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Famous Skiers
Many of the world's most famous skiers have influenced ski technique and ski resort design. Some have even had a profound effect on world history.
Famous Skiers in American History
During World War II, the 10th Mountain Division was active in mountain warfare in Italy. While they played an important role in the American victory, the unit would have never been formed without the influence of two very important men.
US Ski Team
American Alpine Skiers
What Is the Best Ski Resort in the World?
Charles Minot Dole and the 10th Mountain Division
It all started with a broken ankle. The story begins on a cold winter day at a Vermont ski area. Charles Minot Dole, otherwise known as "Minnie," was out skiing with a group of friends, when he broke an ankle. At the time, there was no ski patrol. His friends gathered some tin roofing, and created a makeshift toboggan. A few months later, his friend Frank Edson was killed in a ski race. Had there been an immediate rescue unit, Edson's injuries would not have been fatal. Needless to say, Dole was devastated. However, this prompted him to form the Mount Mansfield volunteer ski patrol.
Then, in March of 1938, Roger F. Langley, president of the National Ski Association, attended the National Downhill and Slalom Championship at Mt. Mansfield in Stowe, Vermont. He contacted Minnie, and asked if he would be willing to help turn his volunteer patrol into a national organization. Thus, the National Ski Patrol was formed.
In 1940, Minnie and a few friends were sitting around the fireplace at Johnny Seesaw's, which was a ski lodge near Mount Bromley. Dole was concerned about the lack of mountain warfare training in the United States army. As the friends discussed the issue, Minnie pointed out that there were approximately 2,000,000 skiers in the United States. He argued that it would be easier to turn skiers into soldiers than soldiers into skiers. His friends urged him to write a letter to President Roosevelt. With a bit of encouragement, Roosevelt eventually agreed. The National Ski Patrol became the obvious place to recruit members of the new 10th Mountain division.
Ski Filmmaker John Jay
When most people think of ski films, they think of Warren Miller. However, the art of ski film making was actually developed by a man named John Jay. In 1935, while attending Williams College in Williamstown, Massachusetts, Jay spent his weekends at the ski area in Woodstock, Vermont. Jay used his family's camera to create his first ski film. When he returned home, he projected his footage for his friends, while narrating the text over the Victrola. When he returned to college, he became the official film maker for New England and New York winter events and festivals.
Then, in January of 1942, Jay reported to the 1st Battalion, 87th Regiment at Fort Lewis, where he was made Second Lieutenant to the ski troops, and placed in charge of an eight-man detachment of the 1st Battalion. The troop's successful climb up Mount Rainier won him a commendation. In 1943, John Jay produced a film called Ski Patrol. The film was so popular that it inspired an enormous number of recruits for the 10th Mountain Division.
Famous Olympic Skiers
Many Olympic skiers have their moment of fame after they win a race. Some are quickly forgotten. Other famous skiers will stay in our memory forever.
Stein Ericksen
Born in Oslo, Sweden, Stein Ericksen embodies everything that is elegant in ski technique. Ericksen won the Gold Medal in the 1952 Oslo Winter Olympics. In 1950, he won a Bronze Medal at the 1950 World Championships in Aspen, Colorado. Ericksen is also credited with creating "aerials," which is a freestyle skiing event. He moved to the United States in 1952. Erisksen is currently the director of skiing at the elegant Deer Valley Resort. He also serves as host at Deer Valley's Stein Ericksen Lodge. Many people believe that Ericksen is skiing's first superstar. He is handsome, charming and charismatic. However, despite his assets, rumor has it that he is quite humble.
Bode Miller: Skiing's Bad Boy
There's no doubt that Bode Miller is one of the world's most famous skiers. His fame is based partly on his Olympic successes. However, in contrast to Ericksen, his somewhat controversial attitude often makes the headlines. Born in Easton, New Hampshire, former US Ski Team member Bode Miller is a four-time world champion in four different skiing disciplines. Boasting 31 World Cup victories, he is considered to be the most successful American skier.
Purchase Ski Tickets at King Soopers By Lisa Marie Mercer
Ski Length Calculator By Lisa Marie Mercer
Install Ski Bindings By Cheryl Cirelli
Used Ski Equipment Sale in New Jersey By Cheryl Cirelli


I spent about two and half hours in a nature research institute on Saturday the 28th of July, 2007, and today we're going to look at 9 of the 10 images I posted on my Web site from that shoot. I was using a 100mm f2.8 Macro lens, often with a 25mm extension tube, and a pretty specialist lens from Canon called the MP-E 65mm f2.8 1-5X Macro. I was also using a Canon Macro Twin-Lite MT-24EX, which is made up of two strobe heads that fit onto the front of the lens, and on occasion also using a Speedlite 550EX to throw a little light into the background. I've been into many of the techniques I'll talk about today in Episodes 42 to 44, which was a series on Macro photography, but today we'll see how I put this gear to practical use to get some great larger than life-size macro shots.
Before we go on, I'd like to say again a huge thank you to all of you that nominated the Martin Bailey Photography Podcast in the 2007 Podcast Awards. Thanks to you we made it to the final list of nominees in the Education category, and voting has started from July 28, and will go on until August 11. I'd like to remind you that you can vote once every 24 hours, and every vote counts, so please do set up a reminder or do whatever you need to do to remind yourself to go to www.podcastawards.com every day until August the 11th and submit your vote. You'll find the Podcast listed under the Education section. You need to provide your name and a valid email address, as many of the votes will be validated by clicking a link on an email you'll receive after voting. There's some pretty tough competition, but if you think this is the best Photography Podcast you listen to, and I know that many of you do because you have mailed me to tell me so, then please do support the MBP Podcast by voting as often as you can during this next week or so. And if you know of anyone else that probably would like to vote but may not be listening right now, do drop them a line and remind them to support us. Thanks in advance for all your help. And now, let's get on with the main topic for today, and Delve into the Macrocosm!
The Shizenkyouikuen, or Nature Research Garden, not far from my home in Tokyo is not like many other parks or gardens in Tokyo, as it really is left almost totally wild. There are a few ponds and obviously footpaths, but apart from that, much of the area is overgrown grasses and wood. This means of course that this time of year there are mosquitoes everywhere, and for some reason they really love me. I wear long trousers even when it's 35 degrees Celsius, or 95 degree Fahrenheit, but they are lightweight, quick drying outdoor trousers, so the mozzies can stick their little needly mouths straight through them. Because of that, I had sprayed them with super strength mosquito repellent before leaving the house, and I also had a battery powered repellent whirring away while dangling from my photographer's vest, and still, I having been in the place for about five minutes, my right knee started to itch. When I got home, I found that I'd been bitten 9 times above the right knee, 6 times above the left knee, once on my right calf, once on my right shoulder and would you believe, once behind my left ear. That's eighteen times, and I'm sure most of them were within the first few minutes of me arriving.
I'm kind of used to it now, but having grown up in Britain where there were no mosquitoes, I have no immunity to them, and so the stings tend to swell up pretty badly. So, I'm sitting here all itchy while preparing for this week's Podcast, but this is all expected when shooting in such places. I mentioned just now that I was wearing a Photographer's vest. I cannot shoot effectively without this vest, I should probably say that because of this I chose one that has a mesh back for good ventilation in hot weather. It also has a patch of cloth that zips into place for additional warmth in the colder months. I like the design so much that I have two of these, exactly the same, so that I can cover myself for longer trips where I might get a bit pangy but can't wash it every day.
