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a letter from your pothead son
Published by yeboaheu in the blog yeboaheu's blog. Views: 146
I have always had one sanctuary to protect me from the wild,
she is a lone wolf,
majestic her style.
She said walk like a god
so my goddess will find me,
my shining north star,
when I am lost out at sea.
You are my mother,
that status is yours,
love without stipulation,
since the days of all fours.
So to this I impart, to beloved matriarch,
a bit of my soul,
manifested in art.
A sardonic variety our relation can be,
when I say I'm with friends,
I bring doubt and worry.
And rightfully so,
for you see through my guise,
in my blood shot,
laid back
and satisfied eyes.
The problem with change is it can bring disdain,
I am flawed for I am maturing,
but I know you'll be okay.
I am your son, not your baby,
this you must comprehend,
but that will never mean that our kinship will end.
For you are my mother,
your pride in me glows,
from my dizzying heights,
to my miserable lows.
No more I can say,
tis a fruitless endeavor,
my appreciation for you,
will last forever.
So allow me to conclude,
on one final note,
and utter these words,
before they are never spoke.
You'll worry about me mom,
its what all mothers do,
I understand your sacrifice
and I love you too.
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Canadian GP 2015
Qualifying Report - Vettel takes Montreal pole
If the Circuit Gilles Villeneuve is not supposed to be ideally suited to Red Bull, nobody has told Sebastian Vettel, the world champion taking a 21st career pole and the sixth in seven 2011 races in Montreal.
Vettel (1:13.014) saw off a stern challenge from the Ferraris of Fernando Alonso (1:13.199) and Felipe Massa (1:13.217).
"We've made up some ground from last year here, when we sacrificed qualifying with a different strategy and I feel comfortable," Vettel said. "It was a tough start yesterday morning when I hit the wall but we've done a good job and made a strong recovery. I need to make sure crashing the car on a Friday doesn't become a habit! It's a tricky track with the kerbs and chicanes and the heavy braking down from high speed. We were able to use the first timed lap of the tyres and I'm very happy but the main task comes tomorrow.
"We are expecting to see some rain in the race but it's a question of when and how much. Our long runs looked promising, I think the pace is there in the car and although it won't be easy, we are ready to fight."
Alonso is also feeling confident and hopeful that a first win of the season could come Ferrari's way at a circuit with no high speed corners which penalise lack of aerodynamic performance, the car's current weakness.
"It's the best qualifying result of the year for the team and better than we expected," the Spaniard said, "The whole weekend has been smooth but we are expecting different conditions tomorrow and hopefully we can have a strong race and challenge for the win."
Felipe Massa has looked more like his old self in Montreal, quickest of all in Q2 and only pipped by Alonso on the final lap of Q3, by two hundredths of a second.
"It's a very good weekend up to now," Massa said. "We were competitive yesterday, this morning and in qualifying and when we were on the same tyres as Red Bull we were looking comparable. The grip is better and although the weather will probably be different tomorrow it is always good to be up front."
Mark Webber (1:13.429) lines up fourth in the second RB7, four tenths down on his team mate after missing the entire morning session due to a KERS battery problem. Again the Australian didn't have the use of KERS in qualifying, so his performance is a strong one.
Lewis Hamilton has started the three previous Canadian GPs from the pole but, this time, the McLaren did not seem to have the qualifying pace of either Red Bull or Ferrari. Hamilton (1:13.565) will start the race fifth on the grid, a quarter of a second clear of Nico Rosberg's Mercedes (1:13.814), but neither of the MP4-25s can be ruled out in race trim, especially if it is wet.
Michael Schumacher (1:13.865), six times a Canadian GP winner, was just 0.05s slower with the second of Ross Brawn's cars but it was a big enough margin for the pair to be split by Jenson Button (1:13.838) in the second McLaren.
The Renaults were closely matched too, with Nick Heidfeld (1:14.062) pipping Vitaly Petrov (1:14.085) to ninth place.
