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Alice hides like a pebble underfoot, not broken clean from her moorings. Snapped off wrong, spider-webbed and shattered, this little lost daughter of George and Annie McKay. I can't say how old she was or when she died, but a stone this small is usually a child under 5, and the design suggests the 1880s. These are tiny tales that someone trips over, easily unnoticed when the grass grows wild and high. Still, it's a beauty without rival – to swallow a body, then swallow the stone that stands atop it. The earth always works to encompass all that touches it, to reach wide and wrap around anything inclined to resist. Little bare-footed rushes through the graves gone before, and I come back with big steps wet through my shoes. This cold start to summer has a heavy heart about it, and it picks me up from where I'm sunken in the mud.
July 3, 2021
McKay Cemetery
McKay Section, Nova Scotia
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Marco Carta
Alcatraz - Milano
14 Maggio 2013
© Mairo Cinquetti
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È venuto al mondo a Cagliari nel 1985. Erano le 14.45 di un caldo 21 maggio, il primo giorno dei Gemelli. I nati sotto questo segno zodiacale si distinguono per l’intelligenza brillante. In più sono estremamente curiosi, eclettici, ironici e intuitivi. Marco Carta possiede tutte queste caratteristiche tipiche dei nati nei Gemelli; ma il suo percorso umano e artistico dimostra che il trionfatore di “Amici” è dotato anche di grande forza d’animo e fiera determinazione nel raggiungere gli obiettivi. Alla festa del sesto compleanno spegne le candeline promettendo a se stesso: «da grande farò il cantante». Da quel giorno dedica ogni energia alla realizzazione del sogno. Fin da bambino Marco canta con passione e insospettabile facilità le canzoni del suo idolo assoluto Lucio Battisti, che era anche l’artista prediletto della madre. I primi brani che interpreta con maggiore consapevolezza vocale sono “La solitudine” di Laura Pausini e “Albachiara” di Vasco Rossi.
La musica diventa la sua ragione di vita, e una preziosa valvola di sfogo, dopo la perdita dei genitori: il padre scompare quando ha 8 anni; la mamma quando ne ha 10. Marco cresce assieme al fratello con i nonni materni; coltivando con ambizione ancora maggiore il suo sogno. Il primo concerto visto è quello dei Lunapop. I primi dischi comprati sono “Ultimamente” di Alex Baroni e “Le cose che vivi”di Laura Pausini. Contemporaneamente affina il proprio talento vocale attraverso le prime esibizioni come solista in live-pub e cerimonie private, conquistando alcuni premi e critiche lusinghiere.
Dopo l’Istituto Professionale per Elettrotecnici, Marco lavora come parrucchiere nel salone della zia: i guadagni vengono investiti in biglietti d’aereo per volare a Roma a fare provini. Sono anni di illusioni e altrettante disillusioni, che però non intaccano la sua fiducia nelle proprie doti artistiche, tantomeno la determinazione nell’inseguire la grande occasione.
Il 20 ottobre 2007 finalmente Marco Carta viene ammesso nel cast di “Amici”. Il sogno si è avverato. Quasi… Infatti sono sei mesi molto duri fra incertezze, crisi esistenziali, dubbi, paure e difficoltà. Marco supera ogni ostacolo dimostrando che il suo talento artistico è supportato da notevole forza e sensibilità sul piano umano. Alla fine è un trionfo! Il 16 aprile 2008 Marco Carta vince la finale di “Amici” con il 75% delle preferenze.
Il plebiscito ottenuto ad “Amici” viene confermato con l’album d’esordio “Ti rincontrerò” (Warner Music), che conquista il disco di platino. Uscito il 13 giugno 2008, il disco “Ti rincontrerò” contiene 4 inediti: il singolo omonimo dedicato alla madre; il secondo singolo “Un grande libro nuovo”; “Anima di nuvola” e “Per sempre”. La tracklist è completata da cover che testimoniano la sua versatilità interpretativa: “A chi” (Fausto Leali), “Ti pretendo” (Raf), “E tu” (Claudio Baglioni), “La donna cannone” (Francesco De Gregori) e “Vita” (Lucio Dalla & Gianni Morandi) cantata in duetto con Luca Jurman. Nella versione deluxe del cd “Ti rincontrerò” in vendita su iTunes c’è anche una rilettura di “Mi ritorni in mente” di Lucio Battisti.
Marco Carta si aggiudica il premio internazionale What’s Up come miglior artista dell’anno e viene invitato come ospite d’onore ai Wind Music Awards. Il video del singolo “Ti rincontrerò” ottiene il “Pensionamento” nella trasmissione TRL di Mtv: si tratta di un riconoscimento che viene assegnato ai filmati che rimangono oltre 40 settimane fra le prime tre posizioni della classifica dei video più visti. E quello di Carta staziona a lungo al numero uno.
Il cantante sardo è abituato a primeggiare: già a scuola era il capitano della squadra di volley. Ha praticato anche il TaeKwonDo e gioca a calcio. Tifoso del Cagliari e simpatizzante della Roma, ha partecipato alla Partita del Cuore 2008 fra la Nazionale Italiana Cantanti e la Nazionale Unica formata da cantanti, attori e comici. In quell’occasione, trasmessa in diretta dalla Rai, Carta ha cantato dal vivo e si è fatto valere anche come calciatore nella squadra della Nazionale Unica. Dopo quella performance sportiva è entrato nel roster della Nazionale Italiana Cantanti.
Durante l’estate 2008 è protagonista di un tour entusiasmante che raduna oltre 200 mila spettatori. La consacrazione live arriva a Capodanno: Marco Carta festeggia l’arrivo del 2009 con un concerto nella sua Cagliari davanti a 70 mila persone. La straordinaria esperienza sul palco è testimoniata da “Marco Carta In Concerto” (Warner Music): cd+dvd con la ripresa di un’esibizione estiva a Cagliari. Pubblicato il 3 ottobre 2008, l’album dal vivo è vicino al traguardo del disco d’oro.
Altre grandi passioni sono gli animali (possiede 4 cani – 3 meticci e 1 carlino – e alcuni coloratissimi pappagallini) e il cinema, in particolare le trame thriller. Il film preferito è “Amityville Horror”; gli attori prediletti Robert De Niro e Cameron Diaz. Marco ha partecipato alla pellicola d’animazione “Impy 2” (in uscita a fine gennaio 2009) come doppiatore e interprete della cover “That’s The Way” inserita nella colonna sonora.
Il 2009 è l’anno del debutto al Festival di Sanremo dove vince nella categoria “artisti” con la canzone “La forza mia”, il primo singolo del nuovo omonimo album che in pochi giorni raggiunge il disco di platino per le vendite.
A fine aprile è partito il suo tour nei Palasport che lo vede impegnato nelle principali città italiane.
L’estate 2009 è stata ricca di riconoscimenti con due premi ai TRL Awards a Trieste (Man Of The Year e Best #1 Of The Year), tre premi agli Wind Musici Awards (uno per il disco di platino di “Ti rincontrerò”, uno per il disco di platino di “La Forza Mia”, e il terzo come artista più votato da RTL 102.5); infine a luglio a Venezia ha ritirato il premio speciale Venice Music Awards come artista maschile dell’anno.
A gennaio 2010 Marco Carta trionfa con “La Forza Mia” e “Dentro ad ogni brivido” nella classifica dei migliori video del 2009 selezionati da Mtv Hits e votati dagli utenti di SKY.it.
Marco Carta pubblica a maggio 2010 il nuovo disco di inediti “Il Cuore Muove” prodotto da Paolo Carta e anticipato in radio dal singolo “Quelle che dai” scritto da James Morrison.
Ai vertici delle classifiche di vendita di dischi; Marco da giugno ha iniziato il tour che lo ha visto protagonista per tutta l’estate nelle principali località italiane. A maggio 2011 riceve il premio per il disco d’oro ai Wind Music Awards a Verona.
Ad aprile 2012 viene pubblicato il suo quarto disco di inediti “Necessità Lunatica” e il 31 marzo vince i Kids’ Choise Awards 2012 di Nickelodeon come “miglior cantante italiano”, oltre a tornare nella scuola di “Amici” nella sfida tra i big.
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Member: PBPA
Basic Details:
Line: Citybus
Fleet No.: 117
License Plate No.: UVC-652
Coachbuilder: Hyundai Motor Co.
Model: Super Aero City
Route of operation: Novaliches, Quezon City - Brgy. Alabang, Muntinlupa
Seating configuration/capacity: 3x2 / 56
Location: Skyway paralleling East Service Road, Brgy. Western Bicutan, Taguig City
Date: 2015-10-16
Engine:
Engine Manufacturer: Hyundai Auto Tech, Inc.
Engine Type: D6AV
Number of Cylinders & Arrangement: 6, Inline
Displacement, cc: 11,149
Power Output:
> In bhp: 231.78
> In PS: 235.00
> In kW: 172.84
Chassis:
Chassis Manufacturer: Hyundai Motor, Co.
Chassis Type: KMJTA18VPAC
Chassis Length:
Transmission:
Method: Manual
Nr. of Gears:
> Forward: 5
> Reverse: 1
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"And the secret garden bloomed and bloomed and every morning revealed new miracles."
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No visit to Cambodia is complete without attending at least one traditional Khmer dance performance, often referred to as 'Apsara Dance' after one of the most popular Classical dance pieces. Traditional Khmer dance is better described as 'dance-drama' in that the dances are not merely dance but are also meant to convey a story or message. There are four main modern genres of traditional Khmer dance: 1) Classical Dance, also known as Court or Palatine Dance (lakhon preah reach troap or lakhon luong); 2) Shadow theater (sbeik thom and sbeik toot); 3) Lakhon Khol (all-male masked dance-drama.); 4) Folk Dance (Ceremonial and Theatrical).
As evidenced in part by the innumerable apsaras (celestial dancers) that adorn the walls of Angkorian and pre-Angkorian temples, dance has been part of Khmer culture for well more than a millennium, though there have been ruptures in the tradition over the centuries, making it impossible to precisely trace the source of the tradition. Much of traditional dance (especially Classical) is inspired by Angkorian-era art and themes, but the tradition has not been passed unbroken from the age of Angkor. Most traditional dances seen today were developed in the 18th through 20th centuries, beginning in earnest with a mid-19th century revival championed by King Ang Duong (reigned 1841-1869). Subsequent Kings and other Khmer Royals also strongly supported the arts and dance, most particularly Queen Sisowath Kossamak Nearireach (retired King Norodom Sihanouk's mother) in the mid-20th century, who not only fostered a resurgence in the study and development of Khmer traditional dance, but also helped move it out of the Palace and popularize it. Queen Sisowath Kossamak trained her grand daughter Princess Bopha Devi in the art of traditional dance from early childhood, who went on to become the face of Khmer traditional dance in the 1950s and 60s both in Cambodia and around the world. Many traditional dances that are seen in performances today were developed and refined between the 1940s and 1960s under the guidance and patronage of Queen Sisowath Kossamak at the Conservatory of Performing Arts and the Royal University of Fine Arts in Phnom Penh. Almost all of the Theatrical Folk dances that are presented in modern performances were developed during this period. Like so much of Cambodian art and culture, traditional dance was almost lost under the brutal repression of the Khmer Rouge regime of the late 1970s, only to be revived and reconstructed in the 1980s and 90s due, in large part, to the extraordinary efforts of Princess Bopha Devi.
Classical dance, including the famous 'Apsara dance,' has a grounded, subtle, even restrained, yet feather-light, ethereal appearance. Distinct in its ornate costuming, taut posture, arched back and feet, fingers flexed backwards, codified facial expressions, slow, close, deliberate but flowing movements, Classical dance is uniquely Khmer. It presents themes and stories inspired primarily by the Reamker (the Cambodian version of the Indian classic, the Ramayana) and the Age of Angkor.
Folk Dance come in two forms: ceremonial and theatrical. As a general rule, only Theatrical Folk Dance is presented in public performances, with Ceremonial Folk Dances reserved for particular rituals, celebrations and holidays. Theatrical Folk Dances such as the popular Good Harvest Dance and the romantic Fishing Dance are usually adaptations of dances found in the countryside or inspired by rural life and practices. Most of the Theatrical Folk Dances that are seen in performances today were developed at the Royal University of Fine Arts in Phnom Penh in the 1960s as part of an effort to preserve and perpetuate Khmer culture and arts.