Anyway, let's get down to looking at some shots. The first one is image number 1495, which I spotted not long after getting all of my kit ready and had started walking down the path into the more heavily wooded area. This is the shell of a Cicada, which is what was making all of that noise in the recording earlier. These things come out each year having spent a whole lot of time growing underground, ranging from just a few years, to 17 years for some species, and then in the final stage as a nymph they climb out of the ground to and attach themselves to something like a tree trunk, or as in this photo, the post of a rope fence to keep people like me out of the woods, and then they break out of this outer shell. They dry for a while, then start the search for a mate, and having mated, the female inserts her eggs into the bark of a tree, where the grub feeds before going underground and the whole process starts again. I'll add a link to a Wikipedia page on Cicada to the show-notes in case you're interested.
So, some details about the shot — this image was captured shortly before 3PM, so the light is starting to warm up a little towards the late-ish afternoon. I used natural light here because it was bright enough, and the quality of light was really pleasing as you can see. I stopped the aperture down to f5 so that we could get a little depth-of-field, but I didn't go much more as I was looking to lead our eyes to the glossy membrane that covered the Cicada eye before it shed this skin. It also helps to give that partially lit green background a nice smooth velvety look and remove other possibly distractions. I did bump up the ISO to 400, and I set the shutter speed to 1/125th of a second. I was in manual mode and had to shoot a couple of trial images to stop the glare from that eye membrane from blowing out. I shot this with the 100mm f2.8 Macro lens at lifesize, or 1:1 (one to one) magnification. I know this, because I had simply set the lens to manual focus, turned the focus ring to as close as it would go, and then kept shifting my tripod forward until the subject came into focus. I wasn't using my focusing rails, so this took a little bit of doing, but as the subject was inanimate, I could take the time to do this, probably at the expense of a few more mozzie bights. I composed the shot with the shell in the right third, which also enabled me to include a few of the year rings in the cut tree stump used for the fence post. I would have preferred to have found this muddy little shed skin on a more natural looking object like a tree trunk, but this is the reality. It's part of nature that these creatures will use objects that man has put in place for these purposes, and with it all having a nice earthy brown tone, I think it still works.
In the next image, number 1496, we really do delve into the realms of larger than lifesize, with this shot of a tiny little fly that I found on top of a daisy type flower that itself was not more than around 8 or 9 millimetres in diameter. The MP-E 65mm Macro lens that I shot this with basically has no way to focus the lens. The zoom ring on the lens has one action, and that is to move through the magnification from life-size to 5X life-size. You can use this for focusing to a certain extent, but as you do this, you are actually zooming through the magnification range, so if you want to shoot at a certain magnification, the only way to focus is to move the camera and lens closer to or further away from the subject. This requires some really fine tuning, so it's useful to have the camera mounted on focusing rails. Also realize that once we go this large, the depth-of-field is less than a millimetre, even when stopped down to f11 or f16, so the slightest breeze is going to make focusing even more difficult. To overcome this, I was using a Wimberely Plamp here, which is a Plant Clamp. It clips onto the leg of the tripod and then you bend the flexible arm to the point you need the head to be at, and then use the clothes peg type head to clamp the stem of the plant you're shooting, taking care not to damage it of course, and that way it doesn't sway around in the breeze so much.
Lifesize means basically that if you photograph something 36mm across with a full-size sensor, it will fill the frame exactly. If you go down to 5X life-size, you could fill the frame with something just 7.2mm across. If you want to look at the lens itself, as I said earlier, it's covered in detail in Episodes 42 to 44. There is also a photo of the Macro Twin-Lite MT-24EX. In fact, just to see this flash system, the lens and the focusing rails in image number 1022 in my gallery if you are interested, but I'm not going to include the image here right now. To briefly explain the Twin-Lite though, it is two individual strobe heads that fit onto a rail that fits on the front of the lens, and you can move the heads around the rail to any position, and also adjust the angle at which they point at the subject, so in this image I had them pointing right in at the subject, maybe at around 45 or 50 degrees to the front element of the lens. There is an option lens hood for this lens that actually looks like a chameleon's eye more than a lens hood. This is because you are focusing on images so close to the front of the lens you run the risk of getting light from the flash units going straight into the front of the lens. Reducing the opening to just over a centimetre stops this from happening.
A little advice on using the flash itself while we're at it; when using this set up, I simply drop the camera into Manual mode and set the aperture and shutter speed to what I want, and then shoot a trial image. I usually find that the camera will then figure out how much light it needs to shoot out of the flash to adequately light the subject without much problem. When shooting really close like this though, and when the subject is not totally filling the frame, the camera does get a bit over-zealous so I have to bring it back down a little to the tune of around -1 stop in flash exposure compensation. This is not your standard exposure compensation, but the flash compensation. It's important that you change this either on the back of the flash or via the camera body, and not exposure compensation, as that won't give you the right effect. Basically if you underexpose with standard compensation, the flash will just give out more light until it gets what it thinks is correct, but actually isn't. You'll also notice that when there is nothing close in the background, the light from these flash heads will not reach it. When I have time to set it up, I usually link a second flash unit remotely, as I did for some shots we'll look at later, and have that throw some light into the background.
I also find this surreal totally black background quite pleasing in some shots. Here I think it actually adds to the effect, and totally isolates the subject on the flower head, and allows us to really study it. Also the background here was so far away that I'm not even sure the second flash would have been of much use. I'd probably need a couple and really bump up the compensation, but I don't have two, and I really didn't have time to set it up either. Another thing that I noticed here for the first time is that the light has created a quite beautiful rainbow effect on the wings of this tiny little fly. It's also difficult to see in the Web sized image, but there are a few spots of yellow visible which are distinctly spherical, looking a little like fish eggs. This is actually the pollen from the flower on which the fly is standing, usually only recognizable as dust, not spheres.
Both this shot and the next shot, were made at 1/100th of a second at f11, with ISO 200, like I said, with the flash set to minus 1 stop exposure compensation. The magnification here was about 3X life-size, perhaps a little more. In the next image, which is number 1497, we can make out these little yellow pollen balls a little better, as I'd moved to between 3.5 and 4X life-size magnification. The reason for the shift is that as the fly moved around I tracked it with the zoom ring, using it to refocus, rather than using the screw on the focusing rails, but either would work if you're not bothered about exactly what magnification you're shooting at. We can get more of a feel of the actual size of the subjects here by the transparent filaments seen below the flower head through the petals. This is a totally un-cropped full sized 35mm image, so I think you'll be able to appreciate how small these subjects really are. The focusing distance is around 3cms in front of the lens at this magnification, which always amazes me as to why the subject doesn't just fly away. Sometimes the subject does get skitty, but this one, although moving to another flower a few times, kept coming back and allowing me to shoot it. I did get the second flash out and use it to light a rock somewhat for a third shot that I uploaded, but this is of the fly's backside, which is not really a pretty site, so I'm not going to include it here. If you are interested, it's the next one along in the gallery to this shot.
While shooting the fly, a large blue-grey dragonfly kept flying up and sitting on the foliage and a bench nearby. I decided to concentrate on the fly first, and then changed lenses for the 100mm and a 25mm extension tube. This gives a magnification of 1.39 times, so it's closer than life-size, but not as close as the magnification used in the last two shots. The reason I switched to this lens is because the dragonfly was about 7 or 8cms in length and wingspan, maybe more. This means that with a lens that will only focus at one point when set to life-size, and only getting smaller as you increase the magnification, it's simply not possible to shoot anything larger than 36mm wide. Now, if I could get close enough, I would hopefully be able to get a real close-up of say the head of the dragonfly which would be spectacular, but I was not confident that I'd be able to get that close. The 100mm on the other hand allows me to get a 1:1 life-size image at a greater distance, and with the 25mm extension tube attached, I could get even more magnification. The other thing is this lens allows me to focus on things further away, so although the subject might be less magnified than life-size, it would still be pretty impressively close if I could just get in close enough myself. Anyway, the reason I'm telling you this is so that you can understand my thinking in changing lenses in anticipation of a shot, but the dragonfly flew away as soon as I moved even just a little bit close to it. I couldn't get within 5 feet, so it just wasn't going to happen. This was one of the times I kind of wish I had one of those nice long 180mm life-size macro lenses from Canon, but there's a lot of other stuff lingering much further up on my somewhat stagnant shopping list.
