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Original images shot in Dundee on my iPhone. Double exposures made in Photoshop.
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I ran into Ector as he sat on his bicylcle doing some people watching at the busy six corner intersection of Damen, North and Milwaukee Avenues.
It was a hoppin' Friday night and Ector was just taking it all in.
When I first popped him he gave me some shit... 'what... are you with the CIA or something' he quipped.
I walked a few feet away until I felt the challenge settle in.
I turned around and showed him the picture on the back of my camera.
'Would the CIA have photographers who could take a picture like this' I asked.
'Damn... that's good' he said after checking himself out on the viewing screen.
He said he liked the picture but he thought I could do a little better.
As an expert people watcher Ector had the perfect spot on the corner picked out so I stood and talked with him for a few minutes while I popped passersby.
Ector is quite a philosopher, a poet and an all around interesting cat.
We had some great conversation on that corner.
I kept thinking his name was 'Hector' because of his accent until he told me that there was no 'H' in his name.
Shortly after that his friend 'Ennis' walked up... like 'Dennis' without the 'D'...
'What's up with you guys gettin' rid of the first letter of your names' I commented.
Then I handed them a card... the ones that say 'Viewminder' but not my name.
'What's your name' Ector asked as he looked at the card.
'iewminder' I said 'like 'Viewminder' without the 'V'.
We all laughed... then I popped Ennis and we watched the world go by for a while and talked about everything under the sun.
Faces in the street
Chicago 5.20.11
35mm 1.8 adjusted expo and contrast a bit
Cave Without A Name, Kendall County, Texas - One of Texas' hidden treasures, in February 2009 the Cave Without A Name was designated an official Natural Landmark!
Despite the innumerable caves and caverns that dot the Texas landscape, there are only a handful of caves that are open to touring by the public. Running along the interstate, it's easy to spot the billboards for Natural Bridge Caverns, Inner Space Caverns, Cascade Caverns - but very few people have ever heard of the Cave Without A Name. In fact, despite living less than an hour away for over ten years, I had no knowledge of it until recently. Yet this little cave is just as interesting as any of the larger, more travelled tourist stops.
Located about ten miles northeast of Boerne at the end of twisty-turny Hill Country roads near the Guadalupe River, the Cave Without A Name led an unremarkable existence until the 1920's. Much like Longhorn Caverns, the cave was used by bootleggers during Prohibition. The cave was opened in 1939 as a tourist attraction, the name chosen by a local boy who decided the caves were too beautiful for a name.
For decades, the Cave Without A Name remained an obscure, out-of-the-way spot, known mostly by locals and advertised by small hand-made signs on the highway. Tragedy struck when the manager of the cave (and the owner's son) passed away while exploring a nearby complex known tragically as Dead Man's Cave for drainage channels. Despite this loss, the cave remains open.
Then in February 2009, the Cave Without A Name was designated an official National Landmark by the National Park Service, along with five other historic sites around the country. Fewer than 600 locations have been designated as National Landmarks since the inception of the program, and only six within the past decade.
At the end of Kreutzberg Road, there is a small visitor's center and gift shop. Stairs lead down to the caverns below, well-lit with several impressive speleological formations - stalagmites, stalactites, soda straws, flowstone, ribbons, rimstone. It's a short tour, but easy and level without difficulty, the tour group size is usually small and it is easy to get up close to the formations (but don't touch - it's still a live cave). Longer 'adventure tours' are available (the website says they have been suspended due to high water, but that was written in 2007 before the area's record drought). Definitely worth the visit for anyone interested in caves or spelunking. Pictures taken April 6, 2008.
For more information on the Cave Without A Name:
- Texas Speleological Survey Entry.
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There are times when I feel like I have been sitting in the silt and grime for longer than I remember, and my feet are heavy with the weight of the congealed mud webbed between my toes. This isn't normal. Surely it's not normal. The sun needs to reach out and tear a hole in the sky like 4 days past, when the light danced along my arm like little ants catching glimpses of fortune and prosperity.
Copyright © Ruggero Poggianella Photostream.
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Il Duomo di San Giorgio si erge nel cuore di Ragusa Ibla.
Antica chiesa madre della città prima del 1693, sorgeva all’estremità est dell'abitato, nei pressi dell'attuale Giardino ibleo, dove si trova ancora il grande portale quattrocentesco, di stile gotico-catalano, unica vestigia rimasta dell'antico tempio.
