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& {2:52}
Benji & Lara have been here for the last couple days.
That means I try not to take photos with 365 in mind, just shots of whatever strikes my fancy during the day if I have a camera handy.
Today we just hung out.
It was good.
La Toba Guadalajara, Castilla la Mancha / Spain
© 2013 All rights reserved by Félix Abánades , Downloading and using without permission is illegal.
Todos los derechos reservados. La descarga y uso de las fotos sin permiso es ilegal.
Yeah. I guess I like telling people random stuff about myself, so here goes. Read if you dare!
#1. I love music and I'm pretty sure I couldn't live without it. It can make me happy or sad or inspired or impressed or interested (and probably more words starting with an 'i'). I love making it, I love listening to it, I love exploring it and learning about it. I could quote so many songs to express my love for music, but wont.
#2. I tend to babble. Especially when I'm talking or writing about something that I care about, like environmental affairs or something I know a lot about. Or about myself, which is precisely what I'm doing here!
#3. My favorite TV show is Monty Python's Flying Circus (A.K.A. Owl-Stretching Time) and my favorite movies are the Monty Python movies. I quote them too much. (go boil your bottoms, sons of silly persons! I fart in your general direction!)
#4. My favorite band is Queen and I wish Freddie Mercury was alive so I could go to a Queen concert. My favorite musician is Bob Dylan and I'm going to his concert in Reykjavík in May, no matter what anyone says. Freddie Mercury and Bob Dylan, along with Chris Martin, are on the top of my list of people I want to meet :)
#5. I sing a lot when I'm home alone.
#6. When I see movies I love or hear music I love, even read books I love, I tend to Google them and consequently knowing everything about them.
#7. I like jewelry.
#8. I smile a lot and I laugh a lot, but I feel silly doing it in self portraits. So I guess you Flickrites haven't really seen it...
#9. I'm stubborn as hell.
#10. I wore glasses for 10 years, but now I have contacts.
#11. I like (and need) attention. That may be one of the reasons for my 365 project. There, I admitted it!
#12. I am such a tedious know-it-all sometimes!
#13. I love Iceland. I'm so damn lucky to live here, it's amazing. Breathtaking. Fantastic, phenomenal, majestic, magnificent, mindbogglingly wonderful. :D
There.
Day 77 of 366
BWW Day 4
This looks so different in PC than in my MacBook. Everything does >.<
This was explored, at #57 when I noticed it!
WOMADelaHugh Ramapolo Masekela(4 April 1939 – 23 January 2018) was a South African trumpeter, flugelhornist, cornetist, composer and singer. He has been described as the "father of South African jazz." Masekela was known for his jazz compositions and for writing well-known anti-apartheid songs such as "Soweto Blues" and "Bring Him Back Home". He also had a number 1 US pop hit in 1968 with his version of "Grazing in the Grass".
Masekela was born in KwaGuqa Township, Witbank, South Africa to Thomas Selena Masekela, who was a health inspector and sculptor and his wife, Pauline Bowers Masekela, a social worker.[3] As a child, he began singing and playing piano and was largely raised by his grandmother, who ran an illegal bar for miners.[3] At the age of 14, after seeing the film Young Man with a Horn (in which Kirk Douglas plays a character modelled on American jazz cornetist Bix Beiderbecke), Masekela took up playing the trumpet. His first trumpet, from Louis Armstrong, was given to him by Archbishop Trevor Huddleston, the anti-apartheid chaplain at St. Peter's Secondary School now known as St. Martin's School (Rosettenville).
Huddleston asked the leader of the then Johannesburg "Native" Municipal Brass Band, Uncle Sauda, to teach Masekela the rudiments of trumpet playing. Masekela quickly mastered the instrument. Soon, some of his schoolmates also became interested in playing instruments, leading to the formation of the Huddleston Jazz Band, South Africa's first youth orchestra. By 1956, after leading other ensembles, Masekela joined Alfred Herbert's African Jazz Revue.
From 1954, Masekela played music that closely reflected his life experience. The agony, conflict, and exploitation South Africa faced during the 1950s and 1960s inspired and influenced him to make music and also spread political change. He was an artist who in his music vividly portrayed the struggles and sorrows, as well as the joys and passions of his country. His music protested about apartheid, slavery, government; the hardships individuals were living. Masekela reached a large population that also felt oppressed due to the country's situation.[8][9]
Following a Manhattan Brothers tour of South Africa in 1958, Masekela wound up in the orchestra of the musical King Kong, written by Todd Matshikiza.[10]King Kong was South Africa's first blockbuster theatrical success, touring the country for a sold-out year with Miriam Makeba and the Manhattan Brothers' Nathan Mdledle in the lead. The musical later went to London's West End for two years.
At the end of 1959, Dollar Brand (later known as Abdullah Ibrahim), Kippie Moeketsi, Makhaya Ntshoko, Johnny Gertze and Hugh formed the Jazz Epistles, the first African jazz group to record an LP. They performed to record-breaking audiences in Johannesburg and Cape Town through late 1959 to early 1960.
