A Limit Break is a powerful ability introduced in Kingdom Hearts 358/2 Days. During a Limit Break, the user unleashes a tremendous amount of power as an attack that they wouldn't normally be able to perform. The attack is usually based on the user's element or abilities in previous games, such as a combo finisher or Limit. Unlike a Limit from Kingdom Hearts II and Kingdom Hearts II Final Mix, the character can take damage if attacked while performing a Limit Break, although the damage taken is less than it would be if not in a Limit Break (to rephrase in fewer words, damage taken during a Limit Break is reduced). It also heals the character from any status effect and prevents them from getting any status effects. You can also not use any magic panels you have installed for the duration of the attack.
In order to activate a Limit Break, the user must drop into a low amount of their HP, also known as the Alarm Zone. This area is marked as being yellow, as opposed to the rest of the green bar. After having dropped into the player's Alarm Zone, a small alarm will sound, along with the word "limit" flashing in yellow over the HP bar. This means that the player can hold down the button for a few seconds to begin their Limit Break. Once the powerful attack has been triggered, a marker will begin to move down the HP bar, until it reaches the other end. At that point, the Limit Break ends, and the Alarm Zone is set closer to the end of the HP bar. To use the Limit Break again, the player must survive another attack to re-enter the Alarm Zone. Equipping the Final Limit panel makes the marker rebound to the yellow area.
Xemnas's Limit Break is called All-Vanity (オールヴァニティ, Ōru Vaniti?). In Xemnas's Normal Limit, he summons a barrier around himself, and hovers around the field. If enemies touch Xemnas's barrier, they will take damage, and cannot deal damage to Xemnas. In his Final Limit, as well as the barrier, Xemnas creates two large powerful lasers from his hands that he fires around himself at a long range. Any enemies that are hit take heavy damage.
Xigbar's Limit Break is called Critical Snipe (クリティカルスナイプ, Kuritikaru Sunaipu?). In Xigbar's Normal Limit, his gameplay goes into a first-person shooter mode. He combines his two gun arrows into a single sniper rifle, and fires powerful, large bullets at the target. Enemies hit take damage and are temporarily stunned. Due to his manipulation of space, he can hang in midair and shoot, but not upside down. In his Final Limit, Xigbar's bullets become larger, more powerful, and can be fired at a faster rate. Instead of simply being larger, they become a sphere of pink, white, and blue energy. Their strength is shown by the ripples they make in space as they are fired. Enemies that are hit take heavy damage.
Xaldin's Limit Break is called Dragoon Storm (ドラグーンストーム, Doragūn Sutōmu?). In Xaldin's Normal Limit, He swirls his lances around him in powerful bursts. Enemies that are hit take wind damage, and are pushed away from Xaldin. In his Final Limit, Xaldin's attack changes. He, instead of making bursts of wind launches himself into the air, and come down with a mighty blow onto one enemy. Faithful to its name, this is a similar technique to the Jump ability that can be used by Dragoons in the Final Fantasy video game series.
Vexen's Limit Break is called Diamond Dust (ダイヤモンドダスト, Daiyamondo Dasuto?). During Vexen's Normal Limit, Vexen summons three large mounds of ice to come up from the ground to strike enemies, dealing ice damage to and freezing all struck enemies. Enemies that are frozen take three times as much damage while frozen. In his Final Limit, Vexen's three mounds of ice are replaced by one larger glacier. This deals greater ice damage to enemies, and temporarily makes them gradually lose HP. It also freezes them for awhile.
Lexaeus's Limit Break is called Ayers Rock (エアーズロック, Eāzu Rokku?). In Lexaeus Normal Limit, He performs a charged attack. Once the Limit Break begins, Lexaeus can charge his energy, as shown by a red aura around him; he then can release the stored energy in a powerful 180-degree swing, dealing devastating damage to the target. The attack is then followed up by a shockwave. The longer the player charges before releasing this attack, the stronger the attack will be. During his Final Limit, Lexaeus's weapon becomes engulfed in rock before releasing the charged attack, increasing the strength and range of the attack by also adding a large addition of earth to the weapon length-wise.
Zexion's Limit Break is called Meteor Mirage (メテオミラージュ, Meteo Mirāju?). Zexion's Normal Limit consists of opening his lexicon and himself into the air. While in the air, Zexion summons many balls of dark indigo energy to bomb the field, dealing a large amount of damage to enemies hit by the barrage. During the bombardment, Zexion cannot move around to hit enemies that are further away with the meteors but, if you press B, you can cancel the limit to run to a better position and then press A to resume the attack. Zexion's Final Limit enhances the meteors that he summons, that are larger and more plentiful, and crash down faster.
Saïx's Limit Break is called Berserk (ベルセルク, Beruseruku?). Saïx's Normal Limit makes him to go into a Berserk state; he rushes across the field, dealing continuous, devastating damage to enemies that he comes down hitting with his claymore. When the attack button is pressed, he will jump and perform a stronger smashing attack. Each smashing attack is followed up by a shockwave. In Saïx Final Limit, he goes into an even more berserk stage; he comes down to attack even more often, and exerts a sphere of his strength straight from himself while in the air before coming down. The shockwaves that come after each attack also increase in range.
Axel's Limit Break is called Explosion (エクスプロージョン, Ekusupurōjon?). In Axel's Normal Limit, he throws his Chakrams at enemies while they're engulfed in fire, creating a small explosion of fire afterwards. While not being thrown, Axel's Chakrams spin rapidly, gathering fire. However, they can be thrown at any time, and do not need to charge, but by holding the A button the chakrams can be controlled in its explosion time. In his Final Limit, Axel combines his two flaming Chakrams into one enormous flaming Chakram, easily many times larger than the two Chakrams. The explosion after the attack is also much larger.
Demyx's Limit Break is called Wave Gigs (ウェイブギグス, Weibu Gigusu?). During Demyx's Normal Limit, the player must press and time the attack button in specific "beats" as Demyx jams out on his sitar, summoning up large pillars of water to rise and strike enemies. The more efficiently the button inputs are performed, the faster and more plentiful the attack will be. Enemies that are hit by the pillars take water damage. Meanwhile, Demyx's movement speed is reduced to a slow march, allowing him to slowly advance on an enemy as he attacks, but not much else. His falling is also slowed. The only change that happens in Demyx's Final Limit, is that he releases a large ball of water while jamming out on his sitar. The ball creates a watery explosion that knocks enemies back and deals water damage.
Luxord's Limit Break is called Jackpot (ジャックポット, Jakkupotto?). In Luxord's Normal Limit, He summons a card in front of him. While it is summoned, the card alternates between a cross and a flashing symbol similar to Roxas's pendant. Selecting the cross results in the card merely exploding and Luxord will visibly flinch, while selecting the flashing symbol will create a few powerful energy blasts that follow a trail between Luxord and the target. In his Final Limit, Luxord summons two cards in front of him instead of one. The player now has three alternating symbols to choose from: double crosses, the flashing symbol, and an additional red symbol or two large red symbols. The crosses cause the cards to explode as before, the flashing symbol and the red symbol create the exact same energy blasts as summoned by one card. When the two large red symbols are selected, Luxord will create more energy blasts than with one card, with the final blast being much bigger and more powerful. Befitting the name, this Limit is pretty much like a Jackpot game.
Marluxia's Limit Break is called Bloom-Out (ブルームアウト, Burūmu Auto?). Marluxia, in his Normal Limit, begins to charge an attack while a large black ring forms around him. Once the attack finishes charging and the black ring is completely formed, Marluxia swings his scythe multiple times over a large area on the black ring. With a perfectly timed button press, Marluxia will be surrounded in cherry blossoms and may instantly kill any weaker enemy hit by the attack. In his Final Limit, Marluxia teleports before the attack, and his swing is much faster and covers a much larger area, followed by the release of a large, crescent-shaped projectile.
Larxene's Limit Break is called Voltic Rush (ボルティックラッシュ, Borutikku Rasshu?). In her Normal Limit, Larxene rapidly slashes away at her enemies with powerful blows, dealing lightning damage. In her Final Limit, Larxene darts around the field while enveloped in lightning, making her even faster. She also deals even more lightning damage to enemies.
Roxas's and Xion's Limit Break is called Event Horizon (イベントホライズン, Ibento Horaizun?). In their Normal Limit, Roxas/Xion rapidly darts around the field with his/her Keyblade enveloped in light, slashing away at enemies with great strength. In Roxas's and Xion's Final Limit, Roxas/Xion summons four thin pillars of light to quickly move in straight paths to ends of the field, dealing heavy damage to any enemies in their path.
Donald's Limit Break is called Fantasia (ファンタジア, Fantajia?). During Fantasia, Donald summons many small, colorful explosions to appear, heavily damaging any enemies that get hit.
During Donald's Final Limit, many colorful explosions circle around Donald while he is in midair. The explosions are also somewhat larger, and do much more damage. The explosions start on opposite sides of Donald, and will rotate around him if the attack button is continuously pressed.
Donald's Limit Break is practically identical of his Limits from Kingdom Hearts II, called Comet. The name Fantasia is also the name of the ability that Donald equips to use this Limit.
Goofy's Limit Break is called Teamwork (ウニゾンアスリート, Unizon Asurīto?, lit. "Unison Athlete"). During Teamwork, Goofy repeatedly launches himself over short distances, leaving a trail of air behind him. Any enemies that Goofy hits take heavy damage. The attack can be charged for greater distance.
During Goofy's Final Limit, the player may charge the attack an extra mile so that Goofy may launch himself over a much longer distance. Because of the longer distance traveled, Goofy gathers more acceleration. This adds more force to Goofy's launch, which means that he deals more damage.
Goofy's Limit Break is very similar to the final phase of his Knocksmash Limit from Kingdom Hearts II. In this Limit's final phase, Goofy is launched around the field by Sora, leaving behind the same trail of air that is left behind by his Limit Break. The name Teamwork is also the name of the ability that Goofy equips to use this Limit.
