text:
US 4126032 A
A system for determining photo-chemical reaction heat evolved from a sample material irradiated with radiant energy comprises a calorimeter having a pair of sample holders connected to heat-leakage type thermo-electric elements which develop electric output signals proportionate to the amount of heat energy conducted therethrough. Both sample holders are initially irradiated with radiant energy before disposing the sample material thereon to heat the sample holders and thereby develop electric output reference signals. The amount of radiant energy being irradiated on at least one of the sample holders is then selectively adjusted to effectively compensate for any difference between the two reference signals. Then the sample material is mounted on at least one of the sample holders and both sample holders are irradiated with the adjusted radiant energy thereby enabling determination of the exothermic or endothermic heat value generated by the sample material due to the photo-chemical reaction heat evolved therefrom in accordance with the difference in the electric output signals developed by said thermo-electric elements.
1. A method for determining photo-chemical reaction heat evolved from a sample material irradiated with radiant energy within a calorimeter comprising the steps of: providing a calorimeter having a pair of sample holders connected to heat-leakage type thermo-electric elements which develop electric output signals proportionate to the amount of heat energy conducted therethrough; irradiating both sample holders with radiant energy before disposing the sample material thereon to heat said holders and develop electric output reference signals therefrom; adjusting the amount of radiant energy being irradiated on at least one of said sample holders to effectively compensate for any difference between the two reference signals; and then mounting a sample material on at least one of said sample holders and irradiating both sample holders with the adjusted radiant energy and determining the exothermic or endothermic heat value generated by the sample material due to the photo-chemical reaction heat evolved therefrom in accordance with the difference in the electric output signals developed by said thermo-electric elements.
2. A method according to claim 1; wherein said adjusting step comprises selectively adjusting the amount of radiant energy being irradiated on both sample holders until the two reference signals are equal.
3. An apparatus for determining photo-chemical reaction heat evolved from a sample material irradiated with radiant energy comprising: a calorimeter having an interior chamber the temperature of which is maintained at a predetermined value; a pair of sample holders for holding thereon sample material mounted within said chamber; a pair of heat-leakage type thermo-electric elements connected to respective ones of said sample holders and operable to develop electric output signals proportionate to the amount of heat energy conducted therethrough; means for applying radiant energy to the sample material held on said sample holders; means for determining the quantity of heat conducted by said thermo-electric elements in accordance with the electric signals developed by said thermo-electric elements; and means for compensating for any difference in level between the electric output signals from said thermo-electric elements so as to shift the base line of the sample material to coincide with that of a predetermined reference time-temperature difference characteristic, said means for compensating comprising a variable throttle for selectively adjusting the amount of radiant energy.
The present invention relates to a method and apparatus for determining photo-chemical reaction heat occurring when sensitive material reacts photo-chemically.
Applying high energy radiant rays such as light, to photo-sensitive material, such as photo-sensitive resin, causes a photo-chemical reaction such as photo-polymerization to be produced. At that time, exothermic or an endothermic reaction is generated. It is significant in determining optimum reaction conditions to determine the reaction heat produced during the photo-chemical reaction and furthermore to thereby determine the reaction velocity.
In the prior art, there has been used a calorimeter for determining the changes in fusing, transition, decomposition or the like which are caused when the temperature of certain material is raised for determining the thermal changes, such as exothermic or endothermic change, generated when different materials are mixed. However, in the prior art, there has not been such apparatus by which the exothermic or endothermic value may be determined when a certain material is added to a different material during the photo-chemical reaction under the above-mentioned fixed temperature.
In the above-mentioned determination, since the reaction velocity in photo-reaction differs or varies according to the temperature of the sample itself, it is required that the temperature of the surrounding atmosphere be maintained at a fixed value and that the temperature of the sample be maintained at a fixed one. However, even when the surrounding temperature is maintained constant, the temperature of the sample itself changes due to the reaction heat generated when the sample itself is reacted. Therefore, it becomes difficult to carry out the determination of the photo-chemical reaction heat with high accuracy.
It is an object of the present invention to provide a method and an appratus for determining exothermic or endothermic heat valves generated owing to the decomposition, polymerization or the like occurring when the stimulation such as light is exerted on the sensitive material.
It is another object of the present invention to provide a method and an apparatus for determining precisely, without thermal noise or obstruction, the photo-chemical reaction heat and the reaction velocity caused when radiant energy is applied to the sensitive material.
It is another object of the present invention to provide a method and an apparatus for precisely determining the photo-chemical reaction heat in which the determination of the photo-chemical reaction heat may be carried out without receiving influences such as the differences in thermal capacity or heat conductivity of plates between a reference and sample portions of the determination apparatus.
These and other objects may be achieved in such a manner that the sample plate is located in a thermostat through a heat-leakage type temperature detector, the reaction heat is made to be fast leaked into the thermostat whereby the large change in the sample temperature may be prevented, two sample plates are disposed at positions thermally equal to each other and the radiant ray is simultaneously applied to both the sample plates, the sample being mounted on only one sample plate so as to determine the exothermic or endothermic value in accordance with the difference in temperature between both the sample plates.
FIG. 1 is a schematic explanatory view of a photo-chemical reaction heat determination apparatus of the present invention,
FIG. 2 is a schematic explanatory view showing an embodiment of the present invention,
FIG. 3 is a graph showing a photo-chemical reaction curve recorded on a recorder, and
FIG. 4 is a block diagram showing another embodiment of the present invention.
The preferred embodiments of the invention will be explained hereinbelow in conjunction with the accompanying drawings.
In the drawings, 1 shows a thermostat of a calorimeter, 2 is a constant temperature chamber located in a center position of the thermostat 1. The upper portion of this constant temperature chamber 2 is closed by a glass plate 3.
4 designates an atmosphere controller which makes the interior of said constant temperature chamber 2 vacuous and to be filled with gas, such as N2 gas, that does not react with the sample in order to control the atmosphere during the photo-chemical reaction. 5 is a temperature controller which keeps the temperature of the entire body of said thermostat 1 at a predetermined value. For instance, in the wall of the thermostat 1, is disposed circulation pipe (not shown) into which a temperature controlled fluid is circulated, whereby the temperature of the thermostat 1 may be kept at a fixed temperature.
6 is a holder for mounting the sample plate thereon. Said sample plate is placed in said constant temperature chamber 2. This holder 6 is thermally closely attached on a heat sink 1a of the thermostat 1 through a heat-leakage type thermo-electric element 7 which is comparatively sufficient in heat conductivity and large in sectional area (for instance, a semi-conductor temperature detector such as a thermo-module). This thermo-electric element 7 detects a minimum difference in temperature between a portion closely contacting a lower surface of said holder 6 and a portion closely contacting an upper portion of the heat sink 1a, that is to say, the quantity of heat per unit time leaking out of and conducting through the thermo-electric element 7 and generates an output voltage corresponding thereto.
8 is a differential amplifier the which amplifies potential difference between both ends of said thermoelectric element 7 (V1 -V2).
9 is a recorder which records the output from the differential amplifier 8.
The operation of the apparatus according to the present invention will be described hereinafter in detail.
When radiant energy such as light is applied through the glass plate 3 to the sample (after actuating said temperature controller 5 with the thermostat 1 maintained at a predetermined temperature and with the sample disposed in a sample plate on the holder 6,) the photo-chemical reaction occurs in a sample accompanied by the exothermic or endothermic reaction. A difference in temperature (about 0.01k) is thus developed between the holder 6 and the heat sink 1a and the quantity of heat produced by this temperature differential is conducted through the thermo-electric element 7. Due to this thermal conduction there occurs a potential difference corresponding thereto at both the ends of the thermo-electric element 7. This potential difference is amplified by means of the differential amplifier 8 and the obtained results are recorded as a function of time by the recorder 9. Thus, the progress of the photo-chemical reaction may be read and the integrated value of the above recorded value is equivalent to the total exothermic or endothermic heat value of the sample during the photo-chemical reaction.
Therefore, in accordance with the method of the present invention, heat generated in the sample is constantly to be transferred to a heat sink 1a through the thermo-electric element 7. Since the heat sink 1a has a satisfactorily large heat capacity, the temperature thereof scarcely changes. Also, since the heat conductivity of the thermo-electric element 7 is sufficiently good, the temperature of the sample itself scarcely changes and therefore the reaction progresses at the atmosphere temperature which is almost equal to the predetermined temperature.
Instead of the sample, material having the same heat capacity as the sample may be mounted on the sample plate. (Or nothing may be mounted on the sample plate). Then radiant energy is applied to the sample mounted on the sample plate, the thermal change of the holder at that time is examined in advance in order to compensate the actually determined value, whereby a true reaction heat in which the quantity of heat of the radiant ray absorbed in the holder or the sample plate is eliminated may be determined.
FIG. 2 is another embodiment of the present invention which shows a twin type calorimeter adapted to compensate for the influences of thermal change due to the radiant energy during the determination of the reaction heat. Holders 6a and 6b are arranged through thermo-electric elements 7a and 7b at thermally equal positions in the constant temperature chamber 2. On one holder 6a, the sample plate containing the sample is mounted and on the other holder 6b, the sample plate on which a comparative material which does not exhibit photo-chemical reaction is mounted. The potential difference (Va-Vb) between portions closely contacting with said holders 6a and 6b of the respective thermo-electric elements 7a and 7b is amplified suitably by means of the differential amplifier 8. The difference in temperature between the holder 6a of the sample side and the holder 6b of the reference side is recorded on the recorder 9.
In this case, 10 is a light source for generating the radiant rays such as xenon lamp, super high mercury lamp, metal halide lamp, laser etc. Said light source may be selected suitably according to the reacting material. 11 is a lens system which collimates the light applied from the light source 10 into parallel light rays. 12 is a filter which passes light rays of a desired wave length or wave lengths in a proper range among these parallel light rays. A light source system comprises the above-mentioned light source 10, the lens system 11 and the filter 12. This light source system may be replaced by a laser apparatus.
