Shaggy busied himself in the studio recording his next album entitled “Intoxication.”
“Intoxication” was released in 2007 and debuted at number 1 on Billboard’s Top Reggae Albums chart, was nominated for Best Reggae Album at the 51st Grammy Awards in 2008 and was the number 1 download on UK iTunes Reggae chart. The first single, Church Heathen, from the album received rave reviews. The song peaked at number 1 on various music charts and won the Best Music Video at the International Reggae and World Music Awards in 2008. The second single Bonafide Girl also made its way to number 1 on music charts. That same year, Shaggy recorded and released single Feel The Rush which was used as the original anthem for the UEFA Euro Cup. The single was featured on various charts throughout Europe and India.
Undaunted by the success of his business ventures and his music, Shaggy has always lived on the premise that “to whom much is giving, much is required.” With this belief, Shaggy took on the role of philanthropist. What began as donations of medical equipment and visits to the Bustamante Hospital For Children to distribute gifts during the holidays, paint rooms, donate beds and creation of a garden, gave birth to the Shaggy Foundation. Developed in 2008, Shaggy recruited business associates, fellow recording artists and sponsors to assist in hosting an annual charity event in which all proceeds are donated to the hospital to help defray the cost of medical equipment. To date, the Shaggy Foundation has been instrumental in raising over $85 million (JMD = $1 million USD) for the hospital.
Shaggy sought other avenues to raise funds. For example, he co-wrote a book and CD set entitled “Shaggy Parrot and the Reggae Band.” Sales from the book and CD set benefits the Bustamante Hospital in Jamaica and Tatiana McIntosh Scholarship Fund in Florida. The book was also donated to basic schools in Jamaica to be used as part of their curriculum. Additionally, the artist partnered with Pan Caribbean Financial planners for their 11th annual SIGMA Corporate Run. With a 5k course that attracted 9500 runners, walker and wheelchair participants, the event raised $14 million (JMD)/$165,000 (USD) for the Bustamante Hospital.
Now at the peak of his career, Shaggy has been approached with various endorsement deals. This gave him the opportunity to flex his boardroom muscles, adding “businessman” to his repertoire. In 2009, he recorded single Fly High which was used in a television commercial for Ferrero Rocher’s Ice Cream Bar, Maxi King. Not only did he record the single to be used in the commercial, Shaggy also appeared in the 30 second advertisement. Fly High, which is available on iTunes and in rotation on MTV, was used for Ferrero’s trailer campaign on VIVA (a television network in Germany co-owned by Viacom). Shaggy also acted as the international icon for Ultimate Ear products for brand Logitech. In summer 2008, Shaggy contributed a song, which was a remake of the 1974 classic Kung Fu Fighting by Carl Douglas, for Pepsi Cola, He appeared in the television commercial alongside T-Pain and Tami Chynn.
An exemplary career that has spanned well over a decade, Shaggy has enjoyed cross-over success. But getting to the top hasn’t been easy, “everything changes when you are a reggae artist that falls under the American gaze. The recognition in Jamaica, while paramount, does not measure to the US’s validation of an artist.” This validation has catapulted Shaggy’s career – he is the only certified Diamond-selling Dancehall Reggae artist. However, Shaggy has remained humble, taking his career in strides. He has defied the odds, succeeded on his own terms and continues to break down barriers for those who dare to follow in his footsteps.
Ferrari F40 (1988-92) Engine 2936cc with twin IHI Turbochargers developing 471bhp without a catalytic converter until 1990 Production 1315.
Registration Number G 912 CLK
FERRARI SET
www.flickr.com/photos/45676495@N05/sets/72157623665054999...
Built as the successor to the 288GTO, between 1987-89 it held the title as the Worlds Fastest Street Legal Car. The F40 is so called due to its introduction coinciding with the companies 40th anniversary. The suspension set up as similar to the GTO with a double wishbone set up and the ultra low ground clearance also prompted Ferrari to develop a device to allow for the cars clearance to be raised when necessary. The body was a new design by Pininfarina featuring panels of Kevlar, carbon fibre and aluminium and drag was kept to an impressive 0.34. Weight was minimised with use of a plastic wind screen and windows, an absence of carpet and sound system and the first 50 cars had only sliding windows although later models windows could be lowered.
This car appeared at Goodwood as part of DJ Chris Evans magnigicent seven run in aid of The Children in Need Charity
Shot at the Goodwood Festival of Speed 30:06:2012 Ref: 87-126
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved.
"Referência artística e turística nacional, o Theatro José de Alencar desempenha importantes papéis na vida cultural cearense. Na qualidade de Teatro-Monumento oferece não só a mais seleta programação cênica do Estado, mas, também, a mais ativa e diversificada pauta de atividades sócio-culturais e artísticas do eixo central de Fortaleza. Com a dinâmica possibilitada pelo Centro de Artes Cênicas do Ceará (CENA) - unidade multifuncional anexa, o Theatro José de Alencar se afirma como espaço aglutinador de pesquisa, formação, produção e difusão artística, se transforma em palco de inclusão social e firma seu compromisso com o futuro.