Paul Di Resta qualified the first Force India 11th (1:14.752) and then just over half a second covered the midfield runners from Pastor Maldonado's 12th place Williams (1:15.043) to Pedro de la Rosa's 17th placed Sauber (1:15.587).
The Spaniard was perhaps the unsung hero of qualifying, having stepped in for the unwell Sergio Perez at 10 minutes notice before FP2 yesterday. Not having driven this year, De la Rosa (1:15.285) survived a brush with the Turn 7 wall in Q1 to put the car through into Q2 and then manage a lap just three tenths adrift of team mate Kamui Kobayashi.

subset: commoncrawl


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If there's one thing that I've been influenced to purchase from bloggers it has to be trainers.
I'm not a trainer girl by a long shot. I left them behind when I got into my late teens.
But recently they've been pretty cool to have as a grown up.
I've been seeing the Adidas Superstars and Stan Smiths all over the blogsphere and tried my hardest not to give in but when I tried on these bad boys in Schuh they won me over.
I never realised how easy it to style them. You can literally wear them with anything and still look cool - in an older cool adult way.
Adidas Superstars - Schuh | Coat - Forever21 | Top and Blazer - H&M | Trousers - ASOS
Right Now
Trying to remain cool... Cool as friggin' ice baby.
This Week
Slightly crazy but nothing I can't handle! It was my son's 11th birthday on the 1st so we had a little celebration. He wanted a DSLR like mine so he could film and take pictures so I surprised him with a Panasonic Lumix.
A mini me in the making maybe?
Looking Forward To
I'm loving all the Christmas decorations and the festive spirit. I've managed to buy all my presents and even put up my tree on the weekend. So now I'm going to sit back and relax.


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Chautauqua Caravan
Avid bookworms know no limit to their obsession. Shelves buckle under the weight of countless editions—hardback, paperback, used, borrowed—none satiating that endless hunger to exist among great literature. Vintage Book Clocks believes that if you can add only one more book to your collection it should be a lasting homage to your favorite work. The company salvages classic titles from dusty shops and yard sales transforming them into everyday timepieces—timeless stories that keep on ticking."
Published 1939. Hardcover. Freestanding; does not hang. This product is crafted from repurposed vintage materials. Requires one AA battery (included).Country of Origin: US
Material: Paper, Clock Mechanism
Customer Reviews
- Reviews


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reporting that the story of Queen singer Freddie Mercury's extraordinary life will be the subject of a new rock and roll biopic.
In an interview with HARDtalk's Stephen Sackur former Queen guitarist Brian May exclusively reveals that Borat star Sacha Baron Cohen has signed up to play Mercury, in a film which will focus on the years leading up to Queen's appearance at the Live Aid concert in 1985. Production is set to begin next year.
To watch the interview clip go to this location.


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CALGARY- Friends and family gathered to remember well-known Calgary-based political strategist Rod Love at a memorial service in the southwest Saturday.
The service was held at the Calgary Golf and Country Club.
Attending the ceremony was premier Jim Prentice, opposition leader Danielle Smith and former Ontario premier Mike Harris.
Love died on Sunday at the age of 61. He had been battling ...