Shadow theatre comes in two forms: Sbeik Thom (big puppets that are actually panels depicting certain characters from the story) and Sbeik Toot (small articulated puppets). The black leather puppets are held in front of a light source, either in front or behind a screen, creating a shadow or silhouette effect. Sbeik Thom is the more uniquely Cambodian, more formal of the two types, restricting itself to stories from the Reamker. The performance is accompanied by a pin peat orchestra and narration, and the puppeteers are silent, moving the panels with dance-like movements. Sbeik Toot has a far lighter feel, presenting popular stories of heroes, adventures, love and battles, with or without orchestra and with the puppeteers often doing the narration.
Lakhon Khol is all male masked theatre presenting exclusively stories from the Reamker.
Most dance performances in Siem Reap offer a mixture of Classical and Theatrical Folk dances. A few venues offer Shadow Theater. Many of the dance performances in Siem Reap consist of 4-6 individual dances, often opening with an Apsara Dance, followed by two other Classical dances and two or three Theatrical Folk dances. The Apsara Dance is a Classical dance inspired by the apsara carvings and sculptures of Angkor and developed in the late 1940s by Queen Sisowath Kossamak. Her grand daughter and protégé, Princess Bopha Devi, was the first star of the Apsara Dance. The central character of the dance, the apsara Mera, leads her coterie of apsaras through a flower garden where they partake of the beauty of the garden. The movements of the dance are distinctly Classical yet, as the dance was developed for theatrical presentation, it is shorter and a bit more relaxed and flowing than most Classical dances, making it both an excellent example of the movements, manner and spirit of Classical dance and at the same time particularly accessible to a modern audience unaccustomed to the style and stories of Khmer dance-drama.
Another extremely popular dance included in most traditional dance performances in Siem Reap is the Theatrical Folk Dance known as the 'Fishing Dance.' The Fishing Dance is a playful, energetic folk dance with a strong, easy-to-follow story line. It was developed in the 1960s at the Royal University of Fine Arts in Phnom Penh and was inspired by the developer's interpretation of certain rather idealized and stereotyped aspects aspects of rural life and young love. Clad in rural attire, a group of young men and women fish with rattan baskets and scoops, dividing their attention between work and flirtatious glances. Women are portrayed as hardworking, shy, demurring and coy, whereas the young men are strong, unrestrained, roguish and assertive. As the dance continues a couple is separated from the group allowing the flirtations between them to intensify, only to be spoiled by the male character playing a bit too rough, leading to her coy rejection. He pokes and plays trying to win her back, bringing only further rejection. Eventually he gently apologizes on bended knee and after some effort, draws a smile and her attention once again. Just as they move together, the group returns, startling the couple and evoking embarrassment as they both rush to their 'proper' roles once again. The men and women exit at opposite sides of the stage, leaving the couple almost alone, but under pressure of the groups, they separate, leaving in opposite directions, yet with index finger placed to mouth, hint of a secret promise to meet again. (In an interesting side note, placing one's index finger to the lips to denote quiet or secrecy is not, generally speaking, a gesture found in Cambodia, but is common in the West. Its employment in the dance probably indicates a certain amount of 'foreign influence' amongst the Cambodian choreographers when the dance was developed in the 1960s.)
Source: Canby Publications Co., Ltd.
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Dal punto di vista storico sono stati i Saraceni ad occuparsi intensamente dell’olivicoltura in terra salentina, secondo quanto attestato da Bonaventura da Lama, il quale, nel 1724, fa riferimento ai fatti avvenuti tra il 769 ed il 963, un arco temporale in cui l’area oggi denominata Salento venne popolata da boschi di ulivi; si devono ai Saraceni anche l’introduzione del torchio per la produzione di olio e la coltivazione della varietà Cellina. Probabilmente quelli che sono giunti ai nostri giorni non sono gli ulivi originariamente impiantati dai Saraceni, come presumibile dalle continue modifiche subite dal paesaggio. I maestosi uliveti che popolano i paesaggi salentini contemporanei possono essere il risultato di impianti ed innesti su olivastri realizzati dai monaci basiliani e dalle popolazioni che con loro giunsero nel Salento dal Peloponneso, dalla Morea e dalle isole dell’arcipelago greco.
Degne di particolare menzione sono le piante secolari, colossali e maestose, veri monumenti naturali attualmente oggetto d’attenzione e tutela grazie ad una legge regionale. La Puglia intera, nonché il Salento, vengono spesso ricordati dai turisti di passaggio, nonché dai visitatori abituali per le bellezze naturalistiche: il mare, le lunghe spiagge e gli oliveti. Distese di tronchi deformati dal tempo, tutti uguali eppur diversi nella struttura, nella forma, nella chioma ormai imponente, gli ulivi secolari si stagliano sul panorama salentino, conferendogli odori e colori tipici e, ormai, tradizionali. L’albero di ulivo è, certamente, uno dei simboli per eccellenza del Salento: ne sono stati stimati circa 50-60 milioni su tutto il territorio e molti di essi sono secolari. Le caratteristiche geologiche, nonché la scarsa necessità di cure, fanno sì che gli ulivi resistano per anni, lustri, e, addirittura, secoli, alle intemperie, alla forza distruttrice del vento e della pioggia e all’insopportabile caldo torrenziale delle estati salentine. Chi li guarda resta spesso incantato e ammaliato nel pensare che quegli alberi, probabilmente, potrebbero raccontare più storie e tradizioni di un libro di “culacchi”. Ma è soprattutto la loro forma che lascia a bocca aperta, grandi e bambini: la pianta cresce molto lentamente e col passare del tempo il tronco si trasforma, diventando sempre più contorto, piegandosi su se stesso e, dopo lungo tempo, spaccandosi nel mezzo. È in questo momento che diviene casa per molteplici razze d’animaletti, di varia taglia. La corteggia assume diverse sfumature di colore a seconda dell’età del tronco, nonché della penetrazione della luce solare che brucia e secca il legno; laddove il sole non batte, infatti, il legno tende a restare più umido e, talvolta, a marcire.
Sebbene l’aspetto caratteristico degli ulivi, in special modo di quelli secolari, sia il tronco, non bisogna dimenticare che il vero elemento essenziale si cela nella grande chioma: miriadi di palline piccole e scure dalle quali ricavare l’oro verde del Salento, l’olio d’oliva, ormai esportato e conosciuto in tutto il mondo.
Al di là del valore commerciale, questi alberi hanno un valore storico e, per taluni aspetti, anche affettivo e per questo devono essere costantemente tutelati e salvaguardati da eventuali disboscamenti od espianti: spesso, infatti, i privati scelgono di adornare le proprie ville espiantando ulivi secolari che, se non ricollocati in un terreno idoneo, rischiano di seccare. Ma, ancora, soprattutto negli ultimi anni, con l’avvento di una condizione di crisi economico-finanziaria, spesso si sceglie di disboscare intere aree prima destinate alla coltivazione di alberi di ulivo per lasciar posto a nuove colture più produttive o, peggio, all’installazione di impianti tecnologici.
Curtiss had a success with the P-36 Hawk fighter, but so quickly was aerial technology moving in the 1930s that it was nearly obsolete before it even reached full production. To update the design without radically changing it, Curtiss modified a P-36A, replacing the radial engine with an inline Allison V-1710. This streamlined the front of the P-36, lessening drag while maintaining power. Though the V-1710 lacked a supercharger, this was not considered a problem in 1938, and impressed with its performance—especially as the RAF and Luftwaffe were reequipping with inline-engined fighters such as the Supermarine Spitfire and Messerschmitt Bf 109—the US Army Air Corps ordered over 500 P-40B Tomahawks. It also lacked range, but as the Tomahawk was intended as a point-defense interceptor, this was overlooked. A French order for P-40Bs was not filled before the fall of France in May 1940, and so this order was diverted to the RAF as the P-40C/D Kittyhawk. When the United States entered World War II in December 1941, the P-40B was the principal fighter of the USAAF, while RAF P-40Cs were active in North Africa and the P-40B-equipped American Volunteer Group—the famous “Flying Tigers”—were forming in China.
Facing the Japanese Ki-27s and A6M Zeroes in Southeast Asia, and Luftwaffe Bf 109Es in North Africa, P-40 pilots learned that their craft could not manuever with the lighter, more nimble Axis fighters, and that the P-40’s lack of a supercharger put it at a severe disadvantage over 15,000 feet, where it would be sluggish. The armament of two .50 caliber machine guns in the nose and four .30 caliber machine guns in the wings was also considered inadequate against the cannon-armed Axis fighters. Independently, however, both the RAF in North Africa and the AVG in China discovered the P-40’s saving grace: its toughness and weight.
If the P-40 was a poor climber and inadequate in the turn, it was deadly in a dive. P-40 pilots learned to establish altitude over their Axis opponents, then dive, blast through the formation, and use the velocity built up in the dive to return to altitude. Even if the P-40 was intercepted, its robust construction and use of armor around the cockpit meant that it could survive a good deal of punishment; because its level speed was faster than the Bf 109 or the Zero, P-40 pilots could always choose to simply abandon a fight and retreat to fight another day. Even the Zero was at a disadvantage against these tactics: hard turns and dives that were normal for a P-40 would rip the wings off a Zero, and if the P-40 could get away from a Zero, the reverse was not true. Despite being technically inferior to their opponents, the AVG shot down 247 Japanese aircraft for the loss of only four aircraft in air combat.
The earlier P-40B/C variants gave way to the more advanced P-40E, which deleted the nose guns in favor of six .50 caliber machine guns in the wings, and the P-40F/L, which replaced the Allison engine with the more efficient Rolls-Royce Merlin, which improved high altitude performance; to counter the higher torque, the fuselage was extended. These later marks were nicknamed Warhawk.
Final versions included the P-40M/N series, which reintroduced the Allison engine (as there was a shortage of popular Merlins) but kept the stretched fuselage, and cut down the rear fuselage; one weakness of other P-40 variants was a lack of vision to the rear. By the time the P-40 ended production in December 1944, the war had begun to leave it behind: higher-performance aircraft such as the P-51 were in service, and the Warhawk’s lack of range limited its effectiveness. Nonetheless, it was the only American fighter that was in service at the beginning of the war that would finish it. Nearly 14,000 were produced between 1938 and 1944. At the end of the war, the P-40 was rapidly taken out of service due to its obsolescence; however, its popularity among veterans meant that over 80 would be preserved in museums, with 19 still airworthy.
This P-40 is yet another of Dad's models he built for my characters in my novel "Audacity"--again, Akela Canis. In Canis' backstory, he started flying P-40Es with the 57th Fighter Group (a real unit) in North Africa before getting his own command with the 8th AF in England. This is a straight out-of-the-box P-40, using the 1/48 Monogram kit, painted in standard USAAF camouflage for 1943 over the Mediterranean and North Africa--two shades of brown over RAF-style light blue, with early USAAF roundels. The 57th FG did not fly with sharkmouths, but no P-40 looks right without one. The little name on the cowling is "Fifinella," the nickname of female gremlins.
Without a doubt the sweetest and most caring man I have ever met! Old school methods of showing he cares and a heart of gold. All-in-all proof that angels walk among us! <3
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Lowaldie is an example of a town with minimal development. The only siding on the Brown's Well line without a goods shed, it was surveyed into 72 township allotments.
One allotment was dedicated as a site for an Institute.
Half of the allotments were offered for sale in 1914 but only one was sold. All unsold allotments were put up for auction in 1916. Again only one was sold. Only two buildings were ever erected in the town: a residence which was used as a hall for seven years, and the Institute.
Despite this, it had a post office, phone exchange, limited general store and grain buyer. They all operated from the residence. The Institute was also used as a school and for church services. The town had cricket and tennis clubs. [Ref: Murray Mallee Heritage Survey (1998) A & P Kloeden Bruce Harry & Associates]
*FUNDS OBTAINED BY CONCERT July 16
A successful concert was given in the Lowaldie Hall on Saturday evening, July 15. The proceeds were in aid of a new hall: the one now in use is too small.