La chiesa fu gravemente danneggiata dal terremoto e restarono in piedi parte della facciata, alcune cappelle e parte della Cappella maggiore, per cui venne costruito un ampio locale adiacente alla navata sinistra del vecchio tempio, in cui poter svolgere le funzioni.
Nel secondo quarto del XVIII secolo, si decise di trasferire la chiesa nel sito della vecchia di San Nicola, che fino al XVI secolo era stata la parrocchia dei fedeli di rito greco e successivamente, passata al rito latino, era divenuta chiesa sacramentale di San Giorgio. Del progetto venne incaricato nel 1738 Rosario Gagliardi, architetto di Noto, uno dei protagonisti della ricostruzione barocca, di cui questo edificio è una delle opere migliori.
La prima pietra fu posta il 28 giugno del 1739, come ricorda una lapide murata sul lato destro della scalinata, e tuttavia, come ricorda l'enigmatica iscrizione posta sul lato opposto, i lavori poterono cominciare solo nel 1744. Il 5 ottobre 1775, con la salita delle campane, si conclusero i lavori della facciata. Secondo tradizione la cupola sarebbe stata progettata e realizzata nel 1820 dal capomastro ragusano Carmelo Cultraro, su modello di quella del Pantheon di Parigi, ma recenti studi e riscontri archivistici ne assegnano la paternità all'architetto Stefano Ittar.
Al Vescovo venne intitolato l'altare del transetto destro che probabilmente è posto nel luogo in cui sorgeva l'altare maggiore dell'antica chiesa. In questo duomo è stato girato la seconda serie di l'onore e il rispetto
L'interno
Il progetto di Rosario Gagliardi, di cui si conservano le tavole originali, è caratterizzato dalla monumentale facciata a torre che ingloba il campanile nel prospetto e termina con una cuspide a bulbo, richiamando i tabernacoli lignei, seicenteschi, delle chiese cappuccine.
La collocazione della chiesa al termine di un'alta scalinata e la posizione obliqua rispetto alla piazza sottostante accentuano l'imponenza e gli effetti plastici, creati da una lieve convessità del partito centrale e dalla presenza delle colonne libere. Due coppie di volute fanno da raccordo tra i diversi livelli ospitando, rispettivamente, le statue di San Giorgio e San Giacomo in basso, e quelle di San Pietro e San Paolo in alto.
Sulla cuspide, sotto la croce, si legge la data 1775, che indica la conclusione dei lavori della facciata.
Nel primo ordine del partito centrale si apre un grande portale con cornice mistilinea, ricca di fregi e rilievi a motivi vegetali, mentre le porte lignee hanno una preziosa decorazione scultorea, in sei riquadri, con la raffigurazione di episodi del martirio di San Giorgio, opera dell'intagliatore palermitano Vincenzo Fiorello, che li realizzò nel 1793.
L'interno, a croce latina, con le braccia chiuse da absidi semicircolari, è sereno ed equilibrato e viene diviso in tre navate da dieci robusti pilastri in pietra, con un'ampia zoccolatura in pece. Gli intagli che decorano il cornicione e i capitelli dei pilastri furono realizzati tra il 1779 ed il 1781 dagli scultori Giambattista Muccio e Giorgio Nobile di Ragusa.
Nell'incrocio del transetto con la navata centrale si eleva la cupola di gusto neoclassico, a doppia calotta, poggiante su due file di colonne.
Questa chiesa trova corrispondenza non tanto nell'architettura italiana, ma è molto più simile ai modelli dell'Europa del nord, come le chiese londinesi di Hawksmoor e quelle di Neumann in Franconia che sviluppano in facciata il tema del partito centrale a torre.[senza fonte]
Nelle cappelle delle navate laterali si trovano tele di alcuni dei più celebri artisti del settecento siciliano: Vito D'Anna, Antonio Manno, Giuseppe Tresca.
Sopra le porte laterali sono conservati i due simulacri che vengono portati in processione per le strade, durante la festa patronale di San Giorgio: la statua del Santo a cavallo opera dello scultore palermitano Girolamo Bagnasco, che la realizzò nel 1874, e la grande cassa-reliquiario in lamina d'argento sbalzata, opera del 1818 dell'argentiere palermitano Domenico La Villa.