Curioso exemplar da arquitetura eclética no Brasil, o Theatro José de Alencar, além da sala de espetáculo em estilo art noveau, dispõe de auditório de 120 lugares, foyeur, espaço cênico a céu aberto e o prédio anexo, com 2.600 metros quadrados, que sedia o Centro de Artes Cênicas (CENA), o Teatro Morro do Ouro, com capacidade para 90 pessoas, a Praça Mestre Pedro Boca Rica, com palco ao ar livre e capacidade para 600 pessoas, a Biblioteca Carlos Câmara, a Galeria Ramos Cotôco, quatro salas de estudos e ensaios, oficinas de cenotécnica, de figurino e de iluminação, abrigando ainda o Colégio de Dança do Ceará e o Colégio de Direção Teatral, do Instituto Dragão do Mar; a Orquestra de Câmara Eleazar de Carvalho; e o Curso Princípios Básicos de Teatro.
História
A pedra fundamental do prédio que seria o Theatro foi lançada em 1896, no centro da praça Marquês do Herval, hoje praça José de Alencar. Mas o projeto não foi concretizado e dois concursos públicos foram realizados. No entanto, a obra realmente construída pouco tem das linhas apresentadas nos concursos. A idéia de construir um teatro jardim foi concebida através do projeto do capitão Bernardo José de Melo. Em 1904, na segunda administração de Nogueira Acioli, é oficialmente autorizada a construção do Theatro José de Alencar através da lei 768, de 20 de agosto.
Porém, passaram-se ainda quatro anos para as obras começarem, exatamente no dia 06 de junho de 1908, quando toda a estrutura metálica já se encontrava em Fortaleza e foi apresentada em praça pública numa grande exposição. As peças metálicas vieram de Glasgow, na Escócia, importadas pela Casa Boris e fundidas pela Walter Mac Farlane & Companhia.
O Theatro José de Alencar foi inaugurado oficialmente no dia 17 de junho de 1910, com a banda sinfônica do Batalhão de Segurança, regida pelos maestros Luigi Maria Smido e Henrique Jorge. Na praça, rodas de fogo, morteiros, foguetes e girândolas num verdadeiro milagre pirotécnico, abrilhantavam a festa. No início do século, ao fazer o projeto arquitetônico do Theatro José de Alencar, o capitão Bernardo José de Mello imaginou um teatro - jardim.Mas o jardim mesmo só foi construído anos depois da festa de inauguração, na reforma de 1974 a abril de 1975. Ele ocupa todo o espaço vizinho ao Theatro, pelo lado leste, onde havia antes um prédio que primeiro abrigou o Quartel de Cavalaria e em seguida o Centro de Saúde. Foi demolido em 1973.
Um novo prédio foi incorporado ao Theatro José de Alencar na reforma de 1989 a 1990. Identificado como anexo, o prédio situa-se no lado oeste, logo atrás da antiga sede da Faculdade de Odontologia. Possui 2.600 metros quadrados e dois pavimentos, com acesso independente pela rua 24 de Maio."
Мир = Mir, means Peace
Manufactured by Krasnogorsky Mekhanichesky Zavod (KMZ) (=Mechanical Factory of Krasnogorsk), Moscow, former USSR
Model: 1959, Type 3, (Produced between 1959-61)
Distinctive feature of this type: Without a frame around viewfinder's window
There are three types and one sub-types of the Mir. Types 1 and 2 produced only in 1959.
as to Alexandr Komarov
35 mm film Rangefinder camera
Lens: Jupiter-8 (ЮРИТЕП-8), 50mm f/2, M39 screw mount, Filter thread 40.5mm,
slip-on sun shade 42mm, serial no. 6017642
Aperture: f/2 - f/22, setting: scale and ring on the lens
Focus range: 1-20m, + infinity
Focusing: matching yellow rangefinder images, ring w/ distance and DOF scales on the lens
Shutter: rubberized silk double cloth curtain, horizontal focal plane
Speeds: 1/30 -1/500 +B, setting: dial on the top plate, lift and turn to the desired speed
Shutter release: on the top plate, beside the shutter setting dial, w/ cable release socket
Cocking knob: also winds the film, on the right of the top plate
Frame counter: coupled with winding knob, advance type, manual setting
Viewfinder: Combined view- and range finder, large and bright
Re-winding knob: on the left of the top plate
Re-winding release switch: around the shutter release, like a collar,
points engravings П (P, re-wind) and Д (D, wind, red)
Diopter adjustment lever: beside the re-winding knob
Self-timer: activates by a small silver knob above the lever, 9 to 15 seconds delay
Flash PC sync socket: on the front of the top plate, flash sync at 1/30
Variable synchronisation delay (0 - 25 ms) is possible by dial around the shutter speed control
Take up spool: special, it can drop down very easily
Back cover: removable with the bottom plate,
opens by two pop-up semi-circle lever on the bottom plate
Cold-shoe
Strap lugs
Tripod socket: old type, 3/8''
Engravings on the back of the top-plate: KMZ logo and the serial no. (the first two numbers show the production year)
Serial no: 59114539
+leather ever ready case
As with other Soviet-era rangefinders, the Mir's shutter speed selector rotates when the shutter is released, and should not be changed until after the shutter has been cocked. If you change the shutter speed without cocking the shutter first, the setting pin can be broken when you advance the film and cock the shutter.