With the 100mm f2.8 macro and the 25mm extension tube fitted though, I focussed on a common fly seen just about everywhere in Japan, that was sitting on a leave posing for me. We can see this in image number 1499. Once again, I set the lens to manual focus and moved the focus ring to the shortest focus distance, and tripped the shutter after the fly came into focus. This time because the leaf was large enough to fill the frame there is no dark background to content with, although I did now have a second flash ready in my vest pocket. I was using my tripod as a monopod here too. Basically I had the legs closed together with the clips holding them in place, and had extended one of the legs slightly to get me the right height, but with just one leg on the ground so that I could roll the tripod back and forward easily. This is kind of a happy compromise between the tripod and handholding and works well when using the Twin-Lite as well, as you are working with a sharp burst of light. This was shot again at f11, as with the last few shots, but I changed the shutter speed to 1/60th of a second, still at ISO 200. The detail of this shot is amazing though, as with the last few. I'm really going to spend more time working with the Twin-Lite and a second, and hopefully soon also a third Speedlite to light the background for more natural looking lighting. I should mention too that before I started shooting today, I shot my WhiBal card with the Twin-Lite and set the camera's custom white balance with that shot. From that point on, I didn't have to change the white balance, and didn't touch it in post processing either, except to see that it didn't look any better by moving the slider a little either side of that set by my custom white balance.
Thirty feet further down the footpath, and I came by a hoverfly that we can see in image number 1500, feeding on the pollen of a bunch of white flowers that were standing very helpfully about 5 feet above the ground. Again using the tripod as a monopod, I shot this hoverfly for a few minutes until he flew away. I upped the ISO to 250 and the shutter speed to 1/160th of a second to give me a little better chance of freezing this buy as he moved around. There's a little bit of that rainbow effect on the wings again, from the Twin-Lite, but I was really taken back with the wonderful glossy gold back of this fly. I hadn't realized they were this gold when fully lit by flash. Again a very sharp shot because of the shooting conditions I was using, and once again shot at 1.39X life-size by pre-focussing. It's really great just zooming to 100% and pouring over the detail in this creature. You can literally see every hair, and body parts that I never realized they had.
In image number 1501, we can see a grasshopper that I noticed clinging to a large grass stem. This was actually a few feet inside the low rope fence, so I took the camera off the tripod to hand-hold it, and then pulled the grass towards me and held the tip in my right hand as I held the camera. Then in my left hand I held a Speedlite 550EX flash unit, and pointed it down towards the base of the grass. Not entirely successful, but by doing this I did manage to get a bit of light into the background, stopping it from dropping off into total darkness. I thought about raising the ratio of light to the 550EX, but this guy was getting scared, and started to back down the grass stem, so I decided to leave him be. There'd be another day when I can get one of these in a better situation so that I don't have to upset him too much to get my shot. I really got the feeling that this little guy was looking back up at me and thinking "Oh no! Not you again!".
Next we have two examples of the same subject although with slightly different composition, but one with just the Twin-Lite and the second with the Speedlite lighting up the background a little. The first shot is number 1502. Here we see what the Japanese call a koganemushi, but I'm not sure what this is called in English. It's a type of scarab, and really quite common across Japan. This one was sitting happily on a leaf by the pond in the institute, so I decided to get a few frames. The settings still at f11, with ISO 200 and a shutter speed of 1/160th of a second, and I was still using the 25mm extension tube and focusing at the nearest focusing distance by moving the camera back and forth. Here we can see that the foliage either side of the beetle has gone totally dark as the light from the Twin-Lite hits only the closest subjects.
In the next image though, number 1503, again, I took the 550EX from my vest pocket, and held it in such a way that it caught some of the background. Again, slightly rushed, as the park was about to close by this time, but you can see here that I do have slightly more colour in the background than the previous shot, especially on the left side where the background is closer. I actually really like the highlights that the twin-lite has introduced in the front of the shell of the beetle, and again this is incredibly sharp, even when viewed full-size. That's helped of course by the fact that I was using a tripod, as a tripod here, not as a monopod as mentioned earlier.
Let's move on to the last shot for today, which was literally the last shot of the day for me too, and that is image number 1504. The only thing I don't like about this nature research institute is that it's run by the City, which means it's staffed by civil servants and not a public sector company. So even though it's light for another two hours at this time of year, they kick you out at 5PM. I've tried just staying in here actually, but someone comes around and actually asks you to leave by about 5 minutes to 5. So, at 10 minutes to five, I was almost ready to start walking for the gates, when I spotted this buy climbing up a plant. Climbing up a plant for many insects means they're either trying to get to the flower for the pollen, or they're getting to the highest ground to fly away. As there are no flowers on this plant, I figured it was the latter, so there was no time to position the second flash, even though there was some greenery in the background, so I just fired off three frames with the Twin-lite as this guy got into position to fly, and of the three, only this once was crisp and sharp. A nice profile I think, but then he was gone. I wasn't quick enough to capture him actually take off unfortunately. This is a Tiger Beetle by the way, due to the obviously tiger like markings and colouring. This one has lost his left antenna somehow, which is a little disappointing, but I'm sure he was much more upset about than I am. The ISO and shutter speed were still the same as the last few shots, but the aperture was down to f10 here. I must admit though, this was totally unintentional. I didn't even realise that it had changed until I check the EXIF data, so I must caught the dial with my finger and accidentally jogged it a third of a stop wider, probably in my hast to shoot this guy before he flew away.
So that's it for today. I hope you've enjoyed a virtual trip around one of my local haunts. I dare say I'll be back here a few more times over the summer, hoping to get better at my macro shots, and really start to give that second flash something to do, and I'm probably going to pick up a third flash at some point to really give me a good chance of lighting the background up some. I'll report back as and when I get any shots worth sharing with you.
Once again, if you are interested in more of an overall Macro tutorial with information on techniques and the gear involved, do go back to Episodes 42 to 44 where I covered this in some detail. Also, don't forget to support the Martin Bailey Photography Podcast by voting for me in the Podcast Awards, every day up to August the 11th, 2007. You can find me under the Education section and don't forget to give a valid email address as they will randomly email a link to validate your vote. They say randomly, but most seem to be getting a mail every time they vote, so it's really important not to be shy with your email address.
And, with this episode being a few days late this week, there's now less a week to get your Movement Assignment image uploaded to the gallery at mbpgalleries.com. The participation has been a little low for this one so far, although it's probably going to bump up in the last few days. If you have any ideas for the next or future assignments by the way, please do let me know either publically in the forum or via forum PM just to me or the contact form at martinbaileyphotography.com. Remember that the assignment can't require special equipment, so as to give as many people as possible the chance to benefit from getting involved and also get themselves a chance to win a print of your choice from my online gallery, and to get in the running for the yearly grand prize that will be awarded next year. The same goes for any other feedback or ideas for topics to cover in the Podcast. Thanks to all of you that have mailed in the past too. It's always great to hear from you and your words are often a huge encouragement for me.
Finally, a thank you to Dave Erickson from Wisconsin – USA, for your mail this week. Paraphrasing a little here, Dave said, "I have just discovered your podcast during the last week and I'm so grateful to you for such a well conceived and wonderfully executed piece of work. Your photo review format is ideally suited to learning. It so happens that I've been painting the exterior of the house this week and your Q&A and tips episodes have been perfect company for me and the paintbrush." Thanks again Dave for a great mail, and I'm really pleased you like the Podcast and it helped you with your painting. Before closing the mail Dave requested that I mention who made the music I use in the intro and the housekeeping sections of the Podcast. This is a great idea, as I have been asked a number of times, so I'm going to try and do this from now on. The general rule will be that when I use music that I've bought for this purpose, I probably won't mention it, but when I use music for free from the Podsafe Music Network, I'll try to give the artist a mention and let you know the title of the track used. Today we were played in and out by a band called Shams with a track called Creation. And with that, I'll say goodbye for this week, and you have a great week doing whatever you do. Bye-bye.


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text:
Camille Saint-Saëns's The Carnival of Animals new verses by Jack Prelutsky. il by Mary GrandPré.
music performed by the Württemberg Chamber Orchestra.
Alfred A. Knopf: NY, 2010.
Camille Saint-Saëns was a 19th century composer. He composed The Carnival of Animals in 1886, and it was published posthumously in 1921. There are 14 orchestral movements. Thirteen short ones introducing the animals and a long finale. The musical suite is used by music teachers to familiarize students with different instruments and classical music.
The music has been performed previously with poems by Ogden Nash (a humorous poet known for light verse and unconventional rhymes, first collection published 1931), one poem for each movement. The Ogden Nash poems were written in 1949. In 1988, Weird Al Yankovic wrote new poems for his Carnival of the Animals, part II (also different music in the Saint-Saëns style). In 1993, Peter Schickele (aka P.D.Q. Bach) also wrote new poems, keeping the original music, for the B side of his Sneaky Pete and the Wolf. He also arranged the music for Fantasia 2000 which used parts of The Carnival of the Animals.
Now Jack Prelutsky has written and performs his own new poems to go with the Saint-Saëns music. Prelutsky's poems are more dignified than his usual work but form a nice juxtaposition with the movements of the suite. The composition may need a couple hearings to seem normal. I found the switching back and forth a little jarring at first, but maybe because my full attention was not on it. Neither would a child's be, though. Obviously, the included CD is an essential part of the book. It reminds me of listening to Disney produced albums as a child, Peter and the Wolf, The Sorcerer's Apprentice, Fantasia, and an old almost forgotten Musical Monkey Shines. I do remember hearing a similar animal/instrument album in music class also, but not sure if it was this or something else.
Prelutsky was chosen America's first Children's Poet Laureate in 2006. Ogden Nash's poetry is a forerunner of Prelutsky's style. Prelutsky has expanded upon it (though his work here is decidedly tame). I think it is interesting to compare different versions.
The illustrator, Mary GrandPré, may be most well known for her artwork for the Harry Potter series. The illustrations here are very dramatic with vibrant and varied color palettes. They are appealing enough you will not want to skip the book and only listen. There are so many wonderful details, including the depth due to creating with a mix of collage and painting.
Judith Bachleitner, Head of the Music Department of the NY Rudolph Steiner School (Waldorf school) notes the educational opportunities The Carnival of Animals offers students. Young children can act out animal behavior to the music. Older students can be encouraged to write a poem and simple melody for animals Saint-Saëns did not include. As they become more experienced with music, they may be able to compare other pieces, both to what Saint-Saëns alluded and works that are derivative of The Carnival of Animals.
related-animals, musical instruments, introduction to classical music, teaching music, children's poetry, using imagination, imaginative exploration and stimulation
RL=for all ages to enjoy, poems 1st-2nd reading level
Of all the poems, I like Weird Al Yankovic's Carnival of the Animals, part II best. But I was not able to hear the music he wrote to go with them. The poems are less simplistic and are regarding other animals. I was unable to hear Peter Schickele's version or view another parody, Bugs and Daffy's The Carnival of the Animals. But the Warner Brothers cartoon can be found on Looney Tunes Golden Collection: Volume 5 DVD, disc 4, which is available through Netflix.
More info on Camille Saint-Saëns and his The Carnival of Animals can be found at Wikipedia.

redpajama_set_name: RedPajamaCommonCrawl


All arrangements are made subject to the following terms and conditions and by paying a booking deposit the Holidaymaker is confirming that he/she accepts and agrees to be bound by these booking conditions. Telephone transactions where debit/credit card details have been supplied are also considered as meeting this requirement. When you book accommodation either via the Internet or telephone, your booking is confirmed immediately and it is at this time a binding contract comes into existence and you guarantee that you have the authority to accept and do accept on behalf of your party the terms of these booking conditions. ,Email confirmation of your booking will be sent to you once the reservation deposit has been received. The contract is subject to these booking terms and conditions, all booking conditions will apply to each and every booking made with Tiger Villas. Once the contract is made, it is the accommodation providers' responsibility to provide you with what you have booked.
All relevant documentation will be sent to you via email, it is important to check carefully all the details of your booking once you receive it. Tiger Villas will not be responsible for any information you do not receive, as a result of your failure to provide a valid e-mail address. Your contract with us will be governed by Turkish Law and is subject to the jurisdiction of the Turkish Courts at all times.
Access to the rental properties is available from the stated check in time on the first day of rental and we will ask you to vacate the property by the stated check out time at the latest on the agreed departure date, to enable cleaning and preparations for the next guests. Rental properties are reserved exclusively for the people confirmed as guests at the time of booking and no other persons are permitted to stay at the property unless agreed by us in writing prior to the rental period.
Under no circumstances will animals be allowed in the property.
The tenant agrees not to smoke inside the rental property at any time.
A non-refundable deposit of %35 of the total amount due must be paid to secure the booking.The balance to be paid upon arrival. A security deposit is required upon arrival,this will be returned within check out when the villa is left in same condition as when you arrived. A security/damage deposit of between £150 - £2500 depending on the property.
A non-refundable deposit of %35 of the total amount due must be paid to secure the booking . The balance to be paid upon arrival.
Bank transfers,Online payment via our official webiste,Mail Order,Credit Card/Debit Cards accepted.
CHECK-IN TIME is AFTER 16:00 P.M. and CHECKOUT is 11:00 A.M.
NO Early Check-in or late checkout. This rule validity for all properties in our portfolio.
Cancellations must be made by registered post and signed by the customer. Cancellations will become effective from the delivery date of the cancellation letter. All cancellations are subject to a charge payable by the customer as detailed below; charges for cancelled bookings will be confirmed to you by invoice within two weeks of cancellation. (Please remember these charges also apply, if you have failed to make payment on time and we cancel your booking).
a)For any cancellations,a non-refundable deposit will not pay back to clients.
Charges above represent a percentage of the total accommodation booking value. No refunds can be given for stays that are ended earlier than planned.
Immediately upon receipt of the holiday confirmation from Tiger Villas Company. the Holidaymaker must check the details and notify Tiger Villas Company of any mistakes /errors made as soon as possible and in any event within 14 days; no changes can be made to the booking after this time. Tiger Villas Company reserves the right to charge holiday booking amendment fee to administer/correct any error made by the Holidaymaker. Any request for changes to be made must be in writing from the person who made the booking.
Capacity is stated in the advertisement.Home owner has right to throw out the guests more than home capacity.
When you send payment you are deemed to have accepted the contract.
The lead guest is the person or agency that holds the booking, to whom all correspondence and invoices are addressed and who is responsible for the rental. Spouse's names are not considered interchangeable. Where a booking is made by telephone, email or fax the booking is subject to, and the client must accept these Internet terms and conditions and any made by our suppliers. Where two or more people are included in the same booking, the person requesting the booking shall be deemed to do so on the basis that he/she acts as an agent for all members of the party and accepts these booking conditions on behalf of each member of the party.
• any specific passport, visa and health requirements are obtained.
• all members of your party, including infants, have a valid passport.
• you have adequate travel insurance to cover your holiday.
Please be advised that in the event that you or any of your party are disruptive or behave in an unsociable manner we do reserve the right to terminate your holiday and will have no further liability or responsibility to you in respect of accommodation or transfer/car hire, nor will refunds be made.
• That the number of people occupying the property will not exceed the number stated on the holiday confirmation.
• That the property will be used solely for the purpose of the holiday by the holidaymaker and his/her party.
• To keep the property and all furniture, utensils, equipment, fixtures and fittings in or on the property in the same state of repair and condition as at the commencement of the holiday and to ensure that at the end of the holiday the property is left in the same state of order and cleanliness in which it was found. The property owner reserves the right to levy the holidaymakers occupancy and for any sub-sequential loss.
• To report as soon as possible to the property owner (or his representative) any breakages or damage caused by the holidaymaker during the holiday and to reimburse the property owner with the cost of replacement. The property owner reserves the right to make a claim against the holidaymaker for any repair or loss as a result of damage caused.
• To arrive at or after the stated check in time on the arrival day and to vacate the property by the stated check out time on the day of departure unless prior arrangements have been agreed with the property owner, Tiger Villas and/or the holiday confirmation states otherwise.
• not allow any person other than guests booked and staying in the property for their holiday to use the facilities and amenities of the property.
• To notify all other members of the party of these undertakings.
• In the event of a breach of any of the undertakings set out, the property owner (or his representative), or Tiger Villas can refuse to allow the Holidaymaker to take possession of the property or make the Holidaymaker leave the property before the end of the holiday. in either case the Holidaymaker shall be deemed to have cancelled the booking and the Holidaymaker shall have no claim for compensation or reimbursement whatsoever.
The Holidaymaker agrees to take care around the property and gardens and consider the risks posed by balconies and swimming pools to children. Swimming pools should be accessed by the steps and not by jumping or diving in. Please take the time on arrival to familiarise yourself with the layout of the property and swimming pool depth. In particular if you are travelling with children, please take the time to point out to them any areas in which they should take particular care such as the pool or on balconies. Parents are responsible for the actions of their children at all times. Please ensure that children are not left unsupervised at any time during your holiday and take extra care with swimming pools, balconies, roads, unfenced areas, etc, as it is likely the accommodation will not have the same child precautions as you are accustomed to in your own home.
On your holiday please be just as vigilant as you would be at home and ensure you take sensible precautions to protect your belongings and personal safety. Whilst this is a relatively rare occurrence we ask our guests to be vigilant in ensuring accommodation is properly secured and all windows and terrace/ balcony doors are locked whenever the property is not occupied and at night. Additionally take care to lock your rental property when you are relaxing around the swimming pool or perhaps enjoying an afternoon snooze or siesta. Safes are provided at some property in the collection, but it should be noted that their use is entirely at guests own risk, and that safes cannot be relied upon to provide absolute security for their contents in the event of a burglary where there is sufficient intent. Adequate travel insurance is essential to cover your personal belongings - there are usually limitations placed on money and valuables so check your policy carefully. In the event that you should lose any items of value whilst on holiday through theft or otherwise, you must report the facts immediately to the local police or other competent authority and obtain a written report. If a report is not obtained it will be difficult for you to pursue any claim through your holiday insurance.
The ground surface inside and outside the accommodation may be wet due to the maid cleaning them on arrival, departure and any other day when the maid service is carried out. Be aware of the ground condition at all times and be cautious by taking the necessary steps to ensure your safety and especially that of children and the elderly. At other times, ground areas open to the elements or subject to dousing in water from the swimming pool may be wet and caution is required at all times.
All properties on our website are maintained by the staff who have access to the pool/garden area. Gardens have to be maintained on a regular basis and it is simply not possible for this to be carried out on 'change-over' days. With regard to pool maintenance; pools are checked on a regular basis and this is normally carried out very early in the morning to avoid disruption to our customers. However, neither pool nor garden personnel have fixed hours, so it is not possible for us to advise you of the exact date or time of their visit. We ask for your cooperation when staff visit, as it is imperative to keep the properties well maintained for our clients' enjoyment throughout the year.
Internet access and Wi-Fi is available when stated in the relevant accommodation description. Please note there may be restrictions with the availability and speed of the service transmitted by the local provider and technical issues may cause temporary withdrawal of internet facilities. Tiger Villas are unable to accept responsibility for any down time or consequences of using this service and refund/compensation cannot be offered due to circumstances beyond our control.
These may be made prior to travel and whilst Tiger Villas will endeavour to meet them, this unfortunately can not be guaranteed. In no circumstances will requests be accepted by Tiger Villas form part of our contractual obligations and Tiger Villas will have no liability if they are not met. We are happy to give advice and opinions about the suitability for those with limited mobility, elderly, families etc, but we would point out that many of the resorts and properties lack the simplest facilities such as ramps and are not necessarily childproof. If you let us know your requirements we will do our best to furnish you with as much information as possible so you can make informed choices.
1. The Holidaymaker's (and all other members of the Holidaymaker's party's) personal belongings and vehicles (together with their contents) are left at the rental property entirely at their own risk.
2. Tiger Villas shall accept no liability to the Holidaymaker for any loss, damage or injury whatsoever caused to the Holidaymaker or to the Holidaymaker's personal property (or to persons in the Holidaymaker's party or their personal property) during their stay at the rental property. Tiger Villas does not accept any responsibility or liability for acts of omission of third parties which may prevent or disrupt a customer's booking. The booking contract exists between Tiger Villas and the Holidaymaker and is limited to the rental of the property for a short period of time and associated services only. The information and descriptions supplied here are believed to be accurate and offered in good faith. Certain features or facilities may not be available from time to time due to circumstances beyond our control for which we accept no liability. Such situations may be dictated by local circumstances, necessity for maintenance or repair (eg: swimming pools), unsuitable weather conditions, fuel shortages, power cuts or other circumstances beyond our control for which the Tiger Villas accepts no liability. Tiger Villas shall not accept liability for loss of main services such as electricity or water supplies, nor any actions taken in the vicinity of the property by any authority over which there is no control. Refunds or compensation would not be payable and cancellation charges would still apply.
In addition no liability can be accepted by the Tiger Villas for any injury, loss or damage to the Holidaymaker, any member of the Holidaymaker's Party or any visitor to the rental property, arising out of or in connection with the use of the rental property or the pool. The Holidaymaker must ensure that all Children in their party are supervised at all times whilst in or around the pool. You hereby waive all rights of recourse against Tiger Villas and/or any of their subsidiaries as to any incidental or consequential damage or loss of whatsoever nature occurred during the performance of any service rendered by Tiger Villas or during your respective rental period either arising from or anyhow related to the use of the property and rental period which you may suffer and commit to hold harmless Tiger Villas against any claims, actions, law suits or proceedings carried out by any third party or its successor for any damage, loss, bodily injury or death claimed to occur by reason of or connected with Tiger Villas and/or any of their subsidiaries.
No Liability can be accepted by Tiger Villas when the contract is affected by force majeure. In the context of these terms and conditions 'force majeure' is any event that we or any of our suppliers could not, even with due care, foresee or avoid. These events include, but are not limited to; War, threat of War, riot, civil commotion or strife, hostilities, industrial dispute, natural disasters, acts of god, terrorist activity and its consequences or the threat of such activity, the act of any government or other national or local authority, industrial dispute, natural or nuclear disaster, fire, adverse weather, sea and ice conditions, government action, technical problems with transportation or any other events beyond our control.
We are working with only real homeowners so we can give you best price guarantees.
Tiger Villas take commissions from homeowners.Tiger Villas doesn't take any commission from guests.
The 'Season' in Kalkan,Kas,Fethiye and all touristic areas run from 15th May to 15th October.
If the Holidaymaker wishes to make a booking outside of the 'Season', it is possible that construction projects may be going on in the area.Tiger Villas will endeavour to inform the Holidaymaker of this and Tiger Villas will only take bookings out of season where there is no known building work going on nearby or it is expected to be completed by the holiday start date. Tiger Villas cannot be expected to know the timings and exact locations of every building project in Kalkan,Kas,Fethiye and all other regions and so bookings outside the 'season' cannot be guaranteed to be unaffected by construction works.
Tiger Villas reserve the right to terminate, without notice, the arrangements of any customer whose behaviour, in our opinion, is likely to cause annoyance, distress or danger to other customers or any third party. If you are prevented from travelling because you appear to any person in authority to be unfit to travel, or likely to cause discomfort or disturbance to other customers, our responsibility for your holiday arrangements will cease. Full charges will apply and Tiger Villas will be under no obligation to provide a refund, compensation, or any further assistance. Parents/guardians are responsible for the supervision/behaviour of young children and teenagers.
When you book accommodation through Tiger Villas you accept responsibility for any damage to property or accommodation caused by you or a member of your party. Tiger Villas reserves the right to terminate (before or after departure) your holiday or that of any member of your party due to your or their misconduct, within our reasonable opinion. In these circumstances full cancellation charges apply and no refund will be given. Furthermore, the Tiger Villas and accommodation owner shall be under no obligation to pay compensation or meet any costs or expenses you may incur as a result of your accommodation being terminated. You agree to indemnify Tiger Villas against any claims (including legal costs) made against us or on behalf of the owner of any such property or accommodation. You are also liable to make reimbursement to the Tiger Villas for any damage caused, before you end your stay.
Our site may contain links and pointers to other Internet sites, resources and sponsors of the site. Links to and from the site to other third party sites, maintained by third party sites, or the contents thereof. We are not responsible in any way for such third party sites and resources will not be governed by these terms.
The information and prices shown on this website and in our PDF brochure may have changed by the time you come to book your arrangements. Although Tiger Villas make every effort to ensure the accuracy of the information and prices at the time of publishing, regrettably errors do occasionally occur. You must therefore ensure you check the price and all other details of your chosen arrangements with us at the time of booking. All information in this website and our brochure has been compiled from up to date details and we have taken care to ensure that it is accurate. There may however be occasions when an advertised facility is either modified or not available. Such situations may be dictated by local circumstances, necessity for maintenance, water shortages, unsuitable weather conditions, fuel shortages, power cuts and other circumstances beyond our control. If we are advised of this, then we will of course inform you as soon as possible, but we cannot be held liable in such circumstances. It is also important to remember that some facilities, such as shops, restaurants, communal pools, water sports and water parks etc may not operate at all times.
Furniture may sometimes vary from brochure or website photographs. If a particular facility offered in our villa is essential to the booking of your holiday, please ensure that we are made aware of this at the time of booking. Please note that at all times, the information on our website supersedes that in our brochure.
Tiger Villas act only as an agent in respect of all car hire and transfer bookings we take or make on your behalf and any transfer or car hire booking made by an agent or representative of Tiger Villas on your behalf does not form part of your contract. For all bookings your contract will be with the supplier of the arrangements concerned and is subject to their local terms and conditions. A copy of the supplier's terms and conditions can be sent to you upon request. As Tiger Villas act only as a booking agent we have no liability for any car rental or transfer arrangements and in particular any liability for illness, personal injury, death or loss of any kind. Any claims for damages, injury, illness or death arising from your car rental or transfer must be brought against the supplier and will be under the jurisdiction of the law of the country in which the transfer or car hire is provided.
If you book transfers through Tiger Villas, your contract will be with the transfer provider and no one else. Tiger Villas act only as booking agent for the transfer provider. The transfer provider's terms and conditions will apply to your contract and are available upon request. As a booking agent, our responsibilities are limited to making your booking in accordance with your instructions. We cannot accept any liability for the transfers, for any information concerning the transfers and which we pass on to you in good faith, for the performance of your contract by the transfer provider or for the acts or omissions of the transfer provider or any of its employees, agents or suppliers or any other person or party in any way connected with the transfers. All relevant documentation will be sent to you via email, it is important to check carefully all the details of your booking once you receive it.Tiger Villas will not be responsible for any information you do not receive, as a result of your failure to provide a valid e-mail address.
• Drivers holding a photo card British driving licence must also present the paper endorsement sheet that was issued with the licence.
• It is the drivers responsibility to ensure that he/she has the appropriate driving licence.
• Our reservations agent must be informed of any endorsements on the drivers licence as we may not be able to make your booking.
• No refunds will be given for rentals rejected due to non production of a driving licence or non disclosed endorsements.
• Faxed or photocopied licences are not acceptable.
The rental cars are insured for a maximum number of passengers. Tiger Villas can not accept responsibility if a vehicle is not large enough to fit all passengers and luggage on arrival if details were not supplied at the time of booking. In the interest of safety this number can not be exceeded and if exceeded the insurance will be invalidated.
Tiger Villas and the company providing your car rental will not in any circumstance be held responsible for anyone driving under the influence of alcohol/drugs, causing wilful damage, off road driving or driving without due care and attention. The customer will accept responsibility in respect of any such claims.
As Tiger Villas act only as a booking agent we have no liability for any of the car hire arrangements and in particular any liability for any illness, personal injury, death or loss of any kind. Any claim for damages, injury, illness or death arising from the period of your car hire must be brought against the car hire provider and will be under the jurisdiction of the law of the country in which the car hire service is provided.
We take full responsibility for ensuring proper security measures are in place to protect your personal information. The booking information that you provide us will be passed on only to the persons necessary for the provision of your travel arrangements. The information may therefore, be provided to public authorities such as customs or immigration if required by them, or as required by law. This applies to any sensitive information that you give to us, such as; details of any disabilities, dietary or religious requirements. In making the booking you consent to this information being passed on to the relevant persons. Tiger Villas may also contact you from time to time with details of any special offers we may have available. you can choose to opt out of this if you wish.
The accommodation reviews posted on the guest testimonials section of our site are those of the guests who have stayed at the named accommodation and NOT of the opinion of Tiger Villas Reviews posted on our website are not intended as advice and should not be relied upon as such.We reserve the right to reject or remove your review at any time at our sole discretion. We do not guarantee in any way that your review or any part of it will be displayed on our website. Reviews received from guests are considered non-confidential and Tiger Villas are under no obligation to treat such reviews as proprietary information. Tiger Villas shall have no duty to attribute authorship of reviews to you and shall not be obligated to enforce any form of attribution by third parties. If you have any concerns or queries about reviews which appear on our website please contact us.