Sulla navata centrale prospetta il grande organo (1887) a 3368 canne, capolavoro della ditta Serassi di Bergamo, che lo volle chiamare Organum maximum, in quanto sintesi della sua migliore arte organaria.
Nell'adiacente sacrestia si conserva un resto della monumentale ancona in pietra calcarea che lo scultore Antonello Gagini aveva scolpito per la vecchia chiesa di San Giorgio tra il 1573 e il 1576. Dalle rovine della chiesa furono recuperate tre nicchie e quattro statue che, pur assemblate in modo alquanto scorretto, danno tuttavia una idea della magnificenza dell'opera originaria.
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
Slayer
Alcatraz - Milano
19 Giugno 2013
Tom Araya
Kerry King
Jeff Hanneman
Dave Lombardo
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
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Tutti i diritti sono riservati. L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
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From the opening squeals of the guitars of Kerry King and Jeff Hanneman and the punishing breakaway attack of Dave Lombardo's drums on "Flesh Storm" it's clear from the first thirty seconds the thrash metal titans have returned to pummel listeners with a raging onslaught of new music guaranteed to lay waste to MP3 players, car stereo speakers and whatever else gets in their way.
Christ Illusion marks the long-awaited return of the legendary Slayer. Its first record in five years and its first record in fifteen years with the original band line-up, Christ Illusion is a cacophony of brutality. A soundtrack for the post-Apocalypse. Steeped in scorching riffs and a litany of menacing tracks/tirades on religion and violence, Slayer forges ahead on its devastating path of aural destruction with ten new songs, each charged with the electric hostility for which Slayer is renowned.
Of the record Kerry King is ecstatic: "I love it. I really like God Hates Us All and I think that's the best record we've done in my opinion since Seasons In The Abyss, and I like this better than that one. I think it's a more complete record, I think sonically it better: all the performances are awesome. I think this one is more intense not because we're trying to do 'Reign In Blood: The Sequel,' it's just that's where our writing is taking us now."
Songs like the "Flesh Storm," "Eyes of the Insane," "Skeleton Christ," "Jihad" and the first single, "Cult" showcase the band at its most blazing intensity. The sonic excitement of speed, propelled by King, Hanneman and Lombardo and lead by the immutable roar of Tom Araya provoke the listener with Slayer's trademark fascination with terror, violence and religion.
For as long as Slayer has been making records it has been surrounded by controversy.
Since the band recorded its first album, "Show No Mercy," Slayer has been plagued with accusations of Satanism, fascism, racism and so on. Christ Illusion gives no quarter to critics who would mindlessly attack the band for, what the Germans call, "der Reiz des Unbekannten" (meaning "the attraction of the unknown"). A lyric fascination with violence and terror which guitarist King enthusiastically describes this way: "When I was I kid I would see a horror movie over a love story. Being shocked, being in an environment that's not reality might be frightening but is cool nonetheless. With a lot of our songs we put people in that place. It doesn't bother me because I enjoy it. It could easily be programming from all the fucking news channels."
Slayer is often assailed for its subject matter, though the band is unrepentant. " According to Araya, "Violence, darkness... So much of my inspiration comes from news articles or pictures and just start describing the images. Television- A&E, the History Channel, Court TV, Documentaries."
The singer continues, "With this record, as far as a theme: there is none. That's just our favorite subject matter. The common thread is death. I think that's just a common thread in general: we all share death, and we all share it at different times in different ways, but it's the one thing that we all have in common. We all die. It's how we live that makes us different."
Beyond being controversial Slayer is an exceptional force in music, highly praised for its trailblazing style of fast, heavy and aggressive music yet bristling with melody. The much-heralded return of Dave Lombardo to the drummer's throne will leave fans gasping for breath as he clobbers the listener on song after song.
Commenting on Lombardo's return to the fold, King notes, "Not to say the shine's worn off, but it's old news to us. I think the thing the kids are going to get into, besides just being the first Slayer album in five years, is that Dave's on it. When he came back he wasn't a member, he just came back to do a couple of tours and people started asking back then 'Is he gonna hang around?' And I would tell them that was up to Dave. But I could tell that Dave was having a killer time." King confided. "So it was just a matter of time before he said, 'Yeah, let's do it!' But it's great. And now that he's got a new Slayer album that he's played on, I think he's going to get some more enjoyment out of playing. He takes pride in everything he does and it's awesome to have him back with us."