The apple bobbing, ladies’ nail driving, and gentlemen's sewing competitions attracted a large number of entries. \
A dance followed. Supper was provided by the ladies. [Ref: Murray Pioneer and Australian River Record (Renmark) 21-7-1922]
*New Institute Hall
The Lowaldie institute is nearing completion, and arrangements are being made for the laying of the foundation stone on November 15. Tea and a social and dance will follow.
Mr C T Haines was the contractor. Messrs O R Williams and M Earl placed the first stone in position and Mrs George Haines put the last brick of the chimney in position. [Ref: Advertiser (Adelaide) Tuesday 12-11-1935]
*Foundation Stone and Opening
15 November
The ceremony of setting in the foundation stone and opening the institute was held. Mr J H Gray set in the foundation stone and Mr C W Jones opened the institute.
The speakers, who were the pioneer settlers of the district, were introduced by Mr F Ridge.
In the evening a concert was held, Mr J H Gray being chairman. Items were rendered by Mesdames W S Tonkin and G A Haines, Misses June Williams, Ruth McClean, Fay Tonkin, and A M Galley, and Messrs D Oakley, R Ritchie, and J A Gray.
A dance followed, Mr F O'Malley being MC. Music was supplied by Miss G M Lawson and Mr R Ritchie. A strawberries stall was in charge of Mesdames O R Williams, A Marks, and V Klaebe, and Mr J C Boyce had charge of the cool drinks. A profit of about £17 was made. [Ref: Advertiser (Adelaide) 11-12-1935]
*A Spinsters' Ball was held in the Lowaldie Institute in aid of the school fund. Novelty dances were won.
The MC's were Miss M Miller and Mr F O'Malley. [Ref: Advertiser (Adelaide) 5-5-1936]
*The first anniversary of the opening of the Lowaldie Institute was celebrated with a concert and dance and strawberry fete.
Mr J H Gray was chairman. The music for the dance was supplied by Oakley’s Orchestra. A birthday cake, made and iced by Mrs O R Williams, was won by Miss F E Griffiths. Mr A Jones was MC. More than £8 was cleared. [Ref: Advertiser (Adelaide 14-11-1936]
*A cricket match between Lowaldie and Yurgo resulted in a win for Yurgo. Scores:— Yurgo 104 Lowaldie 91 (R Williams 30 C Lukeman 28).
Tea was provided in the Institute.
In the evening a dance was held in aid of the cricket club. Oakleys’ Orchestra supplied the music. Mr A Nurse was MC. The takings were £6. [Ref: Advertiser (Adelaide) 13-2-1937]
*A social was held in the Lowaldie Institute in aid of the institute fund.
Music for the dancing was supplied by Mrs O R Williams. Mr A Nurse was MC.
A floater supper was enjoyed by those present. [Ref: Advertiser (Adelaide) 29-7-1937]
*The annual break-up concert of the Lowaldie school was held at the school in the form of an outdoor concert. The children trained by the head teacher (Miss L Willmott) gave several items, after which they were each given a present off the Christmas tree.
Prizes for good work during the year were won by Eva Hoff, Edmund Hoff, Sydney Langford, Peter Olson, Ron Roecke, and Stanley Gray.
The manual work made by the children during the year was on sale, the stalls being in charge of Ron Roecke, Edward Olson, Arthur Hoff, and Stanley Gray.
Supper was served by the women. [Ref Advertiser 22-12-1937]
*A dance was held in the Lowaldie Institute in aid of the Lowaldie school. Music was supplied by Oakley's Orchestra. Mr C Ern Langford was MC.
A pasty supper was supplied by the women.
Arbor Day was celebrated at the Lowaldie school. A sports programme was conducted for the children. Several trees and shrubs were planted. Lollies and oranges were given to the children.
Dinner and tea were supplied by the women.
A busy bee at the cricket oval grubbed the mallee stumps and put down a new pitch. [Ref: Advertiser (Adelaide) 29-7-1938]
*A combined Sunday School Anniversary of the Borrika and Lowaldie Sunday Schools was held at the Lowaldie Institute (Karoonda circuit). Items were rendered by both schools, 24 scholars taking part. Rev S G Forth gave a fine children's address at each service. Mrs R Williams, Lowaldie, and Miss Cowled, Borrika were the pianists.
At the close of the afternoon service, award books were presented to the scholars. Tea was provided by the ladies. [Ref: Australian Christian Commonwealth (SA) 17-11-1939]
*Proceeds from annual concert and dance to celebrate the sixth anniversary of opening of institute on November 29 amounted to £16 12.
Profit from this entertainment is being donated to Queen of Navy (Betty Williams) for Prisoners of War Fund. [Ref: Advertiser (Adelaide) 3-12-1941]
*A very successful dance was held at Lowaldie on Saturday, April 17. The hall was well filled and novelties provided much amusement. The proceeds were in aid of Red Cross and Fighting Forces Comforts Funds. [ Ref: Murray Pioneer (Renmark) 22-4-1943]
*At Lowaldie on Saturday evening a concert in aid of Red Cross queens was given by folk from Lowaldie and surrounding towns including Karoonda and Sandalwood.
After the concert dancing was indulged in.
The evening was very successful from a social as well as a financial viewpoint: the attendance was very good and the Lowaldie Hall was packed, people having come from miles around. [Ref: Murray Pioneer (Renmark) 24-6-1943]
*A social was tendered to Mr and Mrs J H Gray.
Mr Gray is a pioneer of this district, having resided there for 31 years. Mr C W Jones, on behalf of the community, presented the guests with a wallet.
Trustees of Karoonda Methodist circuit also made a presentation. [Ref: Advertiser (Adelaide 12-11-1943]
*Lowaldie — On February 2, a large crowd attended a welcome home dance in honour of WO Don Coombe, who after six years' service with the RAAF, has recently been discharged. A gift was presented by Mr S T Barr on behalf of Lowaldie Institute Committee and friends assembled.
Music was supplied by C Goodhand (piano accordion), E Stokes (drums) and M D Williams (piano). [Ref: Advertiser (Adelaide) 12-2-1946]
*A welcome home dance was recently held in the hall. During the evening an honour roll was unveiled by Mrs S T Barr. This was designed and carved by Mr Jack Peake, of Karoonda. [Ref: Advertiser (Adelaide) 12-10-1946]
*At Lowaldie Mr C W Jones, on behalf of local residents, presented Mr, Mrs and Miss Waters with a wireless set as a token of appreciation for service rendered during the past 18 years.
Mr Waters is the postmaster, and his wife and daughter attend to the cleaning of the hall after functions. [Ref: Chronicle (Adelaide) 17-10-1946]
*Busy Bees
BEES destroyed the concentration of worshippers at a recent harvest thanksgiving service at Lowaldie, near Karoonda.
The annual service is held in the local hall, but since bees have been in residence there for months, this year it was considered safer to move into the little iron kitchen adjoining. Even then, two members of the congregation were stung and the caretaker hovered in the background, ever ready with a bottle of methylated spirits for use as an antidote [Ref: News (Adelaide) 7-4-1948]
*Griffiths-Abbott
At the Methodist Church, Karoonda, on Saturday, March 6th the marriage was solemnised of Margaret A youngest daughter of Mrs and the late Mr H Griffiths, of Lowaldie, to Rex M only son of Mr and Mrs J Abbott, of Long Valley, Strathalbyn. The Rev A Holdway officiated, and Mrs Ron Abbott, of Karoonda, presided at the organ.
After the ceremony all journeyed on to the Lowaldie Hall, which was beautifully decorated for the occasion by her Lowaldie friends, and a dance took place. Afterwards a dainty home-made supper was served and thoroughly enjoyed by all. [Ref: Southern Argus (Port Elliot) 13-5-1948]
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From the Platinum VW show in Hicksville, NY on 7/28/2012.
D700, 135mm f/2DC @ f/2.8, iso 200, cp filter, natural light.
Please do not use this image without my prior consent.
ESQ by Movado/ Quest Chronograph
39mm (with crown)/ Domed Crystal/ Swiss Quartz Movement/ White Dial/ Stainless Steel/ Black Leather Strap
Wait, an ESQ? Many watch enthusiast might snob over the the brand and feel disappointed in me with this purchase. The truth is, I am not ashamed by my choice. This watch was purchased right after colleague, Same day before my first interview. Newbie in adult world, dress with black suit, try to act like an adult then I realized I do not have a proper dress watch. Most of my watch choice are casual. I was unwilling to just wear any watch I own to go by.
The "go by" type of attitude in small things some times reflect on one's worth ethic. If I pay attention, my interviewer might pick on small details. I wasn't gonna take my chance. My interview was in the afternoon and I spend all morning trying to find one that would fit with my limited budget. This ESQ was my final decision. After all, it is still a watch brand unlike fashion labels such as Armani, DKNY. ESQ is under Movado and it priced I can afford. Strap it on right the way, my confidence gain just a little bit. I look proper and ready to tackle my first real life obstacle.
Did the interview go well? That is the point of my story. I was satisfied.
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" No Surrender " 1985 Film - A seedy night club is double booked by The Orange Lodge and Catholics in fancy dress .
No Surrender is a dark humour Alan Bleasdale film.
Set in Liverpool in the 1980's, it has many sub plots going on at the same time involving 2 sets of pensioners (one Catholic and the other Protestant), a band who can't play, a magician who can't do magic, an underworld gangland boss torturing the previous manager, a group of very old mentally handicaped patents and enough bad language to make a Chubby Brown show look PG!!!!
A normal night out these days.
www.youtube.com/watch?v=wkxnDSjF0jo
www.youtube.com/watch?v=zpv0zNozIG4&feature=related People more than old enough to know better !
en.wikipedia.org/wiki/Orange_Order
forums.icnorthwest.co.uk/viewtopic.php?f=29&t=14740&a... Do you think the Orange Lodge should pay for the July 12 policing costs?
thathideousman.blogspot.com/2011/03/book-notes-orange-ord...
www.southportvisiter.co.uk/southport-news/southport-south... Southport Orange Parade organisers given a clear message after 16 people were arrested
www.qlocal.co.uk/southport/news_list/Orange_Lodge_March_I...
www.liverpoolecho.co.uk/liverpool-news/local-news/2011/07... See Comments
Exif data auto added by theGOOD Uploadr
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Lens : Nikon AF Nikkor 28-70mm f/3.5-4.5 www.kenrockwell.com/nikon/287035af.htm www.photozone.de/nikon--nikkor-aps-c-lens-tests/240-nikko...
The Postcard
A postally unused postcard published by the Bodleian Library and printed at the Oxford University Press.
Percy Bysshe Shelley
Percy Bysshe Shelley, who was born on the 4th. August 1792, was one of the major English Romantic poets.
A radical in his poetry as well as in his political and social views, Shelley did not achieve fame during his lifetime, but recognition of his achievements in poetry grew steadily following his death, and he became an important influence on subsequent generations of poets, including Robert Browning, Algernon Charles Swinburne, Thomas Hardy, and W. B. Yeats.
American literary critic Harold Bloom describes Shelley as:
"A superb craftsman, a lyric poet without
rival, and surely one of the most advanced
sceptical intellects ever to write a poem."
Shelly's reputation fluctuated during the 20th. century, but in recent decades he has achieved increasing critical acclaim for the sweeping momentum of his poetic imagery, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist, and materialist ideas in his work.
Among his best-known works are "Ozymandias" (1818), "Ode to the West Wind" (1819), "To a Skylark" (1820), the philosophical essay "The Necessity of Atheism" written alongside his friend T. J. Hogg (1811), and the political ballad "The Mask of Anarchy" (1819).
Shelley's other major works include the verse drama The Cenci (1819) and long poems such as Alastor, or The Spirit of Solitude (1815), Julian and Maddalo (1819), Adonais (1821), Prometheus Unbound (1820) - widely considered his masterpiece - Hellas (1822), and his final, unfinished work, The Triumph of Life (1822).
Shelley also wrote prose fiction and a quantity of essays on political, social, and philosophical issues.
Much of his poetry and prose was not published in his lifetime, or only published in expurgated form, due to the risk of prosecution for political and religious libel.