13 is a reflection mirror for reflecting parallel rays emitted from the light source system downwards. 14 is a shutter for controlling the applied time of the reflected light rays. 15a and 15b are variable throttles which are arranged at the underside of the shutter 14 and in parallel with each other and adjust the amount of said reflected light rays. The sample plates to which the sample is not painted are initially mounted on the holders 6a and 6b. The light rays emitted from the light source system are applied to the sample plates. The temperature of the sample plates rises owing to the energy of the light rays which is detected by the thermo-electric elements 7a and 7b. The variable throttles 14a and 14b are adjusted so as to make the difference in temperature between both the sample plates zero, thereby the rise of temperature of both the sample plates can be equalized.
Furthermore, in order to determine the reaction heat of the sensitive material accurately, at first, the material which has the same heat capacity as the sample and does not exhibit photo-chemical reaction is mounted on the holders 6a and 6b respectively. The temperature controller 5 is actuated so as to maintain the temperature of the thermostat 1 at a predetermined value. The shutter 14 is opened thereafter in order to apply the light from the light source system to the holders 6a and 6b. Then, the energy of the light rays is absorbed by the holders and the temperature of the holders rises. At this time, due to the difference in heat capacity or the like of the holders or the thermo-electric elements, there occurs the difference in temperature or the potential difference between the thermo-electric elements 7a and 7b. Accordingly, a base line shifts in the recorder 9. Variable throttles 15a and 15b are adjusted so as to return the changed line to base line I by compensating the changed line by the amount of this shift (shown by s in FIG. 3). Consequently, the difference in levels between the electric signals output from both the thermo-electric elements are compensated.
After the above-described compensation is completed, the sample is mounted on one holder 6a and the comparative material which has the same heat capacity as the sample and does not react photo-chemically is mounted on the other holder 6b. The shutter 14 is opened again and the light rays are applied to both the sample side and the reference side.
Then, due to these light rays, the sample produces the photo-chemical reaction and exhibits the exothermic or endothermic phenomena. The temperature of the sample side or the holder is changed (about 0.01k) and the heat is transferred to the heat sink 1a through the thermo-electric element 7a. In this manner, an output voltage is generated in the thermo-electric elements 7a and 7b. The difference in temperature or the difference in level (a-b) of the electric signals between the sample side and the reference side are properly amplified and recorded as function of time in the recorder. At this time, since the shift of the base line caused by the heat capacity of both the holders and the heat conductivity of the thermo-electric elements has already been compensated, a true reaction curve III is recorded in said recorder 9.
Therefore, from this reaction curve III, the precise progress of the photo-chemical reaction may be read and also the integrated value of this recorded value is adapted to be equivalent to total the exothermic value (endothermic value) of the sample during the photo-chemical reaction.
The shift of the line may be compensated by any other method than by adjusting the quantity of the applied radiant energy (quantity of light) by the use of the variable throttle as mentioned in the above embodiment. In short, as shown in FIG. 4, for instance, output signal b fed from one thermo-electric element 6b is input to the differential amplifier 8 after a suitable quantity of DC voltage is adjusted through a DC voltage generator 16, whereby the shift of the base line may be compensated similarly to the above-said embodiment. In this case, the same comparative materials are mounted beforehand on both the holders. The outputs from the thermo-electric elements 7a and 7b when the light rays are applied to the comparative materials is detected. Based upon this output, the value of DC voltage adjusted by the DC voltage generator 16 is determined.
In case of cancelling the difference in level of the electric signals fed from the thermo-electric elements or the shift of the base line, the comparative material to be mounted on the holder may be omitted so as to apply the radiant rays directly to the holder.
Also, the comparative material may be omitted during the determination of the reaction heat of the sample.
In the above-mentioned embodiment, material closely contacting the thermo-electric element in the lower surface of the holder is used for mounting the sample thereon. The bottom portion of the holder may be made as part of the thermo-electric element itself in order to heighten heat conductivity between the holder and the thermo-electric element.
As afore-mentioned, the calorimeter is made as a twin-type and the reaction heat of the sample is adapted to be determined in comparison with the reference side. Therefore, even if the temperature of the thermostat is subjected to thermal noise or obstructions, the exothermic heat or endothermic value may be determined with high accuracy without being influenced by said thermal noise or obstructions.
Moreover, it is apparent that the calorimeter of the present invention is constructed in such a manner that after the radiant rays are applied to a pair of holders and the difference in level of the electric signals output out of the thermo-electric elements are compensated, the sample is mounted on at least one of the holders and the radiant rays are applied simultaneously to the holder on which said sample is mounted and the holder on which said sample is not mounted so as to determine the exothermic or endothermic heat value produced due to the photo-chemical reaction of the sample, in accordance with the difference in output between both the thermo-electric elements. Accordingly, even if there are differences in the heat capacity between two holders, the heat capacity or the heat conductivity between the respective thermo-electric elements or the heat capacity or the like between the sample and the comparative material, a true reaction heat, reaction velocity, reaction continuing time or the like may be determined with excellent and high accuracy without accepting the above thermal conditions.

domain: chemistry


The song comprises of a constant string instrument several and angelic ambiance noises.
Upon activating the first switch of the toy machine room's secret area, the music starts playing when a group of Searcher Minibosses are spawned in the Heavenly Toys room. If the music ends during this battle, prior to all of the Searcher Minibosses being vanquished, the music loops back to the beginning.
- This song can be heard faintly playing in the "7 BEHIND THE SCENES FACTS about "Bendy: Chapter Three"!" video.
- This track is also heard during Chapter 1's third remastered update trailer for few seconds.


text:
Watch The Sky Is Gray
- 46 min
The Sky Is Gray is a powerful and emotional drama film released in 1980, based on a short story by Ernest J. Gaines. The story takes place during the 1960s and centers around a young African-American boy named James, portrayed excellently by James Bond III, and his mother, played by Olivia Cole, who are enduring the hardships of being Black in the South.
The story is set in Louisiana, during a time when segregation is still prevalent, and the Civil Rights Movement is stirring. Despite the challenges they face, James and his mother remain optimistic and dedicated to bettering their lives. James' mother is a strong-willed, hard-working woman who instills hope and resilience in her son, teaching him life lessons about being proud of his heritage and standing up for his beliefs.
The movie opens with James and his mother making their way through a snowy landscape to a dentist's office. James has been complaining of toothaches, and they live too far away to make regular trips to the dentist. They are joined by a white woman, Octavia, played by Margaret Avery, who befriends James and his mother on the bus ride.
Throughout the movie, James faces racial discrimination and injustice, but he also finds moments of kindness, as demonstrated by his friendship with Octavia. James is an intelligent boy who is aware of the injustices, and is willing to stand up to them when necessary. When a white man humiliates James and his mother at a local diner, he stands up to the man and gives him a piece of his mind.
As they wait for James' tooth to be examined, James and his mother interact with other patients who are also struggling with the systemic racism of the time. The conversation between James and his mother is a standout moment in the film, as it shows the real-life struggles of African-American families of the era. They discuss the difficulty of finding work and how the white community doesn't provide the same opportunities to them as it does to whites.
The Sky Is Gray is a powerful film which offers an honest portrayal of the United States during the Civil Rights era. It's a film that is heartbreaking, yet inspiring. The performances from the lead actors are top-notch. James Bond III is exceptional in his role as James. He seamlessly portrays the character's youthfulness, innocence, and maturity. Olivia Cole is also outstanding as James' mother. She portrays her character with depth and grace, making her a truly strong and admirable woman.
Margaret Avery is a talented actress who is part of the late 20th-century zeitgeist. This movie is further testament to her acting prowess. She brings light to the movie and offers a valuable perspective on racial relations with the addition of her character.
The film's director, Stan Lathan, ensures that the audience is fully immersed in the world being portrayed. He doesn't shy away from showing the ugliness of racism, punctuating conversations and interactions with stark moments of human cruelty.
The cinematography in The Sky Is Gray is also noteworthy. The film's colors are subdued, reflecting the somber tone of the story. The camera often frames James and his mother in isolated moments, emphasizing their loneliness and struggle.
The movie's soundtrack is sparse but effective, utilizing music only when necessary. When music is used, it's typically an instrumental piece that heightens tension and emotion.
The film's pacing is consistent throughout the entire running time. The slow-paced first act allows the film to offer background on the story and the characters. The second act maintains the tension and angst through James' interactions with his mother and the outside world. The third act balances this tension with resolution and hope.
Overall, The Sky Is Gray is a remarkable drama that offers a frank portrayal of the challenges African-Americans faced during the Civil Rights era. The performances from the lead actors are exceptional, the cinematography is striking, and the director handles the sensitive material with care. It's a must-watch for anyone interested in history, social justice, and human connection.
The Sky Is Gray is a 1980 drama with a runtime of 46 minutes. It has received mostly positive reviews from critics and viewers, who have given it an IMDb score of 7.3.

domain: artistic


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Ohinemuri Regional History Journal 40, September 1996
TARAWERA ERUPTION - MARKING THE 110TH ANNIVERSARY
10 June 1996 marked the 110th Anniversary of the eruption of Mt Tarawera, the destruction of the famous Pink and White Terraces and of several villages, notably Wairoa, and the deaths of many people.
In the Christmas holidays of 1886/87, Mr T W Hammond M B E (1869 - 1967) and his friend, Jimmy McAndrew, made a walking trip from Thames to the site of the eruption. His memories were recorded on tape during the 1960s, by the late Mr C Murdock and we are grateful to his son, Mr R Murdock, Patron of the Paeroa and District Historical Society, for making the tapes available.
Following is a transcript of the tape.
About the year 1885 I should think, or as near as I can remember, Graham, at least the owner of the Lake House Hotel, Rotorua, was having some baths erected there in connection with the hotel and some Thames contractors had the work of constructing these baths. Among these were McAndrew of the Thames, Lidgard, Chappel and they proceeded to the work.