Having the original members record their first album together in fifteen years is certainly newsworthy but the lasting might of the band and its continued popularity is an achievement few can boast. For each of the members, the band is resolute. There is no other band like Slayer.
"The staying power behind Slayer is that we've stuck to our guns," Says Araya. "Integrity... that would be number one. A lot of it has to do with the fact that we've stuck to what we do best. And the fact that we've been together as a band for so long. Ten years with Dave; another ten without Dave; and now Dave's back. It has a lot to do with compromise, that's just the way it has to be. You have to be able to compromise and give and take and that has a lot to do with why we're still together and a force to be reckoned with. I've learned that without each other, Slayer wouldn't exist, and that the whole is greater than its parts."
Kerry King is far more succinct. "Slayer to me is the coolest band on the planet. There is a timeless quality to Slayer. It's cool, but I can't explain it. It's our life."
Slayer has created one mesmerizing record after the next, has influenced many of today's most successful bands, including Slipknot, Sepultura, Killswitch Engage, and continues to earn new generations of fans, while staying true to its ceaselessly devoted followers. Slayer's legacy is cemented in music forever and the band remains undaunted in its directive to make punishing, aggressive and exciting music. With Christ Illusion the band marks its territory. Slayer has exceeded itself far beyond thrash metal to become an unstoppable juggernaut without equal.
Tom Araya sums it up: "I think the best thing is the band's longevity and the fact that we haven't bowed to anyone. That we were able to make a record like Reign In Blood, which, to us, was just another record, but to others, was something very special, it's had such an impact. People will remember it for a long time, and it's all because we did things our way, we didn't bow down to anyone. We didn't compromise. We stuck to being who we are."
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
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)
youtu.be/6M-MtZkZOzw?t=2s Full Feature
Starring Marshall Thompson, Kynaston Reeves, Michael Balfour, Kim Parker, Stanley Maxted, Gil Winfield, Shane Cordell, Terry Kilburn, James Dyrenforth, Peter Madden, Meadows White, and Lala Lloyd. Directed by Arthur Crabtree.
In December 1958 Eros Films, Ltd. had another British B sci-fi movie touring American. Fiend Without A Face (FwoF) ran as the B feature to "Haunted Strangler." Both were British productions being marketed in America by MGM. This is another example of the blurry line between sci-fi and horror. FwoF itself exists in that blurry zone. Mysterious, invisible "mental vampires" killing their victims takes up the bulk of the film. The final showdown with the creatures is classic monster movie. Yet, the tie-in to the customary misguided scientist and atomic energy keep FwoF in the sci-fi orbit.
Synopsis
A Canadian farmer is killed just outside of an American Air Force base in remote Canada. The villagers were already up in arms over the mere presence of the base (jets frightened their cows) so are convinced there is a mad GI on the loose. Major Jeff Cummings befriends the slain farmer's sister, Barbara. The base tests their super radar system again, but like before, it falters just as it seems to be succeeding. Something is draining off the atomic energy. More murders stir up the towns folk to revolt. Jeff is certain that a reclusive genius, Professor Walgate, is the key. Yet more murders occur, each preceded by a rhythmic thumping and squishing sound. Eventually, Walgate confesses that he was working on Thought Materialization -- telekinesis. He needed more power, so fabricated an energy hijacking device to siphon off the air base's transmitted power. (that's why the tests always failed) The extra power worked, but created separate beings rather than intensifying Walgate's own thoughts. The invisible beings escaped his lab and began to 'feed' on townsfolk by sucking out their brains. They need the reactor's power to exist. Jeff rushes to blow up the control room. The reactor is going into overload, so the beings become visible. Dozens of the brain and spinal cord things surround the house. They break in, kill a few people, but can also be killed. Many are. Just as one of the beings has got Barbara, the reactor is shut down. It falls limp. The brain things dissolve into foam. Jeff kisses Barbara. The End.
The monster murder mystery element is fairly well played so it keeps interest up. Once visible, the brain-things have some interest too. As a monster movie, it has some merit. Killer brain-creatures are quirky enough to stay interesting.