From the 1820's, his poems and political and ethical writings became popular in Owenist, Chartist, and radical political circles, and later drew admirers as diverse as Karl Marx, Mahatma Gandhi, and George Bernard Shaw.
Shelley's life was marked by family crises, ill health, and a backlash against his atheism, political views and defiance of social conventions. He went into permanent self-exile in Italy in 1818, and over the next four years produced what Leader and O'Neill call:
"Some of the finest poetry
of the Romantic period".
His second wife, Mary Shelley, was the author of Frankenstein.
Shelley died in a boating accident in 1822 at the age of 29.
Percy Bysshe Shelley - The Early Years
Shelley was born at Field Place, Warnham, West Sussex. He was the eldest son of Sir Timothy Shelley (1753–1844), a Whig Member of Parliament for Horsham from 1790 to 1792 and for Shoreham between 1806 and 1812, and his wife, Elizabeth Pilfold (1763–1846), the daughter of a successful butcher.
Percy had four younger sisters and one much younger brother. Shelley's early childhood was sheltered and mostly happy. He was particularly close to his sisters and his mother, who encouraged him to hunt, fish and ride.
At the age of six, he was sent to a day school run by the vicar of Warnham church, where he displayed an impressive memory and gift for languages.
In 1802 he entered the Syon House Academy in Brentford. Shelley was bullied and unhappy at the school, and sometimes responded with violent rage. He also began suffering from the nightmares, hallucinations and sleep walking that were periodically to afflict him throughout his life.
Shelley developed an interest in science which supplemented his voracious reading of tales of mystery, romance and the supernatural. During his holidays at Field Place, his sisters were often terrified by being subjected to his experiments with gunpowder, acids and electricity. Back at school he blew up a fence with gunpowder.
In 1804, Shelley entered Eton College, a period which he later recalled with loathing. He was subjected to particularly severe mob bullying which the perpetrators called "Shelley-baits".
A number of biographers and contemporaries have attributed the bullying to Shelley's aloofness, nonconformity and refusal to take part in fagging. His peculiarities and violent rages earned him the nickname "Mad Shelley".
His interest in the occult and science continued, and contemporaries describe him giving an electric shock to a master, blowing up a tree stump with gunpowder and attempting to raise spirits with occult rituals.
In his senior years, Shelley came under the influence of a part-time teacher, Dr James Lind, who encouraged his interest in the occult, and introduced him to liberal and radical authors.
Shelley also developed an interest in Plato and idealist philosophy which he pursued in later years through self-study. According to Richard Holmes, Shelley, by his leaving year, had gained a reputation as a classical scholar and a tolerated eccentric.
In his last term at Eton, his first novel Zastrozzi appeared and he had established a following among his fellow students. Prior to enrolling at University College, Oxford in October 1810, Shelley completed Original Poetry by Victor and Cazire (written with his sister Elizabeth), the verse melodrama The Wandering Jew and the Gothic novel St. Irvine; or, The Rosicrucian: A Romance (published 1811).
At Oxford Shelley attended few lectures, instead spending long hours reading and conducting scientific experiments in the laboratory he set up in his room. He met a fellow student, Thomas Jefferson Hogg, who became his closest friend.
Shelley became increasingly politicised under Hogg's influence, developing strong radical and anti-Christian views. Such views were dangerous in the reactionary political climate prevailing during Britain's war with Napoleonic France, and Shelley's father warned him against Hogg's influence.
In the winter of 1810–1811, Shelley published a series of anonymous political poems and tracts: Posthumous Fragments of Margaret Nicholson, The Necessity of Atheism (written in collaboration with Hogg) and A Poetical Essay on the Existing State of Things.
Shelley mailed The Necessity of Atheism to all the bishops and heads of colleges at Oxford, and he was called to appear before the college's fellows, including the Dean, George Rowley. His refusal to answer questions put by college authorities regarding whether or not he authored the pamphlet resulted in his expulsion from Oxford on the 25th. March 1811, along with Hogg.
Hearing of his son's expulsion, Shelley's father threatened to cut all contact with Shelley unless he agreed to return home and study under tutors appointed by him. Shelley's refusal to do so led to a falling-out with his father.
Shelley's Marriage to Harriet Westbrook
In late December 1810, Shelley had met Harriet Westbrook, a pupil at the same boarding school as Shelley's sisters. They corresponded frequently that winter, and also after Shelley had been expelled from Oxford.
Shelley expounded his radical ideas on politics, religion and marriage to Harriet, and they gradually convinced each other that she was oppressed by her father and at school.
Shelley's infatuation with Harriet developed in the months following his expulsion, when he was under severe emotional strain due to the conflict with his family, his bitterness over the breakdown of his romance with his cousin Harriet Grove, and his unfounded belief that he might be suffering from a fatal illness.
At the same time, Harriet Westbrook's elder sister Eliza, to whom Harriet was very close, encouraged the young girl's romance with Shelley. Shelley's correspondence with Harriet intensified in July, while he was holidaying in Wales, and in response to her urgent pleas for his protection, he returned to London in early August.
Putting aside his philosophical objections to matrimony, he left with the sixteen-year-old Harriet for Edinburgh on the 25th. August 1811, and they were married there on the 28th.
Hearing of the elopement, Harriet's father, John Westbrook, and Shelley's father cut off the allowances of the bride and groom. Shelley's father believed that his son had married beneath him, as Harriet's father had earned his fortune in trade, and was the owner of a tavern and coffee house.
Surviving on borrowed money, Shelley and Harriet stayed in Edinburgh for a month, with Hogg living under the same roof. The trio left for York in October, and Shelley went on to Sussex to settle matters with his father, leaving Harriet behind with Hogg.
Shelley returned from his unsuccessful excursion to find that Harriet's sister Eliza had moved in with Harriet and Hogg. Harriet confessed that Hogg had tried to seduce her while Shelley had been away. Accordingly Shelley, Harriet and Eliza soon left for Keswick in the Lake District, leaving Hogg in York.
At this time Shelley was involved in an intense platonic relationship with Elizabeth Hitchener, a 28-year-old unmarried schoolteacher of advanced views, with whom he had been corresponding. Hitchener, whom Shelley called the "sister of my soul" and "my second self", became his confidante and intellectual companion as he developed his views on politics, religion, ethics and personal relationships.
Shelley proposed that Elizabeth join him, Harriet and Eliza in a communal household where all property would be shared.
The Shelleys and Eliza spent December and January in Keswick where Shelley visited Robert Southey whose poetry he admired. Southey was taken with Shelley, even though there was a wide gulf between them politically, and predicted great things for him as a poet.
Southey also informed Shelley that William Godwin, author of Political Justice, which had greatly influenced him in his youth, and which Shelley also admired, was still alive. Shelley wrote to Godwin, offering himself as his devoted disciple. Godwin, who had modified many of his earlier radical views, advised Shelley to reconcile with his father, become a scholar before he published anything else, and give up his avowed plans for political agitation in Ireland.
Meanwhile, Shelley had met his father's patron, Charles Howard, 11th. Duke of Norfolk, who helped secure the reinstatement of Shelley's allowance.
With Harriet's allowance also restored, Shelley now had the funds for his Irish venture. Their departure for Ireland was precipitated by increasing hostility towards the Shelley household from their landlord and neighbours who were alarmed by Shelley's scientific experiments, pistol shooting and radical political views.
As tension mounted, Shelley claimed he had been attacked in his home by ruffians, an event which might have been real, or a delusional episode triggered by stress. This was the first of a series of episodes in subsequent years where Shelley claimed to have been attacked by strangers during periods of personal crisis.
Early in 1812, Shelley wrote, published and personally distributed in Dublin three political tracts: An Address, to the Irish People; Proposals for an Association of Philanthropists; and Declaration of Rights. He also delivered a speech at a meeting of O'Connell's Catholic Committee in which he called for Catholic emancipation, repeal of the Acts of Union and an end to the oppression of the Irish poor. Reports of Shelley's subversive activities were sent to the Home Secretary.
Returning from Ireland, the Shelley household travelled to Wales, then Devon, where they again came under government surveillance for distributing subversive literature. Elizabeth Hitchener joined the household in Devon, but several months later had a falling out with the Shelleys and left.
The Shelley household settled in Tremadog, Wales in September 1812, where Shelley worked on Queen Mab, a utopian allegory with extensive notes preaching atheism, free love, republicanism and vegetarianism. The poem was published the following year in a private edition of 250 copies, although few were initially distributed, because of the risk of prosecution for seditious and religious libel.
In February 1813, Shelley claimed he was attacked in his home at night. The incident might have been real, a hallucination brought on by stress, or a hoax staged by Shelley in order to escape government surveillance, creditors and his entanglements in local politics. The Shelleys and Eliza fled to Ireland, then London.
Back in England, Shelley's debts mounted as he tried unsuccessfully to reach a financial settlement with his father. On the 23rd. June 1813, Harriet gave birth to a girl, Eliza Ianthe Shelley, but in the following months the relationship between Shelley and his wife deteriorated.
Shelley resented the influence that Harriet's sister had over her, while Harriet was alienated by Shelley's close friendship with an attractive widow, Harriet Boinville, and her daughter Cornelia Turner.
Following Ianthe's birth, the Shelleys moved frequently across London, Wales, the Lake District, Scotland and Berkshire to escape creditors and to search for a home.
In March 1814, Shelley remarried Harriet in London to settle any doubts about the legality of their Edinburgh wedding and to secure the rights of their child. Nevertheless, the Shelleys lived apart for most of the following months, and Shelley reflected bitterly on:
"My rash & heartless union with Harriet".
Shelley's Elopement with Mary Godwin
In May 1814, Shelley began visiting his mentor William Godwin almost daily, and soon fell in love with Mary, the sixteen-year-old daughter of Godwin and the late feminist author Mary Wollstonecraft.
Shelley and Mary declared their love for each other during a visit to her mother's grave in the churchyard of St. Pancras Old Church on the 26th. June 1814. When Shelley told William Godwin that he intended to leave Harriet and live with Godwin's daughter, his mentor banished him from the house, and forbade Mary from seeing him.
Shelley and Mary however eloped to Europe on the 28th. July 1814, taking Mary's step-sister Claire Clairmont with them. Before leaving, Shelley had secured a loan of £3,000, but had left most of the funds at the disposal of Godwin and Harriet, who was now pregnant. The financial arrangement with Godwin led to rumours that he had sold his daughters to Shelley.
Shelley, Mary Godwin and Claire made their way across war-ravaged France where Shelley wrote to Harriet, asking her to meet them in Switzerland with the money he had left for her.
However, hearing nothing from Harriet in Switzerland, and being unable to secure sufficient funds or suitable accommodation, the three travelled to Germany and Holland before returning to England on the 13th. September 1814.
Shelley spent the next few months trying to raise loans and avoid bailiffs. Mary was pregnant, lonely, depressed and ill. Her mood was not improved when she heard that, on the 30th. November 1814, Harriet had given birth to Charles Bysshe Shelley, heir to the Shelley fortune and baronetcy.
This was followed, in early January 1815, by news that Shelley's grandfather, Sir Bysshe, had died leaving an estate worth £220,000. The settlement of the estate, and a financial settlement between Shelley and his father (now Sir Timothy), however, was not concluded until April the following year.
In February 1815, Mary gave premature birth to a baby girl who died ten days later, deepening her depression. In the following weeks, Mary became close to Hogg who temporarily moved into the household.
Shelley was almost certainly having a sexual relationship with Claire at this time, and it is possible that Mary, with Shelley's encouragement, was also having a sexual relationship with Hogg. In May Claire left the household, at Mary's insistence, to reside in Lynmouth.
In August 1815 Shelley and Mary moved to Bishopsgate where Shelley worked on Alastor, a long poem in blank verse based on the myth of Narcissus and Echo. Alastor was published in an edition of 250 in early 1816 to poor sales and largely unfavourable reviews from the conservative press.
On the 24th. January 1816, Mary gave birth to William Shelley. Percy was delighted to have another son, but was suffering from the strain of prolonged financial negotiations with his father, Harriet and William Godwin. Shelley showed signs of delusional behaviour, and was contemplating an escape to the continent.