The Mir is slightly simplified version of the well known former Soviet Union) Leica inspired camera, the Zorki 4, lacking the slow shutter speed mechanism (it also lacks the fastest speed of 1/1000 second). Whereas the Zorki 4 was released for export from behind the iron curtain, the Mir was intended for internal consumption only.
It was offered with the Industar-22 50mm f/3.5, the Industar-26 50mm f/2.8, or the Jupiter-8 50mm f/2. Jupiter-8 is a KMZ copy of Zeiss Sonnar.
The Zorki-4 is a Russian Leica inspired camera that loosely based on the Leica II/III.
More info: Camerapedia, SovietCams by Aidas Pikiotas, Fotoua by Alexander Komarov
A book: 1200 Cameras from USSR , 2009 by Suglob Shaternik Kochergin
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.
Without clothes, almost all without eyes, they need more attention, not more resin!
Just realized that allmost all my chars have Insomniadoll/Kat makeup XD
Marco Mengoni
Teatro Arcimboldi - Milano
26 Settembre 2013
ph © Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Marco Mengoni , vincitore incontrastato della terza edizione di 'X Factor'. Presenza scenica da professionista consumato, lunatico, "permaloso quasi antipatico", ha conquistato la stima del pubblico (non è mai finito in ballottaggio per l'eliminazione) grazie a interpretazioni di grande spessore.
Il 4 dicembre 2009 esce “DOVE SI VOLA”, il suo primo Ep, che in poche settimane scala le classifiche di vendita con oltre 70 mila copie.
“Dove si vola”, brano che da il titolo all’Ep, è difficile da interpretare per un uomo, sia per la tonalità molto alta che per l’articolazione della melodia sull’armonia. La forza vocale di Marco regala al pezzo una magia unica che, durante le esibizioni fa letteralmente volare il pubblico, pubblico che l’ha votato e proclamato, quasi fin da subito, il vero talento della terza edizione di X Factor. All’interno dell’EP un altro brano inedito, “Lontanissimo da te”, firmato Massimo e Piero Calabrese e cinque tra le più emozionanti cover cantate da Marco durante il programma.
Marco nasce a Ronciglione (VT) il 25 dicembre 1988 (Capricorno), proprio nel giorno di Natale. Fin da bambino ama tutti i generi musicali: “Alla tenera 'altezza' di 70 cm. comincio ad ascoltare di tutto, dal pop all’r&b, soul, rock ed inizio ad approfondire la mia cultura musicale: scopro il karaoke e comincio a cantare di nascosto, per timidezza. Poi una volta i miei per caso mi ascoltano e si convincono di mandarmi ad una scuola di canto. Da quel momento capisco che la musica non è poi così semplice come pensavo: c'era da imparare molto…. tecniche di respirazione, maschera facciale, scale, vocalizzi di qualsiasi genere, per affinare la voce”.
Marco inizia a cantare all’età di 14 anni. Mentre studia all'Istituto per il Design, segue anche una scuola di canto dove impara le prime tecniche per la gestione e l'utilizzo dei propri mezzi vocali. Visto il talento di Marco, l’insegnante di canto lo inserisce in un piccolo quintetto vocale con cui si esibisce in serate di piazza e per le festività, facendo cover.
Dopo 2 anni ha inizio il suo percorso solista con un gruppo di musicisti con il quale suona nei club un po’ del suo repertorio originale e un po’ di cover, continuando quindi la sua gavetta. Iniziano tre anni di duro lavoro e provinaggio, per affinare lo stile e la personalità, ed anche per questo, Marco, figlio unico, lascia la famiglia per trasferirsi a Roma. Contemporaneamente si iscrive all’Università nella Facoltà di Lingue, e fa esperienza come fonico e programmatore, prendendo familiarità con gli studi di registrazione.
Il suo genere preferito resta il Brit Pop e la sua massima, e amatissima, influenza musicale sono i Beatles: tra le sue canzoni preferite dei Fab 4 ci sono 'Michelle' e 'The Fool on te hill'. Anche se il brano che gli ha cambiato la vita è 'La luce dell’est' di Lucio Battisti.