The Cold War provides a backdrop, but isn't the focus. The Air Force base's mission is early radar detection of Soviet aircraft coming over the pole. One could see the brain-things as manifestations of deadly atomic energy. (the invisible killer)They seem to fit better the usual science-gone-wrong theme.
Dr. Walgate fills the archetypal role of the naive scientist. He meant well with all his research and work. But, like many naive scientists who had gone before him, his assumptions prove wrong. His work gets away from him and becomes a force of destruction, not one of good for mankind. It has been fairly customary for the naive scientist to die at the hands (or whatever) of his creation. Walgate makes the noble sacrifice at the end, letting the creatures attack him while Jeff gets away.
The brain-creatures are akin to the "Id Monster" in Forbidden Planet. Man's most basic thoughts, if given independence, prove primal and ruthless. As a nuclear cautionary tale, the brain-creatures, man's primal thoughts, prove deadly if given atomic power. The stop-motion animation of the brain-creatures is not too bad. It's not Harryhausen, but it works.
We're told that the brain-creatures suck out the brains and spinal cord of their human victims. So, it interesting that the brain-creatures are depicted as brain shaped. They have a segmented spinal column which they use inch-worm-style for locomotion. They ARE what they eat.
The brain-creatures break the atomic reactor's control rods so people can't shut it down (the creatures need the radiation to exist). It is curious that screenwriters solve the problem with good old dynamite. Jeff blows up the control room to shut down the reactor. ?? The reactor core was already out of control. Why would less control help?
Bottom line? Most of FwoF is a fair horror flick with "mental vampires" and agonizing victims. Things get more interesting when the brain-creatures surround the house. Sure, the movie has its flaws, but is an entertaining 50s sci-fi. 4
Bosnia and Herzegovina continues to struggle with a high number of uncontrolled weapons and ammunitions. UNDP estimates that more than 750,000 firearms remain held illegally by civilians.
Illegal firearms represent a significant threat to public safety, as well as national and regional stability. This is why UNDP has launched the “Choose Life Without Weapons“ campaign aiming to collect illegally possessed small arms and light weapons.
Learn more about how this campaign is transforming a public enemy into a public good.
There are probably ten billion shots of the ceiling of the San Francisco Public Library from this vantage on the fifth floor.
Some People Have Entertained Angles Without Knowing It
Artist: ltbLight
Type: Sketch
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©2009 RESilU | Please don't use this image without my explicit permission.
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Ornamente - Zelt-Tent - Küssür - Bead embroidery on a tent in Yakutia. Symbolizes a shaman tree.
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Do you want to know more about Yakutia? Have a look here:
Wikipedia: Sakha/Yakutia
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My set: Yakutia || My WebSite: Sacha-Jakutien || My Blog: Sacha-Jakutien ||
miw paste-up on the streets of paris.
www.flickr.com/photos/urbanhearts/
part of street art without borders.
thank you so much again and again eric!
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.
Without mysteries life would be very dull indeed.
What would be left to strive for if everything were known?
Charles de Lint
Nice comments without pictures or badges are welcome. .
As Flickr is a sharing site I only add my pictures to public groups, .
Photography training courses available, please email for details.
The full portfolio available from Stock photography by Tim Large at Alamy
Photographer:- Tim Large
purpleport.com/portfolio/timlarge/
Location:- Portishead, North Somerset, England.
©Timothy Large - TA Craft Photography
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).
Mariah Carey - We Belong Together
Mariah Carey (born March 27, 1969 or 1970) is an American singer, songwriter, record producer, and actress. In 1990, she rose to fame with the release of "Vision of Love" from her eponymous debut album. The album produced four chart-topping singles in the US and began what would become a string of commercially successful albums which solidified the singer as Columbia's highest selling act. Carey and Boyz II Men spent a record sixteen weeks atop the Billboard Hot 100 in 1995–96 with "One Sweet Day," which remains the longest-running number-one song in US chart history. Following a contentious divorce from Sony Music head Tommy Mottola, Carey adopted a new image and traversed towards hip hop with the release of Butterfly (1997). In 1998, she was honored as the world's best-selling recording artist of the 1990s at the World Music Awards and subsequently named the best-selling female artist of the millennium in 2000.