Following the 21 March 1960 Sharpeville massacre—where 69 protestors were shot dead in Sharpeville, and the South African government banned gatherings of ten or more people—and the increased brutality of the Apartheid state, Masekela left the country. He was helped by Trevor Huddleston and international friends such as Yehudi Menuhin and John Dankworth, who got him admitted into London's Guildhall School of Music. During that period, Masekela visited the United States, where he was befriended by Harry Belafonte. He briefly moved to London in 1960 and attended the Guildhall School of Music and Drama,before securing a scholarship to attend the Manhattan School of Music in New York, where he studied classical trumpet from 1960 to 1964. In 1964, Makeba and Masekela were married, divorcing two years later.
He had hits in the United States with the pop jazz tunes "Up, Up and Away" (1967) and the number-one smash "Grazing in the Grass" (1968), which sold four million copies.He also appeared at the Monterey Pop Festival in 1967, and was subsequently featured in the film Monterey Pop by D. A. Pennebaker. In 1974, Masekela and friend Stewart Levine organised the Zaire 74 music festival in Kinshasa set around the Rumble in the Jungle boxing match.
He played primarily in jazz ensembles, with guest appearances on recordings by The Byrds ("So You Want to Be a Rock 'n' Roll Star" and "Lady Friend") and Paul Simon ("Further to Fly"). In 1984, Masekela released the album Techno Bush; from that album, a single entitled "Don't Go Lose It Baby" peaked at number two for two weeks on the dance charts.In 1987, he had a hit single with "Bring Him Back Home". The song became enormously popular, and turned into an unofficial anthem of the anti-apartheid movement and an anthem for the movement to free Nelson Mandela.
Also in the 1980s, Masekela toured with Paul Simon in support of Simon's album Graceland, which featured other South African artists such as Ladysmith Black Mambazo, Miriam Makeba, Ray Phiri, and other elements of the band Kalahari, with which Masekela recorded in the 1980s.[28] He also collaborated in the musical development for the Broadway play, Sarafina!and recorded with the band Kalahari.
Massachusetts, 26 June 2013
In 2003, he was featured in the documentary film Amandla!: A Revolution in Four-Part Harmony. In 2004, he released his autobiography, Still Grazing: The Musical Journey of Hugh Masekela, co-authored with journalist D. Michael Cheers,[31] which detailed Masekela's struggles against apartheid in his homeland, as well as his personal struggles with alcoholism from the late 1970s through to the 1990s. In this period, he migrated, in his personal recording career, to mbaqanga, jazz/funk, and the blending of South African sounds, through two albums he recorded with Herb Alpert, and solo recordings, Techno-Bush (recorded in his studio in Botswana), Tomorrow (featuring the anthem "Bring Him Back Home"), Uptownship (a lush-sounding ode to American R&B), Beatin' Aroun de Bush, Sixty, Time, and Revival. His song "Soweto Blues", sung by his former wife, Miriam Makeba, is a blues/jazz piece that mourns the carnage of the Soweto riots in 1976.[32] He also provided interpretations of songs composed by Jorge Ben, Antônio Carlos Jobim, Caiphus Semenya, Jonas Gwangwa, Dorothy Masuka and Fela Kuti.
In 2006 Masekela was described by Michael A. Gomez, professor of history and Middle Eastern and Islamic studies at New York University as "the father of South African jazz."[33][34]
In 2009, Masekela released the album Phola (meaning "to get well, to heal"), his second recording for 4 Quarters Entertainment/Times Square Records. It includes some songs he wrote in the 1980s but never completed, as well as a reinterpretation of "The Joke of Life (Brinca de Vivre)", which he recorded in the mid-1980s. From October 2007, he was a board member of the Woyome Foundation for Africa.[35][36]
In 2010, Masekela was featured, with his son Selema Masekela, in a series of videos on ESPN. The series, called Umlando – Through My Father's Eyes, was aired in 10 parts during ESPN's coverage of the FIFA World Cup in South Africa. The series focused on Hugh's and Selema's travels through South Africa. Hugh brought his son to the places he grew up. It was Selema's first trip to his father's homeland.
On 3 December 2013, Masekela guested with the Dave Matthews Band in Johannesburg, South Africa. He joined Rashawn Ross on trumpet for "Proudest Monkey" and "Grazing in the Grass".
In 2016, at Emperors Palace, Johannesburg, Masekela and Abdullah Ibrahim performed together for the first time in 60 years, reuniting the Jazz Epistles in commemoration of the 40th anniversary of the historic 16 June 1976 youth demonstrations.ide 13
Soort voertuig: Mobiel Medisch Team
Roepnummer: 13-901
Standplaats: Ziekenhuis VUmc Amsterdam
Merk: Audi Q7
Opbouw: Tulatech
Bijzonderheden: Geen
Sizdah-bedar (Persian سیزده بدر) is the Persian Festival of springs. It is a full day of mass Outdoors Picnic, which occurs on the 13th day of Norouz (Persian Year), about April 4.