Vincendo X Factor Marco partecipa di diritto alla Sessantesima Edizione del Festival di Sanremo, nella categoria 'Artisti', interpretando “Credimi ancora”, brano che fa parte dell’EP “Re Matto” uscito il 19 febbraio 2010 su etichetta Rca/Sony Music.
Il 2010 è un anno davvero unico per quest’artista giovane ma pieno di talento. Mentre la sua paginaFacebook continua a crescere (superando ad oggi i 300 mila iscritti), Il 3 e 4 maggio parte dall’Alcatraz di Milano Il “Re Matto Tour, un viaggio nella “Mattità”, un’avventura vertiginosa nella mente colorata e multiforme di MARCO MENGONI. Lo spettacolo nasce da un’ idea di Marco, Luca Tommassini e Stella Fabiani. La regia è affidata a LUCA TOMMASSINI, la direzione artistica è di PIERO CALABRESE, la produzione è di F&P Group e dei “CANTIERI MUSICALI” che da sempre lavorano con MENGONI. Nel team creativo di Marco e del “RE MATTO TOUR” sono state coinvolte figure importanti a livello mondiale come lo stilista Neil Barrett, che finora ha solo disegnato abiti per artisti come Madonna, Justin Timberlake, Brad Pitt e Johnny Depp, e lo scultore Davide Orlandi Dormino, creatore di “Opera Scacchi”, la scultura che invade il palco. “IL RE MATTO TOUR” è ideato, sviluppato e strutturato all’insegna della totale libertà, della poesia, della sregolatezza e dell’improvvisazione rendendo ogni concerto un vero evento, con ospiti a sorpresa cheMARCO scopre insieme al pubblico…una sfida che solo un Re Matto poteva accettare.
Intanto l’8 maggio Marco partecipa ai Trl Awards e vince nella categoria “Man of the Year”.
Il “Re Matto tour” è un’esperienza straordinaria per Marco, che vive e si ciba dell’entusiasmo del pubblico. È un tour trionfale che colleziona un sold out dopo l’altro.
Il 2 giugno viene premiato ai Wind Music Awards e si aggiudica il doppio disco di platino per il suo primo Ep “Dove si vola”, che raccoglie l’omonima canzone e alcune delle cover cantate durante il programma di X Factor, e l’album “Re Matto”, superando le 160 mila copie vendute.
Il "Re Matto" del pop italiano non si fa mancare proprio nulla. Supera gli altri colleghi in gara agli Ema 2010 nella categoria dedicata agli artisti italiani: Malika Ayane, dARi, Sonohra e Nina Zilli.
Questo è un riconoscimento fondamentale per Marco Mengoni, artista italiano rivelazione del 2010, che ad MTV si è già aggiudicato il premio come "Man Of The Year" ai TRL Awards 2010 ed è arrivato secondo in una gara all'ultima edizione del Coca Cola Live @ MTV: The Summer Song. Grazie alla vittoria come Best Italian Act, Marco è entrato in nomination per il "Best European Act" in concorrenza con gli altri vincitori dei regional act. Marco partecipa inoltre all'ottava edizione di "O'Scia'", insieme ad altre star del pop italiano ed internazionale, organizzata da Claudio Baglioni a Lampedusa in cui si intende sensibilizzare fan, politici e cittadini sul problema della immigrazione clandestina.
Il 19 ottobre esce su etichetta Rca/Sony Music il Cd+Dvd “Re Matto live”. L’album debutta al 1° posto della classifica dei dischi più venduti (Gfk/Fimi) e al 1° posto della classifica di iTunes.
A novembre Marco Mengoni, dopo aver trionfato nella categoria Best Italian Act, si aggiudica anche il prestigioso titolo di Best European Act: un premio importante per lui e per l'Italia, considerando che in 17 edizioni nessun italiano era mai riuscito a raggiungere tale riconoscimento.
Il 2 settembre 2011 arriva in radio il singolo “Solo” che, anticipando l’uscita del nuovo disco, schizza alprimo posto della classica di iTunes. Il 27 settembre esce “Solo 2.0”, un vero e proprio concept album, che oltre alle tracce del disco e a un contenuto virtuale speciale (Il Comic 2.0), contamina anche la prima parte del Tour.
Dopo un’anteprima trionfante del “Solo Tour” con due date evento al Forum di Assago e al Palalottomatica di Roma, Marco Mengoni decide di cambiare veste allo spettacolo e di svelare al pubblico un’altra porzione d’anima, il suo lato più intimista, quasi introspettivo, non tralasciando mai la sua voglia di stupire e di emozionare. È un TOUR TEATRALE che fa della suggestione visiva e sonora il suo punto di forza.
Uno spettacolo in cui musica, movimento scenico, luci e scenografie compenetrano tra loro, per toccare ancor più da vicino l’anima di chi ascolta. L’essenza intimista dello spettacolo è rappresentata soprattutto dal suono. Una chiave di lettura inedita, con cui verranno reinterpretati molti tra i brani più noti del repertorio di Marco, insieme ad alcune cover, mai eseguite prima.