Riku's Limit Break is called Darkstrom (ダークストローム, Dākusutorōmu?). During Darkstrom, Riku quickly darts around the field with his weapon in front of him, attacking enemies in his way. With each dash, he is surrounded in small but plentiful strands of darkness.
During Riku's Final Limit, Riku envelopes his weapon in light, very much like Roxas's and Xion's Limit Breaks. He then makes powerful slash attacks, dealing heavy damage. Although his weapon also becomes enveloped in light, Riku's Final Limit is not as speedy as Roxas's or Xion's Limit Breaks.
Riku's Limit Break is very similar to his Dark Aura Sleight from Kingdom Hearts: Chain of Memories. Both involved dashing around the battle field with the power of darkness. His Final Limit is similar to Master Hearts, a part of his Eternal Session Limit with Sora, which saw Riku and Sora enveloping their Keyblades in energy and slashing the enemy. The light which surrounds his Soul Eater in the Final Limit gives it the appearance it has during part of his Dark Maelstrom attack from Kingdom Hearts Re: Chain of Memories.
The King's Limit Break is called Holy (ホーリー, Hōrī?). During Holy, the King is surrounded by hovering balls of light around him. He summons thin beams of light to come from above directly onto enemies. He can also charge up to create a thicker and stronger beam of light. If charged up completely, there will be one huge beam and three thinner beams surrounding the huge beam in a triangle formation. The balls of light work as a shield to attack enemies if they get close to the King, and the beams of light deal devastating damage to the enemies that they come directly down upon.
During the King's Final Limit, precise timing can make a storm of light rays come down from the sky, as well as two orbs of light being fired from the King. The range for this attack is wide, though it does not guarantee a precise hit on the target as his regular Final Limit does.
Sora's Limit Break is called Ragnarok (ラグナロク, Ragunaroku?). During Ragnarok, Sora is lifted into the air. While airborne, Sora gathers thin lasers into a sphere, and then fires them after they have charged up, signified by a white flash. Once the lasers are released, they home in on enemies, dealing great damage to those hit. If the lasers are fired right as the flash occurs, Sora will be surrounded by a web of light, and more lasers will be fired.
During Sora's Final Limit, Sora releases a trio of spinning capsule-shaped beams along with the lasers. The trio of orange beams travels in a straight line, dealing devastating damage to enemies in its path. Like the regular Limit Break, the number of lasers fired can be increased by firing them right as the flash occurs.
Sora's Limit Break originated as one of the obtainable Limit attacks in Kingdom Hearts, a Sleight he can use in Kingdom Hearts: Chain of Memories, and an ability accessible through Limit Form in Kingdom Hearts II Final Mix.
Dual-Wield Roxas's Limit Break is called Magic Hour (マジックアワー, Majikku Awā?) and is similar to Zexion's Limit Break. During Magic Hour, Roxas leaps into the air and shoots up a beam of light with his joined Keyblades. By doing so, he summons many large pillars of light to repeatedly come down onto the battle field. Enemies that get hit take devastating damage.
During Dual-Wield Roxas's Final Limit, Roxas uses even more power. Roxas himself even becomes coated in light during this Final Limit. The pillars of light that he summons are even larger and faster, and deal an even greater amount of damage.
To cancel the attack and move to a better position, press B, while to resume, press A. Dual-Wield Roxas's Final Limit originates from a similar attack used by Xion in her Final Form.
Magic hour is the best photographic time to shoot the sun (usually at dawn or dusk).
On Day 225 of Story Mode, Roxas will receive the Final Limit panel from Saïx, which allows to user to execute his or her Final Limit. During a Final Limit, the user's Limit Break is prolonged, doubling the length of the attack. This is because the user will execute a special extra ability during a second part of their Limit Break. This extra attack will become executable when the marker that runs across the HP bar touches the left end of the HP bar. Then, the marker will run backwards to the Alarm Zone; during this time, the special series of an extra attack will begin until the end of the Limit Break. Because of this, the Final Limit's extra ability can only be used during the second half of the Limit Break. It also will always begin in the exact middle of a Limit Break, provided the user does not gain or lose any health in the process.
Limit Recharge is an Item Panel introduced that recharges the yellow Limit Gauge by one segment, which can allow you to use a Limit Break sooner. At that moment, if the player's yellow bar had been slightly lower than the entire HP bar, the player can also do the Limit Break sooner.
Limit Recharge can be synthesized and 5 can be redeemed from the Moogle Shop for 75 Mission Crowns.
The Limit Recharge can be synthesized for 2000 munny each, once Roxas is promoted to Novice rank.
Limit Boost is a special Panel that increases the yellow threshold of Roxas's HP Bar, thus allowing the Limit Break to be accessed at an earlier stage. It can be purchased for 1440 Heart Points from the Moogle Shop once Roxas is promoted to Agent rank.
Limit Pass is an item that allows you to configure your Limit Breaks in Mission Mode. To obtain this item, you need to complete every mission in Mission Mode and purchase it from the Moogle afterwards. Under Mission Config in Mission Mode, there will be a Limit Break configuration option on one of the pages. Three options are linked to it; Endless, which allows you to use Limit Breaks as many times as you want once you hit the yellow threshold, not decreasing the threshold; Normal, which lets you use Limit Breaks normally; and Off, which prevents Limit Breaks from being used.
If you look closely, when Organization XIII members activate their Limit Breaks, thornbeams similar to the ones that Xemnas and the Twilight Thorn use in their boss battles will surround them for a brief moment.
When the Limit Boost panel is equipped, the alarm doesn't sound until your health is reduced to about a fourth of what it was.


text: Lohardaga district came into existence after Ranchi was split into three districts namely Ranchi, Lohardaga and Gumla way back in 1983. The district is named after the town of Lohardaga, the administrative headquarters of the district. Lohardaga was given the position of a sub division in 1972 and a district in 1983. In Jain texts there is reference to Lord Mahavir's visit to Lore-a-Yadaga, which means 'river of tears' in Mundari. 'Ain-e-akbari', the famous book on Akbar, also mentions a place called 'Kismate Lohardaga'. The word Lohardaga may be made of two hindi words, Lohar meaning 'ironmonger', and Daga meaning center', which makes the literal meaning of Lohardaga as 'center of iron mining'. The district is situated in the south western part of Jharkhand State between 23°30′ and 23°40′ north latitudes and 84°40′ and 84°50′ east longitudes. The district covers an area of 1491 km² in the tribal belt of Chotanagpur plateau.

redpajama_set_name: RedPajamaCommonCrawl


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WTCR Race 2 flash: Coronel wins thriller as Girolami crashes
Damien Smith2020-10-11T17:14:51+02:00October 11th, 2020|2020|
Tom Coronel scored a sensational first victory in the WTCR – FIA World Touring Car Cup as Néstor Girolami suffered a heavy accident in the reverse-grid Race 2 at WTCR Race of Slovakia.
Coronel, in a Comtoyou DHL Team Audi Sport Audi RS 3 LMS, made a great start from seventh on the grid to rise to second place on the opening lap, then took the lead from Esteban Guerrieri's ALL-INKL.COM Münnich Motorsport Honda Civic Type R TCR through Slovakia Ring's long right-hander in the closing stages.
On the last lap, Girolami was nudged into a big accidident when Jean-Karl Vernay was unable to avoid making contact with the rear of the Honda, which was sent hard into a barrier. Girolami escaped from the impact uninjured but was taken to the circuit medical centre for mandatory checks.
"I knew I had a chance, we have always been fast here," said Coronel, who last won a race at world level in 2016. "I knew I had to manage the tyres. Finally! You are always working for this, we have a good car and we have done the testing – and it was time."
On his pass for the lead, he said: "I saw the gap and boom! It is what we are always fighting for. I had a mega start, then I was on the grass!"
Girolami started from the DHL Pole Position and his task appeared to have been made easier before the action began when fellow front-row man Luca Filippi hit trouble. A clutch failure meant his Team Mulsanne Alfa Romeo Giulietta Veloce TCR by Romeo Ferraris had to be pushed off the grid and the Italian was forced to sit out the race.
From the start, Girolami swept right to take the inside line, but had not made a fast getaway. At the corner, second-row starters Santiago Urrutia and Jean-Karl Vernay made contact, Urrutia running wide into the gravel and dropped down to P17. The incident allowed Guerrieri to get a strong run on the outside line and he led from fifth on the grid. Coronel had also benefitted and was up to second from seventh on the grid, ahead of Gilles Magnus and Girolami, who had further contact with Vernay later on in the opening lap. Vernay was now eighth.
Then a safety car interruption was triggered as four cars ran side by side. Attila Tassi's Honda was nudged and he then clipped Gabriele Tarquini's Hyundai, sending both into the gravel.
Racing resumed on lap five, with Guerreri leading a long train of cars. The Honda was struggling for straightline pace and Coronel took his chance when the Argentine left a gap on lap eight. As they started lap nine, Gilles Magnus slipped past the Honda for second to complete a Comtoyou one-two.
"Congratulations to all the team," said the WTCR Rookie Driver. "We had a victory this morning with Nate [Nathanaël Berthon] and now we have a one-two. It's not a miracle it's down to hard work. I made a poor start, but I took some risks in the first corners and I was P3. Tom was quicker at the end and I didn't want to attack and take any risks for the team."
Guerrieri claimed third place, but his main concern was for his team-mate friend Girolami. "I was surprised it was such a big crash, I saw it in my mirrors," he said. "But he's OK. That's the positive. As for the race, it is what it is. The other cars around us were quicker on the straights, so P3 is a good start."
Vernay finished fourth after his incident with Girolami, the Frenchman having raised his hands in apology as the contact took place. Mikel Azcona took a remarkable fifth place for Zengő Motorsport having started his CUPRA Leon Competición in P17, ahead of the Hyundais of Nicky Catsburg and Norbert Michelisz.
Goodyear #FollowTheLeader Yann Ehrlacher finished eighth ahead of his uncle Yvan Muller and Tiago Monteiro completed the top 10. The top 15 was completed by Luca Engstler (Honda) in P11, wildcard entry Petr Fulin (CUPRA), Aurélien Comte in Vuković Motorsport's Renault Mégane RS TCR, Bence Boldizs (CUPRA) and Urrutia.