text: Must-read tips for a second-time mum Your 9 months Pregnancy 1 Struggling with your toddler now you're pregnant again? We can help... Your first pregnancy was all about you and your bump, but with a toddler in tow, pregnancy number two is a different ball game. Five second-time mums share their coping strategies: Change your routine 'Ask your partner to help more! I asked my husband to take over cleaning the bathroom, as bending down was tricky with a bump,' says Becky Watts, mum to Rose and Alice. 'Early nights help, too, I sometimes went to bed at the same time as Alice.' Ditch the guilt 'Don't constantly struggle to clear up your toddler's mess. Leave it until the end of the day and then, if you can, get someone else to do it for you,' says Elise Eminson, mum of four. Don't be too proud 'Ask for help. My mum looks after Holly twice a week, so I get a rest and Holly gets lots of attention,' says Stephanie Wallis from Basingstoke, mum to Holly and 9 weeks pregnant. 'Scale down what you expect of yourself and accept all help offered,' agrees Lucy Parsons from Welford, mum to Iris and 23 weeks pregnant. 'Make time for yourself whenever you can.' Involve your toddler... 'Give your toddler a baby doll to look after,' suggests antenatal teacher Emma. 'Let your toddler sort out baby clothes, choose items that need buying, kiss your bump and get involved.' ...but not TOO soon! 'Avoid mentioning the new arrival until your bump is very obvious. Toddlers have no real concept of time and can find the wait for their sibling very frustrating,' says mum-of-four Elise. Try not to worry 'I felt a lot more empowered knowing that I'd already survived nine months of pregnancy. I knew my niggles would pass,' says Fiona Stone, from Milton, mum of two toddlers. 'Rather than being scared of whether you'll cope during labour, you already know you can - and how you'll feel during and after it.' Focus on what you'll gain 'Try to enjoy it,' says Fiona. 'You're already a great mum - and you'll be an even better one this time around as you'll have the same amount of love but all that knowledge. You'll soon be able to watch your kids playing together, loving and protecting each other, and you'll wonder what you worried about.' Need more support? Book yourself onto an antenatal class. NCT not only offers courses for first-time mums, but also 'refresher' sessions. Emma Phillips-Harrington, who runs NCT antenatal classes for second time mums, says, 'Women often come to my refresher classes wanting to recap on things like pain management. It's also a good way to meet other couples in similar situations and share worries.' For info on classes near you, visit the NCT website By Web Master 1 Comments Share Like this article? Showing of jusman Good I like Uh-oh! You need to be logged in to do this... Sign In Sign Up Load more posts Write a comment


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Lewis & Clarke
Koyaanisqatsi. It means "life out of balance" and it's something that Lou Rogai became aware of as a child. Thus the principal personality and songwriter behind Lewis & Clarke works at his own pace, moves to his own beat, obeys his own rhythms. After all, he's got his own child to worry about and greater things to consider than the insatiable consumer culture that could devour every bit of his energy and time.
The reason? The first few works of Lewis & Clarke wowed seemingly every critic or pundit who placed headphones over their ears. The "wild" and "fragile" music of Rogai & Co, as he puts it, found on Bare Bones and Branches or Blasts of Holy Birth made them critical favorites and positioned Lewis & Clarke — also comprised of Tom Asselin, Ian O'Hara and Shane O'Hara — as a buzz band of sorts. But those are all considerations or accolades in a world that Rogai remains outside of, not necessarily opposed to.
It's the convergence of these worlds which creates an incredibly interesting conversation within which Rogai describes the necessary environment for his craft. It's about staying in balance in a world that often feels out of balance, a timely conversation for not only the music of Lewis & Clarke but for the very way that we live.
SSv: There's been quite a spell since Lewis & Clarke were in the spotlight with a proper release, so the obvious question is what have you been up to? Where does Lewis & Clarke stand today?
Lou Rogai: Well, that's a good question. [Laughs] Right now, I reconfigured a lot of how Lewis & Clarke was comprised. That's due to the fact that I've had some amazing collaborators over the years. When I decided to be a father about five years ago, I knew that my life would be very different artistically and that I would have a living, breathing to care for and that would be my main project. Anything else artistically would have to be supplemental and I would figure out how to work it all together.
There are vibrations that I feel connected to where I live. There's a rhythm. I appreciate the natural rhythm of the river that cut through a ridge for millions of years. I really appreciate it.
Doing that, I knew I couldn't do the traditional model — the traditional tour schedule, the traditional practice schedule, different things like that. I knew I had to slow that down. I had these amazing collaborators who are also on a similar schedule and these talented human beings are involved with other projects. So that caused the process to rotate and through the past couple of years, I've reformulated the group of collaborators within Lewis & Clarke and basically I've just been reinventing the sound and instrumentation.
I'm constantly writing and recording new ideas and playing some local shows. I'm trying to work locally. I'm not sure the last bit of music you are aware of, but we did a couple of compilation contributions and an EP last year.