Iranians have a tradition of spending the day outdoors on the 13th day of month Farvardin. Sizdah- means thirteen, and -bedar, meaning to get rid of, i.e "getting rid of thirteen". From the ancient times, Iranian peoples have enjoyed this day, although it is also the day that marks the end of the Norouz celebrations.
The first 12 days of the year are very important, because they symbolise order in the world and in the lives of people. The 13th day marks the beginning of the return to ordinary daily life.
It is customary on this day, for families to pack a picnic and go to a park or the countryside. It is believed that joy and laughter clean the mind from all evil thoughts, and a picnic is usually a festive, happy event.
Sizdah-Bedar is also believed to be a special day to ask for rain. In ancient Iran, every day had its own name, and belonged to a different yazat (Zoroastiena deity). The 13th day of month of Farvardin denoted to the deity of rain, Tir, which is depicted as a horse. Sizdah-Bedar is also a day for competitive games. Games involving horses were often chosen since the horse represented the deity of rain.
A ritual performed at the end of the picnic day is to throw away the Sabzeh from the Norouz' Haftsin table. The sabzeh is supposed to have collected all the sickness, pain and ill fate hiding on the path of the family throughout the coming year! Touching someone else's sabzeh on this thirteenth day or bringing it home is, therefore, is considered bad omen, and may inviting other peoples' pain and hardship to oneself.
Another tradition on the 13th, is the knotting of blades of grass by unmarried girls in the hope of finding a companion. The knotting of the grass represents love and the bond between a man and a woman.
The Spring Bulb Show is underway at the Garfield Park Conservatory, and I think this year's display tops last year's (and I really liked last year's show). The sweet fragrance of hyacinth hits you at the door, and the colors are so brilliant throughout. What a show!
Everything was so bright and refreshing that I couldn't resist... well, everything. So I have a series of spring beauties, which makes picking just one for my Project 52 quite a challenge this week!
After looking at all of them, this is the one for my Project 52. It's so simple at first glance, but the more I look at it, the more I find to like. I like the contrast of the dark pollen against the yellow petals, but my favorite part of this shot is the lighting. The shading and shadows are all the result of natural light, and I couldn't ask for any better.
This entire series is best viewed on black, so please press L. ^_^
My very first CS5 creation. The picture of the apple is not taken by me but the editing is all me.
I've just got photoshop and I wanted to create something with it.
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The Rodeo-Chediski Fire of 2002 was ignited by stupid humans in extremely dry and windy conditions during a year of record-setting drought. 460,182 acres (~ 719 square miles) of our National Forest went up in flames, making this the largest wildfire in Arizona's recorded history (until the Wallow Fire of 2011 surpassed it at 538,049 acres -also caused by stupid humans).
The Rodeo-Chediski Fire burned some areas with such intensity that the soil itself was incinerated and sterilized. These places will not see a forest regrow for centuries, if ever. Other areas were left relatively intact, burned mostly by ground-level fire, and today these places look mostly recovered.
The location in this photo was intensely scorched, leaving no survivors and nothing but blackened sticks where dense forest once stood. Most of the dead trees have now fallen over with their tangled dead carcasses littering the ground in what is now a scrubby meadow. Scatted small junipers, oaks and pines are beginning to pop up. The post-fire recovery process is a slow one, but it is definitely underway - Sitgreaves National Forest, Arizona
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I'm not sure how crazy I am about this shot. I like it... but at the same time I'm not sure.
I need to try something new/different one of these days. Pretty light, beach, all that is nice but I'm starting to miss setting up shots again. haven't done that in what feels like ages.
Marc's shot.
pose (NEW): Serendipity: walking in clouds (3) SOON @ {Pose Lover} event
head: LeLutka Mesh Head-SIMONE
ears: UNISEX[MANDALA]STEKING_EARS_Season 5
Hair: [elikatira] Miya
Clothing:
2. .::Dead Dollz::. Ballet Leotard - Nude
6. .::Dead Dollz::. Ballet Sweater - White
7. .::Dead Dollz::. Ballet Skirt - White
10. .::Dead Dollz::. Legwarmers + Pointe RARE
Soort voertuig: Reguliere ambulance
Roepnummer: 13-112
Post: Onze Lieve Vrouwen Gasthuis, Locatie West
Merk: Mercedes Sprinter Euro 6
Opbouw: Visser Leeuwarden
Bijzonderheden: Geen
Press L to view with black background!
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Not quite an hour's exposure (52 minutes) so the Earth should have rotated about 13 degrees in this time.
Still very much getting my bearings here, and was rather chuffed to find this one not entirely black/white (:
As with a few of the other especially long exposures, the hot-pixels are pretty obvious. Would love to know how to remove these in post-processing.