Coronel has now shot from sixth in the points to second, on 82, with Ehrlacher 25 points ahead on 107.
Race 3 for WTCR Race of Slovakia takes place at 14h45 local time.
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Home Features Columns A Shot in the Dark
by Mary Helen Tibbs
You can always count on a professional photo shoot to cause a stir.
I'm not talking about, say, the "photographers" we spot almost weekly in the alleys and empty lots around our offices with "models" posing provocatively against some grimy warehouse, or the guy with a monster digital and zoom lens among a Canon-clutching crowd at a tourist spot. I mean a real photo shoot, with the stand lights, colorful gelled spotlights, umbrellas, reflectors, assistants, the works. Sometimes, though the onlookers are so distracting we have to shoo them away, but often, they simply add an interesting aside when we're asked, "So, how'd the shoot go?"
Regardless of the subject matter — you could be shooting something as pedestrian as a lump of colorless clay on a plate — pedestrians will stop to watch. A few examples from recent photo shoots:
While at the Shack Up Inn in Mississippi, stylist Alicia George, a Russian model named Alina, and I were huddled together, straddling a long-abandoned set of railroad tracks for the last shot of the day. A pickup truck with two ball-cap-clad "do-gooders" stopped and asked us if we needed a ride.
Now, there were lights set up everywhere and Alina was in a formal gown. No sentient being would think we were damsels in distress needing help from kindly passersby. I'd be gracious and attribute this to Southern hospitality, but seeing as how these two Samaritans completely ignored our male photographer and art director, I simply can't. They watched for a while, making various comments under their breath and wolf whistling before riding off into the sunset, sadly, with no model riding shotgun.
Sometimes, the city police and other security-types are a bit, er, wary about what we're doing, and why. Take for example, the September 2006 cover story on the city's "Unsolved Mysteries," featuring a shadowy figure in a trench coat and hat standing in front of a vintage car in a dark downtown alley. Oh yeah, that looked sketchy to everyone, to be sure. This June, we shot the Germantown High School cheerleaders, and you can imagine what the combination of a gaggle of pretty young girls in cheerleading uniforms and a camera crew did to onlookers, especially of the teenage, male variety. Last year's City Guide cover, featuring Amy LaVere, Thomas Boggs (whom we miss dearly), Dave Brown, and Steve Cohen reenacting the famous "million dollar quartet" Sun Studio photo from 1956 made the tourists at rock-and-roll's sacred ground go wild trying to catch a glimpse of what was happening in the other room. The windows along the outside of the shoot were filled with sweat-soaked faces peering in to see what the fuss was about.
Same goes for the 2006 City Guide shoot at Stax, where those on the audio tour ripped the headphones from their ears as they stopped to watch Linn Sitler, Mayor AC Wharton, Jackie Nichols, and Dr. Scott Morris pose in the museum's restored country church. Then there was the group of teenagers who practically exploded into fits of giggles when they found out we were shooting a tasty concoction called Tang Pie at a local shake-and-burger joint for a "summer treats" feature.
So you can imagine the ruckus raised on a recent Sunday just before midnight on Beale when we shot Preston Shannon for this issue's cover. This is, after all, one of the kings of the blues, smack in the middle of Beale, wailing as though his heart was just shattered into billions of tiny pieces, one leg propped up as he sat on his amp. We had a mob around us going nuts, and I couldn't blame them one bit. (I do, however, blame those buckets-o-booze called Divers sold on the street for some of the runaways who got past our security patrol to mug with Shannon like some drunken photo-free-for-all.) One woman assured us, repeatedly, that we'd made a great decision using Shannon by singing, Ray Charles-style, "You got the right one, bab-aaaay," over and over and over . . .
We agree — we did get the right one. One shot, one place, one person, to encapsulate all things Memphis for the annual City Guide? If ever there is a Memphis scene, this cover is it.
So we got the shot, beat the crowds, and I guarantee, felt a heck of a lot better than the off-key but on-target songstress the next day, ba-baaaay.
August-2008 Columns Memphis Magazine August 2008


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India's Bajaj Auto beats Q3 profit estimates on higher prices, domestic demand
A logo of Bajaj is seen on an auto at a parking lot in Kolkata
CHENNAI (Reuters) - India's Bajaj Auto reported a bigger-than-expected third-quarter profit on Wednesday, as strong domestic demand and an increase in prices of its motorcycles and scooters made up for weak exports.
The company's profit increased nearly 23% to 14.91 billion rupees ($182.84 million) for the quarter ended Dec. 31. Analysts, on average, had expected a profit of 13.64 billion rupees, according to Refinitiv IBES data.
The company's revenue from operations increased 3% to 93.15 billion rupees, helped by demand for sports motorbikes during the festive season, when many Indians make big-ticket purchases.
Demand from high-income consumers for everything, from home care goods to motorcycles, has held up in recent quarters despite price hikes by Corporate India to protect its bottomline from higher costs.
"We expect auto and auto ancillaries to see the benefit of softening input costs from Q3 onwards," HDFC Securities said in an earnings preview note for the sector.
Bajaj Auto's total expenses dropped 1% in the third quarter.
The company's domestic two-wheeler and commercial vehicle sales volumes, which account for more than half of the overall sales, climbed 4% from a year earlier.
"Robust double-digit revenue growth in the domestic business offset the drop in exports arising from the challenging market context," Bajaj Auto said in an exchange filing, adding "judicious pricing" also helped boost earnings.
Exports, which made up over 40% of total volumes, dropped 33% as macroeconomic and regulatory pressures in Africa weighed.
The company's two-wheeler exports to Africa, which includes Nigeria, Uganda and Democratic Republic of Congo, contributed to more than half of its motorcycle exports in the last fiscal year, according to its annual report.
Bajaj Auto's stock climbed 11% in 2022, compared with the Nifty auto index's 15% gain.
($1 = 81.5480 Indian rupees)
(Reporting by Praveen Paramasivam in Chennai; Editing by Eileen Soreng)
US stocks are poised to hit new lows this year, survey of investors shows
Most say the market has yet to hit the bottom amid concern over corporate earnings.
GAIL (India) Ltd is scouting for long-term gas import deals and hopes to sign one contract shortly to make up for disrupted supplies from a former unit of Russian energy giant Gazprom, its head of finance said on Monday. India's largest gas distributor reported a 93% decline in its December quarter net profit as it transmitted less gas locally due to a reduction in liquefied natural gas (LNG) supply from a deal with Gazprom Marketing and Singapore (GMTS). GAIL is in talks with Abu Dhabi National Oil Co (ADNOC) and many other parties to source gas.
Indian lender PNB has 70 billion rupees exposure to Adani Group -MD
India's Punjab National Bank has a total exposure of 70 billion rupees ($859.30 million) to Adani Group, but there is currently no worry pertaining to those accounts, the state-run lender's managing director and chief executive said on Monday. Last week, U.S. short-seller Hindenburg Research flagged concerns about Adani Group's debt levels and the use of tax havens. Adani Group has said that it complies with all local laws and has made the necessary regulatory disclosures.
Shenzhen Delegation Went to Singapore to Conduct Economic and Trade Exchanges, Seizing Opportunities for Development and Cooperation
On January 28, the first day of work in the Lunar New Year, the Guangdong Provincial Committee of the CPC and the People's Government of Guangdong Province held a provincial High-quality Development Conference to mobilize and deploy the key work throughout the year, so as to promote the whole province to form an enterprising trend of catching up with each other on the road of high-quality development. On the day of the Conference, at the invitation of the Embassy of China in Singapore, Commerce
Wheat prices in India, the world's biggest consumer of the grain after China, have dropped nearly 13% from record highs since the government offer last week of 3 million tonnes to bulk consumers such as flour millers. Prime Minister Narendra Modi's government on Wednesday allowed flour millers to buy up to 3 million tonnes of wheat from state reserves. On Monday, wheat prices in New Delhi dropped to 28,290 rupees ($347.11) a tonne, down 13% from their record high hit last week because stocks are low.
India's Adani Group plans independent audit of group companies- Mint
The audit will be commissioned after the group's unit, Adani Enterprises Ltd, completes a follow-on public offering, and based on its findings legal options will be sought, Mint reported, citing two people with direct knowledge of the matter. The audit will include a review of certain related party transactions, accounting practices and compliance with corporate governance standards at the firms, the report said, adding that it will also attempt to check whether Hindenburg's allegations are correct.


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By Chicago. Arranged by Greg Danner. Score, Set of Parts. 25 pages. Published by Avanti Music (H0.379729-SC001238650).
By Chicago. Arranged by Jeff Tincher. Sheet Music Single. 4 pages. Published by Jeff Tincher (H0.364267-SC000009019).
By Chicago. Arranged by Thomas Graf. Score, Set of Parts. 22 pages. Published by Thomas Graf - the-hit-factory.com (H0.165753-874594).
By Chicago. Arranged by Jeff Tincher. Set of Parts. 46 pages. Published by Jeff Tincher (H0.179309-874594).
Selections from the Motion Picture. Composed by John Kander. Arranged by Dan Coates. Piano - Easy Piano Collection; Piano Supplemental. Easy Piano Vocal Selections. Movies. Softcover. 48 pages. Alfred Music #AFM0306. Published by Alfred Music (HL.321403).
By Chicago. Arranged by Lisa Donovan Lukas. Individual Part, Sheet Music Single. 6 pages. Published by Lisa Donovan Lukas Music (ASCAP) (H0.253579-151050).
By Chicago. Hal Leonard Transcribed Scores. Pop Rock and Soft Rock. Transcribed score songbook. With full score notation. 136 pages. Published by Hal Leonard (HL.672368).
Clavisoft. Composed by Fred Ebb and John Kander. Clavisoft. Movies. Published by Yamaha (HL.505723).
By Chicago. Arranged by James M. Guthrie, ASCAP. Score, Set of Parts. 10 pages. Published by jmsgu3 (H0.268463-151050).