SSv: That's the Light Time EP?
Lou: Yeah, Light Time.
SSv: When you say you want to reconfigure or restructure, tangibly how does that play out?
Lou: I don't want to consciously box myself into a sound or work from what has worked in the past. So the beauty for me is that I have limited resources at this point. I live in a more rural area. It's pretty close to New York and Philadelphia, but it is not in the center of the activity there. I either have to make the choice to travel to New York and rehearse there, or work with people willing to come to me and spend some time here, or they are located somewhere within the region.
Luckily enough, through my brother, he's introduced me to some musicians he's played with. We've been playing together for about two years now and the restructuring has been stripping away all of the older material and coming at it with new instrumentation. It's churning out lines that were played on a harp when the next best thing is a piano — translating lines from certain instruments to other instruments, and yet keep it in a cohesive style that makes sense for Lewis & Clarke.
We're not going to all of a sudden become some kind of genre-breaker and start doing industrial music. But if I wanted to, I'd be able to do that which is nice. I don't want to box myself into the sound, so in order to grow into the style that I like, it takes time to translate the instruments and keep things interesting in that respect.
SSv: On the last major release, the descriptions were "pastoral" or "autumnal." So if you want to break out of that box, where do you go from there? Or is that not what you mean?
Lou: I don't know if I'd necessarily want to break out of any certain boxes. I just want to grow naturally with the tools I have within reach. Those terms were phrases that reviewers wrote about the band and about the project. I don't know if I would have ever written those phrases about the project, but if people get that from it, it's cool.
I guess what I'm trying to say is that rather than consciously trying to break out of a box, I just want to naturally keep the music where it belongs. So if it naturally needs to stay there in that box, then we will stay. But I do like to coerce things along.
SSv: When you keep it that organic, are you surprised by what emerges?
Lou: There are some surprises, yeah. There's excitement in unpredictability. We want to keep things that way, which is why we try to strip songs down or approach them with different instruments or use unorthodox instruments in various places. Sometimes we'll invite a different person to collaborate. So there are surprises. I'd like there to be more surprises, actually, now that you mention it. I'm going to have to try to figure out what can be done to create more surprises artistically on a regular basis.
SSv: How do you chase that without forcing the art?
Lou: I might have to get back to you on that. [Laughs] I have to figure that one out. How do you chase it without forcing the art? I feel like you have to trust the universe. Maybe I shouldn't say 'you.' Personally, I put trust in the universe. I look for inspiration outside of music. And I don't chase it. I don't try to track it down, because then it would feel forced. The one stylistic trait that I feel is indicative of the music is that I like it to have a natural flow. I like it to have arc. I'm inspired by Andy Goldsworthy's pieces visually and I like music that does that.
So I walk in the woods every day and check out the microsystem on the forest floor and try not to think too much about forcing the surprises or the creative process to come. Not to say that I don't want it to happen quickly. There's no greater feeling than to have bursts of progress with what you're creating. But when that is the rabid drive, it pretty much destroys the act for me. So I don't want to chase it.
SSv: Is that the reason for the rural space you inhabit?
Lou: Absolutely. There are vibrations that I feel connected to where I live. There's a rhythm. I appreciate the natural rhythm of the river that cut through a ridge for millions of years. I really appreciate it. I like raising my son where we can go explore fossils and swim in the river on a whim and those sorts of things. I also love the energy of the city. We go into the city and check out what our friends are doing. We take in a show. We eat some great food. We check out that energy. But that's not where I thrive to create.
I'm in a period right now where we're in the middle of a new full-length. The last full-length was released in late 2007, I think. In between then, we had an EP and a few singles like on the compilation and whatnot, as I was saying. But this album now is turning out to be a double-album worth of material. Working with new people on a full-length, we bridged the gap with the EP. It's kind of the quieter and more down moments of the previous album.
I feel like a whole new person. It's been about three years. That's a regenerative cycle. That's a long time and a lot happens in that time and the music that's happening now for the full-length, I'm really excited about it. Sometimes I hit walls. I'm in a period now though where it's a downtime. I didn't go to the studio this last week because I didn't think I had enough material to work on, or I didn't have it shaped to the point that I was happy with it.