Lord Byron
Claire initiated a sexual relationship with Lord Byron in April 1816, just before his self-exile on the continent, and then arranged for Byron to meet Shelley, Mary and her in Geneva.
Shelley admired Byron's poetry, and had sent him Queen Mab and other poems. Shelley's party arrived in Geneva in May and rented a house close to Villa Diodati, on the shores of Lake Geneva, where Byron was staying. There Shelley, Byron and the others engaged in discussions about literature, science and "various philosophical doctrines".
One night, while Byron was reciting Coleridge's Christabel, Shelley suffered a severe panic attack with hallucinations. The previous night Mary had had a more productive vision or nightmare which inspired her novel Frankenstein.
Shelley and Byron then took a boating tour around Lake Geneva, which inspired Shelley to write his "Hymn to Intellectual Beauty", his first substantial poem since Alastor.
A tour of Chamonix in the French Alps inspired "Mont Blanc", which has been described as an atheistic response to Coleridge's "Hymn before Sunrise in the Vale of Chamoni". During this tour, Shelley often signed guest books with a declaration that he was an atheist. These declarations were seen by other British tourists, including Southey, which hardened attitudes against Shelley back home.
Relations between Byron and Shelley's party became strained when Byron was told that Claire was pregnant with his child. Shelley, Mary, and Claire left Switzerland in late August, with arrangements for the expected baby still unclear, although Shelley made provision for Claire and the baby in his will.
In January 1817 Claire gave birth to a daughter by Byron who she named Alba, but later renamed Allegra in accordance with Byron's wishes.
Shelley's Marriage to Mary Godwin
Shelley and Mary returned to England in September 1816, and in early October they heard that Mary's half-sister Fanny Imlay had killed herself. Mary believed that Fanny had been in love with Shelley, and Shelley himself suffered depression and guilt over her death, writing:
"Friend had I known thy secret grief
Should we have parted so."
Further tragedy followed in December 1816 when Shelley's estranged wife Harriet drowned herself in the Serpentine in Hyde Park. Harriet, pregnant and living alone at the time, believed that she had been abandoned by her new lover. In her suicide letter she asked Shelley to take custody of their son Charles but to leave their daughter in her sister Eliza's care.
Shelley married Mary Godwin on the 30 December 1816, despite his philosophical objections to the institution. The marriage was intended to help secure Shelley's custody of his children by Harriet and to placate Godwin who had refused to see Shelley and Mary because of their previous adulterous relationship.
After a prolonged legal battle, the Court of Chancery eventually awarded custody of Shelley and Harriet's children to foster parents, on the grounds that Shelley had abandoned his first wife for Mary without cause, and was an atheist.
In March 1817 the Shelleys moved to the village of Marlow, Buckinghamshire, where Shelley's friend Thomas Love Peacock lived. The Shelley household included Claire and her baby Allegra, both of whose presence was resented by Mary. Shelley's generosity with money and increasing debts also led to financial and marital stress, as did Godwin's frequent requests for financial help.
On the 2nd. September 1817 Mary gave birth to a daughter, Clara Everina Shelley. Soon after, Shelley left for London with Claire, which increased Mary's resentment towards her step-sister. Shelley was arrested for two days in London over money he owed, and attorneys visited Mary in Marlowe over Shelley's debts.
Shelley was part of the literary and political circle that surrounded Leigh Hunt, and during this period he met William Hazlitt and John Keats. Shelley's major work during this time was Laon and Cythna, a long narrative poem featuring incest and attacks on religion.
It was hastily withdrawn after publication due to fears of prosecution for religious libel, and was re-edited and reissued as The Revolt of Islam in January 1818. Shelley also published two political tracts under a pseudonym: A Proposal for putting Reform to the Vote throughout the Kingdom (March 1817) and An Address to the People on the Death of Princess Charlotte (November 1817).
In December he wrote "Ozymandias", which is considered to be one of his finest sonnets, as part of a competition with friend and fellow poet Horace Smith.
Shelley in Italy
On the 12th. March 1818 the Shelleys and Claire left England:
"To escape its tyranny civil and religious".
A doctor had also recommended that Shelley go to Italy for his chronic lung complaint, and Shelley had arranged to take Claire's daughter, Allegra, to her father Byron who was now in Venice.
After travelling some months through France and Italy, Shelley left Mary and baby Clara at Bagni di Lucca (in today's Tuscany) while he travelled with Claire to Venice to see Byron and make arrangements for visiting Allegra.
Byron invited the Shelleys to stay at his summer residence at Este, and Shelley urged Mary to meet him there. Clara became seriously ill on the journey, and died on the 24th. September 1818 in Venice.
Following Clara's death, Mary fell into a long period of depression and emotional estrangement from Shelley.
The Shelleys moved to Naples on the 1st. December 1818, where they stayed for three months. During this period Shelley was ill, depressed and almost suicidal: a state of mind reflected in his poem "Stanzas written in Dejection – December 1818, Near Naples".
While in Naples, Shelley registered the birth and baptism of a baby girl, Elena Adelaide Shelley (born on the 27th. December 1818), naming himself as the father and falsely naming Mary as the mother.
The parentage of Elena has never been conclusively established. Biographers have variously speculated that she was adopted by Shelley to console Mary for the loss of Clara, that she was Shelley's child to Claire, that she was his child to his servant Elise Foggi, or that she was the child of a "mysterious lady" who had followed Shelley to the continent.
Shelley registered the birth and baptism on the 27th. February 1819, and the household left Naples for Rome the following day, leaving Elena with carers. Elena died in a poor suburb of Naples on the 9th. June 1820.
In Rome, Shelley was in poor health, probably suffering from nephritis and tuberculosis which later was in remission. Nevertheless, he made significant progress on three major works: Julian and Maddalo, Prometheus Unbound, and The Cenci.
Julian and Maddalo is an autobiographical poem which explores the relationship between Shelley and Byron, and analyses Shelley's personal crises of 1818 and 1819. The poem was completed in the summer of 1819, but was not published in Shelley's lifetime.
Prometheus Unbound is a long dramatic poem inspired by Aeschylus's retelling of the Prometheus myth. It was completed in late 1819 and published in 1820.
The Cenci is a verse drama of rape, murder and incest based on the story of the Renaissance Count Cenci of Rome and his daughter Beatrice. Shelley completed the play in September, and the first edition was published that year. It was to become one of his most popular works, and the only one to have two authorised editions during his lifetime.
Shelley's three-year-old son William died in June, probably of malaria. The new tragedy caused a further decline in Shelley's health, and deepened Mary's depression. On the 4th. August she wrote:
"We have now lived five years together;
and if all the events of the five years
were blotted out, I might be happy".
The Shelleys were now living in Livorno where, in September, Shelley heard of the Peterloo Massacre of peaceful protesters in Manchester. Within two weeks he had completed one of his most famous political poems, The Mask of Anarchy, and despatched it to Leigh Hunt for publication. Hunt, however, decided not to publish it for fear of prosecution for seditious libel. The poem was only officially published in 1832.
The Shelleys moved to Florence in October, where Shelley read a scathing review of the Revolt of Islam (and its earlier version Laon and Cythna) in the conservative Quarterly Review. Shelley was angered by the personal attack on him in the article which he erroneously believed had been written by Southey. His bitterness over the review lasted for the rest of his life.
On the 12th. November, Mary gave birth to a boy, Percy Florence Shelley. Around the time of Percy's birth, the Shelleys met Sophia Stacey, who was a ward of one of Shelley's uncles, and who was staying at the same pension as the Shelleys.
Sophia, a talented harpist and singer, formed a friendship with Shelley while Mary was preoccupied with her newborn son. Shelley wrote at least five love poems and fragments for Sophia including "Song Written for an Indian Air".
The Shelleys moved to Pisa in January 1820, ostensibly to consult a doctor who had been recommended to them. There they became friends with the Irish republican Margaret Mason (Lady Margaret Mountcashell) and her common-law husband George William Tighe. Mrs Mason became the inspiration for Shelley's poem "The Sensitive Plant", and Shelley's discussions with Mason and Tighe influenced his political thought and his critical interest in the population theories of Thomas Malthus.
In March Shelley wrote to friends that Mary was depressed, suicidal and hostile towards him. Shelley was also beset by financial worries, as creditors from England pressed him for payment and he was obliged to make secret payments in connection with his "Neapolitan charge" Elena.
Meanwhile, Shelley was writing A Philosophical View of Reform, a political essay which he had begun in Rome. The unfinished essay, which remained unpublished in Shelley's lifetime, has been called:
"One of the most advanced and
sophisticated documents of political
philosophy in the nineteenth century".
Another crisis erupted in June when Shelley claimed that he had been assaulted in the Pisan post office by a man accusing him of foul crimes. Shelley's biographer James Bieri suggests that this incident was possibly a delusional episode brought on by extreme stress, as Shelley was being blackmailed by a former servant, Paolo Foggi, over baby Elena.
It is likely that the blackmail was connected with a story spread by another former servant, Elise Foggi, that Shelley had fathered a child to Claire in Naples and had sent it to a foundling home. Shelley, Claire and Mary denied this story, and Elise later recanted.
In July, hearing that John Keats was seriously ill in England, Shelley wrote to the poet inviting him to stay with him at Pisa. Keats replied with hopes of seeing him, but instead, arrangements were made for Keats to travel to Rome.
In early July 1820, Shelley heard that baby Elena had died on 9 June. In the months following the post office incident and Elena's death, relations between Mary and Claire deteriorated, and Claire spent most of the next two years living separately from the Shelleys, mainly in Florence.
That December Shelley met Teresa (Emilia) Viviani, who was the 19-year-old daughter of the Governor of Pisa and who was living in a convent awaiting a suitable marriage. Shelley visited her several times over the next few months, and they started a passionate correspondence which dwindled after her marriage the following September. Emilia was the inspiration for Shelley's major poem Epipsychidion.
In March 1821 Shelley completed "A Defence of Poetry", a response to Peacock's article "The Four Ages of Poetry". Shelley's essay, with its famous conclusion "Poets are the unacknowledged legislators of the world", remained unpublished in his lifetime.
Following the death of Keats in 1821, Shelley wrote Adonais, which is considered to be one of the major pastoral elegies. The poem was published in Pisa in July 1821, but sold few copies.
Shelley went alone to Ravenna in early August to see Byron, making a detour to Livorno for a rendezvous with Claire. Shelley stayed with Byron for two weeks and invited the older poet to spend the winter in Pisa. After Shelley heard Byron read his newly completed fifth canto of Don Juan he wrote to Mary:
"I despair of rivalling Byron."
In November Byron moved into Villa Lanfranchi in Pisa, just across the river from the Shelleys. Byron became the centre of the "Pisan circle" which was to include Shelley, Thomas Medwin, Edward Williams and Edward Trelawny.
In the early months of 1822, Shelley became increasingly close to Jane Williams, who was living with her partner Edward Williams in the same building as the Shelleys.
Shelley wrote a number of love poems for Jane, including "The Serpent is Shut out of Paradise" and "With a Guitar, to Jane". Shelley's obvious affection for Jane was to cause increasing tension between Shelley, Edward Williams and Mary.
Claire arrived in Pisa in April at Shelley's invitation, and soon after they heard that her daughter Allegra had died of typhus in Ravenna. The Shelleys and Claire then moved to Villa Magni, near Lerici on the shores of the Gulf of La Spezia.
Shelley acted as mediator between Claire and Byron over arrangements for the burial of their daughter, and the added strain led to Shelley having a series of hallucinations.
Mary almost died from a miscarriage on the 16th, June, her life only being saved by Shelley's effective first aid. Two days later Shelley wrote to a friend that there was no sympathy between Mary and him, and if the past and future could be obliterated he would be content in his boat with Jane and her guitar.
That same day he also wrote to Trelawny asking for prussic acid. The following week, Shelley woke the household with his screaming over a nightmare or hallucination in which he saw Edward and Jane Williams as walking corpses, and himself strangling Mary.
During this time, Shelley was writing his final major poem, the unfinished The Triumph of Life, which Harold Bloom has called:
"The most despairing poem he wrote".