During the Christmas holidays my schoolmate, Jimmy McAndrew, paid a visit to Rotorua and stayed with his father and the other carpenters and on one occasion they went out to see the Pink and White Terraces. McAndrew was so taken up with these that he wrote a description of them in a letter he sent to me and when he returned to Thames he suggested to me that we should take a trip next year and see the Terraces. Well, I explained to him, I said, I couldn't afford to go. I said it would cost a lot of money to take the coach from Thames to Tauranga and then, I said, we would have to stay in Tauranga a night and then we would have to take the coach from Tauranga to Rotorua - that's another expensive trip. Then we'd have to stay in an hotel at Rotorua. Then we'd have to pay the Guide fees in going out to see the Terraces. I said it would cost too much money. He said, "What about walking?" he said, "We could do it in easy stages." I was quite agreeable and so it was decided that in the Christmas holidays of 1886 we would take our walking trip to Rotorua. We bought a tent, a 6 x 8 tent. We made groundsheets. Got calico 6 x 6, hung them up on a clothesline, gave them coats of linseed oil and then when they were dry we had our groundsheets made. We made all preparations for this wonderful walking trip to see the Terraces.
But 10 June came and that great eruption of Tarawera. It meant the destruction of the Pink and White Terraces. So there was no chance now of ever seeing them. McAndrew and I had a talk over it. So we said,'Well let us go anyhow. We'll make a trip and see what the country looks like after the eruption.' So it was agreed that at Christmas time we would make the trip. There were 3 or 4 others who volunteered also. There was quite a party of us. When the time came there were only 2 of us left, McAndrew and I. So after our Christmas Dinner on Christmas Day - we had quite a quantity of Christmas pudding and Christmas Cake left over - but on the following day, at about half past five in the morning, McAndrew and I set out, with swags on our back, to walk from Thames to Rotorua.
We left early in the morning, walked out to Parawai, across the old Kauaeranga Bridge, past Totara Point, right out past Kirikiri, right to Puriri. When we got to Puriri we made a halt, for a while, and went up to the soda water springs. We threw off our swags there, stripped off and we got into a natural bath that had been scooped out of the rock formation, near the soda water springs. We had a good drink of the soda water, spring water, and then on our journey, on past Hikutaia we went and when we got almost just past Hikutaia we were overtaken by the coach. Bradley was in charge of this coach and he offered to give us a ride. "Oh no", we said "we're on a walking trip and we'd rather walk", so on he drove. When we got to Komata we stopped by the bridge and there we stripped off and had a bathe in a pool, in the Komata Stream. We gathered together a few sticks, put the billy on and sat down for our first meal since leaving Thames. We had the remains of the previous day Christmas Dinner and a cup of tea and then resumed our journey.
At Paeroa we stopped for a little while at a store kept, I think, by a man named Robson. We bought there a little butter, some bread, some oatmeal and a few other things for our next meal and on we trudged. Right on from Paeroa we went and - it wasn't the old road then through the Karangahake Gorge - we seemed to go up hill and then through a bush and it brought us out near to Waikino. About Waikino we stopped and set up our tent for the night. We cut our teatree poles, cut teatree for bedding, spread out our oil sheets and we turned in. We hadn't been trying to get off to sleep for long before the buzzing of thousands of mosquitoes kept us awake. We were tormented by these thousands of mosquitoes. How to get rid of them? But McAndrew had had a little foresight and before turning in we'd scoured about the country and got some dry cow dung. This we put on the embers just inside the tent, put on the dry powder, closed up the tent and soon we were living in a cloud of smoke. It certainly stifled the mosquitoes but we were pretty well stifled ourselves and I think for the rest of our journey our blankets and everything smelt of this cow dung smoke!
However we managed to get off to sleep after our long walk and in the early morning we rose, went down to the river alongside, the Ohinemuri Stream, and here we had a plunge, a good wash, then our morning meal. Put the billy on, made a pot of good stiff porridge, oatmeal porridge, toasted up some bread, another billy can full of tea, then packed up our swags, then off we went on our journey.
Instead of going through where the present township of Waihi is now, we cut off to our right and took an old track across the Waihi Plains. It was all scrub-covered country, scrub teatree with, here and there, little streams winding through it. You could see them in the distance from the raupo, see little green streaks every here and there where the raupo lined these small streams. On and on we walked, on and on and on 'til we came to the gorge. Through the Katikati Gorge we walked, and on, and at length we came onto a road and we got a fine view of the sea. "Hello", said McAndrew, "We're nearly at Tauranga. I thought we'd have had another extra day to reach Tauranga." However we were overjoyed to think we were going to be in Tauranga that night. We walked on a little further and we found a man working on the road. We went up to him and we said, "How far is it to Tauranga?" And he said, "Tauranga . . . now let me see . . . it's a, er . . . 8 miles to Katikati . . . and then it's another . . . 26 miles to Tauranga." "Goodness", I said, "34 miles. Why, we've got another day's walk. Oh we'd better go on." So on and on we trudged along these roads 'til we got to Katikati. At Katikati there was a small hotel kept by a man . . . and, er, they called it the Uretara Hotel then . . . there was a small store alongside where you could buy bread and butter and tea and a few groceries and a little post office was attached to it too . . . I think Barney McDonald was the name of the man who kept the pub in those days, if I can remember rightly. But, however, we weren't drinkers, we didn't even smoke in those days but we bought a few more groceries and then went on for about a mile until we came to a small stream and here we cut our tent poles, erected the tent and turned in. Luckily we were not troubled by mosquitoes that night and we slept a good, good sleep.
Next morning, up early, had our breakfast, and on we walked from Katikati, mile after mile, mile after mile along the road 'til we came to a house on the side of the road, a most peculiar looking building it was, on the left hand side. It was built in the octagon fashion - instead of having two side walls, a front wall and a back wall, just a square building, it was eight-sided - looked like a big concertina.
But when we came to a river called the Wairoa we stopped for a while, took off our swags, stripped off and went in for a swim. There was some small Maori children there. They seemed scared to see Pakehas coming, they bolted for their lives. But I remember in that river seeing black swan. There was quite a flock of wild duck and many pukeko. We crossed over the river, went on and on and on until we reached a little Maori settlement called Judea. It was alongside a small stream called the Jordan. Here we stopped - we knew we were close to Tauranga so we thought we'd better give ourselves a brush up and look a bit respectable before proceeding into the little township. But at this little Maori settlement, Judea, we saw a notice put up outside. It was a warning to all Maoris and to all visitors. There it was, 'Any person found taking intoxicating drink into the pa or coming in drunk will be fined 5/-'.
We changed our clothes, looked a little more respectable and on we went, walked on and on and on 'til we came into the township of Tauranga. There were beautiful shell roads. There was only one street in Tauranga then. I think they called it The Strand. It ran along the sea front, all the shopping was there. It was only a small place, very small indeed. But we had friends in Tauranga, a family named Robinson. They'd been in the Thames in the early days and they'd shifted to Tauranga. They had a young man about our own age, Walter Robinson. He'd invited us to come and camp in a big spare room they had. So there was no need to put up the tent that night, so we camped and we spent 'til about 10 or 11 o'clock that night talking over old Thames news. Then early in the morning, when we arose, we decided we'd take a trip to Mt Maunganui. But it came on very rough and that stopped all chance of going to Mt Maunganui. However, Robinson, Walter, was employed; he was only a lad; in the Bay of Plenty Times, a little paper then that was published about twice weekly - a small paper, just a couple of sheets. So we went around to his office to see how the paper was printed. There was a Maori boy working there and they gave him a peculiar name, Flyball. Why they called him Flyball, I could never find out, but Walter Robinson said to him, "Hey, Flyball. Suppose the policeman come along, eh?".
"Oh", he said, "The policeman come along, I shoot him".
So we said to Walter, "What's the matter with him?"
"Well", he said, "Flyball, one day, was walking along the street and a man came along, a Pakeha, with a saddle. He said to Flyball, 'You want to buy a saddle?' 'How much?' '5/-'. 'All right', said Flyball. He paid 5/-, and put the saddle on his head and started off. Before he reached home, a policeman came and tapped him on the shoulder, 'Here, where did you get that saddle?' 'Oh, I bought it.' 'You come along with me. You stole it'. And he locked the Maori up for the night. Next morning the Maori had to explain where he got it and they made enquiries and they found out the man who had really stolen it and Flyball was set free. However after that he vowed that he would shoot a policeman sometime for having led him in."
But however next morning we had to start on and resume our journey to Rotorua. We woke at about four in the morning. We had a cup of cocoa, a couple of scones, then off we started. Mile after mile we walked until we reached a little place called Oropi, after about a twelve mile walk, we reached Oropi, then we made a halt. The forest had commenced here and then we had to start our climb, up into what they called the "Eighteen Mile Bush". We halted by a beautiful little stream, got the billy on, got the fire going and soon we had another breakfast. A breakfast of oatmeal, good stiff porridge, plenty of toast, bread and butter, and then on. Our track now wound up along a great road through the forest, fine trees of rimu, tawa and other of the native trees lined the road on both sides. I suppose the road would be perhaps about a chain or two chains wide. It was heavy with pumice dust. We trudged our way mile after mile, mile after mile, under a baking sun, along this great road. A few native birds - we saw an occasional pigeon, an occasional tui, and on and on we went. Here and there along the road at intervals, perhaps of 3 miles or more, there was a little road maker's shanty, and the road maker had cultivated a little ground near his hut. Here he had maize, potatoes and kumeras growing. We never saw such beautiful looking maize and we thought what wonderful soil it must be to produce such wonderful stuff. However we walked on and on, on and on, until at length we came to a gorge, a gorge known as the Mangorewa Gorge, high cliffs ran up a couple of hundred feet high on both sides of us. Through that gorge we went until we came to a beautiful running stream. Here we made our halt for our midday meal. Throwing off our swags we went for a bathe into one of the big natural pools. Took off our singlet, socks, washed them thoroughly, hung them out to dry, then had our meal. We basked in the sun for an hour or more. By this time our singlet had dried, our socks had dried, we resumed our clothing, on with our swags, on and on we went. Now we came out into open fern country, mile after mile, mile after mile, we walked through this open country, looking down towards Rotorua.