Carey parted with Columbia in 2000, and signed a record-breaking $100 million recording contract with Virgin Records America. In the weeks prior to the release of her film Glitter and its accompanying soundtrack in 2001, she suffered a physical and emotional breakdown and was hospitalized for severe exhaustion. The project was poorly received and led to a general decline in the singer's career. Carey's recording contract was bought out for $50 million by Virgin and she signed a multi-million dollar deal with Island Records the following year. After a relatively unsuccessful period, she returned to the top of music charts with The Emancipation of Mimi (2005). The album became the best-selling album in the US and the second best-seller worldwide in 2005 and produced "We Belong Together," which became her most successful single of the 2000s, and was later named "Song of the Decade" by Billboard. Carey once again ventured into film with a well-received supporting role in Precious (2009), and was awarded the "Breakthrough Performance Award" at the Palm Springs International Film Festival.
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This was the best I could do without trespassing and was taken in the depot entrance through the open gate next to Carlton Road, and some of these vehicles are now in Reserve and some have been moved around since my last visit.
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw last week!!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
Washington DC, the evening of Thursday October 12, 2017. Around 50 peace activists and supporters associated with Move On, J Street, Win Without War, NIAC, Women's Action For New Directions and other groups gathered in front of the White House for an hour long rally with speeches to stop a war with Iran. President Trump is expected to "de-certify" the multilateral Iran deal that, at the very least, has been successful at interrupting the development of nuclear weapons by the Islamic State. Skilled diplomats and peace advocates worldwide worked very hard for over two years to get the Iran deal over the finish line in 2015. All objective observers, including generals and other 'national security' officials in Trump's administration, agree that Iran has lived up to their deal obligations. Still, our President, along with his ally Benjamin Netanyahu of Israel, is determined to end the United States participation in the agreement, risking runaway nuclear proliferation and a possible catastrophic war. Many of us on the ground tonight have been here before. Vietnam, Iraq, Afghanistan, Yemen and more. It's remarkable that the foolish rush into yet another war that could and should be prevented is protested by so few. Lawrence J. Korb is on the mic defending the Iran deal. Larry was appointed Assistant Secretary Of Defense in the Reagan administration from 1981 to 1985. He's currently a senior fellow at the Center For American Progress.
Celso Gitahy from Brasil pasted in favela Mofrrej, Sao Paulo, as part of The ArtFabric and Street Art Without Borders projects
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Chella (anticamente Sala Colonia in latino, oggi in arabo شالة) è un sito archeologico a nord di Rabat, in Marocco. Il sito è la prova della più antica presenza umana nel delta del fiume Bou Regreg, lungo le cui rive Fenici e Cartaginesi stanziarono diverse basi. A circa 3 km dal centro, il complesso si trova al di fuori delle mura della città e occupa il sito della romana Sala, su una bassa collina coperta di vegetazione, rifugio delle cicogne nella stagione riproduttiva. Gli scavi hanno rivelato la presenza di un importante agglomerato e infatti Chella conserva le vestigia di una città romana, con i resti del Decumano Massimo, di un foro presso il quale si riconoscono le tracce della Curia, di una fontana monumentale e di un arco di trionfo. Il sito rimase poi in stato di abbandono per diversi secoli, fino a che i Merinidi lo scelsero per edificarvi la loro necropoli. Circondata da una cinta di mura fortificate, ad essa si accede attraverso una porta monumentale, riccamente decorata e aperta ad arco acuto, ai cui lati sono poste due massicce torri merlate semi-ottagonali. Nella parte superiore del portale è presente un’iscrizione in caratteri cufici, dalla quale si apprende che la costruzione dello stesso fu intrapresa dal sultano Abu Said (1310-31) e terminata nel 1339 sotto il regno di Abu el-Hassan, il più grande sultano della sua dinastia. All’interno della necropoli si trovano alcune tombe di marabout e, presso una sorgente trasformata in fontana per abluzioni, la necropoli reale con la tomba di Abu el-Hassan, la cui stele, finemente decorata, è sovrastata da una tettoia a muqarnas. Nelle vicinanze sono presenti la moschea di Abu Yussef Yacub con un minareto decorato con maioliche policrome ora in rovina e una zaouia con un oratorio. Nella terrazza ai piedi del complesso si estende un incantevole giardino alimentato dalle acque della vicina sorgente Ayn Mdafa, che serpeggia nell’incavo della valletta.
