 | RG Quarry workers dancing around dancing is jus wat dey do |
 | At the quarry and workers - December 28, 2007 I went to the quarry to do a video blog but was surprised to see all the workers still there this time of day this time of year. I guess they still work full days in the winter. December 28, 2007. |
 | Maher Bushra Ashoka Fellow Maher works in the governorate of El Minya in upper Egypt. His initiative works with many marginalized groups, including quarry workers, in an effort to inform them of their rights as citizens and to encourage their full economic and civic participation in society. |
 | RAMESSES II (FIR'UAN) vs MOSES(MUSA 'AS)! (PT:2/2) "HAMAN" AND ANCIENT EGYPT MONUMENTS" Surprisingly, the name "Haman" is never mentioned in those sections of the Torah pertaining to the life of the Prophet Musa (as). However, the mention of Haman can be found in the last chapters of the Old Testament as the helper of a Babylonian king who inflicted many cruelties on the Israelites approximately 1,100 years after the Prophet Musa (as).The Qur'an, far more in tune with recent archaeological discoveries, does indeed contain the word "Haman" in reference to the life of the Prophet Musa (as). The criticisms thrown at the book of Islam by some non-Muslims have disappeared by the wayside as an Egyptian hieroglyphic script had been deciphered, approximately 200 years ago, and the name "Haman" discovered in the ancient scripts. Until the 18th century, the writings and inscriptions of ancient Egypt could not be understood. The language of ancient Egypt was made up of symbols rather than words: hieroglyphics. These pictures, which tell stories and keep records of important events in the same way that modern words do, was usually engraved on rock or stone and many examples survived through the ages. With the spread of Christianity and other cultural influences in the 2nd and 3rd centuries, Egypt forsook its ancient beliefs along with the hieroglyphic writing which was synonymous with that now defunct belief system. The last known example of the use of hieroglyphic writing was an inscription dated 394. The language of pictures and symbols was forgotten, leaving nobody who could read and understand it. Naturally, this made historical and archaeological study virtually impossible. This situation remained-until just over two centuries ago. In 1799, much to the delight of historians and other learned people, the mystery of ancient Egyptian hieroglyphics was solved by the discovery of a tablet called the "Rosetta Stone." This amazing find dated back to 196 B.C. The importance of this inscription was that it was written in three different forms of writing: hieroglyphics, demotic (a simplified form of ancient Egyptian hieratic writing) and Greek. With the help of the Greek script, the ancient Egyptian writings were decoded. The translation of the inscription was completed by a Frenchman named Jean-Françoise Champollion. Hence, a forgotten language and the events related in it were brought to light. In this way, a great deal of knowledge about the civilization, religion and social life of ancient Egypt became available to mankind and this opened the way to greater knowledge about this important era in human history. Through the decoding of hieroglyph, an important piece of knowledge was revealed: The name "Haman" was indeed mentioned in Egyptian inscriptions. This name was referred to in a monument in the Hof Museum in Vienna. This same inscription also indicated the close relationship between Haman and the Pharaoh.200 In the dictionary of People in the New Kingdom, that was prepared based on the entire collection of inscriptions, Haman is said to be "the head of stone quarry workers."201 The result revealed a very important truth: Unlike the false assertion of the opponents of the Qur'an, Haman was a person who lived in Egypt at the time of the Prophet Musa (as). He had been close to the Pharaoh and had been involved in construction work, just as imparted in the Qur'an. Pharaoh said, "Council, I do not know of any other god for you apart from Me. Haman, kindle a fire for me over the clay and build me a lofty tower so that perhaps I may be able to climb up to Musa's god! I consider him a blatant liar." (Qur'an, 28:38) The verse in the Qur'an describing the event where the Pharaoh asked Haman to build a tower is in perfect agreement with this archaeological finding. Through this brilliant discovery, the irrational claims of the opponents of the Qur'an were demonstrated to be false and intellectually worthless. In a miraculous way, the Qur'an conveys to us historical information that could not have been possessed or understood at the time of the Prophet (saas). Hieroglyphics could not be deciphered until the late 1700s so the information could not have been ascertained from Egyptian sources. When the name "Haman" was discovered in the ancient scripts, it was further proof of the infallibility of Allah's Word. (Dr.Harun Yahya) |
 | National Trust - Quarry Bank Mill and Styal Estate One of Britain's greatest industrial heritage sites, including cotton mill with working machinery, restored Apprentice House, mill workers' village and country estate. Manchester UK. |
 | Maher Bushra Better Life Association for Comprehensive Development |
 | THE STREETS OF BETHESDA CELT YN CANU THE STREETS OF BETHESDA YN DILYN JOHN OGWEN YN ADRODD DATGANIAD GAN DOCTOR CHWAREL Y PENRHYN YN 1922. BETHESDA BAND CELT SING ABOUT WORKERS AT THE PENRHYN QUARRY |