By Chicago. Arranged by Kirby Shaw. Pop Choral Series. Show Choir, Pop, Ballad. CD. Published by Hal Leonard (HL.231504).
By Chicago. Arranged by Alan Billingsley. Choral. Pop, Rock. Choral. 13 pages. Published by Hal Leonard - Digital Sheet Music (HX.385087).
By Chicago. Arranged by Brad Esbensen. Score, Set of Parts. 38 pages. Published by Brad Esbensen Music Services (H0.362857-874594).
By Chicago. Arranged by Paul Grecco. Pop. 3 pages. Published by Paul Grecco (H0.115293-151050).
By Chicago. Arranged by Kirby Shaw. Pop Choral Series. Show Choir, Pop, Ballad. Octavo. 12 pages. Published by Hal Leonard (HL.231500).
Composed by Fred Ebb and John Kander. Arranged by Ted Ricketts. HL Full Orchestra. Musicals. Softcover, Conductor Score (Full Score) and Parts. Published by Hal Leonard (HL.4490285).
By Chicago. By Robert Lamm. Arranged by Paul Murtha. Discovery Jazz. Classic Rock, Rock. Published by Hal Leonard (HL.7470751).


Turns out Leisure Suit Larry: Reloaded isn't coming—well, not for a bit longer, anyway. The remake of Sierra's infamous 1987 adventure has hit various snags during development, resulting in a release date delayed till June.
Over at developer Replay Games' website , founder Paul Trowe blogged about his "heartbreaking" decision to push back the release date, in a way owing it to his fans' pinpoint-sharp six senses for uncovering game bugs. Over 4,000 beta testers, no doubt channeling Larry's super-keen "exploratory" skills, tore the bedsheets off so many bugs that Trowe didn't feel the remake was fit for release.
"Due to the pure number of bugs found in the PC version alone (Mac version is being tested now, but not via Steam), we're having to delay the game, yet again, until the end of June," Trowe said. "I SERIOUSLY wanted this game out by the end of May because we've postponed it more times than Larry's been rejected. Ok, well, maybe not THAT many, but still….we've had some delays."
It wasn't a lightly made decision, with what sounds like dozens of people being consulted in the lead-up to Larry's original planned release date. "Sure, we COULD release the game at the end of the month, but we'd be shipping it with bugs. Things like: the wrong line being spoken, Larry walking through a table in the cabaret, missing sound effects in the tutorial, no music in certain spots, and Larry's scaling needing fine-tuning."
Leisure Suit Larry in the Land of the Lounge Lizards: Reloaded was Kickstarted last year, and then later Greenlit for Steam . Trowe has described this as more than just a remake, with eventual hopes to reinvigorate the entire seedy franchise.
"We have ONE SHOT at getting this game right, and it will set the bar for quality for all future Larry games to come."


Jim Threapleton is understandably excited; his film, Extraordinary Rendition, which played at last year's Edinburgh Film Festival, is released on DVD this week and, simultaneously, gets its small screen debut on Wednesday. Yet even in the Guardian, previewing the film as one of its viewing choices, describes him as 'the director formerly known as Mr Winslet' Hopefully the film, a powerful and uncompromising fictional depiction of rendition, will turn him into the director now known as Jim Threapleton. Still, he's clearly thriving.
Like Paul Greengrass's United 93, much of the dialogue in Extraordinary Rendition is improvised. I ask Threapleton how this process worked.
A lot of actors love improvisation.
The torture scenes are intense and hard to watch; how did the actors cope?
One of the best things about the film is that it explores Omar's return to Britain, his attempts to live a normal life.
'I didn't want to apply a very dry perspective to it, to make some sort of political statement finger wagging at the states that are complicit in it. I always wanted this to be about the human experience, the human cost of something like extraordinary rendition, so it came down in the end to the repercussions for the individual and the most important thing is to suggest that once a human being has been put through this kind of machinery the shattered life that he's left to maintain afterwards leaves him very few options, in terms of the way he engages with his broken life, so you end up with an individual who is potentially cauterised and reduced to a radical frame of mind. The perspective of looking back after the event and enabling the audience to understand a single focus point was key to articulating the subject matter.
The power of the story also comes from Zaafir's situation; he is a normal, middle-class lecturer who happens to be a Muslim, going about his daily life. The film suggests that rendition can happen to anyone.
Threapleton was at one point poised to go to Hollywood, working on films like The Mummy as an assistant, but seems to have chosen a more personal path with Extraordinary Rendition. Does he still hanker after the Hollywood dream?


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BEAUTIFUL BIZARRE MAGAZINE
DEVOURER OF DREAMS:
INTERVIEW WITH KOTSUHIROI by evelyn wang
At roughly the same frequency as spontaneous combustions, there emerges an artist who will leave an indelible brand on the rump of humanity. In the case of artist, poet, designer, and "emotional pornographer" Kotsuhiroi, it's less of a brand and more of a scarification: He patiently tears strips of flesh from the art world's inbred, autosarcophagic derriere in a design both brutal and sublime.
I've been obsessed with Kotsuhiroi's work since before I was legal, after stumbling upon pictures of her shoes, what he calls "body objects" or "feet objects"—rapture/torture contraptions strangled in strips of dead animal and human hair, elevated by mini Brutalist apartments, and graced with saber-toothed heels. They make the so-called fetish shoes by Pleaser and Devious look like Uggs. In fact, it seems almost obscene to be name-dropping such brands within a 100 mile radius of the France-based artist's haute fétiche designs.
The art world's S&M Elena Ferrante is the definition of arcane. He has done a handful of interviews, mostly with niche magazines and art blogs. He only does interviews by email, he told me, and his answers are always sphinx-like, sometimes amusingly, sometimes frustratingly so. In one, he said his celebrity client is the devil (who "lives in Japan actually"), declared his favorite materials to be "the escape," and nonchalantly revealed that he's a "ghost."
Given his disdain for the fashion industry, it is unlikely he will ever become a fashion designer. But if he did, he would eviscerate every couturist today, with Michele Lamy being the only person worthy to wear his work.
We caught up with Kotsuhiroi to talk self, dystopia, destruction, and commodification. He has also graciously offered a preview of his upcoming poetry/photo project DYSTOPIA, the first movement of his larger project PROPHECY, to be debuted at the end of May.
Photograph from the series titled "PROPHECY" by KOTSUHIROI 2016 ©
Evelyn: Kotsuhiroi, it is truly an honor to interview you after admiring your art from afar for years. If you would be so kind as to indulge me, please introduce yourself and your artwork to beautiful.bizarre and its readers…from the perspective of someone who repulses you, or from someone you repulse.
Kotsuhiroi: The "I" of the « other » or taking the place of someone who is not yourself and talking about yourself. A form of waking nightmare and searching in the consciousness of this "other", his thoughts about you. A form of combined interrogation of neurosis. A bad mirror whose reflection never ceases to be terribly blurred. Imagining the other talking about you and transcribing his sentences, being postponed, that means a list of incalculable things, for this or that, out of fear, jealousy, for mood, for no reason, just because we are in another room and that the door does not open. I do not want to put myself in the place of another one to say what I am or what I'm not.
E: It is clear, from looking at your work, that you have evolved significantly from your beginnings. An elegantly primal, punk-imploding, kinbaku-wrangling Pokemon, if you will. Is it possible for you to identify distinct "periods" of your work, and if so, what are they? How would you describe your artistic metamorphosis and what are the forces that have influenced this growth?
K: « Periods » are passages, forms of necessities of understanding and experiences. The experience of these periods do not always leaves a beginning and an end, a change... It is an ongoing thread made of waves, breaks, repairs, questionings and expectations. The work is a functioning of crisis, anger and forgetfulness, it does not follow a well established pattern as an assembly plan for a furniture kit. The concept of environment, that is to say a form of biotope that allows the organic-poetic thought to grow, to take root, to look for nutritious links, remains very fragile. Metamorphoses are molts, totally necessary abandonments, it is to be critical and lucid in front of the mirror and watching this outside of us and undo once again what is wrong
E: Please tell us about your upcoming project, Prophecy, and its first movement, Dystopia (a preview of which we have excerpted below and which Kotsuhiroi tells me will debut towards the end of April). What does the word "dystopia" mean to you? Are we currently in a dystopia? If not, how close are we?
K: Prophecy is a conjunction of realities and stories, a title for movements and noises. The burden of reflection on Prophecy and its object-word content weighs on us, there is anguish and hope, vision of the announcement of what is, a now in a strange balance, a kind of landmark that never ceases to escape.
Dystopia is the first movement, as a search, an excavation with traces and clues, a change in odor as a climate change, something inevitable, a chemical balance that is no longer the same.Dystopia is a disease, a form of virus contracted in unknown circumstances, it affects our memories, undresses our consciousness, fueling the gene of lucidity and thus a form of suffering in relation to perception. Each thing can take a turn to taste this fruit that cries hope. Be carrying Dystopia involve a different system of life, since the Dystopia exists it means that there is a sort of reason for its existence, a fertile ground that allowed it to take root and grow. The trace or strain of Dystopia is extremely difficult to know and find. Its ability to adapt and mutate to the environment is extremely important, it survives very impressively and until today no system has been able to eradicate it.
E: In the text portions of your artwork, you have often written in the first person. How much of this is explicitly autobiographical, and how much of it is toying with and disrupting the ideas of identity and self?
K: The geography of the 'self' is complex, our own identity in its inner nature, then external, often reveals an ambiguous form, a ground hard to define, changing and contradictory. Being in the autobiography, real or fictional, is to be in possible reference points, a stability of living. I am not what I am, my name is a « nom de guerre », a built identity of existence, an identity which is no longer in affiliation with compulsory social or family relationship. Building one's own name is building ourself, our own gender, our own character, our own truth, it is to shape our own self, to return to our own independence and to determine our own form of life. Our self, as a condition of our own reality. I'm the surrogate mother of my own self, devourer of my nights in the gaping hole of an injured destiny. I am a man in the uncertainty of the day, looking for sounds of heat as locked memories.
