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  • Leena Alam, 27, is being interviewed by a presenter of Channel 1, an Afghan national television, in Kabul, Afghanistan. Leena Alam is an American-born Afghan model, actress and filmmaker who has recently moved to Kabul to perform and promote emancipation and better rights for women in the country. She is also a UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Leena Alam, 27, is sitting inside at studio of Channel 1, an Afghan national television, before being interviewed by a presenter, in Kabul, Afghanistan. Leena Alam is an American-born Afghan model, actress and filmmaker who has recently moved to Kabul to perform and promote emancipation and better rights for women in the country. She is also a UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Leena Alam, 27, (right) is being interviewed by a presenter of Channel 1, an Afghan national television, in Kabul, Afghanistan. Leena Alam is an American-born Afghan model, actress and filmmaker who has recently moved to Kabul to perform and promote emancipation and better rights for women in the country. She is also a UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Leena Alam, 27, is sitting while waiting to be interviewed by a presenter of Channel 1, an Afghan national television, in Kabul, Afghanistan. Leena Alam is an American-born Afghan model, actress and filmmaker who has recently moved to Kabul to perform and promote emancipation and better rights for women in the country. She is also a UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Leena Alam, 27, (right) is taking her coat off while preparing to be interviewed by a presenter of Channel 1, an Afghan national television, in Kabul, Afghanistan. Leena Alam is an American-born Afghan model, actress and filmmaker who has recently moved to Kabul to perform and promote emancipation and better rights for women in the country. She is also a UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Azita Arif Nazimi, 25, (right) is presenting 'Family Live Show', a television program broadcasted live by Channel 1, an Afghan national television, in Kabul, Afghanistan. Her guest and other members of the show are sitting near Azita. .
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Azita Arif Nazimi, 25, (left) is presenting 'Family Live Show', a television program broadcasted live by Channel 1, an Afghan national television, in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Azita Arif Nazimi, 25, is presenting 'Family Live Show', a television program broadcasted live by Channel 1, an Afghan national television, in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Azita Arif Nazimi, 25, is presenting 'Family Live Show', a television program broadcasted live by Channel 1, an Afghan national television, in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Azita Arif Nazimi, 25, (centre) is presenting 'Family Live Show', a television program broadcasted live by Channel 1, an Afghan national television, in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Azita Arif Nazimi, 25, (centre) is presenting 'Family Live Show', a television program broadcasted live by Channel 1, an Afghan national television, in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Yasamin Yarmal, 42, (right) a famous Afghan actress taking part to 'Love and Old Age', a successful soap opera broadcasted by Ariana Television Network (ATN), is discussing her acting with Ghafar Zalam, 48, (right - hands and script visible) the director, inside a home on the outskirts of Kabul, Afghanistan. Yasamin Yarmal has performed in over 100 movies and some refer to her as the 'mother' of Afghan cinema. She was also selected as UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador in 2009 for her role in leading a change towards women within the conservative and patriarchal Afghan society.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Elaha Soroor, 20, (centre) a finalist for 'Afghan Star', a Tolo TV program similar to American Idol, is portrayed in her home in Kabul, Afghanistan. Elaha Soroor was a finalist of Afghan Star in the 2008-2009 edition but failed to win on the final night. Some believe she lost because of her gender, others believe because she is ethnically Hazara, a minority group constituting about 15% of Afghanistan's population with features similar to Mongolians, flat noses, broad faces and almond-shaped eyes. Hazaras are mostly Shia Muslims, as opposed to other Afghans who are for the most part Sunnis.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Alka Sadat, 24, (centre), an award-winning documentary and fiction filmmaker, is smiling while sitting at her desk in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Two women (left) dressed in traditional burka dresses are walking past a cart carrying brand new television sets along a more modern Afghan woman and her young daughter, (right) on the streets of Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Roya Sadat, 28, a documentary and fiction filmmaker, is sitting in her home in Kabul, Afghanistan. Roya's most famous production is titled 'Three Dots', an award-winning film that tells the story of women's village life in the province of Herat, western Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Somaya Rezaie, 20, a young Afghan actress whose career has been affected by having part of the movie where she acted subtracted and played along 'music clips', is gazing at the streets from the window of a friend's home in Kabul, Afghanistan. Women appearing on 'music clips' in Afghanistan can be seen as 'immoral' by the public, might face dangers while and their careers can also be at stake.