We hope your holiday arrangements run as smoothly as possible and you enjoy your time abroad, however if you feel the need to complain we recommend that you immediately inform our staff in resort, whilst you are abroad. If you fail to follow this procedure there will be less opportunity to investigate and rectify your complaint. In the event that a complaint cannot be resolved at the time, you must follow this up in writing immediately upon return to the your home (or at the very latest within 7 days). Tiger Villas shall be entitled to a reasonable period of time within which to investigate and respond to any written complaint received from the Holidaymaker. Failure to take these steps will hinder our ability to resolve the problem and/or investigate it fully.


Seriously, every single game on PC is a mess on release!
Seriously, that's not remotely true. Don't take these s**** copy+paste articles so literally, they are a disservice.
Not every game is a mess. ! But yes, with the wide spread negative reviews, I think Just cause 3 is definitely a bad port.
These are like sticky articles for common problems.
I downloaded the latest Nvidia Game Ready driver and this game runs very well. 50-60fps nearly everything on Ultra with the exception of Shadows.
Played a little over an hour and it's a good game overall. Nothing more than Just Cause 2 with a lovely graphical overhaul.


YATU car paint is very popular in El Salvador, especially in auto refitting centers. These pictures are taken from a car racing in Salvador, YATU agent in Salvador sponsored for this racing and the car with YATU CAR PAINT won the Champion! Congratulations.


Joshua and the day of Jesus' greatest victory.
The Old Testament leader Joshua is called "Jesus" in the King James version of the New Testament, (see Acts 7:45 and Hebrews 4:8). Technically Joshua, (Hebrew "Yhowshua") is a more formal version of Jesus name, "Yeshua". But it is still the same name. In fact the Old Testament uses the more "modern" spelling "Yeshua" for "Yahowshua" when newer books refer back to the ancient hero, see Nehemiah 8:17 for instance.
In modern English we still see how variant spellings of a name develop with the fashions and over time, "Stephen" becomes "Steven" and colloquially just "Steve".
And so "Yahowshua" becomes "Yeshua" which in turn seems to have become simply "Yasha" or "Yeshu" in day-to-day talk by Jesus' day (see the Arabic Peshitta or the Jewish Talmuds). All of these Hebrew variants for the word or name "Salvation" can be found in the Old Testament and can therefore point us towards Jesus of the New Testament..
But sticking with Joshua, the Old Testament makes the connection between Moses' successor Joshua and Jesus even clearer. Joshua had a father called "Nun". According to Strong's Concordance "Nun" means "perpetuity" from a root that means to "re-sprout" or to "continue" or to be "perpetual", so by extension "Nun" can be "everlasting" or "eternal".
"Joshua the son of Nun", Joshua 1:1, is equivalent to "Jesus the perpetual/eternal Son"!
And indeed there are lots and lots of ways in which Joshua stands typologically as a model of his future namesake, Jesus.
But for the purpose of this post I just want to highlight the parallels between the heavenly signs that accompanied Jesus' and Joshua's greatest victories.
Days when "The Sun failed and the Moon was presented".
Joshua's greatest victory came on a day when he defeated five Ammorite kings including the King of Jerusalem, and the King of Hebron. In popular tellings of the story we say that the Sun and the Moon "stood still" or "stopped" in the sky. Although the Bible doesn't actually say that this was what happened!
What the Bible actually says is that: "The sun was silent and the moon was presented/present." It then goes on to say how another book (but not the Bible) recorded how :"the sun was silent in the middle of the sky, it did not rush to set, it was a whole day", Joshua 10:13.
This is actually a description of a solar eclipse, the sun stops shining in the middle of the day without setting and the moon is in the sky at the same time. It was not a short day with the sun setting earlier than expected.
If we accept that Joshua's victory was accompanied by a solar eclipse then we can actually date it quite precisely. There was a total eclipse over Gibeon on July 14th in 1406 BC which has been identified by archaeologist David Rohl as Joshua's eclipse, it started at 3:15pm.
Before this according to the Bible there had been a huge hail storm before the Sun "ceased", Joshua 10:11, so the sun would have been partially darkened by clouds for some time even before it was totally obscured (for about seven minutes) by the moon. The eclipse would have caused people to look more intently at the sky even in the middle of the battle and they would have seen the moon present in the middle of the afternoon, just as recorded.
Now the Bible calls this a unique day, because "YHWH listened to the voice of a man and YHWH fought for Israel", Joshua 10:14.
The day was unique in the Old Testament but it foreshadowed the day when Jesus in His humanity would offer a sacrifice that released victory through His Divinity. There is not the space in this post to explore just how both Jesus' humanity and His divinity worked together to produce the full impact of the Cross, but both were required. And the image drawn from Joshua 10 of the full Godhead acting for humanity in response to the intercession of a man captures the truth of the Cross very well in deed.
And so it is interesting to see how on April 3rd 33AD, the day Jesus was crucified, the day He won his greatest victory, we find Old Testament events repeating themselves as they so often do in the life of Jesus.
First there is a strange darkness from about 12pm to 3pm paralleling Joshua's storm. The Easter darkness was almost certainly a Kamsin Dust storm in the high atmosphere. While common in April these dust storms normally occur at ground level, very occasionally they can get trapped in the higher-layers of air pressure, when that happens they create an eerie still darkness as they block out the sun's light.
Just after 3pm, at the same time that Joshua's eclipse happened, (3:15), Jesus who is called the "Sun of Righteousness" cries out for the last time and is then silent; He ceases or stops, just like the sun of Joshua's day.
Now the moon was not immediately present after the Easter darkness because this darkness was not a solar eclipse. That can only happen at the start of a lunar month and Passover happened in the middle of the month. But people would have looked for the moon's rising because sunset heralded the start of Passover. And on April 3rd 33 AD at 6:20pm the moon rose blood red in a lunar eclipse… it presented itself in an unusual way that caused people to talk. So that at Pentecost seven weeks later Peter can mention the blood red moon of PASSOVER and say "as you yourself know", Acts 2:17-22.
Darkness, the Sun/Son stopping and the Moon presenting itself as a sign… and there is a final piece to the picture; Joshua started and finished his day from a place called Gilgal.
There are actually several places called Gilgal in the Bible, the name is made by doubling up the word "g-l" which can mean "a stone", "a wheel", "circle" or even "rolling". Joshua had erected a circle of stones at his Gilgal. But it is as "round-stone" rather than as a "stone circle" that the name makes it way into the New Testament. We know the name now as "Golgotha" or the "place of the skull" where Jesus won His great victory, because the skull is the round-stone when it comes to describing bones. A quick check of Strong's concordance will show you that the Greek "Golgotha" was from the Aramaic "G-lg-lth", "Gilgal" with an extra letter, interestingly that letter is the Hebrew "tav", which in Joshua's day would have been written as a cross. "Gilgal" was "Golgatha" minus the Cross.
There is one key bit of symbolism in Joshua's story that reflects a difference between the Old Testament victory and the New Testament one. In the Old Testament Joshua wins by putting the five kings in a cave and sealing it by rolling a stone in front of the entrance, whereas in the New Testament Jesus is sealed in the tomb, but the stone gets rolled away.
The paralleling of significant historic events in the Life of Jesus is a part of Christo-typology that doesn't get written about much, perhaps because people don't know what to make of it! But there is more of it in scripture than people realise.
Matthew points out some instances of it in his gospel, leaving it to the reader to work out what the significance is. For instance, Jesus goes down to Egypt to escape death and then returns to the promised land just as Israel was called "out of Egypt", Matthew 2:15.
There is though much more of this than Matthew shows us. In the Jesus Centred Bible notes we will highlight these parallel events as they happen.
In trying to explain what they mean and why these patterns exist I can only offer you my own experience. As I've seen these patterns it has shaped my understanding at an emotive level of how all things are summed up in Christ, even the patterns and seasons of history. It seems that the life of Christ is the source of all of many life patterns whether personal, national or global.