E: This is an interview for an art magazine, so it might be a wee biased, but how much of an artist to we have to understand to appreciate or understand their art? Are we getting too obnoxiously meta here?
K: To understand an artist or to understand his work is a personal story where each case is a special case. I do not know if there is a limit point not to exceed in order to understand the work of an artist and understanding, or at least grasping, a part of his life to access something less superficial or formal in his work . It's a complex relationship, it is difficult to know where the intimate and the external border begins. This dialogue is a dialogue to build, or not.
E: In past interviews, you have expressed your distaste for the fashion industry, branding and commercialization. Can you elaborate on this aversion and has it abated at all?
K: This industrial system, like any mass production system is based on the outlines of exploitation. Thereby, its first relation is profit, which removes any notion of quality, attention, relevance, research ... This system bathes in a general mediocrity and imposes its economic and material weight, its own choices and reasons. But this is a form of cliché that is accepted because a compromise of satisfaction exists, even if this compromise is mediocre. Making different choices is possible, but very few people can do it or feel like they want to do it.
E: Additionally, you, like other artists, also use social media and the name "Kotsuhiroi" carries quite some weight. What are your thoughts on the inescapability of social media and branding, especially in the art world and in 2016? How can artists reconcile their creativity and success with such banalities without losing their artistic integrity?
K: Social media are streams where circulates a form of metadata. Like any language, it requires an element of magma, of confusion, of contradiction, and understanding it and grasping it is not always easy. Translation is the sort needed to find a kind of balance and a use of the environment. In this navigation of flow, reconnaissance characters are important, as benchmarks beacons where we can cling and start building something. The question of labeling enters into transactions with these notions of benchmark beacons, it is by that to position, to classify and seize the content. It is very difficult to avoid the label since it stabilizes a position that allows a human order to know where you are. We must therefore be aware of it and work with it.
Each individual reacts differently to its environment and based on the characters and choices, orientations will inevitably vary. Integrity and reconciling something are a difficult arrangement, why doing it? What are the reasons, circumstances, issues, remorse and pitfalls?
E: Have you ever felt pigeonholed or reduced into a particular Aoi Kotsuhiroi-stereotype? Semi-relatedly, have you transcended the individual and become a concept in the minds of your audience? Can you avoid either of these as you become more famous?
K: I don't think so, an important form of physicality exists in my work and this puts aside a uniquely conceptual perception. The material of development in which my relationships exist tackles before all things a notion of the Sensible and the Affect. The « reason » character where the transcendence of the individual who had transformed into a kind of concept does not attract me. I need this emotional sweating, to capture the experience of time.
All this is a matter of choice, both of refusal and acceptance. You just have to decide what you want to do or not, and then the question of experience is important, as a kind of ability to see better, to grasp a form of detachment not to clutter and continue to act .
E: Continuing on this vein, you have referred to some of your work as "body objects" and "feet objects," and you have played with concepts of fetishization, fixation and commodification. At what point does art become fetish and/or product—and vice versa?
K: Man in his original essence has this need of fetish as a both spiritual and emotional instrument. The fetish object is the witness of our emotional and relational writings. Our lives translate by their fetish traces, our courses of memory. The fetish object is not an object of the produced Art. It is a surpassing, by its perception and relation, its position of condition and its environment determines it as a wholly situation in a specific identity. The nature of its function keeps it away from the decorative and the demonstrative, its commitment not to be a product or a common and vulgar cliché is a an important distinction that has to be made. Amalgams and confusions of perceptions are forms of reading and meaning mediocrity. The fetish object is a story of structure and organ of war poetry .
But all this is only the outlines, we should, to make the analysis and reflection further, determine specific examples of fetish objects, Art objects, a condition of contextualization, and the question: "who watches what? ".
E: Has anyone ever approached you about turning your designs into large-scale productions or a brand? If so, how did you respond and why did you respond as you did?
K: I did not see anything happen, just some details of no great importance. Faced with the details I just said "no" because it had no interest.
E: If you could abandon this world for another, would you? And what would it look like?
K: The concept and perception of abandonment would be a kind of renunciation, of neglected thing, a form of bankruptcy, of escape, of failure and sadness. We capitulated because we have failed to understand what we are and what we did. Our incompetence and our cowardice are there, and we start to reproduce the same pattern. I don't want to run away or to give up, I want to build a labyrinth where the exit exists.
E: And to end on a truly nihilistic note, what is the most beautiful and terrible way someone or something can self-destruct?
K: I do not think the concept or field of nihilism is a necessary and appropriate condition. The state of lucidity is already an important nature of perception and understanding. This lucidity implies that gaze of nudity and doubt on what surrounds us and touches us. The questioning, the define sense, the position of the will, the writing of a here-after, the pattern of history and experiences, the place of a spiritual made to stabilize our anxieties of life, the choice to leave, to go in human dignity, to fall into oblivion in the distance of the night carried away by our memories.
Australia / INTERVIEW WITH EVELYN WANG MAY 2016


sprout) if the bran layers and the germ are intact.
rich in fiber, vitamins and minerals.
turn rancid almost immediately, so it is always removed when grains are ground into flour.
remove the coarse outer covering (the fiber) and the quick-spoiling germ.


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10 of the most read stories of 2019
2019 has been a busy year for the world of group travel, but which news articles and features have you been most interested in? Here's our top 10 most read stories of the last 12 months.
10. New steam train experience from Waterloo to Windsor
The announcement of the first steam train service in modern history to travel between London Waterloo and Windsor certainly caught your eye. The Steam Dream Rails Co. launched The Royal Windsor Steam Express throughout the summer of 2019, with group packages available.
9. Review: The ambitious and intriguing Tutankhamun exhibition at London's Saatchi Gallery
We were among the first to see the new landmark display at the Saatchi Gallery in London and many of you wanted to read our verdict. The remarkable exhibition, which is running until May 2020, follows Tutankhamun's journey into the afterlife with more than 150 items on show.
8. Group Leisure & Travel Awards celebrate the best for trips and holidays
TV presenter Martin Bayfield celebrated with the winners of the 2019 Group Leisure & Travel Awards.
There was plenty of buzz around the 2019 Group Leisure & Travel Awards and the report about the ceremony, held in Milton Keynes on 9th October, was hugely popular with readers finding out which attractions, destinations, providers and individuals had won on the night.
7. The Excellence Award 2019
The interest in the awards was throughout the year including when we revealed who the finalists of the 2019 Excellence Award were. Congratulations again to Ellie Fulcher, sales manager for groups & affinity at Fred. Olsen Cruise Lines. And keep your eyes peeled for the 2020 awards initiative which will launch in the early part of the year.
6. Rum inspired Lost Lagoon to open in Birmingham
News about an interpretation of Captain Henry Morgan's world proved popular for group organisers with details of the 'immersive experience' revealed earlier in the year. Described as a "rum-fuelled, swashbuckling adventure on the high seas", visitors were in for a unique day.
5. Interview: Kate Robbins on her part in the new Club Tropicana musical
Kate Robbins played Consuela, the grumpy Spanish hotel chamber-maid.
Perhaps it was nostalgia that piqued your interest in the chat with star Kate Robbins who gave a show-stealing performance as Consuela in Club Tropicana the Musical which visited several theatres across the UK in 2019. She talked about why the 1980s was the most important decade of her life and how she got into character for her new role.
4. Blenheim Palace unveils Alice in Wonderland Christmas experience
Details of the 2019 festivities at the heritage site in Oxfordshire caught your eye with details about the highlights revealed as well as group rates. This year's experience, which runs until 5th January, 2020, includes sparkling giant peacocks, an array of illusions as well as some much-loved childhood characters.
3. British Museum announces 2019 exhibition calendar
Free displays and new exhibitions were announced by the British Museum earlier in the year along with highlights of the calendar - helpful information for group organisers planning days out for their members. Significant events of 2019 have included Rembrandt: thinking on paper which marked the 350th anniversary of the artist's death.
2. 10 top Afternoon Tea experiences for groups
Afternoon tea at Harewood House, Yorkshire was one of the tasty mentions in a special feature about top group experiences.
There were some tasty mentions in this article which outlined the best places to enjoy the great British tradition all year-round. Just some of the locations that made our list were: Harewood House in Yorkshire, the Houses of Parliament as well as some extra-special experiences including afternoon tea on a cruise with French Brothers, yummy!
1. Theme revealed for Longleat's Festival of Light 2019
Your most read story of the year was…the announcement about the 2019 Festival of Light in Longleat with details of the theme (Myths and Legends) along with highlights for groups to look forward to and essential information about group rates and benefits.
Are you registered to receive weekly updates?
If you're not already, sign up to receive our newsletters and email alerts and be among the first to find out about the latest group travel news and features.
Longleat
Coronavirus: how attractions, hotels & others are adapting to reopen safely
Although group visits aren't possible right now, we thought it would be interesting to look at some of the changes tourist attractions are making so they can safely re-open as lockdown restrictions ease.
Longleat's virtual safari is watched by half a million viewers
In just three days, Longleat's free online tour of the Safari Park was viewed by 554,000 people around the world.
GLT's top picks: 6 wildlife experiences for groups
In celebration of World Wildlife Day, we're sharing some of our favourite group wildlife activities available in the UK.


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(-) Colorado (2)
(-) Minnesota (1)
Chugach School District (1)
Fond du Lac Tribal and Community College (1)
Michigan Sea Grant (1)
University Corporation for Atmospheric Research (UCAR) Center for Science Education (1)
University of Colorado Boulder / Cooperative Institute for Research in Environmental Sciences (CIRES) (1)
R4Ed: Rigor, Relevance, and Relationships in Resilience Education
University Corporation for Atmospheric Research (UCAR) Center for Science Education offsite link · Boulder, Colorado
In this project, high school students in Houma, Louisiana, will investigate which areas of their community are most vulnerable and what can be done to be resilient in the face of hurricanes and sea level rise, today and in the future. To do this, they will collect local stories of coastal erosion, hurricane damage, and disappearing land and compare them with data from the NOAA Digital Coast Tool and the NCAR Cyclone Damage Potential (CDP) Index.
In this project, high school students in Houma, Louisiana, will investigate which areas of their community are most vulnerable and what can be done to be resilient in the face of hurricanes and sea level rise, today and in the future. To do this, they will collect local stories of coastal erosion, hurricane damage, and disappearing land and compare them with data from the NOAA Digital Coast Tool and the NCAR Cyclone Damage Potential (CDP) Index. Linking the impacts that community members have experienced with the data about these events and future projections, students will identify vulnerable areas in their community, identify the types of hurricanes that have been the most destructive to their community, and make resilience recommendations that they will present to their peers and the community at large. Project partners, the UCAR Center for Science Education, the NCAR Capacity Center for Climate and Weather Extremes, and the South Louisiana Wetlands Discovery Center, will develop the curriculum, facilitate the instruction, and disseminate the educational resources to other coastal educators. The successful completion of this project will result in a model approach for how students in other coastal communities can use data, stories, and the CDP as they engage in coastal resilience planning. This model approach will be described in a collection of educational resources, allowing educators to implement the approach with students in other Gulf Coast and Atlantic locations affected by hurricanes and sea level rise.
PI: Elizabeth "Lisa" Gardiner
State: Colorado County: Boulder District: CO02
Partners: University Corporation for Atmospheric Research (UCAR) National Center for Atmospheric Research · NOAA Earth System Research Laboratory (ESRL) · Louisiana State University (LSU) / College of Art + Design · Center for Planning Excellence · University of New Orleans / Center for Hazards Assessment, Response & Technology (UNO-CHART) · Terrebonne Parish School District / South Terrebonne High School · South Louisiana Wetlands Discovery Center · Louisiana Department of Education · Lafourche Parish School District · Terrebonne Parish School District ·
Resilience from the Youth Up
Michigan Sea Grant offsite link · Ann Arbor, Michigan
As climate impacts ratchet up across the United States, the Great Lakes region tends to fly under the national radar. While the Great Lakes do not experience hurricanes, rising sea levels, or large-scale wildfires, the local climate has become increasingly erratic in recent years. The region, however, is one of the most unprepared in the country to cope with these impacts. A recent Grosvenor report (2014) on climate resilience among 50 global cities ranked Detroit last among 11 U.S.
As climate impacts ratchet up across the United States, the Great Lakes region tends to fly under the national radar. While the Great Lakes do not experience hurricanes, rising sea levels, or large-scale wildfires, the local climate has become increasingly erratic in recent years. The region, however, is one of the most unprepared in the country to cope with these impacts. A recent Grosvenor report (2014) on climate resilience among 50 global cities ranked Detroit last among 11 U.S. cities for adaptability and only better than three cities for overall resilience, which incorporates both climate vulnerability and adaptability factors. Of U.S. cities with more than 100,000 residents, Detroit has the highest percentage of African-American residents (80.7%, U.S. Census 2016). Still recovering from bankruptcy, the city also has a 39% poverty rate, which impacts over 56% of children (ibid). These socio-economic factors, coupled with other environmental justice concerns, such as a centrally located incinerator and an asthma rate of 15.5% among adults resulting in over 3,000 hospitalizations annually, make Detroit residents particularly vulnerable to climate impacts. This project will address the urgent need to increase resilience by working with high school students and teachers in Detroit and southeast Michigan to increase their awareness of climate change and develop projects that help their schools and neighborhoods become resilient to increased occurrence and intensity of heat waves, storm events, and flooding. Using NOAA assets, including GLISA localized climate data and Sea Grant outreach and education expertise, high school students and teachers will partner with climate scientists to explore local climate impacts firsthand and to develop resilience strategies and projects that protect vulnerable households and neighborhoods and contribute to broader sustainability initiatives. The City of Detroit seeks this involvement as it ramps up a new Office of Sustainability and seeks proposals to develop the city's first Sustainability Framework. The effort is a partnership with EcoWorks, Great Lakes Integrated Sciences + Assessments (GLISA), Michigan Sea Grant (MISG), Southeast Michigan Stewardship Coalition (SEMIS), Eastern Michigan University, Civic Research Services, Inc., and the National Oceanic and Atmospheric Administration (NOAA). In each of the next three years, 200 students from various high schools in the Detroit and Ypsilanti areas will participate in weekly activities related to the grant. The four primary objectives of the program include: 1) Engage students in assessing and quantifying climate vulnerabilities of their schools, neighborhoods, and surrounding community. 2) Using a place-based education (PBE) model, prepare educators to engage students in creating plans and completing projects that increase community resilience. 3) Empower high school students to teach residents about local climate impacts and increase understanding of resilience strategies to mitigate extreme weather events or other environmental hazards. 4) Contribute to the completion and implementation of local sustainability and climate action plans in Southeast Michigan.
PI: Michael Fraker
State: Michigan County: Washtenaw District: MI12
Partners: Eastern Michigan University · National Wildlife Federation (NWF) / Great Lakes Regional Center · NOAA National Weather Service (NWS) · Southeast Michigan Stewardship Coalition (SEMIS) · EcoWorks · Great Lakes Integrated Sciences + Assessments (GLISA) · Ypsilanti Public School District · City of Detroit / Office of Sustainability · City of Ypsilanti · Detroit Public Schools Community District · Michigan State University (MSU) Extension · Washtenaw County Administration / Water Resources Commissioner's Office · Huron-Clinton Metroparks / Lake Erie · American Society of Adaptation Professionals (ASAP) · Ann Arbor Public Schools · Detroit City Council / Green Task Force · Detroiters Working for Environmental Justice · Michigan Climate Action Network · Detroit Greenways Coalition · WSP Detroit · Michigan Aerospace Corporation · Porter Family Foundation · Izzie, LLC · Huron River Watershed Council · Clinton River Watershed Council · Charter Township of Ypsilanti ·
Climate Strong—Building Tribal Youth Leadership for Climate Resiliency
Fond du Lac Tribal and Community College offsite link · Cloquet, Minnesota
Fond du Lac Tribal and Community College in partnership with the Fond du Lac Band of Lake Superior Chippewa, Great Lakes Indian Fish and Wildlife Commission, 1854 Treaty Authority, University of Wisconsin Extension's G-WOW program, and Lake Superior Estuarine Research Reserve are proud to provide the Climate Strong-Building Tribal Youth Leadership for Climate Resiliency program.
Fond du Lac Tribal and Community College in partnership with the Fond du Lac Band of Lake Superior Chippewa, Great Lakes Indian Fish and Wildlife Commission, 1854 Treaty Authority, University of Wisconsin Extension's G-WOW program, and Lake Superior Estuarine Research Reserve are proud to provide the Climate Strong-Building Tribal Youth Leadership for Climate Resiliency program. Our three-year project aims to increase the knowledge and readiness of middle to high school students to deal with the impacts of extreme weather and environmental hazards that face the Ojibwe Ceded Territories (Minnesota, Wisconsin, and Michigan) and build capacity for increased climate change community resiliency curriculum in the classroom. Climate change impacts everyone, but for indigenous peoples it threatens culturally significant traditions, such as wild rice harvesting, that relies on sustainable fish, plant, and wildlife resources. These resources are critical for subsistence, spiritual and cultural needs, and treaty rights. Culturally relevant, place-based education is an important tool to involve students, in particular, underrepresented students, in developing critical thinking skills to assess the issue of community resiliency to extreme weather events and engaging in action to help resolve it. In order to achieve our objectives, we will aim our educational efforts toward youth first, as well as reaching the communities we serve. Each year, six residential youth camps (18 total) will be hosted within the Ojibwe Ceded Territories. Each three-day camp will be focused on investigating issues of community resiliency, adaption, and mitigation associated with increasing extreme weather events as well as natural environmental hazards. Camps will use place-based, experiential lessons to teach resiliency issues demonstrated by climate change effects on Ojibwe culturally important natural resources. Our project will train formal and informal educators throughout the Ojibwe Ceded Territories on how to use indigenous climate curriculum using tribal traditional ecological knowledge and NOAA assets to investigate community climate resiliency issues. Using both teacher "train the trainer" workshops and our camps, this project will create a network of formal K-12 and informal educators trained to become leaders in providing culturally relevant climate resiliency outreach to students. We will increase community resiliency literacy through six community outreach events each year (18 total) that will highlight resiliency issues facing our region and the research being done on landscape and ecological vulnerabilities through NOAA and tribal assets. Our goals are increased community resiliency literacy and adaptation of stewardship behaviors that reduce climate change impacts and increases adaption and mitigation behaviors by our participants. These behaviors will help increase stewardship practices reducing extreme weather impacts affecting the sustainability of culturally relevant resources, thereby preserving important cultural, spiritual, subsistence, and treaty rights practices.
PI: Courtney Kowalczak
State: Minnesota County: Carlton District: MN08
Partners: National Sea Grant College Program / University of Minnesota (UM) / Minnesota Sea Grant · National Sea Grant College Program / University of Wisconsin / Wisconsin Sea Grant · National Estuarine Research Reserve (NERR) Lake Superior · University of Wisconsin–Extension (UW–Extension) / Environmental Outreach · Great Lakes Indian Fish & Wildlife Commission · Fond du Lac Environmental Program · 1854 Treaty Authority · Climate Generation · University of Minnesota (UM) Duluth ·
HEARTForce: Hazard Education, Awareness & Resilience Taskforce
University of Colorado Boulder / Cooperative Institute for Research in Environmental Sciences (CIRES) offsite link · Boulder, Colorado
Communities in Colorado are increasingly experiencing major disruptions from environmental hazards, such as fire, flood, drought and extreme heat. With this rise in hazardous events, there is a pressing need for communities increase their resilience. An interdisciplinary team from the Cooperative Institute for Research in Environmental Sciences (CIRES) Education & Outreach Program at the University of Colorado at Boulder is developing and implementing an innovative, action-oriented youth engagement project targeting rural Colorado students, teachers and communities.