At length we could see the moon starting to rise, a great, glorious harvest moon, coming over Lake Rotorua. Our journey was not over, we had to walk down, down until we came to the flat before reaching Rotorua. Here we saw steam rising from the drains on both sides of the road. We came to an hotel called the Palace Hotel, Near it, just a few yards away was the Lake House Hotel, but that was not our destination. We walked round the back of Pukeroa Hill, on and on, until we came to Brent's Boarding House. Surrounding all the road near Brent's Boarding House was in high teatree. We had to cut teatree there for our tent site and there we camped. Where the Grand Hotel is now was high teatree, perhaps 6 or 7 feet high, in fact it was teatree pretty well covering the ground from the Grand Hotel to where the present Post Office is now; it was mostly teatree covered land. However we camped for the night by Brent's Boarding House.
The next morning, early, we were up and down to the Lake and back, had our breakfast and then we commenced to do the sights of Rotorua. Our first place to visit was the Sanatorium grounds. They occupied a very small area in those days, there were the Sanatorium buildings, then the Blue Bath. The rest of it was practically in scrub. Just as we entered the grounds, right in the teatree, was a deep pool, perhaps about 4 or 5 feet in diameter, and we looked down about 10 or 12 feet and we could see the beautiful clear, boiling water of the spring that supplied the Blue Bath with water. Around this was the silica formation and scattered about were the remains of the old kakahi shell, the shellfish where the Maoris had cooked them many years before. The shells were still lying about, around this spring. Not only were the shells there, but we saw quite a number of pig's bristles, where the Maoris must have scalded their pigs years before. I picked up a tin match box full of these bristles to take home with me as a curio. What a difference today! No sign of teatree and the whole place a paradise, compared to what it was then. But we went through the grounds and did a little bit of exploring work on our own, right down to the Lake, where we saw numerous boiling pools and then back again we went to the Blue Bath where we thought we'd indulge in a swim. The Blue Bath was then about 63 feet or so in length, perhaps about 24 feet wide and perhaps 4 feet or 4 feet 6 deep at the far end. It was a fine big concrete swimming bath. The water was a temperature of up to a little over blood heat, perhaps about 100 degrees, and in those days you wore no bathing costumes. There were hours set apart for men and hours set apart for women. Everyone had to go into the pool naked, perhaps to make sure no one was suffering from a skin disease. We paid 6/- for a dozen tickets. They were 1/- each but by taking a dozen we got them for 6 pence each, and being Scotch of course, we weren't going to pay double. However, the old bath keeper there was a chap named Jack Liston, an old Irishman, well, he wasn't old in those days but he had suffered fearfully from sciatica or rheumatism and had been treated in the baths at Rotorua for a considerable time. When he partially recovered he was given the position of bath keeper and that is where we made his acquaintance. Jack was a curious old fellow and later on I may just talk of one or two experiences I had with him. But we went on through the Sanatorium grounds. We visited one pool. It was called the "Laughing Gas". It was a pool of white mud, in the teatree, and when you breathed in the fumes from it, it brought on a fit of coughing, but they called it the Laughing Gas. Some people used it for curing skin diseases. They would strip off and go into this and plaster themselves all over with the white mud and leave it on for a while and then go into the lake to wash it off, However we didn't use it as a bath, but we examined this great bubbling pool of warm white mud.
From there we went down to the lake. Here were a couple of slabs of that siliceous sinter piled up and between them was a hot bath known as "Stonewall Jackson". We put our hands into it, but rather too hot to get into. So we went into another spring or a bath nearby. It was fairly hot. We soaked in that for a while and then we tried Stonewall Jackson. We had to get in very, very gradually and we hadn't been in it long before one would think that our skins were covered with red ink, either the acid in the water, or the heat of it. Well, we soaked in that for a while and then rolled out and into the cold lake alongside. No one came near. You could have been there all day long and you wouldn't see another human being. We saw quite a number of those old springs. There was that Stonewall Jackson, went along to another one, there was that Laughing Gas pool of mud, another part was the Painkiller bath, another, the Priest Bath. There was quite a number of old baths along the edge of the shore of the lake and we had a little experience of getting into every one of them that we could.
Then from the Sanatorium grounds we wended our way to Ohinemutu, all round that little point that ran out into the Lake. There we could see all the numerous springs bubbling up on that little peninsula. We spent some time there. Went back again to near Brent's Boarding House, where we had our midday meal. Then in the afternoon we went around to the back of what is Brent's Boarding House. There was a vast area of land there in very scrubby teatree with masses of this white silica rock in big slabs. When we turned some of them over we found a beautiful collection of yellow crystals of sulphur. We borrowed a crowbar from Brent's and we went along and we turned over quite a number of these places until we got a fine collection of sulphur crystals. This place was known as Sodom and Gomorrah in those days. We spent most of the afternoon looking around the general sites of Rotorua itself.
Then next morning we decided to make our journey to see the ruined village of Wairoa, the place destroyed by the eruption. We left early in the morning, wended our way on the road towards Whakarewarewa. When we reached Whakarewarewa we turned off to the left and took the road leading out to Wairoa. The hills then, facing Rotorua, all the hills facing Rotorua, were covered with a white deposit of volcanic mud, mud that had been thrown out by the eruption of Tarawera. Really, I hardly think it was the eruption of Tarawera that did it. I think it was mud thrown from the bed of Lake Rotomahana, because from Tarawera it was volcanic ash that was thrown, more like cinders, and they were thrown more in a northward direction. But I think that the mud that covered the land must have come from Rotomahana Lake. However all these hills covered with mud were deeply scored in places, looking like a ploughed field where the heavy rains had come and cut furrows through the volcanic mud. The road was pretty rough as we wended our way, mile after mile, towards Wairoa. At length we came to what had been a most beautiful bush, often praised by the tourists, known as the Tikitapu. Here was a scene of desolation, the mud from the volcano, or from the eruption, had smashed down every tree in the forest. Nothing remained standing, with the trunks of tawa and other trees stripped of every branch, just the whitened trunks standing, like the masts of ships. The ground beneath, volcanic mud. Mud everywhere. Hard baked, dry mud and this old forest standing up, what was left of it. We wended our way past that and then a descent brought us to what was once the beautiful Tikitapu Lake. That was called the Blue Lake because of the beautiful blue colour. Now it was milky white from the mud that had been thrown into it. We passed by this Tikitapu Lake and soon found ourselves at the next lake, Rotokakahi, the Green Lake; no longer green. It was also milky white. We had no time to spend here, so reaching Rotokakahi Lake we branched off to the left and followed the track 'til what had been McRae's Hotel. Propped up, half of it had been smashed down by the weight of mud that had fallen on the roof. A lot of it was still standing. Past that was Snow's Temperance Boarding House. That still stood, but sadly wrecked. There was the old flour mill, buried half way up in mud, just the top of the water wheel standing above the mud. There was a carved meeting house. We had to go down from the mud and drop down into it to get inside. We had a candle with us. We could light it up and look at the carvings. What struck us most was a circular pillar supporting the ridge pole in the middle. Standing in relief on that carved upright was a double headed lizard, the lizard perhaps about 2 or 3 feet long, carved out of solid wood. It was double-headed, one head looking upwards and the other, down. There were six legs on it. Then we went from there to visit the other places, Haszard's, the schoolmaster's house. That was a wreck of ruin, plates, boarding, everything lying, just as it had been scattered, and smashed everywhere. The guide, Sophia, her whare, where many had taken shelter during the eruption, that was still standing. We spent a good deal of time looking round all this ruined village, now all under mud. Not a tree standing, everything was stripped, stripped by the weight of mud that had fallen on the branches. Our midday meal - it was time for that - so we adjourned to what was left of McRae's Hotel, seated ourselves in there; made a fire going in the fireplace and got our billy of water on, when in came Warbrick, the guide. He sat down and had a chat with us, "And where do you boys think you're going?" he said.
"Well", we said, "we want to go to the top of Tarawera mountain."
He said, "You've got a hard nut to crack. Have you ever been there before?"
"How are you going?"
"Oh", we said, "we're going to follow the Green Lake round and go round the back of Lake Rotomahana."
"Huh!", he said, "You've got a big, big contract before you. It's pretty rough going. It'll take you 2 or 3 days. You won't do it too easily. However", he said, "when you get there, to the foot of the mountain, you'll find where I've made a bit of a rope walk up a steep path. You'll be able to use that to get to the top."
He gave us a few instructions and then we left. Packed up our swag and off we left, left Wairoa and found ourselves again on the shores of the Green Lake, or white lake as it was then, Rotokakahi. We followed that Rotokakahi along the edge of the lake; in places we couldn't follow it. We had to climb up the hill to avoid big land slips. Volcanic mud everywhere, no fern, no vegetation whatever showing anywhere. The land was just mud everywhere, as if covered with concrete. Deep furrows had been cut from the top of the hill, right down to the lake. In places we had to go to the top of those to avoid the crevasses.
At length we found ourselves at the far end of the lake where there had been a Maori village called Kaiteriria, an old military camp in the time of the wars against Te Kooti. Here the lake had risen 'til only the huts, the tops of the Maori huts was standing above the water. We wasted no time there - there was nothing to see - there was just the tops of these old huts above the water. On we went, more volcanic land, more "concrete" covered stuff. On and on we walked 'til late in the afternoon, when we thought it time to pitch the tent. We managed to get a few poles and while I put up the tent, Mac went to look for water. He'd been away for half an hour when he returned with the sad news, no water to be seen, everything was dried up. It was too far to go back to Rotokakahi for water. Away in the distance we could see, like a white patch, so off we set, with our billy can and an empty meat tin. Going over rock country, deep furrowed, up and down hill, we at length came to this white patch. It was a miniature lake, milky white, shallow. The water was clear but we could see whitish mud underneath. Well, we had to be very careful not to disturb it, so we gently, . . . we got in the water and with a billy lid we scooped the surface water into the billy and into the meat tin 'til they were filled. Then we wended our way back. Evening was coming on. It was rough going. We got half way back to the tent when Mac tripped in one of these big fissures and over he went with his precious can of water upside down. It was too far to go back for more so we went on with the one billy can that we had left. Made our way to the tent, prepared our evening meal and then turned in for the night.
Next morning, early, we got up for our trip to Tarawera mountain. After a hasty breakfast we recommenced our walk, mile after mile under a baking sun, glaring hot from this white mud that we walked over. Hard white mud. It was hard on the eyes, hard on the feet, but on we trudged with our . . . perspiring very freely . . . we'd left our tent behind . . . then we went on and on . . . we thought we'd get to Tarawera and back that day, back to the tent that night, so we didn't take the tent with us.
After a long walk we found ourselves looking at Rotomahana Lake. What a distance to go right around that lake, in that boiling sun. We knew that we'd never reach Tarawera before sundown and then we could never get back to the camp that night, so we saw it was useless. So wearily we retraced our steps, back, back over that wretched country, rough, uninteresting, concrete covered land, 'til we came back to our tent. When we got back to it, here were three Maoris. "Ah", they said, "this is no good, camp here."
"There's no water here."
"No", we said.
"Why don't you camp somewhere else?"
"Well, we don't know where there's water."
"Huh! We'll show you where there's water. You come with us". So we pulled down the tent, rolled it up, made our swags and, with these Maoris leading, we followed them. We'd gone some distance from them over this pumice country 'til we came over the top of one pumice covered hill and when we got over the top, here was a change in the country. To our right there was the native forest, still standing, that hadn't been touched by the eruption and at the foot of this forest was a raupo swamp with a little creek running into it. And here on a flat, at the edge of the forest was some roughly built huts recently made by the Maoris. This was their camp. We lost no time in fixing up our tent and we were just preparing our evening meal when the Maoris came round to talk to us. One Maori I noticed had a headgear made of feathers. It was the skin of a bird. I said to him, "What is that you're wearing? What bird is that?"
He said, "That, that is the skin of a huia bird. Do you know why I wear that?"
"No", I said, "I don't."
"Well", he said, "you know the pakeha - when his friend dies? He puts that black stuff round the arm, the crepe."
"Yes", we said, "we know that."
"Well", he said, "that's what the Maori, when he loses someone, he puts the black, the huia feather on to show that he's sad for the people who've died."
"Oh", I said, "were you in mourning, you are sad for someone?"
"Yes", he said, "How far you come from?"
"Ah - you know Taipari?"
"Oh yes", we said, "we know Taipari - he's the Chief of the Thames, the Ngati Maru, the Chief."
"Well, he wrote a letter to us people and he said you come to Hauraki and we will give you land where you people can live. Well," he said, "we may go there but I shall tell you about the . . . why I wear the huia feather. The night of the eruption of Tarawera", he said, "we heard the roaring noise of that volcano and the whole place became dark. We could see no where, then came the light from Tarawera and then lightening, then thunder, then down came a rain of mud. The mud came everywhere. Our house got knocked down and I took my two boys, little fellows, one in each hand and off we went to try to get to where there was a bigger house in Wairoa. On we went and the mud came down, hit me on the shoulders and knocked me down. I felt round for the boys; I got them. On we walked, another lot of mud came down. Down we went again. I shouted. I couldn't hear my own voice. The roaring of that volcano, the mud falling. We didn't know where we were. Down we went again. By the time I got up and walked around I felt, I shouted, I couldn't hear the boys anywhere. I walked round and round and round and round and at length my hand hit the side of a house. I walked round 'til I came to the door. Here were more Maoris inside, sheltering from the eruption. I never saw those boys again. That's why I'm wearing the huia feather, or the huia skin on my head."
We asked him his name. He said his name was Hawea, Hawea, H-A-W-E-A, Hawea, so I wrote him out my address and told him that if ever he comes to the Thames, when he came to the Thames to see Taipari, to call and see me.
However, we were just settling down for our meal when a Maori boy came with a tin dish. In it he had some little dough boys, fried in fat and some potatoes they'd cooked. This was to supplement our meal. When we were turning in, the Maori boy said, "How many blankets you got?"
"Oh", I said, one each."
"Oh", he said, "too cold", and he went away and he fetched a tent to throw over us. Such hospitality from people that had suffered from the eruption of Tarawera, people that had never seen us before, never hoped to see us again perhaps, getting no reward for the hospitality or anything. Complete strangers. How many, if they saw wandering Maoris would have invited them into their house and given them the best that they had? No, we never forgot that treatment.
We turned in and next morning, early, we woke - we were getting our breakfast ready when the Maori boy came with some more dough boys, some more cooked potatoes. Then he said, "Now when you go, which way you going?" We told him we were going along past this mountain, this forest, until we came near to the road to Waiotapu. Then we were going to branch off there and go to Whakarewarewa and go through there into Rotorua. "Well", he said, "on the road before you get to Whakarewarewa, a long way this side, you'll see a Maori house on the side of the road. Old Hohepa lives there. When you go there, you say to him, 'Hohepa, homai te kai' and he'll give you plenty to eat". Well we didn't want - we had plenty of food in our swag, but, however we thanked the Maoris for their kindness and off we went. At length we came to old Hohepa's hut. He was there but we didn't say, "Hohepa, homai te kai". We said, "Hohepa, homai te wai". He pointed to a big cask of water. We went there and helped ourselves to the water, had a drink and on we went 'til we got right to Whakarewarewa. From Whakarewarewa, from the back of the village we found our way through, had a look at all the sights of Whakarewarewa. Here was the great geyser, Waikite. That was playing every 20 minutes. We'd see that geyser throw its column of boiling, steaming water into the sky for 80, 90, nearly 100 feet. You could take out your watch and you could time it. Every 20 minutes, as regularly as the clock went round you'd see that thing send up its great column of boiling water. They were very active - all the pools were in a very active state. After seeing what we could of the sights of Whakarewarewa, we crossed over a little narrow bridge over the Pouarenga Stream and wended our way for the two mile walk from Whakarewarewa back to Brent's Boarding House where we made ourselves comfortable again for the night.
When we were on our trip from this Maori camp where we met Hawea and his people, going towards Whakarewarewa, we came on a peculiar formation. There was a large lake of boiling water. The cliffs around it seemed to be hot. The water seemed to steam when they came in contact with it. Little, we thought, that we were looking on at what was going to be, in years to come, the famous Waimangu Geyser. Years after this, to be exact, in 1902 I used to go out and visit that famous geyser. On one occasion I was with Mr Arthur Iles, the well known photographer of Rotorua. We hired a buggy and drove out to Waimangu. We left our horse and buggy at the little accommodation place and wended our way over the mud-covered country, now getting grown with toetoe and tupaki bushes, until we came to the famous Waimangu Geyser. What had been a lake was now a large sandy flat known as the Frying Pan Flat because as you walked over it you could hear the sound as if thousands and thousands of sausages were frying in a pan. You could hear the sizzling noise as the steam came bubbling up through many parts. In fact the sand was so hot in places you could scoop it away and put a billy of water there and get it almost boiling. At the far end of this Frying Pan Flat was an area of about, a little more than half an acre, of dirty coloured water at almost, or practically boiling point. It looked a quiet, inoffensive looking pool with the cliffs rising around it in places, but one never knew when it was going to erupt and send up a column of boiling black mud and water, 500 - high up to 1000 feet in height. Iles and I took our cameras with us and leaving them at the end of Frying Pan Flat, walked over the hills 'til we could look right down into the basin of Waimangu. Here we sat down and opened our lunch basket and were about to have lunch. I asked Iles, "Do you think it'll play today?"
"Well", he said, "there's every indication. Do you see those black, dirty bubbles coming up all over the surface? When you see that they reckon it's a sign that it will play."
"Well", I said, "I hope it goes off. I'd like to see it go to 1000 feet."
He said, "Not while we're here", he said, "it'll be the end of us because the eruption of it covers the whole place where we are." He'd no sooner said this when we heard a deep subterranean rumbling roar. "Get up", he said, "hurry for your life", he said, "it's going off!". We grabbed our lunch basket, up over the hill, and up went this great geyser, sending up its column of boiling mud and water, fully 500 feet in the air. We took our station at the end of Frying Pan Flat, fixed up our cameras and there we were lucky in getting a series of good photos of the eruption. It played several times that day. At about 2 o'clock in the afternoon it ceased. We waited and waited. No sign of an eruption. Then, from the accommodation tent above came a guide. I think it was Shepherd, the guide. He came down with a lady, a visitor. He passed us, bade us "good day" and walked on across Frying Pan Flat 'til he came to the geyser. He had a stick in his hand. We could see him now as he splashed the water with his stick. The water of this great geyser. There he was explaining to this lady, no doubt everything he knew about the geyser and its eruptions. Iles said to me, "Look at that fool!" He said, "it only wants to go up 3 feet and they'll all boil alive". However the guide seemed to know something. He remained talking to this lady for nearly 10 minutes, then they wended their way up the hill, past the place where we were going to have lunch and back to the accommodation place and off they went. So Iles said to me, "Well, I suppose he knows by the indications that'll play no more today. We'd better pack up our gear and get away home."
"All right", I said, "before you pack up I think I'll go over to where we were going to have lunch and see what changes have taken place during the day."
"All right", he said, "I'll keep the camera open to take the last of you if it does go off", just as a joke. I left him there, wended my way up over the hill and down to this hollow, looking down into the crater. The crater lay below me perhaps nearly 100 feet. I could look down into this great chasm of black, dirty water, steaming. I stood looking into it when suddenly again came that fearful subterranean rumbling roar and up it went. There was no time to get out of the way. I thought 'here's the last of me'. Up it went, down, up again, down, up again, down - but luckily for me the mud and stones it was ejecting this time were thrown slightly to one side, perhaps 50 or 60 yards from where I stood but I was enveloped in the moist steam and fine dust, wet dust. I was in my shirt sleeves and I got well peppered. I felt as if I was being drawn right down into the chasm below me. It may have been the in-draught as the great column of air was being lifted sky-ward. The wind coming in to take its place must have made me feel I was being pushed towards it. However it came to an end and I lost no time in getting out of the road. Just as I came over the hill I met Iles coming, white as a ghost. "Thank God", he said, "you're alive. I never expected to see you again". He said, "Anyway I took a snapshot of it." That was my narrow escape. Had it sent its massive eruptive matter where it usually did, I'd have been covered. But that geyser was rather treacherous. No one knew when it was going to play. Sometimes it would go on for two or three days without playing. Other times it would be very active.
In 1902 it was particularly active. It was about that time, 1902, when Buckeridge and his mate made that famous voyage across the oceans to New Zealand in that little boat called the "Tilikum". One night Buckeridge was at the Grand Hotel with a crowd around him listening to his talk of his exploits on the "Tilikum". One of them, for a joke said, "What about going across Waimangu Geyser in a boat, Buckeridge?"
"Oh", he said, "I'd take it on if I had a mate."
"Oh - perhaps Warbrick will go with you."
"Well, if Warbrick will come with me, we'll take it on." Just then Warbrick came into the hotel.
One of us said, "Buckeridge reckons he'd go across Waimangu basin in a boat if you'd go with him."
"Oh, I'll take it on." So it was arranged there and then that they would go out on Sunday morning, take a boat on a lorry, a punt, and pull across Waimangu Basin. It was soon known all over Rotorua that this hazardous trip was to be made. And you can imagine the great crowd that thronged out to Waimangu on that Sunday morning to see some great accident. Iles, the photographer, went out with his camera to photograph the scene. He was telling me about it, how just before the boat was put on the pond, or the great pool, one of them came to him, Warbrick, said, "Iles, just look after my coat will you?" He wrote out something, scribbled it on a piece of paper, put it in his breast pocket and handed it to Isles. He said, "We're a pair of fools", he said, "the thing may go up any minute."
"Why don't you back out of it?", said Iles, "I would."
"Oh", he said, "Look at the crowd here today."
"Well, they only came out because they think there's likely to be an accident. If they knew there wasn't going to be one, they wouldn't have bothered to come out."
"Oh well", he said, "it's too late now to back out of it."
He went down, they pushed the boat in, he took the oars and Buckeridge took a couple of long lines of clothesline with an iron sash weight attached to take soundings. Out they pushed, out into the middle of this area of boiling water. Clouds of steam rose and obscured them. Then a wind would come, blow away the steam and you could see Buckeridge standing there, hauling up this rope to see what depth it was and Warbrick with the two oars. Luckily - they spent 15 minutes on that lake, boiling lake - luckily, no eruption took place. Out they came. Some of the photos were rather good. Unfortunately I didn't secure any of them myself, but you'd see where the cloud of steam blew aside with the wind, you could see Buckeridge there hauling on to the rope; you could see Warbrick with the two oars. They were lucky, there was no doubt. The crowd were no doubt satisfied too.
Not long after that another party went out on a Sunday to see Waimangu play. In the party was a young man named McNaughton, a visitor to Rotorua, two young ladies staying at the same boarding house. They'd come from Christchurch with their mother. They were in the party. They all went out together. They'd met for the first time. They were on the hill looking down from a point of safety, looking down into this great Waimangu Basin, wondering whether it would play or not. One of the girls said, "I think I'll go down below a little with the camera and take a photograph of the pool."
"Oh, no", said Joe Warbrick, a brother to the other Warbrick. He happened to be with them. He said, "No, I wouldn't venture because, if it goes off only 3 - 4 feet, there'll be an accident. You couldn't get out of the way in time. No, no", he said, "I wouldn't risk it. We're safe here."
"Oh", she said, "I'll only be a minute. I'll just go down and just snap shot and I'll be back again."
Headstrong, down she went and her sister followed. Well McNaughton, he thought he'd look a bit of a coward perhaps if he didn't go. He went with them. Joe Warbrick of course, he being with the party, he wasn't going to stand as if he was afraid - he went with them. They hadn't been there two minutes, looking down with the camera, when up went Waimangu. The great volume of boiling water, with black boiling mud swept them down and the four lost their lives. It was a tragic ending and I often think that if it hadn't been for that exploit on the boat they'd have been more cautious. I suppose they thought, well, if people go on a boat . . .
(words lost on tape)
. . . up Ngongotaha Mountain 'til we reached the summit. Here was a staging on the top, a fine staging, from the top of which we got a splendid view of Tongariro, Ruapehu, those snow clad mountains were quite - it was a beautiful clear morning. We could look out across Lake Rotorua, right out to the Bay of Plenty. We could see White Island, and see the steam rising from it, from the summit of Ngongotaha. We spent an hour or more on the top of Ngongotaha. On our way up we saw, about half way up Ngongotaha, on the side facing Mamaku, there was a canoe, half finished. Why the Maoris had never gone on with it, goodness knows. It could not have been left there so very long because in the fern we saw a few old potatoes still sprouting. I suppose that canoe has been removed long, long ago. From that we returned to Rotorua and then the day came when it was "goodbye Rotorua" and our homeward journey.
We left Rotorua early in the morning with our pack on our back, wended our way past the Fairy Spring, right out to Ngongotaha, to Tarukenga and then through that long bush leading to Tirau, or Oxford. Half way through the bush we saw an old woman, an old Maori woman. She looked to be over 80 or 90, a regular skeleton of an old lady with just a bit of sacking, an ordinary blouse on but a bit of sacking tied from her waist to her knees. On her back was an oil drum, apparently half full with water. And here the old lady was, wending her way with this water to her hut where she lived. "Well", said Mac, "apparently she knows where there's water. We'll follow her footsteps along the road 'til they branch off and we can see where she got her water, so we can have our breakfast". We could see her footprints in the pumice sand for a long distance and length it branched off to the side and here, where the road makers had cut away deep pits to get spoil for the road, here was water. It was stagnant water really, with mosquito larvae kicking around in it but however we managed to get a billy full of that to make tea for our morning meal.
On we walked through that great bush of Mamaku. It was a glorious bush in those days, far different from what it is today. We walked on and on and on until we came to a fast running stream. I have an idea it was the Waimakariri, a tributary of the Thames river, the Waihou. Here we camped for the night.
The next morning we walked on to Matamata. At Matamata we broke the journey. The whole place then was owned by J C Firth, an area of about 53,000 acres, owned by the one man. It was a great place and we happened to know the man in charge of the bee farm there, Isaac Hopkins. He had been an old Thames man, a friend of my father and a visitor to our place in the early days of the Thames. He was employed by Firth as manager of the great apiary there, the great bee farm where they took tons of honey every year, of that beautiful white clover honey. They had their workshops where they manufactured the beehives, the foundation comb and everything necessary to run a bee farm. We interviewed Mr Hopkins. "Oh", he said, "there's no need to put up your tent, now you make yourself comfortable in the workmen's cottage alongside." So we spent the rest of the evening around the great estate of Matamata. Here were 15 acres in one place of English gooseberries. The gooseberries were laying everywhere on the ground, ripe, and we did feed on them. He was going to commence a big jam factory there, a thing that never eventuated. Then he was running this great bee farm. He was growing wheat, hundreds and hundreds of acres of wheat. In fact it was a tremendous undertaking for one man. We spent the whole evening there and next morning, early, after breakfast, we made our way homeward.
When we reached the Waihou River we came to the famous Springs. There was a beautiful hot water spring, bubbling through pumice. There was a bit of a rock in the centre. There was a concrete wall at the back of it with three little projecting walls where people could use as dressing rooms. Here we undressed - threw down our swags, undressed and got in and soaked in the hot water. From there we could dive into the Waihou River alongside and then back again into the hot water. Some Maori boys from a settlement just below came and joined us. They informed us that that stone in the middle was of great importance. They said, "Now that stone, if that's taken up, there'll be no more hot water." The Maoris would never allow anyone to pull up that big stone because if they did they reckoned that was the end of the spring. However we enjoyed ourselves in this beautiful bath. Then we wended our way across the Waihou River, walked on and on, following the hills towards Te Aroha. The road was only being made along there. In places there was no road - we had to find our way across country, over swampy land, down into water courses, then up on to the road again. We passed on our right a beautiful waterfall, known as the Wairere where the water came from the top hills down, nearly 600 feet. It was a beautiful sight, that waterfall, broken in about three places. However, Mac, he sat there for a little while taking a sketch; he'd been taking lessons in sketching and he made a sketch of the waterfall.
On we walked, on and on and on, until we came to Te Aroha. There we went into a store kept by an old fellow called Dempsill. We bought some bread there, some biscuits and stuff, then wended our way down to the Waihou River. The banks of the Waihou there were lined with flax and raupo. A different looking bank from what it is today. Here we pitched our tent, made ourselves comfortable for the night.
The next morning we arose, had breakfast and then made our way to the top of Te Aroha Mountain. When we reached the top of the mountain we were graced with another beautiful fine day, similar to that when we'd been on the top of Ngongotaha. It was a perfectly clear morning, clear atmosphere and from the top of Te Aroha Mountain we could see Tongariro, Ruapehu and another snow clad mountain well over to our right. It may have been Egmont we could see, some well defined mountain. And on the top we could see that wonderful form of cabbage tree growing, a cabbage tree known as the Cordyline indivisa, great leaves, perhaps 6 feet long with a red midrib, a form of cabbage tree you see only about 2000 feet above sea level. On the top of Te Aroha Mountain we saw a tin, it might have been a cocoa tin. We took the lid off. It was full of scraps of paper on which was written the names of people who had made the journey to the summit, telling the date they'd arrived and the time they'd taken. We added our names to the list and then descended.
We had not gone very far, coming home, when we found ourselves coming down a spur that ended in a precipitous cliff. That was no good. We wended back to the main ridge, tried another. That was the wrong one. At last we came to another and that brought us out near Waiorongomai. We intended coming down by the Bald Spur but we'd missed our way. However we got back to our tent in good time and the next morning, early, we rose and proceeded on our way for Thames. We left at about half past five in the morning, walked by the old road which led - not the present road - but the one that led through the Rotokohu Gorge to Paeroa. At Paeroa we did not make a halt but walked right on to Komata where we got to our old camping place where we'd had our first meal when leaving the Thames. Here we got under the bridge, got our billy going, had another good meal. Then on we went to Hikutaia. From Hikutaia, on to Puriri and right on to the Thames reaching Thames at about half past two, or nearly three that afternoon, after a good long walk of perhaps 33 or 34 miles from Te Aroha to Thames.

domain: geography


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A traveler with staff has just crossed a bridge beneath venerable pine trees as he makes his way to a riverside house in which a figure waits in anticipation of a visit. Clouds encircle the bases of tall peaks in the middle ground while serried ranges of peaks measure the progression to distant mountains. Noteworthy here is the strong interest in pictorial values, with technique subordinated to descriptive ends.
The artist Aoki (originally Yo) Shunmei (Toshiaki), called Shukuya, was born in Ise, perhaps of Korean parents surnamed Yo. His elder cousin Tenju (1727-1795), who was later adopted by the Nakagawa family in Kyoto, sometimes called himself Kan Tenju, the ‘Kan’ surname being derived from the Japanese name for Korea, Kankoku. Shukuya was adopted by the Aoki family in Kyoto, and was probably introduced by Tenju to his close friend Ike Taiga (1723-1776), who became Shukuya’s teacher and exerted profound influence over the later course of his life.
Like Tenju, Shukuya maintained contacts in Matsuzaka, where they both were born. The writer Hosoai Hansai wrote in the preface to Tenju’s Kishizukamei that he had met Tenju and Shukuya in Edo, where they may have gone on business on behalf of the shop Tamaruya in Matsuzaka. The avid collecting and publishing activities of the cousins may in fact have led to a decline for the business. Shukuya’s fame as a painter continued to grow, however, and in the 1782 edition of the Heian Jinbutsu-shi, his name appears together with those of Ko Fuyo (1722-1784), a close friend of Taiga, and Gyokuran (1728-1784), Taiga’s wife.
Following the death of Gyokuran in 1784, Shukuya and other pupils established a memorial hall named the Taigado in the area of Sorinji where Taiga had lived. Shukuya became the first master of the hall, calling himself Taigado 2nd, and, according to Tanomura Chikuden (1777-1835), ‘…He closed his gate and did not go out, supporting himself as a writer. He did not clear away the grass and tree-leaves and the steps and courtyard were left unswept. For more than ten years he was cut off from others as though by a screen and few people saw his face…’
Chikuden judged Shukuya’s landscape style to have been based mainly on that of Wen Cheng-ming (1470-1555) and praised the grace and elegance of his precisely applied color and controlled brushwork, concluding ‘…He profoundly achieved the ancient standards. He said himself that ‘for even a single rock or patch of water I need from five to ten days to complete it; silk and paper (from those seeking paintings) pile up on my desk, for unless I have an idea or become inspired I dare not work. I cannot live the life of selling (paintings of) mountains as practiced by the ancients.’ Thus his extant works are very rare.’
The lyric and structured expression of the present work does in fact relate to the style of Wen Cheng-ming and that of his followers in the Wu School. It would seem that Shukuya was a contemplative man, one who painted in a thoughtful and disciplined manner in which each stroke was designed to make a specific contribution to the very evocative whole.


Founded by Filipino mixed martial arts pioneer Mark “The Machine” Sangiao, Team Lakay believes that champions are made not born. Based in La Trinidad, Benguet, Philippines, the MMA team is often asked about its secret.
Currently, Joshua “The Passion” Pacio is the only reigning champion of Team Lakay. He has been the MMA strawweight champion of the Singapore-based martial arts promotion ONE Championship since April 12, 2019.
“Learning martial arts has molded me into a better person,” Pacio shared. “I was a very different Joshua Pacio 15 years ago before I took up martial arts and this is because of the core values that martial arts taught me and, of course, because of the people who guided me on my journey.”
Pacio believes that martial arts principles help people in their everyday lives with how they approach other people and relationships. He explained, “It teaches us to apply discipline in all aspects of our lives and, of course, self-control mentally, physically and emotionally.”
“Some people may have the misconception that MMA is a brutal sport but believe me, it will change your life,” Pacio continued. “When you take up martial arts, you learn it’s not just about punching and kicking. That’s just part of it.”
“The lessons go deeper than that,” the reigning ONE Strawweight World Champion added. “Martial arts will make you a better version of yourself.”
At the age of 17, Pacio made his professional MMA debut on December 14, 2013. The Igorot MMA fighter turned 25 on January 10, 2021.
“The main thing for me is developing self-discipline,” Pacio said. “When you have self-discipline, everything else follows. It will reflect in your attitude and work ethic.”
“In the famous words of ‘Kung Fu Panda,’ ‘there is no secret ingredient, it’s just you,’ Pacio continued. “This means everything is up to you so just enjoy what you’re doing and don’t quit. When you get tired, take a rest and then go again. Just don’t quit.”
The first “Kung Fu Panda” film was released in 2008. In one particular scene, snow leopard Tai Lung (Ian McShane) pummeled anthropomorphic giant panda Po (Jack Black) to the ground and took the scroll only to be disappointed because it was blank.
Po got up and told Tai Lung that he did not understand it the first time either. Tai Lung was confused so Po explained, “There is no secret ingredient; it’s just you.”
Categories: Film & TV, Mixed Martial Arts, SPORTS BUSINESS
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the gwendolyn poems by Claudia Dey, directed by Eda Holmes, with Brooke Johnson, Jerry Franken, David Fox, Barbara Gordon, Tamsin.
the gwendolyn poems by Claudia Dey, directed by Eda Holmes, with Brooke Johnson, Jerry Franken, David Fox, Barbara Gordon, Tamsin Kelsey and Tony Nappo. Presented by Factory Theatre (125 Bathurst). Runs to June 9, Tuesday-Saturday 8 pm, matinees Saturday-Sunday 2 pm. $20-$25, Sunday pwyc-$20. 416-504-9971. Rating: NN Rating: NNNNN
claudia Dey is like an overcaffeinated undergrad who can’t find a theme for her term paper. Her subject in The Gwendolyn Poems is the late poet Gwendolyn MacEwen. It’s a subject, as Linda Griffiths realized a couple of seasons ago with her superior play Alien Creature, that offers lots of thematic possibilities: madness, alcoholism, the image of the starving artist, the female writer, magic and prophecy. That’s just for starters.
Griffiths wisely chose a few themes to centre on, and structured her play like an incantation — a brief summoning of MacEwen’s spirit.
The overwhelmed Dey has one hand nervously thumbing through Rosemary Sullivan’s biography, the other flipping through bad CBC movies-of-the-week for tips on how to write earnest dialogue.
Without the artistry of selection, Dey’s play feels leaden. Scenes tell, don’t show. Moments of promise nudge up against docudrama cliches.
Dey’s best work involves MacEwen (Brooke Johnson) and the various women in her life, like her mad mother (a focused Barbara Gordon) and Tamsin Kelsey’s sensible Mo, a blend of literary female friends, both flitting in and out of the sheer wings of David Boechler’s set.
But Dey’s too fond of making MacEwen sympathetic. First husband Milton Acorn (David Fox) is little more than a caricature a TV interviewer possibly based on Adrienne Clarkson is a stuffed shirt.
With no focus, little momentum and only a few scenes directed with any sense of dramatic excitement — one involving the Governor General’s Awards stands out — it’s hard to feel anything for MacEwen.
Too bad, because Johnson, no physical match for the poet, slogs away dutifully at the firstname.lastname@example.org


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Swedish prog rock quartet Pain Of Salvation have released a lyric video for the song Unfuture. The song is taken from the band's latest studio album Panther, which has been released by InsideOut Music. You can watch the video in full below.
“This is probably the most typical Pain Of Salvation song of the album, and if you're nervous about the new and unknown, this might be a good track to hold your hand as you venture deeper into the album, or as the Panther sinks its teeth deeper into you," says mainman Daniel Gildenlow. "It is a dystopian and lead heavy track in the vein of Black Hills, Diffidentia and The Taming Of A Beast.
"How free are you? Honestly. Right now, where are the limits of your cultural freedom? Where will your social context draw the line? In this modern age, flattering itself with being tolerant, the concept of normality is, ironically, narrowing down every year. And when you've adapted everything you want and own to fit these norms, the only thing left to change, is yourself. Now we only need a new you And you'll feel fine.”
Panther is on sale now.


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text:
When Barry Kane (Robert Cummings) is framed for sabotage, he sets out to prove his innocence.
If you follow me on Twitter, you will know that I set a movie goal for 2021. If you don’t follow me on Twitter, well, now you know that I set a movie goal for 2021 (but also you should go follow me on Twitter *wink wink*). That goal is to watch twelve Alfred Hitchcock films throughout the year; that’s roughly one a month for you math wizzes. The first in that endeavor is Hickcock’s 1942 film Saboteur.
When I hear the name “Hitchcock,” the first thought that comes to mind is “suspense.” And the kind of suspense I think about is the horror brand of suspense. Not being well-versed in Hitchcock’s films, that was much too narrow of thought. While I wouldn’t call Saboteur “suspenseful,” I would call it “exciting.” This film did a great job of not letting the audience know anymore than Barry (Robert Cummings) about what the larger picture was. Maybe I’m used to the quick cuts of today’s cinema but the way the characters and scenes were framed made things tense and dramatic. It wasn’t the type of suspense I was expecting from a Hitchcock film but it kept me on edge nonetheless.
Something that I didn’t expect were how big some of the smaller scenes felt. For example, there is a scene were Barry meets a man named Philip Martin, played by Caughan Glaser. For most of the scene, it’s just the two of them, before Philip’s niece Pat (Priscilla Lane) enters the scene. Even though scenes like this are quieter, there is still an element of suspense to them. But more than that, they had a larger context within the story, fleshing out characters and relationships.
Speaking of relationships, Cummings and Lane were such a great pair. The two of them had a natural chemistry that made their scenes enjoyable to watch. The relationship between Barry and Pat felt a bit forced at times but luckily Cummings and Lane made it feel less out of place.
Besides the two leads, another standout performance was Otto Kruger as the villainous Charles Tobin. Some of the most terrifying villains are the ones who do not look like villains on the surface and Kruger played into that role wonderfully. He was just the right mix of suave and charm with malice and menace. You never knew exactly what he was thinking or what he was planning until it was too late.
After I finished watching the movie, I watched some of the special features on the disk. In one of the featurettes, it described how some of the special effects for the film were achieved. I think special effects are something we take for granted these days, or at least I do, with everything being done on the computer these days. I tend to forget that back in the early days, directors and cinematographers had to get creative to accomplish effects that would be simple these days. And watching and learning how it was done in this film gave me a greater appreciation in how movies were created before CGI came along.
Throughout the film, “the organization” is constantly referenced. We even meet several of the leaders of the organization in Charles Tobin and Mrs. Sutton (Alma Kruger). Tobin also explains what their plan is that Barry stumbles onto. However, there is no explanation given as to why or what the organization’s overall goal is. Given the film’s early World War II setting, it could be inferred it has something to do with assisting the Axis powers but no real details are provided. It is left very vague. Although, maybe that was the point?
I thought Saboteur was GOOD 🙂 As my first dip into Hitchcock’s work (well, my second, I watched Birds years ago), it was exciting to open my eyes to the depth of Hitchcock’s abilities. While not the suspense I was expected, I was captivated nevertheless. Robert Cummings and Priscilla Lane carry the film with fantastic performances, and Otto Kruger keeps pace as the villain across Cummings and Lane. While I would have liked to learn more about “the organization,” their anonymity and mystery give another layer of suspense to the film. All in all, not a bad start to my journey through Hitchcock’s filmography.
This was the first movie in which Sir Alfred Hitchcock’s name was billed above the title. (via IMDb)
Cast & Crew
Alfred Hitchcock – Director
Peter Viertel – Screenplay
Joan Harrison – Screenplay
Dorothy Parker – Screenplay
Frank Skinner – Composer
Robert Cummings – Barry Kane
Priscilla Lane – Patricia (Pat) Martin
Otto Kruger – Charles Tobin
Alan Baxter – Freeman
Clem Bevans – Neilson
Norman Lloyd – Frank Fry
Alma Kruger – Mrs. Henrietta Sutton
Caughan Glaser – Philip Martin
Dorothy Peterson – Mrs. Mason
There is still a week left to join the Ultimate Decades Blogathon 2021. For all the details, check out the announcement post.


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Interest rates, growth, and external debt : the macroeconomic impact of Mexico's Brady deal
Interest rates fell sharply after Mexico's Brady deal, and private investment and growth recovered. The authors show that the main benefit of debt relief was not to lower expected payments but to reduce uncertainty. Reduced uncertainty was found to be the dominant factor in explaining the positive macroeconomic response (largely because of its favorable effect on exchange rate crises). Econometrically, they find that the variability of the future net transfer had a significant impact but the average of the future net transfer itself did not. Their results confirm that debt reduction has a positive macroeconomic effect, but reject the debt overhang hypothesis (the benefits to growth of a reduced tax burden) as the dominant factor. Their main conclusion: debt reduction can have a much greater impact than the magnitude of relief, coupled with standard growth models, would suggest. The secondary effects on private investment of reduced uncertainty about government policy is likely to be more important than the direct amount of debt reduction itself. But private investment is unlikely to increase if uncertainty remains about future domestic macroeconomic stability and reform. The debt package would not have succeeded if the government had not put through a successful domestic reform program before the debt relief package.
|Date of creation:||30 Jun 1993|
|Contact details of provider:|| Postal: 1818 H Street, N.W., Washington, DC 20433|
Phone: (202) 477-1234
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- J. Bradford De Long and Barry Eichengreen., 1991.
"The Marshall Plan: History's Most Successful Structural Adjustment Program,"
Economics Working Papers
91-184, University of California at Berkeley.
- J. Bradford De Long & Barry Eichengreen, 1993. "The Marshall Plan: History's Most Successful Structural Adjustment Programme," J. Bradford De Long's Working Papers _109, University of California at Berkeley, Economics Department.
- DeLong, J Bradford & Eichengreen, Barry, 1992. "The Marshall Plan: History's Most Successful Structural Adjustment Program," CEPR Discussion Papers 634, C.E.P.R. Discussion Papers.
- DeLong, J. Bradford & Eichengreen, Barry, 1991. "The Marshall Plan: History's Most Successful Structural Adjustment Program," Department of Economics, Working Paper Series qt3b1108bj, Department of Economics, Institute for Business and Economic Research, UC Berkeley.
- J. Bradford De Long & Barry Eichengreen, 1991. "The Marshall Plan: History's Most Successful Structural Adjustment Program," NBER Working Papers 3899, National Bureau of Economic Research, Inc.
- Krugman, Paul, 1988. "Financing vs. forgiving a debt overhang," Journal of Development Economics, Elsevier, vol. 29(3), pages 253-268, November.
- F. Giavazzi & M. Pagano, 1989.
"Confidence Crises and Public Debt Management,"
73, Dipartimento Scienze Economiche, Universita' di Bologna.
- Francesco Giavazzi & Marco Pagano, 1989. "Confidence Crises and Public Debt Management," NBER Working Papers 2926, National Bureau of Economic Research, Inc.
- Giavazzi, Francesco & Pagano, Marco, 1989. "Confidence Crises and Public Debt Management," CEPR Discussion Papers 318, C.E.P.R. Discussion Papers.
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domain: finance


New product at Cebi: Aesthetic Molded Parts
This product family can be divided in three categories: Class A Surface, Texture and Painted Surface.
The Class A surface is a visible interior or exterior vehicle surface, where the appearance is the main attribute. Therefore, a smooth and continuous shape and surface finish are critical. The Texture category includes all parts with a specific type of surface providing a visual and tactile impression, following customer design criteria. The Painted Surface category pertains to exterior parts that are painted in custom color for styling aspect and environmental resistance.
Cebi uses its largest injection molding equipment, a 1400 ton press equipped with robot and integrated assembly line.
Cebi currently produces 3 400 parts per day for two different customers.


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Muscles may be stimulated in two ways: via mild electrical currents or through a unique kind of therapeutic massage. Coursing reduced degree currents of electrical energy leads to muscles to artificially agreement, which simulates the results of bodily workouts. Electrical stimulation also statements to inspire tissue development. On the other hand, massaging can also be used by practitioners to properly mobilize blood flow and physique tissues; this enables for the eradication of extra fats and fluids through the blood stream.
Whilst some spas don't claim to understand how to eliminate cellulite, they do know how to cut back it by means of body wraps. This process is according to the idea that cellulite is brought on by fats having a large amount of h2o. Most spas will provide plastic or rubber wraps to become wrapped around the waist and abdomen, and in some instances, the whole body. These wraps will also be formulated with lotions or herbal options. While some people may have claimed to have misplaced a couple of inches using body wraps, it isn't the safest answer because of the risks of dehydration and physique wrapping ought to only be carried out by a reputable spa.
Health-related practitioners, particularly beauty surgeons, know how to obtain rid of cellulite by way of liposuction. Liposuction is a surgical process which entails the elimination of fats through suction, permitting for a trim and extremely shapely body. While liposuction may be the best answer on getting rid of cellulites, it'll always have dangers because it is a surgical process.
Correct Eating Routines
While eating the proper kinds of meals might not get rid of cellulite, they are able to reduce overall body fat which minimizes cellulites. Consuming tons of vegetables and fruit will detoxify the body; vegetables and fruit are rich in detoxifying vitamin antioxidants like Vitamin A, C, and E. These nutritional vitamins help stimulate the production of much more elastin and collagen to get a healthier pores and skin.
Obviously, using the right diet, it ought to be complimented having a well rounded fitness plan. Exercising is one of the most effective methods on getting rid of physique fats. A complete training program should include workouts for three main elements of fitness - strength, aerobics and flexibility. 1 does not have to visit a gym to physical exercise. Walking, sit up and stretching are examples of simple workouts which you can do in your own home to help maintain your body match.
Topical Creams and Solutions
You will find topical solutions like Cellulean that can effectively reduce cellulite. By no means heard of Cellulean? This product just completed an international television campaign and is as soon as again available towards the public. Some topical creams and options have all-natural ingredients like caffeine which assists break down body fats for much better blood movement and proper waste elimination.
These are just some of the techniques regarding how to eliminate cellulite, by both reduction or removal. While they may not be as efficient because the next one, it assists ladies provide the beauty reduction that they always want. These cellulite decreasing alternatives have obtained resoundingly positive critiques. Examine them out for yourself.

domain: health