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Authority for Creation A commission, composed of 11 persons, all of whom shall be residents of the city, to be known as the Winston-Salem Fair Planning Commission and is a part of the Public Assembly Facilities Commission.
Purpose/Function The purpose of the Commission is to oversee the city's fairgrounds, convention center, coliseum, coliseum annex, baseball stadium, and Bowman Gray Stadium.
Method of Appointment Ten members are appointed by the City Council upon the recommendation of the Mayor. The chairman is appointed by the Mayor. All members must be Winston-Salem residents.
Terms of Office Following initial terms, all terms will be three years.


For this year's summer outing for our Learning Disabilities Befriending and Mentoring project, we decided to combine a narrow boat trip on the Regent's Canal with a visit to ZSL London Zoo. With project leader Joel Hylton in charge, around 15 project members and volunteers took to the water at Little Venice last week and enjoyed a boat trip up through narrow waterways right into Regent's Park and the Zoo.
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Click here to see more pictures on the Learning Disabilities project page.


German Chancellor Angela Merkel has called for gay footballers in the Bundesliga not to be afraid of revealing their homosexuality, in the same way some of senior political figures in the country have already done.
The Iron Frau made the statement at a forum in Berlin to discuss integration in sport.
"I am of the opinion that anyone who sums up the strength and bravery – and we have a long tradition of this behind us in politics – should know that they live in a land where they have nothing to fear," NDTV quotes Merkel as saying.
"The fact that some people still fear their own situation means we need to send out a clear message: you must not be afraid," Merkel added.
While the likes of German Foreign Minister Guido Westerwelle and Berlin's Mayor Klaus Wowereit have revealed their homosexuality, no German Bundesliga footballer has come out yet. However, Bayern Munich president Uli Hoeness is certain it is only a matter of time.
"It will happen, sooner or later. All clubs are advised to prepare for this topic, so they will have good answers," said Hoeness, speaking at the same forum, dubbed "Go your own way".
The subject is not new in German football. Back in 2009, former German Football Federation (DFB) president Theo Zwanziger was the first to tackle the issue, openly supporting gays and saying they should not be afraid to make it public.
But some footballers, including national team captain Philipp Lahm, advise against it. "An openly gay footballer would be exposed to abusive elements. For someone who does [come out], it would be very difficult," Lahm argued in German magazine Bunte last year.


Some of you are probably wondering "What is swiss chard", let alone how to grow swiss chard. If you are, this article is definitely for you.
Swiss chard is a cool season leafy green vegetable. It is not only one of the most popular vegetables along the Mediterranean but it is one of the most nutritious vegetables around and ranks second only to spinach. It is known by several names such as Swiss chard, silver beet, perpetual spinach, spinach beet, crab beet, bright lights, sea kale beet, and mangold. In some places, it is called as, well , spinach. It is an attractive, leafy vegetable with a red stalk that produces an abundance of fresh greens all summer long, though many other varieties offer other colors as well.
Swiss chard belongs to chenopod plant family, which includes beneficial foods such as beets, spinach, and quinoa. Chenopod vegetables have been used for their medicinal purposes for centuries in traditional forms of folk medicine. Leaves of swiss chard taste the same as spinach and beet tops too. The "swiss" prefix is added to differentiate from the french chard(french Chardon). Chard has a flavor that milder than spinach and their leaves look very similar.. Thick large leaves are borne at the end of the long stems that may come in a range of colors such as white, red, yellow, orange, purple and red.
Swiss chard is second only to spinach when it comes to nutritional value. It is very rich in Vitamin C and Vitamin K ( it contains 100% of our body requirement of vitamin K). It is one of the most impressive leafy green out there that has high nutrition density .If that's not enough, it packs an impressive amount of potassium, magnesium, calcium, copper, and even more vitamins and minerals.
Swiss chard nutrition is very well known for having special properties that make it extremely useful for preventing and treating diabetes. It is a biennial plant but can be grown as an annual too. One major advantage swiss chard has over spinach is that it grows for a long time without flowering and producing seed as it is a biennial. For this reason, it is often referred as perpetual spinach or perennial spinach.
Growing swiss chard is very easy. Whether you grow in a container or on the ground, it needs very less maintenance. For growing in a temperate climate, wait for the last frost to be gone and get your seeds started. If you are growing in the tropics, ensure the temperature is not above 35 deg C when growing swiss chard. Remember it is a cool season crop.
Swiss chard, like many other greens, prefers a nutrient rich soil with excellent drainage. Paying attention to swiss chard sun requirements helps. It can be planted in full sun but can also tolerate partial shade. If you are planting them in a container, choose a soil or soil-less medium that has good drainage characteristics. Keep the root zone moist. Bigger leaved varieties can get stressed quickly due to the root zone getting dry.
Watering must be done daily once and based the temperature it can also be done twice or more. Feed the plants with organic compost every 10-15 days. You can also feed them with a general purpose fertilizer such as 19-19-19 or a hydroponic fertilizer such as General Grow for excellent results.
Like most other vegetables, swiss chard is started from seeds. Swiss chard seed is actually a cluster of seeds. When sowing swiss chard, if more than one germinates, it is good to thin them to just one. But if you are growing them thickly, it is ok to put two to three in a bunch. I had always sown 3-4 plants in one place and had no problems.
Swiss chard seeds are buried about ½ an inch deep. They usually germinate in a week. They take longer to germinate during colder weather and shorter in summer. Use a good quality seed starting mix for starting your seeds. Alternatively, you can also use products like seed starting plugs to germinate seeds. They make it so easy to start seeds and also transplanting seedlings is such a breeze with plugs. Once you start using plugs, you will not look back. Swiss chard seedlings growing in plugs can be transplanted into its final place when they have 2-3 true leaves.
Chards can be planted directly on the ground or in a container. When planting on the ground, the plants can be spaced at 6-8 inches between plants. Swiss chard plant spacing is important as they will grow very big. Cultivars with large leaves will need more space between them. Swiss chard is a cool season crop. It is ideal to plant just after the harsh summer for tropical places.
Swiss chard grows vigorously after planting. Some varieties come to harvest in just about 25-30 days after planting. The best part, it is a perennial yielder and It can continue to produce for another year. Remember to apply fertilizer to your plants every 10-15 days and after you have done a round of harvest. This initiates a new set of growth.
Swiss chard plants are semi-hardy and do not need lots of maintenance. It is important to not let the soil dry. The leaves lose water very quickly because of the large surface area.
Pests that attack swiss chard are worms, leaf miners, and mites. Worms can be controlled by regular scouting in the garden and picking their eggs. Also, the use of Bacillus Thuringiensis will control them. Leafminers can be very tricky but controllable . The biggest concern is mites. They are hard to get rid of especially in the summer months. Using a jet of water will definitely dislodge them, neem oil and honge oil also work.
You can plant swiss chard next to any brassicas such as cabbage, cauliflower, broccoli. They are also good companions for lettuce, mint etc. Swiss chard leaves are very beautiful that they can be used for edible landscaping.
It takes 25-30 days after planting for harvest. The harvest continues when only leaves are harvested.
Absolutely.Chards can be grown in container that hold a atleast liter of potting soil.
Swiss chard is a cool season crop and should be planted by end of summer.
Ideally, it should be watered everyday if it is grown in a container. When grown in the ground, water the plants based on the moisture content. Do not let the surface dry out completely.
A guide to growing swiss chard in your garden. Swiss chard is a leafy green crop second only to spinach in nutrition. Not only it is healthy, it also yields for a long time.


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