Rather than go and see what happens with it, I choose not to do that. There's 90 percent preparation and 10 percent spontaneity when it's studio time. You were mentioning surprises and that can happen in the 10 percent window. But I like to be prepared. There are so many things an artist has to think about: money, time, other responsibilities. So I like to have as much preparation as possible.
This week I've just been trying to find some inspiration to finish up certain passages of songs. I'll go to church on Sunday morning or I'll pick up my David Lynch transcendental book and see what he has to say about the creative process. I watched a film that was an expose on Carlos Castaneda, which basically exposed him as a fraud. I like to watch a film and speak with some friends about it. So I'm going through this period that's not necessarily a retreat, but I'm trying to take a step back from it so it's not in my face. I need to let it simmer a bit.
SSv: You said you can go to the urban environment to find something from the rhythm there, but what happens on the flip side? What happens if you linger for long stretches there?
Lou: I just get too caught up in seeing friends that I haven't seen. It's easy to get social. It's real easy to get social and I'd rather have time to keep quiet and work on my stuff. It happens to a lot of my friends and a lot of my band mates that were living in Brooklyn and they basically couldn't get their work done. I know it works well for some people. Thousands of artists are doing it right now and it's working well for them. But certain people don't resonate with that.
Have you seen Koyaanisqatsi? It's basically a film about progress. Are you familiar with it?
SSv: No, I haven't heard of it.
Lou: Koyaanisqatsi. It starts out with nature and it shows some scenes in the desert and rivers. Philip Glass did the score and then about 20 minutes in, you see a bulldozer approaching over the horizon and it becomes ominous. Over the course of the film, the shots speed up and the music gets more tense and it slowly starts showing highways being built. It's all done in this really beautiful, cinematic way. By the end of the film, it's showing people in elevators and subways and escalators and city streets and the music is insane. The word 'Koyaanisqatsi' means out of balance in some native tribal tongue.
SSv: How long is the film? That sounds interesting.
Lou: I think it's probably 45 minutes to an hour. It's been a couple years since I've seen it. My father brought it home when I was a kid from the early '80s, I think it is. It's just totally crazy to see progress in this perspective and just how we can get used to an unnatural habitat being completely natural. I'm not paranoid of cities, don't get me wrong. It's just an interesting perspective.
SSv: And certainly more applicable now than when it was made.
Lou: Absolutely. The nice thing about our age now is that we see more green spaces and you see more people aware of conservation. I live in a rural area, but I learn the most about foraging and permaculture from my friends who live in Brooklyn. They'll come out and we'll do a hike and my friend will say, 'Okay, these are your mustard greens and this is a wild onion.' Most of the stuff on the forest floor, I don't know what it is. But they come home with a salad and she lives in Brooklyn. There's just a lot of good forward minds coming together in creative communities.
So by no means am I being a fatalist about urban living. I just need to chill out and hang out here. I'm not doing as much of that. I just like to do be near it. I'm a single father raising a child and making music in my studio and running a record label. So I don't get my hands outside in the dirt and garden all day. That's just a small part of it. I live more of an urban life out here as far as relying on technology and compressing files to share and so on.
But it's being here and doing it here and being around what I like and having that to watch those rhythms so that I can feel like a person.
SSv: I know Lewis and Clarke isn't a solo venture for you, so who are you working with these days? You mentioned the friends you're surrounded by in this environment earlier.
Lou: I'm lucky enough to be working with extremely talented folks right now, solid personalities who directly relate to the process. The contributions of the brothers (Ian and Shane O'Hara) are invaluable. We're switching instruments quite a bit, and Ian has been switching between upright bass, rhodes, and piano, so that's cool. They are stoic dudes to make music with. We're collaborating on string arrangements too, which Ian transcribes into notation.