Le Chellah, ou Chella (en arabe : شالة), est le site d'une nécropole mérinide située sur l'emplacement d'une cité romaine, à Rabat, au Maroc. Depuis 2005, ce site accueille chaque année le festival Jazz au Chellah. Le site du Chellah fut sans doute la plus ancienne agglomération humaine à l'embouchure du Bou Regreg. Les Phéniciens et les Carthaginois, qui ont fondé plusieurs comptoirs au Maroc, ont probablement habité les bords du Bouregreg. Le Chellah conserve, en revanche, les vestiges d'une ville romaine. Les fouilles ont révélé la présence d'une agglomération d'une certaine importance ; celle de la ville citée sous les noms de Sala, par Ptolémée, et de Sala Colonia, dans l'itinéraire d'Antonin. Les restes du Decumanus Maximus, ou voie principale, ont été dégagés ainsi que ceux d'un forum, d'une fontaine monumentale, d'un arc de triomphe, d'une basilique chrétienne, etc. La voie principale de Sala a été suivie par des sondages exécutés en direction du port antique sur le Bouregreg, port aujourd'hui ensablé. Ainsi, la ville romaine dépassait l'enceinte mérinide en direction du fleuve. Les Banou Ifren s'emparèrent de la ville2 au XIe siècle, et elle fut une de leurs métropoles jusqu'à ce que qu'elle passe sous le pouvoir des Almoravides. Le Chellah était abandonné depuis plusieurs siècles quand les Mérinides choisirent son site pour y édifier leur nécropole. Comme l'indique l'inscription en écriture coufique, qui surmonte la porte d'entrée, les travaux ont été achevés en 1339, sous le règne d'Abû al-Hasan `Alî. L'occupation du site a été progressive, et les aménagements successifs ont abouti à la réalisation d'une somptueuse nécropole. Protégée par une enceinte importante à laquelle on accède par une porte monumentale, la nécropole mérinide contient notamment une salle d'ablutions, une zaouïa avec un oratoire, un minaret paré de zellige et plusieurs salles funéraires, telle celle d'Aboul Hassan dont la stèle, finement décorée, repose sous un auvent à mouqanas. Plus tard, Abû `Inân Fâris, son fils, affecta, pour l'entretenir, les revenus d'un bain mérinide de Rabat, le hammâm Ej-Jdîd. La porte de la nécropole est une porte majestueuse et guerrière. Puissante, elle est flanquée de deux bastions semi-octogonaux avec des encorbellements surmontés de merlons pointus. Cette porte de forteresse ouvre sur une petite oasis, un havre de paix d'une dizaine d'hectares où la tranquillité des lieux est interrompue de temps à autre par le claquement de bec des cigognes. Paysage clos et enchanteur, jardin à l'atmosphère magique où le sanctuaire du fondateur est au creux d'un vallon dans lequel serpente la source d'Aïn Mdafa.
Chellah, (Arabic: شالة) or Sala Colonia is a necropolis and complex of ancient Roman Mauretania Tingitana and medieval ruins at the outskirts of Rabat, Morocco. First spot of Salé, this latter was completed towards the north of the river. It is the most ancient human settlement on the mouth of the Bou Regreg River. The Phoenicians and the Carthaginians, who founded several colonies in Morocco, probably inhabited the banks of the Bou Regreg. Chellah is the site of the ruins of the Roman town known as Sala Colonia, referred to as Sala by Ptolemy. Excavations show an important port city with ruined Roman architectural elements including a decumanus maximus or principal Roman way, a forum and a triumphal arch. One of the two main Roman roads in Morocco reached the Atlantic through Iulia Constantia Zilil (Asilah), Lixus (Larache) and Sala Colonia. Another may have been built toward south, from Sala Colonia to modern Casablanca, then called Anfa. The Romans had two main naval ouposts on the Atlantic: Sala near modern Rabat and Mogador in north of Agadir. Roman expeditions sailed from there to find the Canary islands. The site was abandoned in 1154 in favour of nearby Salé. The Almohad dynasty used the ghost town as a necropolis. In the mid-14th century, a Merinid sultan, Abu l-Hasan, built monuments and the main gate, dated to 1339. These later Merinid additions included a mosque, a zawiya, and royal tombs, including that of Abu l-Hasan. Many structures in Chellah/Sala Colonia were damaged by the 1755 Lisbon earthquake. The site has been converted to a garden and tourist venue.
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.