Communities in Colorado are increasingly experiencing major disruptions from environmental hazards, such as fire, flood, drought and extreme heat. With this rise in hazardous events, there is a pressing need for communities increase their resilience. An interdisciplinary team from the Cooperative Institute for Research in Environmental Sciences (CIRES) Education & Outreach Program at the University of Colorado at Boulder is developing and implementing an innovative, action-oriented youth engagement project targeting rural Colorado students, teachers and communities. Our engagement model empowers youth i) to envision community resilience through immersive scenario-based role play based on a solid understanding of the relevant science, ii) to learn about natural hazards through engaging Colorado-focused lessons, iii) to initiate conversations about hazard preparedness from within communities, and iv) to develop and implement student-led resilience action projects. The project team is developing instructional materials for middle and high school students: four lesson plans focused on different hazards (fire, flood, drought, extreme heat), four complementary scenario-based role-play games with a focus on youth empowerment and a teacher workshop based on these materials. Each school implementation follows a sequence in which the lesson plan activities are conducted, followed by a scenario-based role play game and reflection. Building on their experience with the game, students develop resilience strategies for their community and present those at a community Resilience Expo. The project has the following three objectives: 1) Increase Colorado secondary teachers' knowledge and confidence to teach about local natural hazards, and to facilitate discussions about community resilience; 2) Increase Colorado youth's understanding of natural hazards, their community's vulnerability, and their involvement in resilience planning efforts, and 3) Enhance the capacity and empowerment of young people in Colorado to engage in dialogue with their peers, families, and community stakeholders about community resilience issues and identify, develop, and implement resilience actions. A needs assessment disseminated to Colorado teachers guides the project team in the development of all instructional materials and allows for customizing the content to teacher needs. The project evaluation explores the efficacy of the program model and studies the impact of the project activities on students and teachers. Specifically, the evaluation studies students' confidence and ability to engage in dialogue around community resilience, level to which students increase their understanding of natural hazards and resilience planning, and the ways in which teachers increase their content knowledge and confidence in teaching about natural hazards. The project fills a critical gap in Colorado's resilience planning which does not include teachers and youth. The project is guided by partners from the NOAA RISA program Western Water Assessment, seven NOAA science advisors, Science on the Sphere collaborators, and is being implemented together with over 20 community partners, school partners and collaborators from across Colorado. Over the course of the three-year program, the project activities will train and support 140 teachers, engage 400+ students and result in 11 Resilience Expo events across Colorado, from primarily rural communities. The instructional units and the games will be used in classrooms with 600+ students.
PI: Anne Gold (Reuther)
Partners: Earth Force · NOAA Earth System Research Laboratory (ESRL) · Natural History Museum of the Adirondacks / The Wild Center · NOAA Climate Program Office (CPO) · NOAA National Weather Service (NWS) Boulder, Colorado Forecast Office · NOAA National Weather Service (NWS) Pueblo, Colorado Forecast Office · NOAA National Ocean Service (NOS) / NOAA Planet Stewards · Foothills United Way · City of Boulder / Office of Emergency Management · University of Massachusetts (UMASS) Lowell / Climate Change Initiative · Wild Rose Education · Roaring Fork School District No. Re-1 / Glenwood Springs Middle School · Montrose County Re-1j School District / Montrose High School · Gunnison Watershed Re1J School District / Gunnison Middle School · Early College of Arvada · St. Vrain Valley Re 1j School District / Westview Middle School · Estes Park R-3 School District / Estes Park High School · Estes Park R-3 School District / Estes Park Middle School · Garfield County / Community Development · Gunnison County / Office of Emergency Management · City of Arvada / Office of the City Manager · City of Longmont / Public Works & Natural Resources · Larimer County / Office of Emergency Management · City of Boulder / Resilient Boulder · Colorado Department of Public Safety · Colorado Department of Natural Resources · Colorado Department of Local Affairs · University of Colorado Boulder / CIRES / Education & Outreach · Mountain Studies Institute · University of Colorado Boulder / CIRES / Western Water Assessment · Adams State University / Luter Bean Museum / Salazar Rio Grande del Norte Center · Northeast Colorado BOCES · Western Colorado University · Republican River Water · Colorado State University / Colorado Water Center (CoWC) · Lower South Platte Water Conservancy District · Grand County Wildfire Council · Upper Colorado River Watershed Group · NOAA Earth System Research Laboratory (ESRL) / Chemical Sciences Laboratory (CSL) · NOAA Earth System Research Laboratory (ESRL) / Physical Sciences Laboratory (PSL) ·


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Tag Archives: Byker
194 Heaton Road
In October 2013, builders renovating premises at 194 Heaton Road uncovered this old sign.
Pretswell's signage being uncovered in 2013.
The 'ghost sign' prompted us to try to find out who the father and son were, what their shop sold and when they were in business. The story went back even further than we thought, 160 years.
Edmund Forbes Pretswell was born near Edinburgh in 1853, the son of a shepherd. In 1861, he was aged 8 and living with his parents, two older brothers and sister at Broomhill Farm, Liberton in Midlothian. Unfortunately, we don't currently have much information about Edmund's early years but we do know that by 1876, at the age of 23, he had moved south and married a young woman from Chester-le-Street. Their first child, also named Edmund Forbes, was born in her home town a year later.
By 1881, Edmund senior and his new family had moved to Newcastle, where the growing population meant excellent prospects for someone with enterprise. Edmund's occupation is described in directories as 'grocer and provisions merchant'. According to the census of that year, the family of the Scottish shepherd's son were doing well enough to be occupying three properties in Byker (32 and 34 Byker Bank and 1 Quality Row) and employing a servant. One of the properties seems to have been Edmund's first shop – possibly even the one pictured here, which was apparently just north of Leighton Street on the west side of Byker Bank. The photograph was given by Edmund senior's grandson, Norman, to local historian, Mike Greatbatch, who has kindly shared it with us.
Edmund Forbes Pretswell senior's Byker Bank shop. possibly with Edmund hismself standing in the doorway.
Over the next 30 years, we can track Edmund's growing family and expanding business. He had various shops in Byker Bank, added others in Shields Road (115 and 179) and Tynemouth Road. By 1891 Edmund and Jane, his wife, had 7 children and were living at 17 Heaton Road in a house quite recently demolished and replaced with a modern building housing a medical practice. The Pretswells soon moved to a brand new home on Wandsworth Road from where they continued to run the Tynemouth Road shop. But soon after the turn of the century, though still in business in Heaton, perhaps as a further sign of their growing prosperity, the family moved out of Newcastle, first to Cullercoats and then to Willington Quay. This photograph of their Willington Quay shop was sent to us by David Pretswell, the younger Edmund Pretswell's great nephew.
The first Edmund Forbes Pretswell with members of his family outside his Willington Quay shop
Home to Heaton
Meanwhile, Edmund junior was following in his father's footsteps. The first records we've traced where he is listed as a grocer are shipping log books. In September 1905, aged 28, he set sale in steerage class from Southampton to Algoa Bay in South Africa. However he returned just two months later. He seems to have already been married by this time: maybe he'd gone to check out the possibility of taking his young family to make a new life there? But whatever the reason, he was soon back and by the following year, 1906, he had taken over the family shop on Tynemouth Road.
By 1911, he and his wife, Thomasina, had three children and were living in Wandsworth Road, just across the road from his parents' former home. By the following year, his father, by this time approaching 60, seems to have retired while young Edmund was running shops in both Tynemouth Road and Chillingham Road (number 186). And by the outbreak of World War 1, Edmund Forbes Pretswell junior had opened a new shop at 194 Heaton Road under the name: EF Pretswell & Son. The shop was a fixture on Heaton Road for over 40 years – until about 1956. So the recently uncovered lettering is between 100 and 57 years old.
Local chain
In 1956, the Heaton Road shop was acquired by a growing local grocery chain called Hadrian Supply Company. By 1968, this company had 30 branches in Newcastle alone, including at 258/262 Chillingham Road, 176 Newton Road and 175/181 Shields Road. However, by 1973 only one shop remained on Stamfordham Road. It seems as though the business had been sold to a supermarket chain. We would like information about it and also the businesses which occupied the Heaton Road premises between then and the recent kitchen shops, Kitchens Plus and Wren's – as well as what will come next!
Lots of people must remember shopping or even working at 194 Heaton Road. If you can supply any further information or photos or just have memories to share, please add your comments by clicking on 'Leave a Reply' at the top of this article or contact: chris.jackson@heatonhistorygroup.org
This entry was posted in Heaton Road, Research, Retail and Shopping, What, Where and tagged Byker, Chillingham Road, Edmund Forbes Pretswell, grocer, Hadrian Supply Company, Heaton Road, kitchen shop, Kitchens Plus, Shields Road, shops, Tynemouth Road, Wandsworth Road, Willington Quay, Wren's, WW1 on October 28, 2013 by oldheaton.
185 Shields Road
This photograph shows the premises at 185 Shields Road, now occupied by Fantasia Florist, a family business, which has had shops in Heaton and Byker for over twenty five years.
The first shop on the site of 185 Shields Road seems to have been Peter Hilton's grocery store which occupied the site from 1886 to 1889. Its number at this time was actually 271. The road was renumbered around 1890, a not uncommon occurrence in those days.
Peter Hilton was born in Belford, Northumberland, and at the time of the 1881 census he was living with his Middlesex (Holborn) born wife, their son and Peter's sister in Holly Avenue, Jesmond. Peter had been a grocer for at least 15 years before opening the Shields Road shop. After his retirement, he lived with his son and daughter in law in Third Avenue, Heaton (1911 Census).
German pork butchers
The first mention of number 185 Shields Road in the trade directories was in 1890 when, for a couple of years, the shop was George Pfaff's pork butcher's. George and his wife were born in Germany and lived next door to the shop.
German pork butchers were a feature of British high streets from the mid 19th century. Most of the first wave of immigrants came from a small area around the town of Künzelsau in the Kingdom of Wurttemberg. Nobody is entirely sure what brought so many to Britain but this part of Germany was affected by population growth, agricultural depression, crop failures and the traditional inheritance practice of primogeniture (excluding all but one sibling from taking over the family estate). Many people emigrated and news must have been relayed back home that there was a good living to be made as a butcher in the growing towns and cities of the newly industrialised North of England. Subsequent German immigrants in the 20th century continued the tradition. (See the story of Rudi Kuhnbaum here http://woodhornexhibitions.com/treasures/13.html).
