Thứ Hai, 30 tháng 8, 2010

Water, wind build Great Sand Dunes (AP)

MOSCA, Colo. – Driving up to Great Sand Dunes National Park and Preserve, the view seems almost silly: Across from shallow creeks at the base of the 14,000-foot Sangre de Cristo Mountains sit the largest sand piles in North America, kept in place by wind and water.

Melting snow, mountain creeks and storms regularly flush sand down the western side of the mountains, and southwesterly winds push the sand back on itself.

It’s a cycle that has created dunes up to 750 feet high, with sweeping views of mountains and sky.

Camping overnight at the park allows for unique views in moonlight, sunrise and sunset, but it’s also possible to squeeze in a day trip from Denver or Santa Fe, N.M.

A water bottle or two, some sunscreen and a little planning is all you need for a hike up the sand. But first some tips.

Park officials aren’t kidding when they say the high-altitude dunes get piping hot in summer, even though temperatures usually don’t get much above the mid-80s. The sand can reach 140 degrees, so it’s best to hike it in sneakers or closed shoes, either early in the morning or in the evening.

Sandals and flip-flops do come in handy for one thing though: In spring and early summer, melting mountain snow replenishes Medano and Sand creeks, which snake around the dunes. It’s refreshing to wade barefoot or in sandals in the water before and after a hike. In springtime, some kids in swimsuits and armed with sand shovels end up playing on this temporary beach without ever hiking up.

The creeks are largely gone by August, but a nearby mountain waterfall offers a welcome cool-down. More on that later.

The park has alpine and forest trails, but one of the simpler sand hikes is up High Dune. Fill up water bottles at the visitors center and head to the next parking lot. There are no trails on the dunes. Any route is possible.

Following the ridges is the best bet to avoid heading downhill too much before getting to the peak and having to hike back uphill in sand that swallows footsteps.

The Oasis shop right outside the park’s main entrance rents boards for around $20 a day so you can slide down the dunes like a snowboarder, although some people choose to ride them like a sled.

Jackie McCuistion, 19, of Alamosa, Colo., strapped into one shoeless and tried it out with friends. “Bend your knees, lean back and then just have fun,” she said after sliding down a ridge. Plastic sleds work too.

Plan on about 90 minutes to get to the top of High Dune, with breaks for photos and to catch your breath.

Afterward, head a few miles south of the park to Zapata Falls. Brown road signs point the way to a gravel road that winds three miles uphill to the start of a half-mile hike to the falls.

The water is usually icy cold in May, more tolerable in late summer. If you don’t mind getting your shoes wet, you can step into the shallow water to climb up a shelf back to a nook, right into a rocky hollow where you can watch the waterfall tumbling down from a mountain ledge and spattering you with a mist — a satisfying end to a day in the sun.

___

If You Go…

GREAT SAND DUNES NATIONAL PARK AND PRESERVE: Located near Mosca, Colo., about 240 miles southwest of Denver and 185 miles north of Santa Fe, N.M.; http://www.nps.gov/grsa/. The park is open daily year-round although the visitors center closes at night and on holidays. Admission is $3 for those ages 16 and older. Children are free.

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Water, wind build Great Sand Dunes (AP)

Water, wind build Great Sand Dunes (AP)

MOSCA, Colo. – Driving up to Great Sand Dunes National Park and Preserve, the view seems almost silly: Across from shallow creeks at the base of the 14,000-foot Sangre de Cristo Mountains sit the largest sand piles in North America, kept in place by wind and water.

Melting snow, mountain creeks and storms regularly flush sand down the western side of the mountains, and southwesterly winds push the sand back on itself.

It’s a cycle that has created dunes up to 750 feet high, with sweeping views of mountains and sky.

Camping overnight at the park allows for unique views in moonlight, sunrise and sunset, but it’s also possible to squeeze in a day trip from Denver or Santa Fe, N.M.

A water bottle or two, some sunscreen and a little planning is all you need for a hike up the sand. But first some tips.

Park officials aren’t kidding when they say the high-altitude dunes get piping hot in summer, even though temperatures usually don’t get much above the mid-80s. The sand can reach 140 degrees, so it’s best to hike it in sneakers or closed shoes, either early in the morning or in the evening.

Sandals and flip-flops do come in handy for one thing though: In spring and early summer, melting mountain snow replenishes Medano and Sand creeks, which snake around the dunes. It’s refreshing to wade barefoot or in sandals in the water before and after a hike. In springtime, some kids in swimsuits and armed with sand shovels end up playing on this temporary beach without ever hiking up.

The creeks are largely gone by August, but a nearby mountain waterfall offers a welcome cool-down. More on that later.

The park has alpine and forest trails, but one of the simpler sand hikes is up High Dune. Fill up water bottles at the visitors center and head to the next parking lot. There are no trails on the dunes. Any route is possible.

Following the ridges is the best bet to avoid heading downhill too much before getting to the peak and having to hike back uphill in sand that swallows footsteps.

The Oasis shop right outside the park’s main entrance rents boards for around $20 a day so you can slide down the dunes like a snowboarder, although some people choose to ride them like a sled.

Jackie McCuistion, 19, of Alamosa, Colo., strapped into one shoeless and tried it out with friends. “Bend your knees, lean back and then just have fun,” she said after sliding down a ridge. Plastic sleds work too.

Plan on about 90 minutes to get to the top of High Dune, with breaks for photos and to catch your breath.

Afterward, head a few miles south of the park to Zapata Falls. Brown road signs point the way to a gravel road that winds three miles uphill to the start of a half-mile hike to the falls.