So far we've recorded Molli's violin tracks, and Eve's going to be adding cello. Shane has also been engineering the string recordings. Tom Turtle is also a longtime co-conspirator, adding his layers of ambient washes. It's a good process, it seems that all of us are tapping into new levels of patience and communication. We're recording in spurts when the iron is hot and the creativity is flowing, in a converted greenhouse in Delaware with Nick Krill as engineer and co-producer. His studio is called The Garden Center. He's great.
SSv: So when or where does Lewis & Clarke emerge back into the public space?
Lou: Well, we got asked to do a tour in the fall which I may or may not do. I may want to wait until our full-length is out. But early winter of 2011, you'll have a new Lewis & Clarke album and you'll be able to attend a show for sure. We might hang back and keep working on more material instead of that fall tour, but we don't know yet.
I love their new album. Great interview, Matt! :)


text: The Optical Society of America (OSA) board of directors announced recently the election of James P. Gordon as its newest honorary member of the society. Gordon was chosen for his high-impact, seminal contributions to quantum electronics and photonics, including the first demonstration of the maser (microwave amplification by stimulated emission of radiation), the precursor to the laser. He is a technical consultant at Alcatel Lucent Bell Labs, where he has worked for more than 50 years. "Jim Gordon's career has spanned several decades and numerous disciplines, in many cases laying the foundation for whole new fields of physics, including quantum electronics and lasers," said James C. Wyant, OSA president. "His work has led to countless application areas, especially optical communications-the backbone of high-speed Internet today." While a student of Charles Townes at Columbia University, Gordon analyzed, designed, built and demonstrated the successful operation of the first maser in 1954 with Townes and Herbert Zeiger. He then, with Gary Boyd, conceived and provided the theory of confocal resonators, fundamental for the modern analysis of Gaussian laser beams and optical cavities that are critical to the design and operation of lasers. He pioneered the quantum theory of the information capacity of an optical communications channel providing a seminal breakthrough in the fundamental understanding of the limiting capacity of optical communications. He has also provided early key insight into the fundamental limits of coherent optical transmission systems, which have recently become prominent for high capacity commercial optical systems. "Jim is a true luminary in the field of optics and photonics, and it is fitting to honor him in the year in which the science community is celebrating the 50th anniversary of the first working laser," Wyant said. Honorary membership at OSA is given to those who have made unique, seminal contributions to the field of optics. Honorary member numbers cannot exceed two-thousands of the total OSA membership. To be elected requires a unanimous vote of the board of directors, based on the recommendation of the presidential advisory committee and the awards committee of the board. OSA brings together the global optics community through its programs and initiatives. It works to advance the common interests of the field, providing educational resources to the scientists, engineers and business leaders who work in the field by promoting the science of light and the advanced technologies made possible by optics and photonics. For more information, visit: www.osa.org


text: When you have a pencil dick and you just find out an hot humiliatrix like this one you see in this photo I can guarantee you will be just ready for any type of small penis humiliation on webcam and even not only on webcam ! You will be ashamed to flash her your pathetic little dick and she will see it then it will be just like going further on a webcam humiliation that you have not maybe even received yet . No joke this is hands down the best and cruel and determinated to humiliate your pathetic dick humiliation cam ever ! The most intense small penis humiliation chat ever , I swear she is so beautiful that I almost tought what a pity I do not have a cock . She is really into SPH cuckolds and her stories are really fucking wild . In few words a little penis idiot like you can not have such a gorgeous hot girl like this one because hse likes to fuck with huge dicks that you do not have ! You can always try to jack off that 2 cm dick in front of her and try to see if she will even notice an erection down in your pants ! I will be back soon with more live nasty sph cams that will make your pathetic pencil dick even more pathetic !


text:
Reliable technology to help you more effectively deliver intravenous and intra-arterial infusion treatments.
Large oval-shaped bulb allows for quick and easy inflation.
Color-coded gauge makes monitoring pressure simple.
Pressure relief valve protects bag from over-inflation.
Three-way stopcock ensures precise control of pressure.