185 Shields Road remained a pork butcher's under Henry Abel, who like many pork butchers who settled in Britain, was born in Wurttemberg. His wife was also German born but they married in Newcastle in 1896. The Abels were proprietors for about 16 years but gave up the shop during World War One. There were many reports of persecution of Germans and specifically of German pork butchers at around that time including, in 1915, in Byker. The war is certainly a possible reason for Henry and his family leaving Shields Road.
Edgar Couzens
The next proprietor was also a pork butcher but Edgar Couzens (pictured below) was born in East Walton, Norfolk in 1887. In 1908, he and his brother, Bert, moved to Newcastle, where there were better job prospects, and Edgar trained to be a butcher. He soon opened his own shop on Heaton Road.
On 7 February 1916, Edgar joined the 6th Battalion Northumberland Fusiliers Army Veterinary Corps but he seems not to have been called up for active service until December of that year. In the meantime, he married Gwendoline, who'd also moved from Norfolk. They lived on Sefton Avenue and opened this shop at 185 Shields Road. After Edgar was called up, Gwen managed the shop until he returned from service. They later had shops in both Chillingham Road and on Raby Street in Byker. Edgar died in 1971 aged 83 while living at Charminster Gardens, North Heaton. Gwen died in 1986, aged 96. Their grandson, Mike Couzens, has provided us with fascinating information about the life of his grandparents and other family members. We are especially fortunate in that Edgar was a keen amateur photographer and over the coming months we'll be featuring many of his photos along with information provided by Mike.
Mains' grocery
In 1927 185 Shields Road is listed as Fisckhoff and Sons, egg merchants, but the following year Robert Mains' grocery store, pictured above, was established. The poster on the left suggests the photograph dates from soon after it opened. It advertises the film Love me and the World is Mine, which starred Mary Philbin, Norman Kerry and Betty Compson and was released in 1928.
Robert was born in 1896 and in 1911, he was described as an office boy and was living with his father, a postman, his mother and two brothers on Mowbray Street, Heaton. (Census information for 1921 isn't available for another 8 years so later biographical information is limited at the moment.)
The other name in the window is that of Charles Frederick Hunter. There were several people of that name living in the Newcastle area at this time, including more than one in Heaton itself. However, although the lettering between the two names is difficult to make out, it says 'Ten' (we think) 'years with' and so it seems most likely that it refers to a provisions merchant who lived in Smallburn, Ponteland. It looks as though Robert worked for him before setting up on his own and that Hunter's reputation was such that it enhanced his own standing.
The address isn't listed in the directories from 1930 until 1936. S Grossman (another German name), woodworker, was the occupier from then until 1940. It then seems to have been empty for a number of years. Did it just become dilapidated or was it perhaps damaged in the war? Either way it was eventually rebuilt.
Post war
From 1956 the shop was called Home Comforts and described as a linoleum merchants. The proprietor in 1959 was given as P Bransky (a name of Polish origin). Home Comforts seems to have been successful. It was still there in 1968, benefitting from greater post war affluence which led to more expenditure on the home.
Fantasia Florists
The shop occupying the premises is now Fantasia Florists, a family firm headed by Shirley Ovington. Shirley is Newcastle born and bred. The family has been running florists for twenty five years including, in the past, two on Chillingham Road, in premises now occupied by the Pine Shop and Subway. Shirley bought the lease of 185 Shields Road from a photographer and thinks that the shop was once a bakers, as there are still cooling vents for the oven at the back of the shop. In the picture below, you can clearly see that the shop building is more modern than its neighbours.
Sources consulted for this article included:
Karl-Heinz Wüstner: New light on the German pork butchers in Britain (1850 – 1950), http://www.surrey.ac.uk/cronem/files/conf2009papers/Wuestner.pdf
Perhaps more than anything, the story of 185 Shields Road shows that migration to the East End is by no means a new phenomenon. The population of Heaton in the mid 19th century numbered only a few hundred and so almost everyone who made it the bustling suburb it is now had origins outside the area – whether elsewhere in Newcastle or the North East or, as was often the case, much further afield.
And this is where we need your help. Can you add to the information here? Do you remember Home Comforts, a bakery or the photographer's or any other shop there's been on the site? Do you have any memories or photos of Heaton shops that you'd like to share? If so, we'd love to hear from you. Contact chris.jackson@heatonhistorygroup.org or leave a comment here.
This entry was posted in Research, Retail and Shopping, Shields Road, What, Where and tagged butcher, Byker, Charminster Gardens, Chillingham Road, Edgar Couzens, Fantasia Florist, florist, George Pfaff, German pork butcher, grocer, Heaton Road, Henry Abel, Home Comforts, Mowbray Street, Peter Hilton, Robert Mains, Rudi Kuhnbaum, Sefton Avenue, Shields Road, shops, Third Avenue on May 17, 2013 by oldheaton.


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Dreams come alive in the Cyclades
DESTINATION AMORGOS ANAFI ANDROS ANTIPAROS DONOUSA IRAKLIA THIRASIA IOS KEA KIMOLOS KOUFONISIA KYTHNOS MILOS MYKONOS NAXOS PAROS SANTORINI SERIFOS SIKINOS SIFNOS SYROS SCHINOUSA TINOS FOLEGANDROS
AGENCIES-RENTALS
History of Cyclades
The Cyclades are one of the Greek island groups that constitute the Aegean archipelago, southeast of the mainland Greece. Cyclades, because of their geographical position, between mainland, Asia and Africa were - during their history - the bridge for the development of commerce and civilization.
The Cyclades are a Greek island group in the Aegean Sea, comprising about 220 islands, the major ones being the following 24: Amorgos, Anafi, Andros, Antiparos, Donousa, Iraklia, Thirasia, Ios, Kea, Kimolos, Koufonisi, Kythnos, Milos, Mykonos, Naxos, Paros, Santorini, Serifos, Sikinos, Sifnos, Syros, Schinousa, Tinos and Folegandros. The climate is generally dry and mild, with mild winters and cool summers. The average winter temperature ranges from 10° to 16°C, while the average summer temperature ranges from 24° to 30°C. "Meltemia" (summer winds) constitute a substantial weather phenomenon during summertime. They are winds that blow from northeast to northwest with high intensity between the middle of July until the middle of September and make the summer.
«Then he spoke and the sea was born. And I saw and marvelled...
And in its midst he sowed small worlds in my image and likeness...
Steeds of stone with manes erect and amphorae serene and the slanting backs of dolphins...»
Odysseas Elitis
The Cyclades are in fact the peaks of the mountains of the Aegais, a mountainous terrain, which was submerged in geological times, about 5 million years ago. The earthquake and volcanic activity played an important role in all the geomorphologic processes. Volcanic eruptions that took place before 35.000.000 years (with the volcanic eruption of Santorini, 17th- 16th century B.C. being the most important) constitute part of the geological disruptions that shaped Aegais.
In fables, Cyclades are connected with Poseidon in whom it's imputed their creation. It is said that they took its name from the nymphs, Cyclades that the God of sea transformed them into islets when they provoked him. There are also and other traditions about their name as for instance from the word cycle, because they spread around Delos, the island where Apollonas born.
The islands flourished during the Bronze Age, despite the occasional destruction of some settlements by earthquakes. The development of the Early Cycladic civilization is spanning the period from 3000 BC - 2000 BC and communicates and develops with the Early Minoan civilization of Creta. According to history the carriers of the Early Cycladic civilization were the Kares and the Leleges. During the Byzantine times Cyclades belonged to the Theme of Aegean. The Ottoman Empire took control of the Cyclades in 1500. However, Ottoman authority was relatively lax on the islands because no governors or garrisons were dispatched or deployed there. The Cyclades played an active role, in 1821, in the Struggle for Independence. In 1830 Cyclades became part of the newly founded Greek State.
The whitewashed houses and the rocks are typical of Cyclades. The folk architecture of Cyclades became a role model for modern architecture. The abundance of suitable materials (white and green marble, slate, granite, etc) and the amazing beauty of the sunsets and sunrises combined with fine architecture give to Cyclades a particular atmosphere and the feeling of being in a painting, surrounded by extreme purity and beauty. The traditional buildings in Cyclades are harmonized perfectly to the natural environment. The strongly built houses follow the line of the steep rocks. Their back is turned toward the sea, using wells as storage tanks, being protected from the wind and rain. Each island has its own architectural features: underground buildings, towers, stone rustic huts buildings, neoclassic noble men's houses as well as traditional Cycladic houses. The visitor can find almost in every Cycladic island monuments and buildings of great rural and cultural importance such as: dovecote, windmills, watermills, bridges, monasteries, "syrmata" (traditional mooring or storage space).
Arts, traditional crafts (such as marble sculpture, ceramics and pottery) as well as local gastronomy are giving to Cyclades a "couleur local". Easter, Christmas, Halloween and wedding traditions and customs revive in Cyclades. Innumerable fairs are taken place in the islands of Cyclades keeping alive the religious and cultural tradition of the place.
The islands of Cyclades constitute a meeting point of people from all over the world. Cyclades are full of geographical contrasts, history, landscapes of unique natural beauty, hospitality, local cuisine, traditions, and customs presenting a culture of great significance. Holidays in Cyclades give the opportunity to have fun, to relax, to taste local food, to make romantic walks and to enjoy the immense blue sea. The largest islands are full of life -all year around- and are ideal destinations for short excursions; whereas the smallest are essential for, those that are fond of alternative tourism. Agro tourism, sea tourism, sport activities, congress tourism, religious tourism, ecotourism, geo tourism, as well as therapeutic tourism satisfy each visitor.
Synonym to the Greek summer, the islands of Cyclades are the dream of many tourists and are one of the most popular holiday destinations.
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Aegean Cuisine
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