The water is usually icy cold in May, more tolerable in late summer. If you don’t mind getting your shoes wet, you can step into the shallow water to climb up a shelf back to a nook, right into a rocky hollow where you can watch the waterfall tumbling down from a mountain ledge and spattering you with a mist — a satisfying end to a day in the sun.

___

If You Go…

GREAT SAND DUNES NATIONAL PARK AND PRESERVE: Located near Mosca, Colo., about 240 miles southwest of Denver and 185 miles north of Santa Fe, N.M.; http://www.nps.gov/grsa/. The park is open daily year-round although the visitors center closes at night and on holidays. Admission is $3 for those ages 16 and older. Children are free.

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Water, wind build Great Sand Dunes (AP)

SAIGON – Mekong Delta

Image by williamcho

Tourists getting on board to tour the Mekong Delta on a small boat. Visits include a Bee farm, village restaurant and candy & banana liquor production factory.

Lotus awaiting funds to build the Evora 414E Hybrid


Lotus awaiting funds to build the Evora 414E Hybrid

Lotus Evora 414E HybridLotus is about to start working on its first hybrid sports cars as the firm is currently awaiting news of Technology Strategy Board funding for its Evora 414E range-extending hybrid. The British manufacturer wants to build two prototypes, but if the funding will not be receive it will build just one.

For those who don't know, the concept was unveiled back in March, at the Geneva Motor Show and it is based on the Evora platform. Powering the Evora 414E is a pair of electric motors, one located at each rear wheel. Each electric motor delivers 207 ps (the name comes from the total output delivered – 414 ps). According to the manufacturer, the car can sprint to 60 mph in less than 4 seconds and it can travel up to 35 miles on all-electric power.

Lotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E HybridLotus Evora 414E Hybrid

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-Lotus awaiting funds to build the Evora 414E Hybrid

Being 1 Month Pregnant – What It Is All About

Fοr many women, іt іѕ annoying tο know thаt thеу аrе 1 month pregnant. It іѕ οnƖу awaiting thе symptoms οf pregnancy bе converted іntο evident thаt аѕ women knew іn thіѕ area іt. Sο whаt аrе аѕ symptoms? Thе аt thе mаkе indicator іѕ ordinarily a missed cycle.

Thеn іt mау аƖѕο bе accompanied bу sore breasts, exhaustion, dimness, nausea, set alight spotting, οr mild cramping. If уου аrе 1 month wіth child аnԁ іѕ bу thе calendar mode οf assess, іt paysalary one month іn view οf thе fact thаt thе mаkе οf thе last menstrual cycle.

Ovulation ordinarily occurs approximatelyroughly thе fourteenth day οr center owing tο thе menstrual logic, аnԁ wіth thе egg hаѕ bееn fertilized bу thе sperm, іt a additional ten tο fourteen days fοr thе newly twisted kernel tο insert іn thе organizationrunning lining. AƖƖ owing tο implantation іt іѕ fairlyrather usualroutine fοr ѕοmе set alight spotting tο recommend itself, bυt іf flow οf blood іѕ gray οr astute οr ԁаrk red thеn a physician mυѕt bе consulted, thаt іѕ іf thе feminine orator ѕhе іѕ wіth child. If nοt, thе spotting mау maybe bе seen аѕ thе mаkе οf thе menstrual logic.

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If you are 1 month pregnant and is using the calendar method of calculation

Ovulation usually occurs around the fourteenth day or midway through the menstrual cycle, and after the egg has been fertilized by the sperm, it takes another ten to fourteen days for the newly formed embryo to implant in the uterine lining. During implantation it is quite normal for some light spotting to occur, but if bleeding is heavy or bright or dark red then a physician should be consulted, that is if the woman knows she is pregnant. Otherwise, the spotting could be seen as the start of the menstrual cycle.

During the first month of pregnancy a lot is happening. Hormones are fluctuating, and periods of being extremely happy are exchanged for times of crying for no apparent reason! No wonder the women’s partners can’t quite figure out what is going on. This may be the reason why the women may cry for no apparent reason even when presented with her favorite food. Do look out for her strange behaviors too!

In addition to crazy hormone changes, appetite may change too. At 1 month pregnant nausea may occur from time to time, especially in the morning, and foods that were once favorites may smell too pungent to eat and cause a mad dash to the nearest restroom. Other significant changes are also occurring at this time. The amniotic sack is forming as is the umbilical cord, and until this process is complete, the yolk sack protects and provides nourishment to the developing fetus.

With all these changes going on at once, being 1 month pregnant is a significant time. Some women may not even know they are 1 month pregnant, and may not even suspect until the second month or so. These women may have experienced a lighter flow during their cycle, but not suspect anything until they miss their next period completely.

A planned pregnancy is much different because these women know before they are even 1 month pregnant that they are expecting; they know as soon as their cycle is a little off because they are looking for all the little signs of pregnancy, no matter how subtle. 1 month pregnant is just the beginning for the parents in this long journey of parenthood. You may have to go through this several times. Just take care of yourself and visit your gynecologist regularly.

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Hole in Southwest jet blamed on metal fatigue (AP)

DALLAS – Federal investigators say metal fatigue caused a hole to rip open in the roof of a Southwest Airlines jet as it cruised at 35,000 feet last year.

The National Transportation Safety Board says the 14-inch crack developed in a spot where two sheets of aluminum skin were bonded together on the Boeing 737 jet.

Southwest spokesman Brad Hawkins said Thursday that the airline agreed with the board’s findings and had increased visual inspections of that area of the skin on its planes.

Bound from Nashville, Tenn., to Baltimore on July 13, 2009, the plane lost cabin pressure, causing oxygen masks to drop in front of passengers. The pilot made an emergency landing in Charleston, W.Va. There were no injuries among the 126 passengers and five crew members.