The Death of Shelley
On the 1st. July 1822, Shelley and Edward Williams sailed in Shelley's new boat the Don Juan to Livorno where Shelley met Leigh Hunt and Byron in order to make arrangements for a new journal, The Liberal.
After the meeting, on the 8th. July, Shelley, Williams and their boat boy sailed out of Livorno for Lerici. A few hours later, the Don Juan and its inexperienced crew were lost in a storm. The vessel, an open boat, had been custom-built in Genoa for Shelley.
Mary Shelley declared in her "Note on Poems of 1822" that the design had a defect, and that the boat was never seaworthy. In fact, however, the Don Juan was overmasted; the sinking was due to a severe storm and poor seamanship of the three men on board.
Shelley's badly decomposed body washed ashore at Viareggio ten days later, and was identified by Trelawny from the clothing and a copy of Keats's Lamia in a jacket pocket. On the 16th. August, his body was cremated on a beach near Viareggio, and the ashes were buried in the Protestant Cemetery of Rome.
When news of Shelley's death reached England, the Tory London newspaper The Courier printed:
"Shelley, the writer of some infidel poetry,
has been drowned; now he knows whether
there is God or no."
Shelley's ashes were reburied in a different plot at the cemetery in 1823. His grave bears the Latin inscription Cor Cordium (Heart of Hearts), and a few lines of "Ariel's Song" from Shakespeare's The Tempest:
'Nothing of him that doth fade
But doth suffer a sea change
Into something rich and strange'.
When Shelley's body was cremated on the beach, his presumed heart resisted burning, and was retrieved by Trelawny. The heart was possibly calcified from an earlier tubercular infection, or was perhaps his liver.
Trelawny gave the scorched organ to Hunt, who preserved it in spirits of wine and refused to hand it over to Mary. He finally relented, and the heart was eventually buried either at St Peter's Church, Bournemouth or in Christchurch Priory. Hunt also retrieved a piece of Shelley's jawbone which, in 1913, was given to the Shelley-Keats Memorial in Rome.
Shelley's Political, Religious and Ethical views
-- Politics
Shelley was a political radical who was influenced by thinkers such as Rousseau, Paine, Godwin, Wollstonecraft, and Leigh Hunt. He advocated Catholic Emancipation, republicanism, parliamentary reform, the extension of the franchise, freedom of speech and peaceful assembly, an end to aristocratic and clerical privilege, and a more equal distribution of income and wealth.
The views he expressed in his published works were often more moderate than those he advocated privately, because of the risk of prosecution for seditious libel and his desire not to alienate more moderate friends and political allies. Nevertheless, his political writings and activism brought him to the attention of the Home Office, and he came under government surveillance at various periods.
Shelley's most influential political work in the years immediately following his death was the poem Queen Mab, which included extensive notes on political themes. The work went through 14 official and pirated editions by 1845, and became popular in Owenist and Chartist circles. His longest political essay, A Philosophical View of Reform, was written in 1820, but not published until 1920.
-- Nonviolence
Shelley's advocacy of nonviolent resistance was largely based on his reflections on the French Revolution and the rise of Napoleon, and his belief that violent protest would increase the prospect of a military despotism.
Although Shelley sympathised with supporters of Irish independence, he did not support violent rebellion. In his early pamphlet An Address, to the Irish People (1812) he wrote:
"I do not wish to see things changed now,
because it cannot be done without violence,
and we may assure ourselves that none of
us are fit for any change, however good, if
we condescend to employ force in a cause
we think right."
In his later essay A Philosophical View of Reform, Shelley did concede that there were political circumstances in which force might be justified:
"The last resort of resistance is undoubtably [sic] insurrection. The right of insurrection is derived
from the employment of armed force to counteract
the will of the nation."
Shelley supported the 1820 armed rebellion against absolute monarchy in Spain, and the 1821 armed Greek uprising against Ottoman rule.
Shelley's poem "The Mask of Anarchy" (written in 1819, but first published in 1832) has been called:
"Perhaps the first modern statement of
the principle of nonviolent resistance".
Gandhi was familiar with the poem, and it is possible that Shelley had an indirect influence on Gandhi through Henry David Thoreau's Civil Disobedience.
-- Religion
Shelley was an avowed atheist, who was influenced by the materialist arguments in Holbach's Le Système de la Nature. His atheism was an important element of his political radicalism, as he saw organised religion as inextricably linked to social oppression.
The overt and implied atheism in many of his works raised a serious risk of prosecution for religious libel. His early pamphlet The Necessity of Atheism was withdrawn from sale soon after publication following a complaint from a priest. His poem Queen Mab, which includes sustained attacks on the priesthood, Christianity and religion in general, was twice prosecuted by the Society for the Suppression of Vice in 1821. A number of his other works were edited before publication to reduce the risk of prosecution.
-- Free Love
Shelley's advocacy of free love drew heavily on the work of Mary Wollstonecraft and the early work of William Godwin. In his notes to Queen Mab, he wrote:
"A system could not well have been
devised more studiously hostile to
human happiness than marriage."
He argued that:
"The children of unhappy marriages
are nursed in a systematic school of
ill-humour, violence and falsehood".
Shelley believed that the ideal of chastity outside marriage was "a monkish and evangelical superstition" which led to the hypocrisy of prostitution and promiscuity.
Shelley believed that "sexual connection" should be free among those who loved each other, and last only as long as their mutual love. Love should also be free, and not subject to obedience, jealousy and fear.
He denied that free love would lead to promiscuity and the disruption of stable human relationships, arguing that relationships based on love would generally be of long duration and marked by generosity and self-devotion.
When Shelley's friend T. J. Hogg made an unwanted sexual advance to Shelley's first wife Harriet, Shelley forgave him of his "horrible error" and assured him that he was not jealous. It is very likely that Shelley encouraged Hogg and Shelley's second wife Mary to have a sexual relationship.
-- Vegetarianism
Shelley converted to a vegetable diet in early March 1812 and sustained it, with occasional lapses, for the remainder of his life. Shelley's vegetarianism was influenced by ancient authors such as Hesiod, Pythagoras, Socrates, Plato, Ovid and Plutarch, but more directly by John Frank Newton, author of The Return to Nature, or, A Defence of the Vegetable Regimen (1811).
Shelley wrote two essays on vegetarianism: A Vindication of Natural Diet (1813) and "On the Vegetable System of Diet" (written circa 1813–1815, but first published in 1929).
William Owen Jones argues that Shelley's advocacy of vegetarianism was strikingly modern, emphasising its health benefits, the alleviation of animal suffering, the inefficient use of agricultural land involved in animal husbandry, and the economic inequality resulting from the commercialisation of animal food production. Shelley's life and works inspired the founding of the Vegetarian Society in England (1847) and directly influenced the vegetarianism of George Bernard Shaw and perhaps Gandhi.
Reception and Influence of Shelley's Work
Shelley's work was not widely read in his lifetime outside a small circle of friends, poets and critics. Most of his poetry, drama and fiction was published in editions of only 250 copies which generally sold poorly. Only The Cenci went to an authorised second edition while Shelley was alive – in contrast, Byron's The Corsair (1814) sold out its first edition of 10,000 copies in one day.
The initial reception of Shelley's work in mainstream periodicals (with the exception of the liberal Examiner) was generally unfavourable. Reviewers often launched personal attacks on Shelley's private life and political, social and religious views, even when conceding that his poetry contained beautiful imagery and poetic expression.
There was also criticism of Shelley's intelligibility and style, Hazlitt describing it as:
"A passionate dream, a straining
after impossibilities, a record of fond
conjectures, a confused embodying
of vague abstraction".
Shelley's poetry soon however gained a wider audience in radical and reformist circles. Queen Mab became popular with Owenists and Chartists, and Revolt of Islam influenced poets sympathetic to the workers' movement such as Thomas Hood, Thomas Cooper and William Morris.
However, Shelley's mainstream following did not develop until a generation after his death. Bieri argues that editions of Shelley's poems published in 1824 and 1839 were edited by Mary Shelley to highlight her late husband's lyrical gifts and downplay his radical ideas. Matthew Arnold famously described Shelley as a "beautiful and ineffectual angel".
Shelley was a major influence on a number of important poets in the following decades, including Robert Browning, Swinburne, Hardy and Yeats. Shelley-like characters frequently appeared in nineteenth-century literature, such as Scythrop in Peacock's Nightmare Abbey, Ladislaw in George Eliot's Middlemarch, and Angel Clare in Hardy's Tess of the d'Urbervilles.
Twentieth-century critics such as Eliot, Leavis, Allen Tate and Auden variously criticised Shelley's poetry for deficiencies in style, "repellent" ideas, and immaturity of intellect and sensibility.
However, Shelley's critical reputation rose from the 1960's as a new generation of critics highlighted Shelley's debt to Spenser and Milton, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist and materialist ideas in his work.
American literary critic Harold Bloom describes him as:
"A superb craftsman, a lyric poet
without rival, and surely one of the
most advanced sceptical intellects
ever to write a poem".
According to Donald H. Reiman:
"Shelley belongs to the great tradition
of Western writers that includes Dante,
Shakespeare and Milton".
John Lauritsen and Charles E. Robinson have argued that Shelley's contribution to Mary Shelley's novel Frankenstein was extensive, and that he should be considered a collaborator or co-author.
However Professor Charlotte Gordon and others have disputed this contention. Fiona Sampson has said:
"In recent years Percy's corrections, visible
in the Frankenstein notebooks held at the
Bodleian Library in Oxford, have been
seized on as evidence that he must have
at least co-authored the novel. In fact, when
I examined the notebooks myself, I realised
that Percy did rather less than any line editor
working in publishing today."
Thoughts From Percy Shelley
"The soul's joy lies in doing."
"I have drunken deep of joy, And
I will taste no other wine tonight."
"A poet is a nightingale, who sits in
darkness and sings to cheer its own
solitude with sweet sounds."
"War is the statesman's game, the
priest's delight, the lawyer's jest,
the hired assassin's trade."
"Soul meets soul on lovers' lips."
"Fear not for the future,
weep not for the past."
"Our sincerest laughter with some
pain is fraught; Our sweetest songs
are those that tell of saddest thought."
"O, wind, if winter comes, can
can spring be far behind?"
* original copyrighted work. do not use without permission
* images, awards and invitations without an ACTUAL comment will be happily deleted
...a little inspiration from David. Hope you don't mind!
...excerpted (OK, stolen) from Studio d'Xavier's photo/stream:
The British Journal of Photography has recently launched "a campaign to counter the rising paranoia that targets every photographer who shoots images in public places."
Increasing concerns about terrorism, paedophilia, health and safety, and personal privacy have resulted in a deep mistrust of photographers," said BJP's editor Simon Bainbridge. "Police routinely invoke anti-terror legislation to prevent photographers from carrying out their work, and photojournalists are constantly filmed at public gatherings and their details kept on an ever-growing database."
The 'Not A Crime' campaign has already got the backing of two of Britain's leading photographers, including Stuart Franklin of Magnum Photos. We invite you to join him by posting a self-portrait of yourself together with a sheet of white card with the phrases 'Not a crime' or 'I am not a terrorist' (in your first language) and a camera to the Flickr group BJP has created. Go to www.not-a-crime.com/ to find out more, and then maybe join the flickr group.
6/5/13 2:20 PM
I don’t mind admitting these strobes are whipping my ass. So far I’ve winged it without the destructions. I have to wait for my wife to read me the destructions for the umbrellas. They are frustrating me. Then I have to buy a set of extension cords to plug the strobes in and figure out the hot shoe remote. @Sigmon Whitener, @Sammy Roberts, HELP! I’ll search the web for a tutorial. @Sammy, when you come to visit I may force you to help!
6/5/13 11:46:17 PM
Just setting up the umbrellas about whipped my butt. i got them up tonight. Now I have to run wires and figure out the remote synch. I have a synch that sets on my hot shoe and three extra cords that seem to go to no where. I may just turn these on and use available light.........I'll be forced sooner or later to go to a sight to see if anyone has a demo. I've got a lot of learning to do and these may just lie in the garage and replace my Van.
I get the soft box cloths, the snoot and I have some filters but the night might be over for me.
My extension cords etc are tied up with my PA in my trailer and it is pouring rain.