 | Identity Card (سجل، أنا عربي) - Mahmoud Darwish/George Qirmz One of the most famous poems of renowned Palestinian poet, Mahmoud Darwish, "Identity Card" spoke in the first person of a Palestinian defiantly giving his identity card number, as often demanded by Israeli authorities, and vowing to return to his land. Here, it is performed by Lebanese singer, George Qirmiz. Apologies for the poor sound quality, but this is the best I found. IDENTITY CARD Record! I am an Arab And my identity card is number fifty thousand I have eight children And the ninth is coming after a summer Will you be angry? Record! I am an Arab Employed with fellow workers at a quarry I have eight children I get them bread Garments and books from the rocks.. I do not supplicate charity at your doors Nor do I belittle myself at the footsteps of your chamber So will you be angry? Record! I am an Arab I have a name without a title Patient in a country Where people are enraged My roots Were entrenched before the birth of time And before the opening of the eras Before the pines, and the olive trees And before the grass grew My father.. descends from the family of the plow Not from a privileged class And my grandfather was a farmer Neither well-bred, nor well-born! Teaches me the pride of the sun Before teaching me how to read And my house is like a watchman's hut Made of branches and cane Are you satisfied with my status? I have a name without a title! Record! I am an Arab You have stolen the orchards of my ancestors And the land which I cultivated Along with my children And you left nothing for us Except for these rocks.. So will the State take them As it has been said?! Therefore! Record on the top of the first page: I do not hate people Nor do I encroach But if I become hungry The usurper's flesh will be my food Beware... Beware... Of my hunger And my anger |
 | Runaway dog turns up at Marshalls Creek office A small white dog trapped on an icy ledge at Smithfield Stone & Supply quarry in Marshalls Creek was found on Wednesday, Dec. 19. The little white dog was rescued by workers at National Claims Information Systems across Route 209 from the quarry. Read the story at http://www.poconorecord.com |
 | Revolution (for Lancashire clog dancer and video loops) This clog dance was created by Caroline Radcliffe and Sarah Angliss (Spacedog UK), a duo who wanted to bring this fascinating and often overlooked English dance form to a contemporary audience. The video here shows an excerpt of the 10-minute piece. You a watching a dance called The Machinery, originally created by the Lancashire clog dancer Pat Tracey for Camden Clog, using steps passed through her family, dating back to the 1820's and rechoreographed by Caroline Radcliffe as a solo dance. Each step was developed by cotton mill workers to mimic the sounds and actions of the components of the industrial machinery that relentlessly marked out the pace and intensity of their work. Steps named after components of mill machinery, such as the shunt, the pick, the cog and over-the-tops, were danced to the rhythm of the machines they imitated. Dancing was one of the few ways in which workers (mainly female) could express themselves in the intense noise and repetitive work of the mill. Highly virtuosic versions of clog were also performed in the popular drinking holes and music halls - the 'Free and Easies', after work. In many ways, the steps to the Machinery are a very early precursor of the robotic aesthetic embraced by electronic artists such as Kraftwerk. The dance is conceived as expressionless and machine-like as possible. Even the arms and head are meant to be held in a machine-like manner. The sounds and videos are looped field recordings of working cottton machines. These were collected by Angliss and Radcliffe from Quarry Bank Mill. Thanks to everyone at Quarry Bank for their help with this project. This tape shows the very first live performance of Revolution, demonstrated as work in progress. It was first performed to a group of theatre and media researchers at the Repeat Repeat Conference, Chester, April 2007. The videos and sounds were in a decidedly rough and ready state during this show - we'd made a rough cut of the final video an hour or so before the performance Every aspect of the piece has been in development since this film. A later version of the dance was seen at the Plastic Cabaret, Komedia, Brighton, 2007. See the news section of www.spacedog.biz for details of future performances. |
 | GET THE VAN Jippo's Trying to pull the wool over a Quarry workers eyes.. |
 | Stalactite Cave at the Avshalom Reserve The Stalactite Cave Nature Reserve (also called Soreq Cave) is dedicated to the memory of Avshalom Shoham. The 82-meter-long, 60-meter-wide cave is on the western slopes of the Judean Hills outside the city of Beit Shemesh. It was discovered accidentally by workers blasting at a nearby quarry. Although the Soreq Cave is relatively small, the variety of its formations rivals that seen in much larger stalactite caves. Some of the stalactites are 300 thousand years old, and scientists use them to study climactic changes that have transpired in this area from the time of their formation until the present. Although some stalactites are even older, they cannot be precisely dated using the instruments currently available. The stalactites hanging from the ceiling of the cave are up to four meters long and on occasion meet up with stalagmites growing from the floor. Stalactites range in diameter from a few millimeters to a few meters. Some look like everyday objects - shelves, sheets of cloth, branches, and coral - and others have shapes never before seen. A number of the stalactites and stalagmites are still active. A visit to the cave includes a slide show and a guided tour. On Fridays, when there are no tours, photography is permitted. |
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