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • A section of Kabul, Afghanistan, is photographed from a helicopter flying over the city.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Roya Sadat, 28, (right) and Alka Sadat, 24, (centre), two sisters working on documentary and fiction film, are sitting at their desk while editing their recent shooting in their home in Kabul, Afghanistan. Aziz Dilder, 28, (left) a teacher at the cinema department of the fine art faculty of Kabul University is collaborating with the two brave sisters since about one year. Roya's most famous production is titled 'Three Dots' and it is an award-winning film that tells the story of women's village life in the province of Herat in western Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Elaha Soroor, 20, (centre) a finalist for 'Afghan Star', a Tolo TV program similar to American Idol, is practising in her home in Kabul, Afghanistan. Elaha Soroor was a finalist of Afghan Star in the 2008-2009 edition but failed to win on the final night. Some believe she lost because of her gender, others believe because she is ethnically Hazara, a minority group constituting about 15% of Afghanistan's population with features similar to Mongolians, flat noses, broad faces and almond-shaped eyes. Hazaras are mostly Shia Muslims, as opposed to other Afghans who are for the most part Sunnis.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Elaha Soroor, 20, (centre) a finalist for 'Afghan Star', a Tolo TV program similar to American Idol, is practising in her home in Kabul, Afghanistan. Elaha Soroor was a finalist of Afghan Star in the 2008-2009 edition but failed to win on the final night. Some believe she lost because of her gender, others believe because she is ethnically Hazara, a minority group constituting about 15% of Afghanistan's population with features similar to Mongolians, flat noses, broad faces and almond-shaped eyes. Hazaras are mostly Shia Muslims, as opposed to other Afghans who are for the most part Sunnis. .
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Elaha Soroor, 20, (centre) a finalist for 'Afghan Star', a Tolo TV program similar to American Idol, is portrayed in her home in Kabul, Afghanistan. Elaha Soroor was a finalist of Afghan Star in the 2008-2009 edition but failed to win on the final night. Some believe she lost because of her gender, others believe because she is ethnically Hazara, a minority group constituting about 15% of Afghanistan's population with features similar to Mongolians, flat noses, broad faces and almond-shaped eyes. Hazaras are mostly Shia Muslims, as opposed to other Afghans who are for the most part Sunnis.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Elaha Soroor, 20, (centre) a finalist for 'Afghan Star', a Tolo TV program similar to American Idol, is practising in her home in Kabul, Afghanistan. Elaha Soroor was a finalist of Afghan Star in the 2008-2009 edition but failed to win on the final night. Some believe she lost because of her gender, others believe because she is ethnically Hazara, a minority group constituting about 15% of Afghanistan's population with features similar to Mongolians, flat noses, broad faces and almond-shaped eyes. Hazaras are mostly Shia Muslims, as opposed to other Afghans who are for the most part Sunnis.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • A section of Kabul, Afghanistan, is photographed from the heights of Television Mountain, one of the renowned viewing points of the city.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Roya Sadat, 28, a documentary and fiction filmmaker, is speaking on the phone in her home in Kabul, Afghanistan. Roya's most famous production is titled 'Three Dots', an award-winning film that tells the story of women's village life in the province of Herat in western Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Ghafar Zalam, 48, the director for the soap opera 'Love and Old Age', broadcasted by Ariana Television Network (ATN) and featuring the renowned actress Yasamin Yarmal, 42, is reading the script for the shoot inside a home on the outskirts of Kabul, Afghanistan. Yasamin Yarmal has performed in over 100 movies and some refer to her as the 'mother' of Afghan cinema. She was also selected as UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador in 2009 for her role in leading a change towards women within the conservative and patriarchal Afghan society.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Safia, 23, a renowned singer and former contestant to 'Afghan Star' 2008-2009 edition, a Tolo TV program similar to American Idol, is practising in a studio for the production and launch of her new album, in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Diana Saqib, 29, a renowned Afghan documentary filmmaker, is writing on her laptop inside her home in Kabul, Afghanistan. Diana's most famous production to date is titled 'Twenty-Five Per Cent' and focus on the lives of six women MPs in Afghanistan .
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Roya Sadat, 28, (right) and Alka Sadat, 24, (centre), two sisters working on documentary and fiction film, are sitting at their desk while editing part of their recent shooting in their home in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Diana Saqib, 29, a renowned Afghan documentary filmmaker, is sitting in her home in Kabul, Afghanistan. Diana's most famous production to date is titled 'Twenty-Five Per Cent' and focus on the lives of six women MPs in Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Yasamin Yarmal, 42, (right) a famous Afghan actress taking part to 'Love and Old Age', a successful soap opera broadcasted by Ariana Television Network (ATN), is discussing her acting with Ghafar Zalam, 48, (right - hands and script visible) the director, inside a home on the outskirts of Kabul, Afghanistan. Yasamin Yarmal has performed in over 100 movies and some refer to her as the 'mother' of Afghan cinema. She was also selected as UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador in 2009 for her role in leading a change towards women within the conservative and patriarchal Afghan society.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • The Ariana Cinema is photographed in the center of Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Aghele Rezaie, 30, (right) the famous Afghan actress who has taken part in the controversial movie 'At Five in the Afternoon' (Winner of the Cannes Film Festival Jury Prize in 2003) is helping her son, Tamim, 8, (left) with his daily homework in their home in Kabul, Afghanistan. 'At Five in the Afternoon' focuses on the life of a progressive young woman who dreams of growing up to become the President of the Republic despite her oppressive home life and a strained relationship with her bigoted but loving father. The film follows the daily struggles of Afghan women in post-Taliban Afghanistan with tenderness and hope against a tragic background of death and despair.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Yasamin Yarmal, 42, (left) a famous Afghan actress taking part to 'Love and Old Age', a successful soap opera broadcasted by Ariana Television Network (ATN), is smiling with her colleagues before moving to a location to shoot a part of the series. Yasamin Yarmal has performed in over 100 movies and some refer to her as the 'mother' of Afghan cinema. She was also selected as UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador in 2009 for her role in leading a change towards women within the conservative and patriarchal Afghan society.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Two young female members of the Aftab Theatre Group, one of the few performing teams in Kabul, are revising their acts while taking part to a practising session in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Mixed members of the Aftab Theatre Group, one of the few performing teams in Kabul, are revising their acts while taking part to a practising session in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Two women dressed in traditional burka dresses are walking on the streets of Kabul, Afghanistan, during the late afternoon hours.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Aghele Rezaie, 30, (right) the famous Afghan actress who has taken part in the controversial movie 'At Five in the Afternoon' (Winner of the Cannes Film Festival Jury Prize in 2003) is portrayed while sitting in her home in Kabul, Afghanistan. 'At Five in the Afternoon' focuses on the life of a progressive young woman who dreams of growing up to become the President of the Republic despite her oppressive home life and a strained relationship with her bigoted but loving father. The film follows the daily struggles of Afghan women in post-Taliban Afghanistan with tenderness and hope against a tragic background of death and despair. .
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Somaya Rezaie, 20, a young Afghan actress whose career has been affected by having part of the movie where she acted subtracted and played along 'music clips' is portrayed in a friend's home in Kabul, Afghanistan. Women appearing on 'music clips' in Afghanistan can be seen as 'immoral' by the public, might face dangers while and their careers can also be at stake.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Elaha Soroor, 20, (centre) a finalist for 'Afghan Star', a Tolo TV program similar to American Idol, is portrayed in her home in Kabul, Afghanistan. Elaha Soroor was a finalist of Afghan Star in the 2008-2009 edition but failed to win on the final night. Some believe she lost because of her gender, others believe because she is ethnically Hazara, a minority group constituting about 15% of Afghanistan's population with features similar to Mongolians, flat noses, broad faces and almond-shaped eyes. Hazaras are mostly Shia Muslims, as opposed to other Afghans who are for the most part Sunnis. .
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Zahra Mohseni, 23, the director of 'Family Live Show', a television program broadcasted live by Channel 1, an Afghan national television, is sitting at her desk in Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Roya Sadat, 28, a documentary and fiction filmmaker, is sitting in her home in Kabul, Afghanistan. Roya's most famous production is titled 'Three Dots', an award-winning film that tells the story of women's village life in the province of Herat, western Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Somaya Rezaie, 20, a young Afghan actress whose career has been affected by having part of the movie where she acted subtracted and played along 'music clips', is gazing at the streets from the window of a friend's home in Kabul, Afghanistan. Women appearing on 'music clips' in Afghanistan can be seen as 'immoral' by the public, might face dangers while and their careers can also be at stake.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Diana Saqib, 29, a renowned Afghan documentary filmmaker, is writing on her laptop inside her home in Kabul, Afghanistan. Diana's most famous production to date is titled 'Twenty-Five Per Cent' and focus on the lives of six women MPs in Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • A man is sitting next to the window of a DVD shop featuring Afghan, Bollywood and international movies in central Kabul, Afghanistan.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Aghele Rezaie, 30, (right) the famous Afghan actress who has taken part in the controversial movie 'At Five in the Afternoon' (Winner of the Cannes Film Festival Jury Prize in 2003) is portrayed while sitting in her home with her family in Kabul, Afghanistan. 'At Five in the Afternoon' focuses on the life of a progressive young woman who dreams of growing up to become the President of the Republic despite her oppressive home life and a strained relationship with her bigoted but loving father. The film follows the daily struggles of Afghan women in post-Taliban Afghanistan with tenderness and hope against a tragic background of death and despair.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Elaha Soroor, 20, (right) a finalist for 'Afghan Star', a Tolo TV program similar to American Idol, is listening to some of her songs with her younger brother (centre) and a female member of her music group (left) in her home in Kabul, Afghanistan. Elaha Soroor was a finalist of Afghan Star in the 2008-2009 edition but failed to win on the final night. Some believe she lost because of her gender, others believe because she is ethnically Hazara, a minority group constituting about 15% of Afghanistan's population with features similar to Mongolians, flat noses, broad faces and almond-shaped eyes. Hazaras are mostly Shia Muslims, as opposed to other Afghans who are for the most part Sunnis.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • Leena Alam, 27, (right) is waiting to be interviewed on Channel 1, an Afghan national television, in Kabul, Afghanistan. Leena Alam is an American-born Afghan model, actress and filmmaker who has recently moved to Kabul to perform and promote emancipation and better rights for women in the country. She is also a UNAMA (United Nation Assistance Mission in Afghanistan) Peace Ambassador.
    Performing_For_Freedom_Kabul_Afghani...JPG
  • The Miller is sitting in the Ivrea City Hall just before being presented to the people waiting on its outside during the historical Carnival of the town Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
    The_Historical_Carnival_of_Ivrea_04.JPG
  • A member of the Abba, a group of ten children selected within the town, is lighting a pole covered by heather and juniper named Scarlo and traditionally considered of good auspicious for the town of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
    The_Historical_Carnival_of_Ivrea_32.JPG
  • Devotees are entering the temple of Mukteswar in Bhubaneswar, the capital of Orissa State, India, on Friday, May 16, 2008. Bhubaneswar is also known as the City of Temples as they are widely present in the city. **Italy and China Out**
    The_Story_of_Budhia_Singh_22.jpg
  • Jeffrey Jr., 7, member of the Hip Hop Church Choir, is dancing in front of the altar at the beat of the music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece
    HipHopChurch15.jpg
  • Hip Hop legend, Kurtis Blow, 47, playing on the mixer during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain l
    HipHopChurch03.jpg
  • People have gathered in Ivrea, pop. 30.000, for the closing night of the Historical Carnival. During these days of celebration Ivrea becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
    The_Historical_Carnival_of_Ivrea_35.JPG
  • A teenager is covered in orange juice and flesh during the last day of fighting in the City Square if Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
    The_Historical_Carnival_of_Ivrea_30.JPG
  • Teams are grouping in the City Square for the closing day of the Battle of the Oranges and to celebrate the historical victory of the people against their oppressor, in Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
    The_Historical_Carnival_of_Ivrea_29.JPG
  • Throwers are collecting oranges to fight the next horse-van passing through their location in Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
    The_Historical_Carnival_of_Ivrea_18.JPG
  • A one-on-one fight is taking place during the Battle of the Oranges in the City Square of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
    The_Historical_Carnival_of_Ivrea_17.JPG
  • Men are running along the horse-vans through the narrow streets of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
    The_Historical_Carnival_of_Ivrea_15.JPG
  • A member of the Spades (one of the groups fighting from a horse-van, and symbolising the guards of Count Ranieri) is being hit by an orange during The Battle of the Oranges in the City Square of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere.
    The_Historical_Carnival_of_Ivrea_11.JPG
  • The Miller is standing on her horse-van close to her two daughters, waving hands to welcome the public in the City Square for the opening of the Carnival of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
    The_Historical_Carnival_of_Ivrea_10.JPG
  • Members of the band are playing medieval music in the City Square during the celebrations for the Carnival of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
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  • Child being blessed by Rev. Stephen W. Pogue, the Pastor, while a young woman (right) has fell on the floor crying and invoking the Lord, after having being filled by the Holy Spirit, at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This
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  • Members of the public invoking the Lord and praying for the Holy Spirit to descend on them during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 6, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s m
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  • The Hells Most Wanted, a Christian Hip Hop group, and other members of the Hip Hop Church Choir, are singing and dancing in front of the altar during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? eva
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  • A young girl worshipper is dancing at the hip hop beat during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusonís ministry, one that speaks the plain
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  • Members of the Credendari (one of the groups fighting from a horse-van, and symbolising the guards of Count Ranieri) are engaged in an open fight during The Battle of the Oranges in Gioberti Square, Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
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  • A one-on-one fight is taking place during the Battle of the Oranges, in Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
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  • Member of the horse-van teams are taking a moment of break from the intense battle while his van moves from one square to the next during the Battle of the Oranges, in Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
    The_Historical_Carnival_of_Ivrea_19.JPG
  • Members of the Spades (one of the groups fighting from a horse-van, and symbolising the guards of Count Ranieri) are engaging in an open fight during The Battle of the Oranges in the City Square of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
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  • A Baba (Indian Holy Man) is lighting a candle near a Shiva Lingam in the temple of Mukteswar in Bhubaneswar, the capital of Orissa State, India, on Friday, May 16, 2008. Bhubaneswar is also known as the City of Temples as they are widely present in the city. **Italy and China Out**
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  • Devotees are praying in the temple of Mukteswar in Bhubaneswar, the capital of Orissa State, India, on Friday, May 16, 2008. Bhubaneswar is also known as the City of Temples as they are widely present in the city. **Italy and China Out**
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  • Cataclysm, 27, (left) and Iron Braydz, 26, (right) are waiting for people in the street to present Blind Alphabetz?s new album on Wednesday, Feb. 7, 2007, in London, England. Islamic Hip Hop artists like the duo 'Blind Alphabetz', from London, feel more than ever the need to say what they think aloud. In the music industry the backlash of a disputable Western foreign policy towards Islamic countries and its people is strong. The number of artists in the European Union and the US taking this into consideration and addressing the current social and political problems within their lyrics is growing rapidly and fostering awareness for Muslim and others alike.
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  • Rev. Stephen W. Pogue, the Pastor, embracing an exited  devotee after the blessing, while a young woman (left) has fainted on the floor in ecstasy, after having being filled by the Holy Spirit, at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. Other devotees are waiting in line. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibil
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  • Family of devotees praying while awaiting to be blessed by the Holy Spirit during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of Rev. Fergusonís ministry, one th
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  • Donovan, 17, a member of the Hells Most Wanted, a Christian Hip Hop group, is dancing, Rev. Ferguson, of the Music Ministry, and co-founder of the Hip Hop Church NY, is playing music from the background,  during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibiliti
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  • Rev. Stephen W. Pogue, the Pastor, preaching from the altar during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the p
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  • As one of the invited guests of the week, a woman is singing a praise song to God during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry,
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  • Tykym, 18, (centre) and Michael, 17, (right) members of the Hells Most Wanted, a Christian Hip Hop group, are singing while a young member of the Hip Hop Church Choir, Ivan Bryan, 12, (left) is dancing in front of the altar, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlig
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  • Rev. Ferguson, of the Music Ministry, and co-founder of the Hip Hop Church NY, is singing passionately along the Hip Hop Church Choir during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism s
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  • A member of the Arduini is walking home from the City Square of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
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  • A man is fighting against a horse-van on the streets leading to the City Square of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
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  • A members of the Mercenaries is waiting for the horse-van behind him to enter the City Square and start to fight again during The Battle of the Oranges in Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
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  • A member of a horse-van team is standing on the back of a van heading towards another square of the city of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
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  • Members of the Chess (one of the groups fighting from a horse-van, and symbolising the guards of Count Ranieri) are engaged in an open fight during The Battle of the Oranges in Freguglia Square, Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. .
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  • A young boy is throwing an orange towards a horse-van during The Battle of the Oranges in the City Square of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
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  • Members of the Spades (one of the groups fighting from a horse-van, and symbolising the guards of Count Ranieri) are waiting to fight during The Battle of the Oranges in the City Square of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ...
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  • The Miller, and the General, another important character in the historical Carnival are making their way through the streets of Ivrea covered in confetti during the night parade marking the end of the first day of celebrations in Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere.
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  • Members of the public are standing on the side of the street during the night parade marking the end of the first day of the Carnival of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere.
    The_Historical_Carnival_of_Ivrea_06.JPG
  • The Miller is waving hands to the people of Ivrea from the City Hall, where thousands of people have made their way for the opening of the Carnival of Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere. ..
    The_Historical_Carnival_of_Ivrea_05.JPG
  • A young girl and her mum are standing inside the Ivrea City Hall on the first day of the Carnival of the town Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere.
    The_Historical_Carnival_of_Ivrea_03.JPG
  • The Guards of the Miller, the most important character of the Carnival, and the girl who historically beheaded the tyrant Ranieri, are running through the narrow streets of Ivrea during the opening celebrations marking the historical Carnival of the town Ivrea, pop. 30.000. During the days of the Carnival, the town becomes crammed with tourists coming to witness the event which finds its roots at the end of the XII Century, when the people led an insurrection against the local tyrant, Count Ranieri of Biandrate, who was exercising the 'jus primae noctis' rule (having the first night) on the local young brides. The battle to overthrow him is represented with a 3-day-fight between factions in which more then 400 tonnes of oranges are thrown. During the celebrations, food stalls, bands playing music, and parades are also present, giving it a typical Medieval atmosphere.