6/6/13 7:40 PM
I moved the strobes into the living room with built in Dry wall and outlets. I will be forced to dust the living room now. I may have set a trap for my wife and I to trip and fall down the steps! Yes, I did the floor job but didn’t know what I was doing there either. I will fix everything! First I have to learn how the synchs work!
I figured out how to turn on two of the three strobes but can’t figure out the sync receiver. I don’t think my D-600 has a plug in. Maybe the D-7000 does but it is in the shop. I will check the D-90. But just turning on the lights makes for some fun!
I really have to work on the light positions etc and have to give in and watch a tutorial on how to sync up the strobes. I have plugged in and out of every PA system known to man using adapters from hell but I can't find anywhere to plug into the D-600. I'll look at my other cameras. I may be doomed to buy another camera specifically for the strobes.
Practicing Pet Photography! Bad focus in the eyes...... I have to increase the aperture and shoot on manual. Obviously being behind the camera instead of using a remote would be better. However I thought maybe a running set up of a system might be fun for the group.
If I can make those strobes work correctly I may do some portrait work for friends. See the shadow off the magazine on my chest? I have to do things like turn the overhead light off. This is without the kicker or gold Umbrella flash. I also only used the modeling lights on the strobes as I can't figure out the syncs yet. If I do i may be dangerous. This means if you get any clients and need some excuse to come to Winston to shoot you can use my stuff. i have about three or four other backdrops to try. We need to get some curtains to take care of the outside light coming in. I am close but really need some practice.
Also you can see if you blow this up the magazine labels lose focus. So i also have to get the aperture down, which means setting the numbers higher f/16 an up....maybe that will help the depth of field.
www.flickr.com/photos/shanesflyingdiscshow/sets/721576339...
Without a doubt, one of the most difficult areas of photography (in my opinion) is rules. Art, by definition, is the products of human creativity. A simple enough concept, no? Then why do we (generally in our head) scoff at "artwork" we're not a fan of, or can find numerous 'flaws' in?
Who are we to decide when someone is being creative or not? What if they're being spontaneous, and random? (I'm aware creativity can be both - but try to seperate the two for just a second, will you?)
You see, the problem with the human mind is that no two are a like. Therefore, we cannot judge art as being "quality" or "good" or even a "masterpiece." For, one man's trash is another man's treasure. I'll be quite honest with you. I'm not a fan of Van Gogh, The Mona Lisa, the Dogs Playing Cards (or whatever it's called), or even Ansel Adams. But why were they popular, and not myself? (No, I'm not making this about me (Marsha, Marsha, Marsha...))
For the most part, these artists were famous because they tried something new. Art (way back when) was a very difficult hobby, or even worse - profession. They were limited by the ideas, and the resources they had for the period. They didn't have the 5D MKII, a Wacom Tablet, or the latest MacBook Pro. Nor did they have the webcam (to become a YouTube star) or electric guitar. They broke the barriers of what was considered art at the time.
We wouldn't have distortion on guitars, and heavy metal if somone didn't break their amplifier, and so on and so forth. These pioneers of art dared to break boundaries. And that in itself is a problem.
With the ever increasing boundaries, it becomes harder and harder to be creative, new, and above all - a pioneer in a technology, or technique (unless new technology comes out - did you hear about those cameras that can take HDR photos in a single shot? Wicked, eh?). That leaves us with one option really. Take a step backwards, and either perfect, or intentionally do what the manufacturer of said technology suggests. Cross processing, for example, was never intended by Kodak, but has grown to be hugely popular amongst the artists of today - so popular in fact, that big companies (Adobe, in particular) have taken the time to incorporate certain tools and features in their programs to allow us to cross process our digital images. Certainly not of the same calibre, but at least it gets you close, right?
And I think that is what makes film so much of a treat for me.
Before I really got into it I told myself, "No looking back! Must have the latest and greatest technology. The problem with that is, it's expensive, and the old technology is beginning to get cheaper, and cheaper - which is awesome to those of us who'd like to take a step backwards.
I don't think that having the 5D MKII is absolutely necessary. Sure, it'd be a fun toy - but in reality, I've got the 7D. That's 18MP, has noise reduction, 8FPS, ISO up to 12,800, and can shoot video. I mean, really? How much more do we have to pack into a body?
Sometimes simpler is, truly, and without a doubt, more inspiring.
The homeless in rural Florida have proven what I believed in all along. That they could help each other without paid staff, when given the proper resources. Homeless veterans, men, women, and children have shown that they can take a hand up, instead of a handout, and get their lives back in order. In less than three years there were five shelters; two for homeless Veterans.
We recently closed one shelter because the Mission in Citrus eliminated 75% of the homeless Veteran problem in Citrus County, and due to the slowdown in our present economy. Our shelters are geared to operate at the lowest cost, and to be moved or closed when necessary. They are located close to jobs and resources.
Close to 450 former residents still keep in contact with me through email, Facebook, or phone. I am so very proud of them, as their accomplishments are no less than a miracle. We are not faith based but live by faith. No one is forced to go to church, but over 90% attend services each week at the church of their choice. Our saying is that God runs things around here. And He does. Miracle after miracle has occurred during the past four years. A Good Samaritan to all in need. We are struggling now, as we have been denied funding because we do not have anyone who can write grants properly. But we are working on that. And all of the praise, glory, and honor, we give to God for all His blessings.
Over two thousand people were helped back into society since 2009, by using fewer dollars and more sense. Their success record is 80%, which is much higher than the national average. There are no security cameras or locked doors. Our foundation is based on that no one should lose their freedoms that so many Veterans have died for, unless they are a criminal. Since February 1st 2013, over 42 people moved into homes with jobs. That may seem small to many, but it was over 50% of our residents living at our shelters. Fourteen were children. Five were entire families.
Our 1st Veteran's shelter was opened on less than $5000, and a lot of faith. It is now approaching its fourth year of operation. Veterans have returned to society into their own homes after receiving their much deserved benefits. Similar shelters were built using millions. Formerly homeless Veterans run the shelter, after being helped themselves. All give a volunteer commitment. Fund raising is now in progress to increase their capacity. Our second shelter was designed after the John Wayne-type outposts in the old west. In rural areas, the homeless have to walk between 12-50 miles for help and services. The outpost provided meals, shelter, laundry, showers, and much more. It served many Veterans living in the woods and swamps, and those traveling around the country. The model was highly successful, before it’s closing due to lack of funds... Our next project is a mobile command center called Angels on Wheels. It will be able to help Veterans in any area with full service. The mobile vehicle will enable the Mission in Citrus to reach out to many Veterans, who are currently receiving little to no help.
“If we do not help them, who will?”
The Mission in Citrus Homeless Shelters were founded in 2008, after the Executive Director “I “became homeless. My research and personal experience showed that traditional shelters were not working, and too much of their budgets were spent on administration expenses, and not on the residents. Too many criminalized homelessness. Most of the homeless are not criminals; they just need the resources to get their lives back in order. A hand up, not a hand out. The focus is on jobs, and our Hire the Homeless program has been highly successful. The residents also help operate the shelter by paying for their upkeep with donations, once they find employment or receive disability. They volunteer thousands of hours to Habitat for Humanity, area food banks, Sertoma Club, Lion's Club, and many other nonprofits. No one is allowed to sit around. All earn their keep.
We have overcome many obstacles in the past four years, from 60 tents to 5 shelters. We had major fights with everyone from the Fire Marshal, Sheriff’s Dept., and many other agencies, including County Commissioners. We now have positive working relationships with all of them. We have earned their respect. We still have a long way to go.
Grant writing is hard because there is little time after helping so many people each day. We beg for 80% of our operating funds using collections sites, such as Wal-Mart, and County flea markets. Over 1000 people were helped last year with $120,000. The Mission in Citrus continues to fight for homeless rights. Our emails are sent to numerous government officials each day. Homelessness can decrease through more accountability of dollars. One shelter gets Federal funds, while operating at an annual cost of $38,000 a bed. It is cheaper to go to Harvard.
Our residents age from four days old to 72 years old. The new face of homelessness has become many homeless women and children. We are expecting two new babies in the next month. The days of the old homeless stereotype are over. The present economy is taking no prisoners.
Our long term goals are to share our system with others, and to increase our homeless Veterans beds by 150 by buying a motel. We soon hope to start a successful in-house drug and alcohol treatment shelter. The Mission in Citrus could easily become a movie as so many miracles have occurred there. When I turned 51 last year, over 200 former residents visited, Face booked, emailed, or called. That does not happen at normal shelters.
They take great pride as they have become a family, and lift each other up. We have two quotes. “If we do not help them…Who will? “And “We follow the parable of the good Samaritan.” We help all in need. In our history, we have never failed to feed and help anyone who has entered our gates. We even take food and water into the woods and swamps for many hard core Veterans, who have lost faith in society.
About The Mission in Citrus
Our Mission is to help all in need to the best of our ability. We follow the parable of the Good Samaritan, as there are no requirements for our services. We constantly reinvent the wheel to make it all work. The faces of homelessness can change as well as each individual’s circumstances. And there have been very few that we have not been able to help. Veterans have become our priority as we have seen their suffering the most.
To all the past and present residents of the Mission in Citrus. I am so very proud of you. You made it work. God gave us the direction and help through many. God bless you all and much Love to all of you
James M Sleighter – Founder and Executive Director of the Mission in Citrus
Part of a large zhe155 stencil pasteup in Phonebooth,Paris/france
thankz 2 urbanhearts,streetart without borders project!!
Shelter area Refugee Camp in the Heart of the City
A free, interactive, awareness-raising event
The set contains 2010 photos of the Toronto MSF display- Refugee Camp in the Heart of the City.
Photos © Linda Dawn Hammond / IndyFoto.com 2010, with usage granted to Médecins Sans Frontières / Doctors Without Borders (MSF)
Médecins Sans Frontières / Doctors Without Borders (MSF) Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
2011
Join Médecins Sans Frontières / Doctors Without Borders (MSF) at
Refugee Camp in the Heart of the City, a free, interactive, awareness-raising exhibit. You'll be personally guided through the camp by an experienced MSF field worker and gain insight into the daily realities of 43 million people uprooted by war and conflict.
The exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee crisis.
DATES & LOCATIONS
St. John’s: Bannerman Park, September 8-11, 2011
Halifax: Garrison Grounds, September 15-18, 2011
Moncton: Riverfront Park, September 22-25, 2011
Québec: Place d’Youville, September 29-October 3, 2011
We encourage you forward this invitation to anyone you know who may have the opportunity to visit the exhibit.
Thank you!
In Spring 2010, Médecins Sans Frontières / Doctors Without Borders (MSF) brought The Refugee Camp in the Heart of the City exhibit to Ontario and Québec on a four-city tour.
Ottawa: Confederation Park, May 13-16, 2010
Montréal: Parc Jeanne-Mance, May 20-23, 2010
Toronto: Christie Pits, May 27-30, 2010
Waterloo: Waterloo Public Square, June 3-6, 2010
The goal of the exhibit is to raise awareness about the plight of the world’s 42 million refugees and internally displaced people (IDPs) uprooted by war and conflict.
The Refugee Camp in the Heart of the City exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee or IDP crisis.
During the tour, each visitor will learn some of the challenges a refugee or IDP faces in trying to access food, shelter, water and medical care. The 740 m2 (8,000 square feet) exhibit is designed to accommodate approximately 800 to 1,200 visitors per day, and consists of the following areas:
•Shelter area
•Food distribution area
•Latrine area
•Water supply
•Health clinic
•Nutrition treatment centre
•Cholera treatment centre
•Vaccination tent
About the Refugee Camp exhibit
Guided by MSF aid workers, visitors are asked to imagine that they are among the millions of people fleeing violence and persecution in, for example, Somalia, Colombia, the Democratic Republic of Congo, or Sudan.
The exhibit is made up of materials used by MSF in its emergency medical work around the world, including emergency refugee housing, a food distribution tent, water pump, health clinic, vaccination tent, therapeutic feeding center, and a cholera treatment center. It addresses questions such as:
•Will I be safe?
•What will I eat?
•How do I find water?
•Can I get medical care?
•Where will I live?
Learn more about the issues refugees and internally displaced persons (IDPs) face with this interactive guide.