Il tour teatrale, ideato da Elisa, Marco Mengoni e Andrea Rigonat, parte dall’Arcimboldi di Milano il 19 aprile, passando dal Filarmonico di Verona, il Politeama di Palermo, il Gran Teatro di Roma e molti dei teatri più importanti d’Italia.
In radio intanto suona il nuovo singolo “Dall’inferno”, estratto dall’album Solo 2.0
Esce il 24 aprile, in esclusiva su iTunes, “Dall’Inferno EP”, l’EP digitale di Marco Mengoni contenente la title track, il videoclip e il backstage inedito di “Dall’inferno” e il video live di “Come ti senti”, girato durante lo showcase di presentazione dell’album “Solo 2.0”.
Marco è ospite dell’evento "Premio Leggio d'Oro", dove gli viene consegnato il Premio Speciale Voce Rivelazione Cartoon per il doppiaggio del personaggio Onceler nel cartone animato "Lorax il guardiano della foresta".
Marco prende parte al progetto "...Io Ci Sono", l'album tributo a Giorgio Gaber che celebra il grande artista a dieci anni dalla sua scomparsa, interpretando il brano "Destra-Sinistra".
Il 2013 si apre con la partecipazione di Marco alla 63^ Edizione del Festival di Sanremo con i brani “Bellissimo” e “L’Essenziale”, ed è proprio con quest’ultimo che Marco si classifica primo vincendo il Festival.
Entrambi i brani sono contenuti nel nuovo album di inediti (Sony Music) uscito il 19 marzo 2013:#PRONTOACORRERE ha superato di gran lunga il traguardo del disco di platino e "L’Essenziale" è addirittura multiplatino.
Marco ha rappresentato l’Italia all’Eurovision Song Contest a Malmö (Svezia) nel mese di maggio, dove ha ottenuto il settimo posto con "L’Essenziale".
L’8 maggio è partito "l’Essenziale Anteprima Tour" dal Teatro degli Arcimboldi di Milano: un’anteprima di 10 date, ideata per i più importanti teatri italiani che hanno registrato il sold out non appena aperte la prevendite.
Il 4 luglio è partito invece da Trento "L’Essenziale Tour", con un clamoroso successo di richieste, che continua ad imporre l’apertura di nuove date.
My Size Anna Doll dressed a Disney Store Anna girl's size 4 costume, without the cape. She is free standing, and is barefoot, as I didn't have the right sized Disney Store Anna shoes yet. She looks much better in this outfit than in the original Jakks Pacific one. She is much closer to the animated character, and not a cheap imitation.
I am dressing up the My Size Anna Doll in a Anna Snow Gear costume (black and blue dress and pink mini cape). The doll is 38'' tall, and is by Jakks Pacific. The costume is by the Disney Store, and is a girls size 4, which is for children up to 40'' tall. The costume is a too long (especially the bodice and sleeves), and much too wide, as the doll is much skinnier than a child of the same height. A size 3 would have fit better, but the Disney Store didn't have size 3 costumes available in most of the styles when I bought the costumes online and in store, so I settled for size 4 for the Anna and Elsa costumes that I'm going to put on the My Size dolls. I used safety pins on the back of the dress to pull it tighter around her neck and waist. I used clear rubber bands to tighten the sleeves around her wrists, so they wouldn't hide her hands.
George Dunn and his wife Mary purchased land at Mt Torrens in 1840 to establish a sheep run which they called Barton Springs. In 1845 copper was discovered a few miles east and in 1847 a copper mine was opened at Reedy Creek using Cornish miners. George Dunn soon found that his home was a stopping place for bullock drivers travelling to or from the mines. He therefore opened the Cornish Arms Hotel in 1848/49 whilst he built the impressive Mount Torrens Hotel which opened in 1850. By the time the two storey Mount Torrens Hotel opened the mine had closed and shortly after the miners went off to the Victorian gold rushes anyway. The Reedy Creek or Tungkillo mine was a Mining Special Survey of 20,000 acres undertaken in 1845 for an English mining company. Much later in 1869 the Reedy Creek mine was operational again and reasonable gold finds were made but for only short time. The Reedy Creek gold mine was also activated again in 1893 for a short time but with no good finds. Barton Springs by 1850 also had a blacksmiths shop, extensive stables and a large farm house. George Dunn was not to be deterred and when the miners began to return from the Victorian goldfields in 1853 he subdivided some of his land to create the township of Mt Torrens. One of the early residents was one of his many brothers James. George donated land for an Anglican Church (mid 1850s), which is where he was later buried when he died. He personally built many of the houses and public buildings in the town especially those on the western side of the main street.
His town prospered as it was on the government surveyed road from Adelaide to Mannum on the Murray River. In 1853 the river boat trade began on the river and Mt Torrens became an important resting or staging point along the route to Mannum. Also in 1853 the first flour mill was constructed by a cooperative of local men and in 1854 the first Methodist Church (Bible Christian) opened and the first private school. As the town grew the local Council had the current stone bridge erected over Angas Creek in the current Main Street in 1860. As wheat yields declined from over cropping many farmers turned to wattle bark and two processing plants were built in the small town. The bark was used for tan extracts using the leather hide tanning process. When pasture improvement became a usual practice in the early 20th century dairying prospered and AMSCOL established a milk factory in the town. It burnt down in 1939. Earlier John Shearer established a blacksmith and implement making works in Mount Torrens around 1871. In 1876 he and his brother David went into partnership in Mannum where the firm still exists. The railway from Balhannah reached the town in 1918. Since the 1920s Mt Torrens has been a forgotten town left in a late 19th century mode hence its declaration in 2002 as a heritage town for the SA state heritage register. There are more than 30 houses, shops and other structures in the town from the 1850s and for SA a surprising number of the houses are two storey and English in style. There are at least 8 two storey houses in the main street! Most are built in local stone or brick and some have numerous walls, wells and creek channels made of stone.
George Dunn’s original Mt Torrens Hotel was a fine Georgian style building with perfect symmetry but its façade has been ruined in a poor attempt at modernisation. Although he was regarded the “father” of the town his personal life was not without blemish for Victorian times. Suddenly he was sued for divorce, an outrageous decision then, by his wife Mary in 1860. This caused a great scandal at that time which was “hushed” by the family. When Mary died in 1875 her papers made it clear that George had committed adultery although this charge was not raised at the divorce hearings. This charge was further substantiated when George died two years later in 1877 for he left his entire estate in trust for Clara Gibbett the young daughter of a woman called Clara Gibbett herself! Undoubtedly Clara was his mistress. The newspapers of the day carried no reports of George’s funeral but they had reported on Mary’s funeral two years earlier! Both Mary and George were buried in the Mt Torrens Anglican cemetery but Mary is buried with most others in front of the church and George is buried with just a few other graves behind the church. Was this unconsecrated ground perhaps?
© Copyright 2013 Francisco Aragão
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Portuguese
História
Pirenópolis é um município histórico, sendo um dos primeiros do estado de Goiás. Foi fundado com o nome de Minas de Nossa Senhora do Rosário Meia Ponte pelo português minerador Manoel Rodrigues Tomar (alguns historiadores denominaram-o como Manoel Rodrigues Tomás). As minas da região foram descobertas pelo bandeirante Amaro Leite, porém foram entregues aos portugueses por Urbano do Couto Menezes, companheiro de Bartolomeu Bueno da Silva, o Anhanguera Filho, na primeira metade do século XVIII. Segundo a tradição local, o arraial foi fundado em 7 de outubro de 1727, porém não há documentos comprobatórios e muitos historiadores e cronistas antigos afirmam ser a fundação em 1731.
Foi importante centro urbano dos século XVIII e XIX, com mineração de ouro, comércio e agricultura, em especial a produção de algodão para exportação no século XIX. Ainda no século XIX, com o nome de cidade de Meia Ponte, destacou-se como o berço da música goiana, graça ao surgimento de grandes maestros, bem como berço da imprensa em Goiás, já que ali nasceu o primeiro jornal do Centro Oeste, denominado Matutina Meiapontense. Em 1890, mudou seu nome para Pirenópolis, o município dos Pireneus, nome dado à serra que a circunda. Ficou isolada durante grande parte do século XX e redescoberta da década de 1970, com a vinda da capital Brasília para o Centro Oeste. Hoje, é famosa pelo turismo e pela produção do quartzito, a Pedra de Pirenópolis.
Etimologia
Pyrenópolis (ortografia arcaica), posteriormente Pirenópolis, significa "a Cidade dos Pireneus". Seu nome provém da serra que circunda a cidade que é a Serra dos Pireneus. Segundo a tradição local, a serra recebeu este nome por haver na região imigrantes espanhóis, provavelmente catalães. Por saudosismo ou por encontrar alguma semelhança com os Pirenéus da Europa, cadeia de montanhas situada entre a Espanha e a França, deram então a esta serra o nome de Pirenéus, mas mais tarde, devido à pronúncia da língua portuguesa no Brasil, surgiu a grafia sem acento.
Patrimônio histórico
Tombada como conjunto arquitetônico, urbanístico, paisagístico e histórico pelo IPHAN - Instituto do Patrimônio Histórico e Artístico Nacional, em 1989, o município conta com um Centro Histórico belamente ornado com casarões e igrejas do século XVIII, como a Igreja Matriz de Nossa Senhora do Rosário (1728-1732), as Igreja de Nossa Senhora do Carmo (1750-1754) e de Igreja de Nosso Senhor do Bonfim (1750-1754), além de prédios de relevante beleza arquitetônica como o Teatro de Pirenópolis, de estilo híbrido entre o colonial e neo-clássico, de 1899, e o Cine Teatro Pireneus, em estilo art-déco, de 1919 e a Casa de Câmara e Cadeia construído em 1919 como réplica idêntica do original de 1733.
English
Pirenópolis is a town located in the Brazilian state of Goiás. It is well known for its waterfalls and colonial architecture, and a popular festival involving mounted horses called Festa do Divino Espírito Santo which takes place 45 days after Easter.
History
The history of Pirenópolis begins in 1727 when it was founded with the name of Minas de Nossa Senhora do Rosário de Meia Ponte, Meia Ponte (half a bridge) because half of the bridge over the Almas River was swept away in a flood. The first colonizers were Portuguese who came for the gold easily found in the Rio das Almas. From 1750 to 1800 there was a golden age when four churches were built and Pirenópolis competed with Vila Boa (present day Cidade de Goiás) as the richest town in the province. After 1800 a downturn over gold mining was set and the part of the population emigrated. With the change of commercial routes to Anápolis, the city became economically isolated. The first newspaper in the province, the Matutina Meiapontense, was published in Meia Ponte in 1830 by Joaquim Alves de Oliveira. In 1890 the city changed its name from Meia Ponte to Pirenópolis, the city of the Pireneus, the mountains located nearby. In 1960 with the construction of Brasília there was an intensive exploitation of the famous Pedra de Pirenópolis (quartzite-micáceo). In the 1980s the hippies arrived with their alternative communities and production of handicrafts. Pirenópolis was born again with a huge influx of tourists, especially from Brasília. Churches were restored and all the electrical wiring was put underground.
Etymology
Pyrenópolis (archaic orthography), later Pirenópolis , means “the City of the Pireneus”. Its name comes from the mountain range that surrounds the city, that is Mountain range of the Pireneus . According to local tradition, the mountain range received this name for having in the region immigrant Spaniards, probably Catalans. Because of some similarity with their native Pyrenees of Europe, a mountain chain situated between Spain and France, they had then given this mountain range the Latin name of Pireneus.
Historic site
Listed as an architectural, urbanistic, landscape and historical heritage for IPHAN - the Institute of National Historic and Artistic Heritage, in 1989, the city has a Historical Center with large, ornate houses and churches of the 18th century, such as: First Church of Our Lady of the Rosary (1728–1732), Churches of Our Lady of the Carmo (1750–1754) and the Church of Our Lord of the Bonfim (Pirenópolis) (1750–1754), and buildings such as the Theater of Pirenópolis, a hybrid style between colonial and neo-classic, of 1899, and the Cine-Pireneus, built in the art-deco style, of 1919 and the House of Chamber and Jail constructed in 1919 as an identical restoration of the 1733 original.
Climate
The climate is humid sub-tropical with two well-defined seasons: the rainy season, which goes from October to March, and the dry season, which goes from April to September. Parts of the municipality are mountainous and maintain some climatic variations due to altitude.
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Jamaa el Fna (Arabic: ساحة جامع الفناء jâmiʻ al-fanâʼ) is a square and market place in Marrakesh's medina quarter (old city). The origin of its name is unclear: Jemaa means "congregational mosque" in Arabic, probably referring to a destroyed Almoravid mosque. "Fanâʼ" or "finâ'" can mean "death" or "a courtyard, space in front of a building." Thus, one meaning could be "The mosque or assembly of death," or "The Mosque at the End of the World". A more likely explanation is that it refers to a mosque with a distinctive courtyard or square in front of it. Marrakesh was founded by the Almoravids 1070-1072. After a destructive struggle, it was falling to the Almohads in 1147. Following this, Jamaa el Fna was renovated along with much of the city. The city walls were also extended by Abou Yacoub Youssef and particularly by Yacoub el Mansour 1147-1158. The surrounding mosque, palace, hospital, parade ground and gardens around the edges of the marketplace were also overhauled, and the Kasbah was fortified. Subsequently, with the fortunes of the city, Jamaa el Fna saw periods of decline and also renewal. The place remains the main square of Marrakesh, used by locals and tourists. During the day it is predominantly occupied by orange juice stalls, youths with chained Barbary apes, water sellers in colourful costumes with traditional leather water-bags and brass cups, and snake charmers who will pose for photographs for tourists. As the day progresses, the entertainment on offer changes: the snake charmers depart, and late in the day the square becomes more crowded, with Chleuh dancing-boys (it would be against custom for girls to provide such entertainment), story-tellers (telling their tales in Berber or Arabic, to an audience of appreciative locals), magicians, and peddlers of traditional medicines. As darkness falls, the square fills with dozens of food-stalls as the number of people on the square peaks. The square is edged along one side by the Marrakesh souk, a traditional North African market catering both for the common daily needs of the locals, and for the tourist trade. On other sides are hotels and gardens and cafe terraces offering an escape from the noise and confusion of the square. Once a bus station, the place was closed to vehicle traffic in the early 2000s. The authorities are well aware of its importance to the tourist trade, and a strong but discreet police presence ensures the safety of visitors. The idea of the UNESCO project Masterpieces of the Oral and Intangible Heritage of Humanity came from people concerned about the Jamaa el Fna. The place is known for its active concentration of traditional activities by storytellers, musicians and performers, but it was threatened by economic development pressures. In fighting for the protection of traditions, the residents called for action on an international level, to recognize the need for the protection of such places - termed "cultural spaces" - and other popular and traditional forms of cultural expression. UNESCO encourages communities to identify, document, protect, promote and revitalize such heritage. The UNESCO label aims to raise awareness about the importance of oral and intangible heritage as an essential component of cultural diversity. The spectacle of Jamaa el Fna is repeated daily and each day it is different. Everything changes - voices, sounds, gestures, the public which sees, listens, smells, tastes, touches. The oral tradition is framed by one much vaster - that we can call intangible. The Square, as a physical space, shelters a rich oral and intangible tradition.
Jamaâ El Fna (en arabe : جامع الفناء, littéralement en français: "assemblée des trépassés" est une place située à Marrakech à côté de la mosquée Koutoubia. Ce haut-lieu touristique attire sans cesse plus d'un million de visiteurs venus pour assister aux spectacles animés par les charmeurs de serpents, les dresseurs de singes, les conteurs, les musiciens et d’autres artistes populaires, jeux, dessin au henné, etc... du début de soirée jusqu'à l'appel de la prière de l'aube. L'espace culturel de la place Jemaa el-Fna a été inscrit par l’UNESCO en 2001 en tant que patrimoine culturel immatériel de l'humanité. Elle se distingue aussi par des orateurs qui racontent des histoires ou vantent les mérites de produits magiques. Son nom de "assemblée des trépassés" vient du fait qu'elle servait autrefois à l'exposition, sur ordre du Sultan, des têtes des condamnés à mort qui venaient d'être exécutés. Certains jours, on pouvait ainsi compter jusqu'à quarante-cinq têtes. Elle est le théâtre d'une explosion meurtrière le 28 avril 20113. L’attentat, provoqué par une bombe actionnée à distance dont l'auteur présumé a été arrêté le 5 mai 2011, a fait 17 morts dont 8 français.
Without people in the photo for scale, one gets the wrong impression of a 904- they're tiny! The wheels are the same 15 inch size as any 914 or contemporary 911/912, putting the fenders at well under 75cm, and the roof barely less than 1m tall.
I was stunned to realize, 3/5/14, that I'd actually seen 4 (FOUR) different Carrera GTS' at RennSport Reunion IV... 3 are silver, #18, #33, #12, and one is white with red rockers between the wheels. How cool is that?? so I've made sure each is tagged "Carrera GTS" and has "#12" or whatever in its tag too.
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Without the Prineville BLM, the dots of Cottonwood Canyon State Park would never be connected. The park was a ranch before being sold first to the Western Rivers Conservancy in 2008, and then by that nonprofit to the Oregon Parks and Recreation Department (OPRD) from 2009-2011. But the private land checker-boards across the landscape with BLM-administered land filling in the gaps. BLM and Oregon State Parks are working together to create a seamless experience for visitors to Oregon’s newest State Park.
When Congress designated the John Day as a Wild and Scenic River in 1988, the legislation stated that the river was "to be administered through a cooperative management agreement [CMA] between the State of Oregon and the Secretary of Interior." To facilitate the new park, the BLM will be completing an Environmental Assessment to modify the existing agreement. Under the modified CMA, OPRD would be able to construct and maintain trails, restore native vegetation, and provide a reservation service to the one boat-in campsite on BLM land. The BLM and OPRD are working on a review of the trail system in order to include a travel management plan in the EA for Cottonwood Canyon.
Cottonwood Canyon State Park straddles 16 miles of the lower John Day River, where Highway 206 crosses the river between Gilliam and Sherman Counties. Visitors can come to experience the park – even while OPRD and BLM work out the details of the CMA. The 8,000-acre park boasts amazing, rugged canyons, spectacular views and a primitive experience for guests. The park will remain generally undeveloped with miles of trails, primitive campgrounds, a day use area, a Welcome Center, restrooms and self-guided interpretive walks around the old ranch buildings. When the CMA is complete, the park boundary will include an additional 10,000 acres of BLM – making it the largest State Park in Oregon.
To find out more about this beautiful park, head on over to the Oregon State Parks page:
www.oregonstateparks.org/index.cfm?do=parkPage.dsp_parkPa...
Photo by Jeff Clark/BLM/2014