Two months after the scare, Boeing told all airlines with 737s to conduct repeated inspections of the top of the fuselage near the vertical tail fin. The Federal Aviation Administration has since made those inspections mandatory.

Southwest got the plane in 1994 — it’s much older than the average Southwest jet — and had flown it for 50,500 hours and made 42,500 takeoffs and landings before it sprang a hole in the roof, according to the safety board report.

The safety board said it found signs of metal fatigue by magnifying the area in front of the tail fin. In a 3-inch stretch, the crack penetrated completely through the aluminum skin.

FAA records showed that eight cracks had been found and repaired in the fuselage during the plane’s 14-year checkup six months before the Charleston landing.

Hawkins, the Southwest spokesman, said the airline was complying with all new safety regulations developed by Boeing and the FAA since the Charleston incident.

“We’ve taken aggressive measures to incorporate additional maintenance inspections … in response to what was learned from Flight 2294,” he said.

The FAA requires special inspections for wear and tear, which is common among planes of that age. A few months before the emergency landing, Southwest had agreed to pay $7.5 million to settle charges that it operated planes without performing those inspections, although at the time the FAA’s requirement didn’t cover checking the area directly in front of the vertical tail fin.

Metal fatigue has caused catastrophic accidents. In 1988, cracks caused part of the roof of an Aloha Airlines Boeing 737 to rip open in flight and a flight attendant plunged to her death. That accident led to tougher inspection rules.

Dallas-based Southwest has a fleet of 541 planes, all of them Boeing 737s. The airline says the average age of its planes is 10.5 years.

Read more here:
Hole in Southwest jet blamed on metal fatigue (AP)

Website aimed at hometown tourists (AP)

BOISE, Idaho – My family will travel halfway around the world to see a koala bear sitting in a eucalyptus tree, but for some reason it took us four years in Boise to see the city’s spooky old 19th century penitentiary, a local favorite just a few miles from our house.

The only thing that really gets us exploring our own city is the arrival of visitors from somewhere else.

And in that, we’re not alone. Most people in any city tend to wait until they have visitors from out of town to see the tourist attractions in their own locale, said Karen Ballard, who stays on top of such things for the Idaho Tourism Division.

“That often causes the locals to rediscover their local area,” said Ballard, the tourism office administrator.

It’s a common theme nationwide and motivation for a pair of entrepreneurs in Charlottesville, Va.

They’ve started a website, A Day’s Outing, to help hometown tourists see the attractions nearby. The site, at http://www.adaysouting.com/, allows you to put in your zip code or location and request suggestions for quick trips within a certain radius — say, 30 to 120 miles.

A list of preferences lets you specify what kind of outing you have in mind, such as a kid-friendly park, a wine tasting or theaters and museums.

Chief Executive Officer Elizabeth Muse thought up the idea last year when she was visiting her mother in Roanoke, Va.

“It was an amazing fall day, it was gorgeous,” said Muse. “I wanted to drive two hours, find maybe some farm things, maybe something outdoors.”

Muse and her business partner, Cathy Jolly, now scour the Internet for attractions to put on their site, which in June expanded from the Washington, D.C., area to include the whole country. They also offer attractions placement on their site for $9.95.

New as it is, the site is still relatively unpopulated. A search near Montpelier, Vt., turns up many state parks and museums but few of the regional theater offerings available in the area’s small towns.

However, with the search expanded to a 120-mile radius, the site surprises with legions of lesser-known listings in neighboring New York state, such as the Lake Placid Toboggan Chute in the Adirondacks.

Muse and Jolly check the listings by reviewing individual websites and by checking in with local convention or visitors’ bureaus. They exclude casinos and a few other attractions, such as golf.

“We are trying to be very selective about what we have on the website,” said Muse. “Most people who are going to go play golf know they’re going to play golf; it’s not something you make a last-minute decision to do. People are using our website for side trips once they’re on vacation.”

Ballard, like Muse, often learns of an attraction at one site and then does more research on her own with the local tourism office.

“I very much trust a local convention center or visitor’s bureau,” Ballard said. “I have rarely found any of (them) over-exaggerating their assets, and they often just have a lot of good practical tips.”

Muse, a mother of two, knows how hard it can be to get out the door for any trip. She wants to help everyone take that step. A Day’s Outing has an iPhone application and will eventually offer geo-location, enabling users to check their mobile phones for a customized list of sites nearby.

“Be a hometown tourist,” Muse said. “Don’t miss out on the things that people come to your city or your town to visit.”

Read the rest here:
Website aimed at hometown tourists (AP)

Vineyard tours take visitors from grape to glass (AP)

HEALDSBURG, Calif. – They say great wine is made in the vineyard. Now some vintners are inviting guests to check that out through walking tours aimed at giving the real dirt on winemaking.

“One of the challenges facing the industry is there is this elitist perception of wine,” says Clay Mauritson, winemaker at Mauritson Winery, which offers vineyard tours. “I just see a huge benefit to getting people in the vineyard and showing them how the wine is made.”

The Mauritson tour is one of four self-guided walks put together with the assistance of the Sonoma County Winegrape Commission. (The other three are Paradise Ridge Winery, Balletto Vineyards and Matanzas Creek Winery.) The tours are free and visitors get information sheets pointing out various sights along the way; tasting room fees vary.

Trails are clearly marked with stopping points to look at various features, such as the Mauritson wind machines used to protect grapes from frost during the winter. (The fans draw in and circulate warmer air.) Different types of vines are pointed out, as well as the environments they like to live in — heavier, richer soils for sauvignon blanc, for instance, or gravelly dirt for cabernet sauvignon.

“It’s a passive education,” says Mauritson. “When they notice those things, what they’re really doing is the essence of viticulture. You’re not shoving it down their throat with hoity-toity wine talk, you’re really letting them find out.”

Amy Hoseth, a librarian from Fort Collins, Colo., who recently took the Mauritson tour with her husband, Chad, appreciates the low-key approach.

“I’d never seen grapes growing before, so it was cool to see how it all works,” she said.

The couple visited a few wineries, including one where they took a tram ride through the fields, which they also enjoyed, but “it was just kind of fun to get out there and walk around.” At the end of the tour, the couple got to stand near the crushpad and watch wine being bottled, a bonus peek into the world of winemaking.

Sonoma County isn’t the only region inviting visitors to get up close and personal with the vines.

In next-door Napa Valley, Rubicon Estate — the historic Inglenook Winery painstakingly restored by director Francis Ford Coppola — has a variety of tours including a 45-minute Vinifera walk.

“This journey begins where our wine begins, in the vineyard, and that really was the impetus for us to do this,” says Catherine Durand, senior director of retail operations at Rubicon.

The Vinifera tour, which costs $45 and culminates with a tasting of five wines, is guided and may take longer than 45 minutes depending on what people in the group want. “We ask guests, how much of this do you want to learn?” says Durand.

If you’re looking for some serious leg-stretching, Kunde Family Estate, also in Sonoma County, has tours ranging from fairly short walks where dogs are welcome to moderately strenuous hikes that last up to four hours.

“We get people into our vineyards, show them our sustainable farming practices; they see beautiful vineyards. Our whole concept is to get people in the vineyards,” says Jeff Kunde. “Everybody can see what estate wine is all about.”

The winery has vehicles available to pick up anyone who finds the walk a bit much for them (a few old dogs have hitched rides, too) and they also have a completely motorized trip to a mountaintop tasting for those who want their views without vigor.

Kunde, which has been recognized for its sustainable growing practices, has 1,850 acres and a 1,500-foot elevation, so each hike is a little different.

There is a charge, which includes tastings and in some cases lunch. A portion of the fees goes to an appropriate charity — an environmental fund for the eco-tours; pro-animal groups for the dog hikes. Walks end with a wine tasting, and for the dogs, a water tasting.

Registration is online and tours fill up promptly.

Tiptoe through the tulips? That’s so yesterday. Now you can prance past the pinot noir.

___

If You Go…

KUNDE FAMILY ESTATE: 9825 Sonoma Hwy., Kenwood, Calif.; http://www.kunde.com or 707-833-5501. Online registration available, fees range from $25 for hikes with tastings to $45 for dog hikes with lunch, and $60 for a special harvest hike, including lunch, Sept. 11.

MAURITSON: 2859 Dry Creek Road, Healdsburg, Calif.; http://www.mauritsonwines.com or 707-431-0804. Walks are free. No reservation required, but call ahead to check on weather conditions. Tasting room fees vary.

SONOMA COUNTY SELF-GUIDED TOUR: http://www.sonomavineyardadventures.com/

RUBICON ESTATE: 1991 St. Helena Hwy., Rutherford, Calif.; http://www.rubiconestate.com or 707-968-1100. Vinifera tour $45, includes tasting. Reservations recommended.

Excerpt from:
Vineyard tours take visitors from grape to glass (AP)

Exploring one of Paris' great attractions: Cinemas (AP)

PARIS – It may seem backward to travel to one of the most beautiful cities in the world and sit in the dark.

In Paris, there are seemingly endless rues and quais and museums and cafes to explore, which means visitors often hurry past one of the city’s greatest attractions: its cinemas.

They’re found throughout the French capital — and in particular the Latin Quarter. No city in the world boasts such a bevy of independent theaters, where vibrant repertory series and exciting selections play nightly.

New York might quibble, but most of its independent theaters long ago shuttered. Manhattanites can proudly claim the essential Film Forum, but Parisians can stand on the Left Bank and have nearly a dozen similar options within a five-minute walk.

Spending an entire trip among flickering projections would, of course, be extreme. But it does occasionally rain in Paris and sometimes a cool night at the movies is just the ticket after a day of traipsing around the attractions. And, unlike many destinations in Paris, no one — or perhaps everyone — is a tourist at the movies.

Your first move is to pick up your moviegoing Bible: the weekly Pariscope, which can be had for less than a euro at any newsstand. In it, you’ll find a detailed listing of every showing that week. It’s in French, but addresses, movie titles and show times are easily understood.

A key point: V.O. signifies version original (with French subtitles), whereas V.F. means version francais (dubbed in French). Now, if your French is poor, you are limited to movies in English, but this is only a slight impediment. Great, old American movies are plentiful and the odds are good that at any moment, a flick with Humphrey Bogart or Woody Allen is showing somewhere is Paris. As with jazz, the French are ardent celebrators of American filmmaking.

This is, after all, a birthplace of cinema. Here, it is the seventh art. So some history is in order, which means a trip to the Cinematheque Francaise.

Any film buff is well aware of the Cinematheque’s significance: Formed from Henri Langlois collection in the ’30s, its archives and constant screenings have long served as a kind of home base for Paris’ film scene. Many of the famed directors of the New Wave, like Francois Truffaut and Jean-Luc Godard, gathered here, though you can’t imbibe this history from its original location. It moved in 2005 to a beautiful, curvaceous building designed by architect Frank Gehry on Parc de Bercy in the 12th arrondissement.

Aside from several fine, modern theaters at the Cinematheque, you can also find the Musee du Cinema, which includes some truly magical artifacts from the history of cinema: Louis Lumiere’s 35mm projector, Thomas Edison’s kinetoscope, Robert Wiene’s expressionist sketches for “The Cabinet of Dr. Caligari,” a copy of the robot Maria from “Metropolis” made for the museum, and much more.

There are also rotating exhibits at the museum, and the collections — film excerpts, stills and props — will surely whet your movie appetite.

Turning to your Pariscope newspaper, the advice is simple: Follow the movies. See what’s playing and go after what intrigues you.

I, for one, generally seek out the great films of the ’40s and ’50s, some of which found artistic renown through the French. The famed French film magazine Cahiers du Cinema, co-founded by Andre Bazin, was essential to trumpeting the artistry of American genre filmmakers like Howard Hawks and Nicholas Ray.

This is one reason Paris may be the best place to see a film noir, in all its black-and-white, moody, fatalistic grandeur. The films might feature fast-talking detectives in Los Angeles, but a film noir feels most at home in Paris.

The selection on any given week in Paris is usually exceptional. A recent week, for example, boasted an Alfred Hitchcock series, a new print of the Clark Gable-Marilyn Monroe film “The Misfits” (1961), an Al Pacino series, Charles Laughton’s “The Night of the Hunter” (1955), the fabulous but lesser known noir “Fallen Angel” (1945), Bogart’s “The Enforcer” (1951), Robert Mitchum in 1947′s “Crossfire,” Sydney Lumet’s “The Offense” (1972), the new, touring print of Michael Powell’s “The Red Shoes” (1948) and much more.

You’ll quickly notice some differences to the Parisian moviegoing style. Show times are often listed for when the ads and trailers start and for when the film actually begins. Popcorn is not something generally eaten at the art house cinemas: Moviegoing is serious business.

Certain theaters are worth seeking out. Le Champo, on the rue des Ecoles, is perhaps the quintessential Parisian art house cinema. First opened in 1938, its survival has at times depended on the support of protesters refusing to allow closure.

If you don’t like the selections there, you can always try one of the other fine theaters around the block on rue Champollion. Many of Paris’ independent theaters are only a stone’s throw from here, including the nicely programmed Action Ecoles. After a movie at the Champo, walk up the hill for a drink outside at one of the cafes on the pleasant, restful Place de la Sorbonne.

One of the oldest cinemas in Paris is the Studio des Ursulines, near the Jardin du Luxembourg on the rue des Ursulines. It was built on the site of a Ursuline convent from the 1600s, and made into a silent film art house in 1926. It now shows first-run movies, but its plush red interior is hard to beat.

On the Right Bank, Cinema Mac-Mahon will always be dear to me, since it was where I first saw “Taxi Driver” on the big screen. It sits in the shadow of the Arc de Triomphe, just off the Place Charles de Gaulle.

Studio 28, opened in 1938, is a lovely Montmartre theater and a good destination for “Amelie” fans. This is the place the beloved film’s heroine frequented, (and she did chomp on popcorn). If you can, time your visit to coincide with sunset, and from the top of Montmartre watch the lights turn on across Paris as the city dims.

There are other unique theaters, too, like the Pagoda on the rue de Babylone in the 7th arrondissement. True to its name, it’s styled after a Japanese temple. If you want a more modern view of Parisian moviegoing, try one of the MK2 theaters. The MK2 Bibliotheque at the Francois Mitterand National Library on the Quai de Seine, has 14 theaters and a futuristic vibe.

The Grand Rex is a movie palace built in 1932 and its main auditorium can seat nearly 3,000. The biggest theater in Paris, it’s a common spot for flashy premieres, so the selection is typically first-run films. Its exquisite Art Deco design gives it a fantastical aura, like a grand, fairy-tale cinema.

All of these theaters beam out wondrous films every night. As you exit to the street rubbing your eyes, you might think that the best part of all about moviegoing in Paris is that the city awaiting you outside is hardly less of a dream than the movies.

___

If You Go…

CINEMATHEQUE FRANCAIS: Parc de Bercy. 51 rue de Bercy, 12th arrondissement: http://www.cinematheque.fr/

LE CHAMPO: 51 rue des Ecoles, 5th arrondissement: http://www.lechampo.com/

STUDIO 28: 10 rue Tholoze, 18th arrondissement: http://www.cinemastudio28.com/

CINEMA MAC-MAHON: 5 avenue Mac-Mahon, 17th arrondissement: http://www.cinemamacmahon.com/

LE GRAND REX: 1 Boulevard Poissonniere. 2nd arrondissement: http://www.legrandrex.com/

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Exploring one of Paris’ great attractions: Cinemas (AP)

Diverse cultures contributed to NM art (AP)

SANTA FE, N.M. – For centuries, New Mexico has been home to a distinctive tradition of painting Catholic saints in simple portraits, rather than adhering to the elaborate styles of European art.

Some critics have said the paintings resulted from untrained Spanish artists doing the best they could. But the curator of the Museum of Spanish Colonial Art never accepted that argument. Instead, Robin Farwell Gavin believes artists chose to adopt artistic traditions of Native Americans instead of the baroque styles brought to early New Mexico from the outside world.

That illustrates the message of cultural exchange behind “Converging Streams: Art of the Hispanic and Native American Southwest,” an exhibit that runs through September at the museum. Part of the show will come down at the end of August.

“If we really start to open our eyes to what’s happening with these art forms, it’s bringing us a whole different aspect of the story of the history here in New Mexico,” said Gavin, who curated the exhibit with independent curator William Wroth.

The show and a book by the same title examine contributions made by diverse cultures to early New Mexico architecture, weaving, woodwork, leatherwork, textiles, pottery, metalwork and religious art.

New Mexico today is known for its santos, or carved statues of saints, and retablos, two-dimensional paintings of saints on wooden boards.

“Converging Streams” includes both a 15th-century ancestral pueblo wall painting and a traditional 19th-century Hispanic retablo that show rigidly posed flat figures, outlined in black, holding ceremonial items.

The earliest saints from New Mexico were painted in a three-dimensional baroque style, then artists progressively moved to the more abstract, two-dimensional style, Gavin said.

From a traditional Western point of view, they seemed to be going backward.

“Our premise here is that this style is a choice,” Gavin said. “It wasn’t because the artist didn’t know how to draw or how to carve, but that they were actually choosing to use a style that was part of the community in which they were living and had been developed by that community.”

It flourished in a period when much of the Americas was breaking away from Spain and its political and social structure, including artistic guilds “which were telling them how to paint, what to paint, how to carve, what to carve,” she said.

“That is what I think the art is telling us here, is that we’re saying no, we’re not Spanish, we’re New Mexican. They were making a statement: This is who we are,” Gavin said.

Estevan Rael-Galvez, a former New Mexico state historian who now heads the National Hispanic Cultural Center in Albuquerque, said people should look beyond “very static notions of identity.”

He sees New Mexico as unique because of the particular cultures that converged in the Spanish colonial period.

Still, “every place in what we now call the United States of America had indigenous people. … There are mestizo stories or hybrid stories everywhere in the United States. As a society we aren’t trained to look at those things, to understand what created them, what are the consequences of people coming together,” said Rael-Galvez, whose training is in cultural anthropology.

One scholar traced the origins of the exhibit’s hide painting of Our Lady of the Assumption of Santa Maria la Redonda to a print distributed throughout Mexico, Gavin said. The artist who copied it, however, added a rainbow, step-terrace motifs and pueblo-style pots — images from Native American art.

Nineteenth-century crosses show not the crucifixion but designs of lightning bolts and feathers. One combines a European rosette with lightning and stepped-terrace patterns.

Leather pieces started out as Apache parfleches — decorated containers similar to saddlebags — but became covers for records of Roman Catholic baptisms and marriage and burial records and a carrying case for a retablo.

“Even though they were made by Native Americans, they were also obviously treasured by Spanish colonists and used to cover some of their most important documents,” Gavin said.

Long before the Spanish, skilled weavers from Southwestern tribes used cotton and vegetable fibers. The Spanish brought wool, which was quickly adopted.

A textile display traces a diamond design common to pieces of a cotton textile from Mexico, a Zuni blanket, a Hopi dress, a serape from Mexico, a Navajo saddle blanket, a Rio Grande blanket woven by early New Mexico Spanish weavers and a broken ancestral puebloan pot. The items date from as early as 1300 to the late 1800s.

Sometimes the diamond design encapsulates an equilateral cross. While the cross was a religious symbol to the Spanish, the equilateral cross dates well before the colonial period to represent the four directions.

Even the naja, a horseshoe-shape familiar as the focal piece of Navajo squash blossom necklaces, was neither Navajo nor Spanish. It comes from the Islamic tradition, where it’s a symbol for good luck, Gavin said.

The squash blossom itself started out as pomegranate blossoms, a design brought to the New World by the Spanish but originally Islamic, according to Gavin. The exhibit displays a Navajo squash blossom necklace and a Spanish necklace of shorter, fatter pomegranate blossoms.

All those cultures contributed to New Mexico’s art, Gavin said.

“You really can tell when you’re looking at a New Mexican piece,” she said. “That sense of place developed out of all these diverse influences.”

___

If You Go…

MUSEUM OF SPANISH COLONIAL ART: 750 Camino Lejo, Santa Fe, N.M.; http://www.spanishcolonial.org/ or 505-982-2226. “Converging Streams: Art of the Hispanic and Native American Southwest,” will close in stages, with a large exhibit room closing Aug. 31 and the rest remaining until Sept. 26. Open 10 a.m.-5 p.m. daily until Labor Day; closed Mondays thereafter. Admission $6. The museum’s next exhibit will be “Threads of Devotion: The Wardrobe of La Conquistadora.”

Continued here:
Diverse cultures contributed to NM art (AP)

Survivors of earlier era: 11 beloved trolley parks (AP)

NEW YORK – Before Disneyland and Six Flags, before steel coasters went 50 mph and rides were named for cartoons, movies and superheroes, there were trolley parks.

The parks were built by trolley companies at the end of the line in the late 19th and early 20th centuries, as a way to get workers and their families to ride streetcars and railways on weekends. They had carousels, picnic grounds and live entertainment, and they were often located by lakes, rivers or beaches where visitors could take a boat ride or swim.

By 1919, just after World War I, there were 1,000 amusement parks around the country, and most of them were trolley parks, according to Jim Futrell, historian for the National Amusement Park Historical Association. But as cars replaced trolleys, the streetcars and their parks faded away.

Today, only 11 trolley parks remain in operation: Camden Park in Huntington, W.Va., which opened in 1903; Canobie Lake Park, in Salem, N.H., dating to 1902; Clementon Park in Clementon, N.J., which opened in 1907; Dorney Park in Allentown, Pa., 1884; Kennywood in West Mifflin, Pa., 1898; Lakemont Park in Altoona, Pa., 1894; Midway Park, in Maple Springs, N.Y., 1898; Oaks Amusement Park, in Portland, Ore., 1905; Quassy Amusement Park, in Middlebury, Conn., 1908; Seabreeze Amusement Park, in Rochester, N.Y., 1879; and Waldameer Park in Erie, Pa., 1896. (Clementon Park was not owned by a trolley company, but it was located at the end of a trolley line, and some parks were recreation areas before trolley companies bought them.)

With a couple of exceptions, most of the surviving trolley parks are smaller, more family-oriented and substantially cheaper than big modern theme parks with high-speed 20-story roller coasters. Some still let you pay by the ride, rather than charging hefty gate admissions that can add up to hundreds of dollars for a family. And many encourage visitors to bring picnics rather than banning outside food like some big parks do.

“As destination and regional parks try to outdo each other with huge rides that cost millions and as a result have to charge larger admissions, the value of local trolley parks remains family-friendly,” said Tim O’Brien, editor at large for Funworld magazine, the official publication of the International Association of Amusement Parks and Attractions. “And they are every bit a part of a community as the local banks and mom and pop grocery stores. Trolley parks are true pieces of Americana.”

Four of the 11 trolley parks still in operation are located in Pennsylvania. Futrell says the parks are a holdover from the state’s manufacturing era, when trolleys transported workers to factories and companies used the parks for annual picnics. Pennsylvania missed out when more modern theme parks were built elsewhere, so locals kept patronizing the older parks.

As with most other trolley parks, Futrell says Pennsylvania’s parks owe their existence to family owners who bought them decades ago. “These family owners cared and shepherded the parks through challenges and were smart enough not to get in trouble with debt, and they kept the parks relevant to the communities,” Futrell said. “It was more than a business to them; it was a family heirloom.”

Waldameer is still under family ownership; Midway is now owned by the state, but was owned by the same family for years. Kennywood and Dorney Park are now both owned by large theme park companies, but Futrell credits previous family owners with keeping them alive and financially sound to the point where they attracted new business owners.

Oaks Park in Portland, Ore., is now run by a nonprofit organization that was established by the family that once owned the park. But the park was built by the Portland Traction Co. at the end of a rail line on the Willamette River, just before the 1905 centennial celebration of the Lewis and Clark Expedition.

“It was a tough life then,” said Mary Beth Coffey, Oaks’ senior manager, explaining the park’s appeal a century ago. “People worked in factories or agriculture. They would come to the park on the weekend. You could show off your dress or hat on the boardwalk. Oaks Park had electric lights and people didn’t have them in their houses — they called it the Great White City because of the lights. Ethnic groups — the Germans, Poles, Irish — would stay overnight.”

Exotic entertainment included a roller-skating elephant and ostrich zoo, and John Philip Sousa performed at Oaks a dozen times. Then as now, a roller rink, one of the largest on the West Coast, was a park centerpiece, with live music from a Wurlitzer pipe organ.

Coffey says Oaks is thriving, with 750,000 guests from spring to early October and 800 corporate picnics annually. It’s also affordable: Parking is free, and you pay by the ride.

DyAnne Wood visited Oaks on a recent summer day, one of seven in a three-generation family outing that included her 6-year-old grandson.

“I used to go when I was younger to the roller skating rink,” she said. “The park is in a beautiful place by the river, and the kids don’t understand how nostalgic it is. They just like it because it’s an amusement park with rides. But it reminds me of when I was young.”

Quassy, located on scenic Lake Quassapaug in Connecticut where visitors can cool off with a swim after the rides, is an easy day trip from New York City or Western Massachusetts. Rides are a mix of old and new, with kiddie rides dating back to the 1950s, a new family drop tower installed this year and a new wooden roller coaster planned for next year. Visitors who prefer a water park to the lake can try Quassy’s “Saturation Station.”

“We’ve been family-owned for 72 years now,” said Quassy spokesman Ron Gustafson. “We still do 50-cent Friday nights and a $25 Saturday night carload special. That’s incredible value.”

Canobie Lake Park in New Hampshire, located 30 minutes north of Boston, also remains family-owned and attracts hundreds of thousands of visitors annually, according to marketing director Chris Nicoli. The park is three times its original size, and the old trolley station has been preserved as a Skee-ball building. A new exhibit at the park documents its dance hall, which through the years hosted Duke Ellington, Sonny and Cher and Frank Sinatra.

Canobie’s rides are a trip through history too: The carousel is a 19th century antique; the Yankee Cannonball wooden coaster is vintage 1930s, and the looping steel Canobie Corkscrew dates to the ’70s.

“We’ve got children coming on their eighth-grade field trip whose grandparents came on their eighth-grade field trip,” said Nicoli.

Futrell says he’s optimistic about the future of the remaining trolley parks. “They’re all in good markets and they’ve all been growing over the past few decades,” he said. “You never know what will happen, but I can’t imagine any of these parks going away.”

___

If You Go…

CAMDEN PARK: Huntington, W.Va., http://www.camdenpark.com/

CANOBIE LAKE PARK: Salem, N.H., http://www.canobie.com/

CLEMENTON PARK AND SPLASH WORLD: Clementon, N.J., http://www.clementonpark.com/

DORNEY PARK: Allentown, Pa., http://www.dorneypark.com/

KENNYWOOD: West Mifflin, Pa., http://www.kennywood.com/

LAKEMONT PARK: Altoona, Pa., http://www.lakemontparkfun.com/

MIDWAY STATE PARK: Maple Springs, N.Y., http://bit.ly/9ZH48q

OAKS AMUSEMENT PARK: Portland, Ore., http://oakspark.com/

QUASSY AMUSEMENT PARK: Middlebury, Conn., http://www.quassy.com/

SEABREEZE AMUSEMENT PARK: Rochester, N.Y., http://www.seabreeze.com/

WALDAMEER & WATER WORLD: Erie, Pa., http://www.waldameer.com/

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Survivors of earlier era: 11 beloved trolley parks (AP)

Fla. fruit stand begun by boy celebrates 50 years (AP)

HOMESTEAD, Fla. – Robert is here, and he’s been here for more than five decades.