The exhibit is free and open to the public. If you are planning to come with a group of 15 or more please schedule a group visit for your city. Individuals are welcome without reservations.
The Refugee Camp in the Heart of the City was first launched in France in 1995, and has toured in countries in Asia, Europe, the Middle East and North America. In 2008, the exhibit attracted close to 30,000 visitors during a 4 city tour of Western Canada and 4 city tour of California.
Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
Hakama without a tight hanhaba obi is very comfortable during your pregnancy. 39 weeks and 4 days pregnant
Abellio London took over route 117 from Metroline from 3rd September 2011.
Seen on the 117 here in Church Street, Ashford, is an old specification 10-reg Enviro200, without the revised front and rear styling, and without the revised interior too - though what it does have is an offside emergency exit door! The 117 is meant to be run with brand new 11-reg examples.
It's 8534 (YX10 FEM).
Two photos taken to show the use of a PL circular polarising/ polarizing filter.
The polarizing filter has two applications in both color photography and black-and-white photography: it reduces reflections from some surfaces, and it can darken the sky.
This photo was taken without the circular polariser on and you can see there is significant glare or reflection from the body and windows of the bus. Also, the red buildings behind the bus look rather dull. Compare this photo with the next photo and see the sharly reduced reflection from the bus and windows, as well as the reduced haze when the polarizing filer is put onto the lens.
Read more from Wikipedia:
en.wikipedia.org/wiki/Polarizing_filter_(photography)
PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
Copyright © 2012 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos without my written permission.
Please note that the fact that "This photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
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Dal punto di vista storico sono stati i Saraceni ad occuparsi intensamente dell’olivicoltura in terra salentina, secondo quanto attestato da Bonaventura da Lama, il quale, nel 1724, fa riferimento ai fatti avvenuti tra il 769 ed il 963, un arco temporale in cui l’area oggi denominata Salento venne popolata da boschi di ulivi; si devono ai Saraceni anche l’introduzione del torchio per la produzione di olio e la coltivazione della varietà Cellina. Probabilmente quelli che sono giunti ai nostri giorni non sono gli ulivi originariamente impiantati dai Saraceni, come presumibile dalle continue modifiche subite dal paesaggio. I maestosi uliveti che popolano i paesaggi salentini contemporanei possono essere il risultato di impianti ed innesti su olivastri realizzati dai monaci basiliani e dalle popolazioni che con loro giunsero nel Salento dal Peloponneso, dalla Morea e dalle isole dell’arcipelago greco.
Degne di particolare menzione sono le piante secolari, colossali e maestose, veri monumenti naturali attualmente oggetto d’attenzione e tutela grazie ad una legge regionale. La Puglia intera, nonché il Salento, vengono spesso ricordati dai turisti di passaggio, nonché dai visitatori abituali per le bellezze naturalistiche: il mare, le lunghe spiagge e gli oliveti. Distese di tronchi deformati dal tempo, tutti uguali eppur diversi nella struttura, nella forma, nella chioma ormai imponente, gli ulivi secolari si stagliano sul panorama salentino, conferendogli odori e colori tipici e, ormai, tradizionali. L’albero di ulivo è, certamente, uno dei simboli per eccellenza del Salento: ne sono stati stimati circa 50-60 milioni su tutto il territorio e molti di essi sono secolari. Le caratteristiche geologiche, nonché la scarsa necessità di cure, fanno sì che gli ulivi resistano per anni, lustri, e, addirittura, secoli, alle intemperie, alla forza distruttrice del vento e della pioggia e all’insopportabile caldo torrenziale delle estati salentine. Chi li guarda resta spesso incantato e ammaliato nel pensare che quegli alberi, probabilmente, potrebbero raccontare più storie e tradizioni di un libro di “culacchi”. Ma è soprattutto la loro forma che lascia a bocca aperta, grandi e bambini: la pianta cresce molto lentamente e col passare del tempo il tronco si trasforma, diventando sempre più contorto, piegandosi su se stesso e, dopo lungo tempo, spaccandosi nel mezzo. È in questo momento che diviene casa per molteplici razze d’animaletti, di varia taglia. La corteggia assume diverse sfumature di colore a seconda dell’età del tronco, nonché della penetrazione della luce solare che brucia e secca il legno; laddove il sole non batte, infatti, il legno tende a restare più umido e, talvolta, a marcire.
Sebbene l’aspetto caratteristico degli ulivi, in special modo di quelli secolari, sia il tronco, non bisogna dimenticare che il vero elemento essenziale si cela nella grande chioma: miriadi di palline piccole e scure dalle quali ricavare l’oro verde del Salento, l’olio d’oliva, ormai esportato e conosciuto in tutto il mondo.
Al di là del valore commerciale, questi alberi hanno un valore storico e, per taluni aspetti, anche affettivo e per questo devono essere costantemente tutelati e salvaguardati da eventuali disboscamenti od espianti: spesso, infatti, i privati scelgono di adornare le proprie ville espiantando ulivi secolari che, se non ricollocati in un terreno idoneo, rischiano di seccare. Ma, ancora, soprattutto negli ultimi anni, con l’avvento di una condizione di crisi economico-finanziaria, spesso si sceglie di disboscare intere aree prima destinate alla coltivazione di alberi di ulivo per lasciar posto a nuove colture più produttive o, peggio, all’installazione di impianti tecnologici.
There are probably ten billion shots of the ceiling of the San Francisco Public Library from this vantage on the fifth floor.
It's the first time without training wheels and he did just fine. The 3 1/2 year old told his Daddy that he wanted his training wheels "OFF". My husband took them off and the 3 year old drove off into the sunset. It is incredible how he made it look so easy. He's a fun little boy and full of excitement. Look at his basket on the front of his little bike. He wanted a basket to carry his sidewalk chalk with him and the only basket you can find for a little bike is a girl's basket. We transformed it by wiring the spider to the front.
The Enterprise is without a doubt the strangest ship in the Territorial Fleet. While most designs used by the TN are homegrown small- to mid-sized, highly adaptable vessels capable of rapid deployment to fill a multitude of roles, the Enterprise is gigantic, slow, and decidedly not of Republic (or even human) origin. Found adrift and unpowered, the origins of this former derelict are unknown. Carbon-dating places it around 5000 years old, and while the titanium alloy used in its construction is not exotic, its sheer cost boggles the mind. The elements used to power it's engines are extremely rare and also costly, perphaps another reason why the Republic never attempted to build a copy.
The Enterprise is by far the largest ship in the Territorial Navy, more than four times the tonnage of a Claymore-class cruiser. To call the Enterprise slow is slightly misleading. Its FTL seems to be slower than standard Slingshot drives, and its sublight speed is likewise unimpressive. However, the Enterprise uses a unique singularity drive which allows it to make miniature FTL jumps inside of a solar system.
While the technology has been succesfully reverse-engineered, it is too large and expensive to practically fit aboard any vessel. A modified, less powerful version was eventually created and is used as the -Cuttthoat-class's F-Zero drive.
The Enterprise offers a unique capability for the Territorial Navy. It is the only battleship-sized vessel in the Fleet, with enough hangar space to house multiple space wings, fulfilling the role of a sort of super-carrier. Unlike other Republic ships, all its weapons are energy-based, mostly lasers with a smattering of plasma. Its shield are extremely weak, only strong enough to deflect astral debris, but its armour is immensely strong, able to shrug off devastating amounts of firepower.
The Enterprise has multiple sections that can detach themselves from the main hull, exposing additional hangers for rapid deployments. It is suspected that these had other uses for its original creators, but none can tell exactly what. The Enterprise is not attached to any Territorial Fleet Group, instead serving as the flagship of its own Enterprise Task Force, which may serve on its own or be attached to a fleet as needs require.
Service aboard the Enterprise is seen as a tremendous honour, and the ship is beloved thoughout the Holy Terran Republic. It has a reputation for good luck. When attacked by a Concordat attack group in 2388, the "Big E" was heavily damaged, and destruction seemed imminent as a Concordat battleship closed in on the wounded ship.
It was at this moment that laser battery #1 fired a burst straight through the enemy's core, annihilating it. Later, the shot was calculated to require more than 200% the maximum energy capacity of the charge banks. Even more strangely, post-battle investigation revealed that all power conduits to the turret had been severed before the shot was taken. None of the gunnery officers could testify to having taken the shot.
There are numerous eyewitness accounts of "ghostly figures" see throughout the ship. Sometimes they are credited with saving a crewman from a scenario where certain death seems the only possible outcome. It is no wonder that the highly superstitious Territorials believe that the spirits of the Marines who died securing the ship return occasionally to protect them. Some believe it is the ghosts of the original creators of the ship.
Morale aboard the Enterprise is consistently among the highest in the entire fleet. Its current commander is Captain Desjani, who serves under Admiral Geary, who is in overall command of the Enterpise Task Force.
Average number of yearly missions undertaken by ship class:
Rapier-class: 31
Claymore-class: 22
Taffy-class: 156
RTS Enterpise: 40
Children's drawings from war torn areas, How Will I Cope Display, Refugee Camp in the Heart of the City
A free, interactive, awareness-raising event
The set contains 2010 photos of the Toronto MSF display- Refugee Camp in the Heart of the City.
Photos © Linda Dawn Hammond / IndyFoto.com 2010, with usage granted to Médecins Sans Frontières / Doctors Without Borders (MSF)
Médecins Sans Frontières / Doctors Without Borders (MSF) Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
2011
Join Médecins Sans Frontières / Doctors Without Borders (MSF) at
Refugee Camp in the Heart of the City, a free, interactive, awareness-raising exhibit. You'll be personally guided through the camp by an experienced MSF field worker and gain insight into the daily realities of 43 million people uprooted by war and conflict.
The exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee crisis.
DATES & LOCATIONS
St. John’s: Bannerman Park, September 8-11, 2011
Halifax: Garrison Grounds, September 15-18, 2011
Moncton: Riverfront Park, September 22-25, 2011
Québec: Place d’Youville, September 29-October 3, 2011
We encourage you forward this invitation to anyone you know who may have the opportunity to visit the exhibit.
Thank you!
In Spring 2010, Médecins Sans Frontières / Doctors Without Borders (MSF) brought The Refugee Camp in the Heart of the City exhibit to Ontario and Québec on a four-city tour.
Ottawa: Confederation Park, May 13-16, 2010
Montréal: Parc Jeanne-Mance, May 20-23, 2010
Toronto: Christie Pits, May 27-30, 2010
Waterloo: Waterloo Public Square, June 3-6, 2010
The goal of the exhibit is to raise awareness about the plight of the world’s 42 million refugees and internally displaced people (IDPs) uprooted by war and conflict.
The Refugee Camp in the Heart of the City exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee or IDP crisis.
During the tour, each visitor will learn some of the challenges a refugee or IDP faces in trying to access food, shelter, water and medical care. The 740 m2 (8,000 square feet) exhibit is designed to accommodate approximately 800 to 1,200 visitors per day, and consists of the following areas:
•Shelter area
•Food distribution area
•Latrine area
•Water supply
•Health clinic
•Nutrition treatment centre
•Cholera treatment centre
•Vaccination tent
About the Refugee Camp exhibit
Guided by MSF aid workers, visitors are asked to imagine that they are among the millions of people fleeing violence and persecution in, for example, Somalia, Colombia, the Democratic Republic of Congo, or Sudan.
The exhibit is made up of materials used by MSF in its emergency medical work around the world, including emergency refugee housing, a food distribution tent, water pump, health clinic, vaccination tent, therapeutic feeding center, and a cholera treatment center. It addresses questions such as:
•Will I be safe?
•What will I eat?
•How do I find water?
•Can I get medical care?
•Where will I live?
Learn more about the issues refugees and internally displaced persons (IDPs) face with this interactive guide.
The exhibit is free and open to the public. If you are planning to come with a group of 15 or more please schedule a group visit for your city. Individuals are welcome without reservations.
The Refugee Camp in the Heart of the City was first launched in France in 1995, and has toured in countries in Asia, Europe, the Middle East and North America. In 2008, the exhibit attracted close to 30,000 visitors during a 4 city tour of Western Canada and 4 city tour of California.
Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca