Vintage restaurant equipment - Kieser training equipment.

Vintage Restaurant Equipment

vintage restaurant equipment

  • A place where people pay to sit and eat meals that are cooked and served on the premises

  • A restaurant prepares and serves food, drink and dessert to customers. Meals are generally served and eaten on premises, but many restaurants also offer take-out and food delivery services. Restaurants vary greatly in appearance and offerings, including a wide variety of cuisines and service models.

  • a building where people go to eat

  • Restaurant is a 1998 independent film starring Adrien Brody, Elise Neal, David Moscow and Simon Baker. Written by Tom Cudworth and directed by Eric Bross, Restaurant was the follow-up to this writing–directing duo's first film, TenBenny, which also starred Adrien Brody.

  • Mental resources

  • The process of supplying someone or something with such necessary items

  • an instrumentality needed for an undertaking or to perform a service

  • A tool is a device that can be used to produce or achieve something, but that is not consumed in the process. Colloquially a tool can also be a procedure or process used for a specific purpose.

  • The act of equipping, or the state of being equipped, as for a voyage or expedition; Whatever is used in equipping; necessaries for an expedition or voyage; the collective designation for the articles comprising an outfit; equipage; as, a railroad equipment (locomotives, cars, etc.

  • The necessary items for a particular purpose

  • Denoting something of high quality, esp. something from the past or characteristic of the best period of a person's work

  • the oldness of wines

  • Vintage, in wine-making, is the process of picking grapes and creating the finished product. A vintage wine is one made from grapes that were all, or primarily, grown and harvested in a single specified year.

  • a season's yield of wine from a vineyard

  • Of, relating to, or denoting wine of high quality

filmset:The One - garments

filmset:The One - garments

While walking around the old Japanese district of Dalian with a photojournalist student buddy Boris, who is carrying out a social documentary project on the area, we noticed something unusual. Old signs appeared to be hanging in the doorways and banners lines some of the streets. Some kind of festival perhaps ? Then we came across a huge lighting rig, of the kind that a Hollywood studio might use when shooting on location. What on earth...? We noticed an area roped off and asked some people what it was all about. "Film something something Olympics something" they replied in a heavy Dalian accent. Not only that but apparently no foreigners were allowed beyond the rope. At least not on that street. Five minutes around the corner we approached from another angle and were met enthusiastically by a young Chinese actress, eager to practice her English on two rugged bearded foreigners.

Seemed a film called "The One" was getting shot. It will tell the life story of China's first Olympian, a Dalian born sprinter called Liu Changchun. Set in 1932, amid massive internal strife, he rejected the occupying Japanese's orders to run for the puppet state Manchukuo and instead boarded a boat from Shanghai to become the then Republic of China's sole representative in the 1932 LA Olympics. Lensing was being carried out in this district presumably because it is one of the only relics of old Dalian yet to be re-developed. The old shop signs and crowds of extras in period robes completed the effect.

A group of people had now formed around us, questions were getting thrown around, hands were shaken, business cards given, but the rope was still there, and we were still on the wrong side for taking photos. Nothing seemed to be happening anyway, just lots of waiting around. We retreated back to the nearest restaurant and got stuck into beer and kebabs. Boris thought it might be an idea to phone the visiting professor on his photography course, Dutch photographer and film-maker Pieter Von Houten. So he too arrived on the scene, prized vintage Leica in hand, just in time for the second round of lamb kebabs. Once all the restaurant staff had been lined up under the bare 100 watt bulbs for head and shoulder portraits and the last of the kebabs had been eaten, off went the Pro to check out the film set for himself.

Seemingly ropes mean little when you are able to strike up a conversation with the director themselves about the merits of various kinds of lighting equipment and so after being introduced to the director as the "young proteges", we found ourselves in the unusual position of being on a pretty large-scale filmset, during filming, with permission it seemed to take photos as we wished.

This particular scene being shot mainly consisted of a large imposing man in Japanese military uniform getting out of an enormous black car and beating someone to the ground, as ruthless oppressors are want to do. Lots of shouting, lots of elegant Chinese ladies in kimonos and parasols, and lots of smoke. The biggest laugh of the evening probably came when the car door wouldn't open and our Japanese military aggressor started cursing in Chinese.

The next day lots of research was done on-line to fill in the various information gaps. It seems the film is going to be fairly high profile, no mere local TV production. The director is Hou Yong, once time cinematographer for Chinese film-don Zhang Yimou. Hou's second feature as director, after recently directing the Shanghai family drama "Jasmine Women", starring none other than Zhang Ziyi, this will liekly be a feelgood patriotic tale. As such, it will obviously receive the government censors' red stamp of approval without any problems at all, and will likely be released in time for the Beijing Olympics next year. Not only that, but it will be shown to all the foreign athletes. However, the film brings to light various questions and issues.

Firstly, what tone will the film employ in depicting the Japanese occupation ? Will it present a heartwarming tale that embodies the "Olympic Spirit", overcoming oppression in a way that those oppressed the world over will be able to relate to, or will it be unable to resist throwing in some heavy-handed pro-China nationalistic propaganda that even the most ardent anti-fascist foreigner would cringe at watching ? Hopefully the artistic sensibilities of a respected director will prevent it from being the latter.

Secondly, how do the impoverished residents of this district feel about their homes being used in a film set ? Permission from the locals was seemingly neither asked nor given prior to the film crew setting up. So how do they feel about a film based around someone overcoming poverty and oppression being filmed while they are trying to sleep while they themselves remain in the city's poor and oppressed underclass ?

Thirdly, there is the issue of how the Chinese, though by no means the only culprits

UNHCR News Story: Fruit and vegetable farmer turns to UNHCR to treat his ailing tractor

UNHCR News Story: Fruit and vegetable farmer turns to UNHCR to treat his ailing tractor

Nikola Lakic sits on his most prized possession – a Zetor 6911 tractor. The refugee returnee received help from UNHCR when the engine broke.
UNHCR / D. Klasnic / February 2010

Fruit and vegetable farmer turns to UNHCR to treat his ailing tractor

KASIC, Croatia, March 2 (UNHCR) – An ageing, bright red tractor is Nicola Lakic's pride and joy. It took him and his family to safety when they had to flee their Croatian village in 1995 and provided him with a livelihood in exile. When the 52-year-old father of two finally returned home and the vehicle started playing up, he turned to the UN refugee agency for help.

Nicola bought the vintage Czech-made Zetor 6911 in 1981, when he worked as a fruit and vegetable farmer in Kasic, a village located in the hills about 100 kilometres north of the port of Split. He sold his produce to hotels and restaurants serving the busy tourism industry along the Dalmatian coast.

It was hard work, but Nikola, with the help of his faithful tractor, was able to provide his family with a decent standard of living in this fertile agricultural district. But in 1995, the nearby conflict came to Kasic, forcing Nicola and other ethnic Serbs to flee for their lives.

The Lakic family packed their luggage and themselves onto the tractor and drove for 11 days across Bosnia and Herzegovina to the Serbian province of Vojvodina. Because he had a tractor, Nikola was able to earn a living as a farm hand in the largely corn-growing region.

In 2008, the Croatian government renovated war-damaged houses in Kasic and other villages of the Zadar region, which were littered with anti-personnel landmines. Nikola decided to return and rebuild his farming business.

With many other Serbs asking for help to return to Croatia, the UN refugee agency decided to provide transportation for them and their farming equipment – mainly tractors. Nikola hitched a lift home with UNHCR.

But there had been a hidden cost, he explained. "The voyage through Bosnia and ploughing the Vojvodina soil had caused damage to the tractor's engine and when UNHCR helped us back to Kasic, the tractor was already ailing."

Nikola started to restore his fields with the help of his trusty red workhorse, but before long the tractor's sturdy engine broke down after years of service. The braking system also collapsed.

Possessing limited financial resources after planting 200 peach trees, Nikola needed help because he would not start making a return on his investment for four years. He told UNHCR about the problem and the refugee agency "recognized how time was crucial for me and helped." UNHCR agreed to pay for his tractor to be serviced, including repair of the engine and brakes.

"The small returnee population in Kasic faces difficulties in renewing what was once a prosperous agricultural area and in re-establishing trade links" with the once again booming coastal tourism trade, noted Tanja Kale, head of UNHCR's field office in Knin. "UNHCR has demonstrated that with a little help, the situation of these people can change and they can rebuild their lives."

With the support of the government, UNHCR and other organizations, people like Nikola can make a sustainable return. With his tractor back in action, he and his brother are preparing for some heavy field work ahead of spring. And he hopes that his family will be able to join him later this year.

By Dorijan Klasnic in Kasic, Croatia

vintage restaurant equipment

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