血行動態モニタリングシステム >
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To help prevent cross contamination, the InfuseOne was designed for single patient use. The pressure infusion bag loads quickly and easily, and consistently maintains desired infusion pressure.
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Color-coded gauge makes monitoring pressure simple and pressure relief valve protects bag from over-inflation
Designed for single patient use
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text:
21/11/2018 - 30/04/2019
9:00 am - 5:00 pm
Location: Knowle West Media Centre, Leinster Avenue, Bristol We invite you to drop in and explore the exhibition of the: Living, Working, Making Together artist residencies Featuring work made by… read more
6:00 pm - 9:00 pm
Join Knowle West Media Centre to launch a new programme of events exploring sensors, data, technology – and us. Digital sensors are all around: every day things are 'sensed' by… read more
10:30 am - 4:30 pm
Did you know that you can make sensors with yarns and fabrics? Join E-Stitches Bristol to make a custom DIY sensor using electric fabrics and conducive threads. Together we'll learn how to… read more
06/07/2018 - 16/07/2018
9:45 am - 3:00 pm
Come and learn how to design, make and sell laser-cut jewellery in this free five day course at KWMC: The Factory. Over four workshops you will: — Explore a variety of techniques… read more
11/09/2017 - 23/07/2018
4:30 pm - 6:00 pm
Explore new technology in a fun and exciting environment. Every week we offer Minecraft and coding activities, as well as a range of specialist sessions exploring topics from Virtual Reality to 3D… read more
10:30 am - 4:30 pm
Location: Knowle West Media Centre, Leinster Avenue, Bristol Is your making or creativity confined to a specific space because of the tools you use? If you enjoy any activity that requires tools… read more
23/05/2018 - 31/10/2018
9:00 am - 5:00 pm
Location: Knowle West Media Centre, Leinster Avenue, Bristol The Commons Sense Test Space is open May – October 2018, Monday to Friday, 9am – 5pm* Digital sensors are all around us:… read more
26/11/2018 - 10/12/2018
10:00 am - 3:00 pm
Free for 18 – 30 year olds living in Bristol*. Come and learn how to design, make and sell laser cut Christmas gifts and trimmings in this free five day… read more


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It never happened. 2 or 3 times I went there and the place was closed.Then one day near the end of our stay, I passed by and he and a couple of friends were sitting chatting. I just walked by as I did not want to disturb them - - - but then realized that may be my only chance to photograph him, so turned around and approached and asked if I could take a picture of them (again, I implied - as they did not speak English and I did not speak Spanish).
I only saw them and interacted with them for one brief minute - and then on the day that I left Costa Rica, I went by the shop to drop off the small 4x6 print that I had printed for him to keep. He wasn't there and so I left it with the fellow looking after the shop.
. . . . well this particular day during our 2009 trip one year later, I returned to the area where I remembered this shop to be. I didn't know what to expect, but was shocked when they recognized me walking up the street approaching the garage. Friendly smiles and welcome by all - and then when I stated that I took a "foto" of them last year, they said "Yes Yes, it is right there"(pointing to the black and white oil covered print glued to the wall).I was extremely proud and thanked them profusely for valuing the small print of a stranger so much that they would display it in full view even a year later.
The ice was broke and I asked if I could take pictures of him working on a motorcycle. That has been "one of my main goals since last year for when I returned". I said to keep his "ojos" (eyes) on the cycle and not me. He and the others complied. I left so satisfied.
Here are a few of the shots:
After I took the pictures of them working, left - only to return realizing that i had to have a shot
of my picture from last year on their wall, to complete the story.
Here is a closer view of the picture as I posted it on our Journal in 2008
And here are 3 of several shots that I took this day in 2009, to complete the story of this man and his motorcycle repair shop:
Olympus E-510 : 12-60mm @ 12mm : f5.6 @ 1/125'th : 800 ISO
Olympus E-510 : 12-60mm @ 24mm : f5.6 @ 1/200'th : 800 ISO
His young intern in behind working inside the shop
Olympus E-510 : 12-60mm @ 32mm : f5.6 @ 1/40'th : 800 ISO