    The_Historical_Carnival_of_Ivrea_02.JPG
  • (from left to Right) The squatters' lawyer, Kitty, 24, from Trinidad, Josh, 26, from North London, and George, 26, from England, are cheering outside an East Finchley Court after the judge postponed the eviction order because the owners did not present the right papers needed on the day, on Thursday, Oct. 11, 2007, in East Finchley, London, England. The squatters have now gained an additional two weeks' time to find a new place where to move in. The 22-room mansion was last sold for UK£ 3.9M in 2002 and is now awaiting planning permissions to be demolished. Two new houses will soon be taking its place. Million Dollar Squatters is a documentary project in the lives of a peculiar group of squatters residing in three multi-million mansions in one of the classiest residential neighbourhoods of London, Hampstead Garden. The squatters' enthusiasm, their constant efforts to look after what has become their home, their ingenuity and adventurous spirit have all inspired me throughout the days and nights spent at their side. Between the fantasy world of exclusive Britain and the reality of squatting in London, I have been a witness to their unique story. While more than 100.000 properties in London still lay empty to this day, squatting provides a valid, and lawful alternative to paying Europe's most expensive rent prices, as well as offering the challenge of an adventurous lifestyle in the capital.
    MillionDollarSquatters51.JPG
  • Woman being blessed by Rev. Stephen W. Pogue, the Pastor, while other devotees are praying in silence in front of the altar, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is t
    HipHopChurch27.JPG
  • Rev. Ferguson, of the Music Ministry, and co-founder of the Hip Hop Church NY, is preaching to those attending the Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 22, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of R
    HipHopChurch26.JPG
  • Christian woman dancing Hip Hop music while the Hells Most Wanted, a Christian Hip Hop group, are singing in the background, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 6, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is th
    HipHopChurch24.jpg
  • Hip Hop legend, Kurtis Blow, 47, mixing music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain language
    HipHopChurch21.jpg
  • Tykym, 18, member of the Hells Most Wanted, a Christian Hip Hop group, is singing in front of the devotees during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 21, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ëGodí is worshipped not according to religious dogmatisms and rules, but where the ëHoly Spirití is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ëSpirit of Godí moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ëHip-Hop Homileticsí, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ëKeep It Realí evangelism style is the centrepiece of
    HipHopChurch18.jpg
  • Christian devotees dancing Hip Hop music during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, July 6, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson?s ministry, one that speaks the plain language of the
    HipHopChurch17.JPG
  • Hip Hop legend, Kurtis Blow, 47, is singing while Christian devotees are dancing at his beat, during a Mass Service at the Hip Hop Church in Harlem, New York, NY., on Thursday, June 29, 2006. A new growing phenomenon in the United States, and in particular in its most multiethnic city, New York, the Hip Hop Church is the meeting point between Hip Hop and Christianity, a place where ?God? is worshipped not according to religious dogmatisms and rules, but where the ?Holy Spirit? is celebrated by the community through young, unique, passionate Hip Hop lyrics. Its mission is to present the Christian Gospel in a setting that appeals to both, those individuals who are confessed Christians, as well as those who are not regularly attending traditional Services, while helping many youngsters from underprivileged neighbourhoods to feel part of a community, to make them feel loved and to help them not to give up when problems arise. The Hip Hop Church is not only forward-thinking but it also has an important impact where life at times can be difficult and deceiving, and where young people can be easily influenced for the worst purposes. At the Hip Hop Church, members are encouraged to sing, dance and express themselves in any way that the ?Spirit of God? moves them. Honours to students who have overcome adversity, community leaders, church leaders and some of the unsung pioneers of Hip Hop are common at this Church. Here, Hip Hop is the culture, while Jesus is the centre. Services are being mainly in Harlem, where many African Americans live; although the Hip Hop Church is not exclusive and people from any ethnic group are happily accepted and involved with as much enthusiasm. Rev. Ferguson, one of its pioneer founders, has developed ?Hip-Hop Homiletics?, a preaching and worship technique designed to reach the children in their language and highlight their sensibilities, while bringing forth Christianity. This ?Keep It Real? evangelism style is the centrepiece of Rev. Ferguson
    HipHopChurch16.jpg
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