Officially established in 1960, the Robert Is Here fruit stand is celebrating its 50th anniversary this year. Robert Moehling, who’s been running the stand since he was 6 years old, can still be found behind the counter on any given day, chatting with regulars and answering questions about exotic fruits.

Robert Is Here — located in Homestead at the edge of the Everglades National Park — gets visitors from all over the world and has become a regional landmark. Moehling offers customers everything from the traditional to the unusual, including mangos, strawberries, lychees, papayas, guanabanas, tamarinds, sapotes and carambolas, also known as starfruit. Most of them he grows himself.

“We like to grow weird tropical fruit,” Moehling said.

And just about all the fruits sold at Robert Is Here are offered as flavors for milkshakes and smoothies.

“It’s great,” said Jill Shafer, of Wooster, Ohio, who was on the way to the Keys with her daughter. “The milkshakes are out of sight. … I don’t know of any other places like this.”

Moehling’s daughter, Victoria Valencia, said they try to create an atmosphere for customers to hang out and enjoy themselves. A petting zoo behind the stand features emus, donkeys, goats, parrots, chickens, geese and tortoises. Inside the animals’ enclosure is a climbing structure made of several tons of natural coral rock.

“We’re trying to make it more enjoyable,” Valencia said. “Instead of just coming out, getting their milkshakes and getting back in their car and leaving, we want them to stay.”

Rita Merlevede, who was visiting from Belgium with her husband and three sons, read in a travel guide that anyone planning a trip to the Everglades had to stop at Robert Is Here.

“It’s really a terrific place,” Merlevede said. “It’s nice that you can eat your fruit right here.”

Besides offering customers fruit and entertainment, Moehling likes to help guests find other fun activities in the area. Robert Is Here is one of nine local businesses that joined several years ago to form the Historic Redland Tropical Trail. Other members include Schnebly Redland’s Winery, Everglades Alligator Farm, Monkey Jungle and the world-famous Coral Castle.

“By promoting other places, it makes my customers happy, and happy customers come back,” Moehling said.

The stand got its start because Moehling’s father, also named Robert, was having a hard time unloading a harvest of cucumbers.

Not wanting to throw away perfectly good cucumbers, Moehling’s father set his then-6-year-old son on a rural intersection one Saturday in November 1959 and told Moehling to sell the vegetables.

“I sat here all day long,” Moehling said. “Not only did I not get any customers to buy cucumbers, no one even stopped.”

Moehling’s father simply couldn’t understand how so many people could drive by without wanting to buy cucumbers, concluding that people must not have seen the boy. Moehling’s father grabbed a couple hurricane shutters and wrote “Robert Is Here” on them in big red letters. He set Moehling back on the same corner the next day with the two signs in place. Moehling sold all the cucumbers by noon and walked home.

For the next several weekends, Moehling returned to the corner — the same location where the fruit stand remains today — to sell various fruits and vegetables. When Christmas vacation arrived, Moehling spent every day at the corner. When school resumed in January, Moehling’s mother, Mary, arranged for the bus to pick him up and drop him off at the fruit stand. They would set up each morning and leave a coffee can on the table, allowing customers to pay on the honor system. After the bus dropped off Moehling in the afternoon, he worked until dark.

Despite the long hours, Moehling said he never resented working the stand as a child.

“It was something that I had to do to keep the family’s head above water,” Moehling said. “The first year or so it was sustaining an income we didn’t have, because dad was really busted out.”

The family’s fortunes eventually improved, and by the time Moehling was 9, he had hired a neighbor woman to watch the stand for him while he was at school. The young entrepreneur bought his first 10 acres of property when he was 14. He planted an avocado grove on it and rented out the house. Over the years, Moehling continued to buy property in five- or 10-acre patches. Moehling, his wife and his children still farm the land and sell the produce at their stand.

After decades of running the business, Moehling said his children are handling more of the responsibilities. Three of his four kids decided to return to the fruit stand after graduating from college. The fourth is still in school.

Moehling said he’s happy to have his children take over, so long as they’re able to make the place their own.

“I started this to help my parents and grew it into what it is,” Moehling said. “Now I’m forcing them to do something to make their mark.”

Valencia said she’s proud of what her father has done. She said everyone who has worked for him over the years — including her husband when he was younger — has learned what it takes to run a good business.

“We’re not as cheap as Walmart, but things are quality,” Valencia said.

“That’s something my dad has had for his whole life. He will not settle for anything less.”

___

If You Go…

ROBERT IS HERE: Roadside fruit stand. Located at 19200 SW 344th St., Homestead, about two miles west of Florida’s Turnpike; http://www.robertishere.com or 305-246-1592. Open daily 8 a.m.-7 p.m. from first weekend in November through last weekend in August. Closed in September and October. Produce, shakes, petting zoo and other attractions.

HISTORIC REDLAND TROPICAL TRAIL: http://www.redlandtrail.com. In addition to Robert Is Here and the Tropical Everglades Visitor Center, the list of attractions and businesses from Miami to the Everglades includes R.F. Orchids, Coral Castle, Everglades Alligator Farm, Schnebly Redland’s Winery, Bonsai Garden, Monkey Jungle, Capri Restaurant and Cauley Square Historic Restaurant.

Original post:
Fla. fruit stand begun by boy celebrates 50 years (AP)