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I completed my first Blythe hat knitted in the round ^_^
I used xoxblythe's pattern
www.xoxoblythe.com/blog/patterns/
With some slight modification to the ribbing.
It's so addictive I want to make more!
A paratrooper with the 173rd Airborne Brigade shows various target reference points and explains the concepts of zeroing a weapon to soldiers with the Ukrainian Army Nov. 25, 2015, during a preliminary marksmanship training as part of Fearless Guardian II at the International Peacekeeping and Security Center near Yavoriv, Ukraine. The Ukrainian Land Forces begin the first week of training where soldiers from the Joint Multinational Training Group-Ukraine will instruct on how to conduct infantry-based, defensive-focused training at the individual and collective levels including medical training in combat lifesaver and casualty evacuation. (U.S. Army photo by Capt. Russell M. Gordon, 10th Press Camp Headquarters)
More than 700 Airmen assigned to the 326th Training Squadron graduated from Basic Military Training at Joint Base San Antonio-Lackland, Texas, Oct. 19-20, 2022. Col. Jason Schramm, Commander of Space Delta 1, Vandenberg Space Force Base, Calif., reviewed the ceremony. (U.S. Air Force Photo by Christa D'Andrea)
Dolls: Delilah (AA Barbie Holiday 2016) & Keiko (Barbie Basic 001 Model No.05)
Fashion credits:
- both tops: made me and my mom
- both turbans and earrings: made my mom
- shorts and shoes: by Mattel
Scene:
- boats: home decorations from shop Kik, but I made sitting
- fruits: pine apple (from plastic bouquet), bananas and oranges (from doll Sindy Pedigree Dining room playset)
- baskets: made by me
More than 700 Airmen assigned to the 326th Training Squadron graduated from Basic Military Training at Joint Base San Antonio-Lackland, Texas, Oct. 19-20, 2022. Col. Jason Schramm, Commander of Space Delta 1, Vandenberg Space Force Base, Calif., reviewed the ceremony. (U.S. Air Force Photo by C Arce)
She'll be going through some modifications over the next few days (just getting rid of her facial tattoo for starters).
Ghoul's name: Kirei Suzuki
Height: 5' 7” I'm tall enough to be a male actor in Takarazuka Revue.
Age: I can't say that I remember. I'm equivalently 16.
Hometown: Okinawa, I think. Mother moved me to Tokyo after we met.
Why they think they can be ANTM: I think I can be the Next Top Monster because I normally stay very calm and collective. I'm great under pressure. Despite my emotional distance, I believe I can convey a certain amount of warmth in photographs. Even if I grow attached to another contestant, I can remain civil. If I do grow attached, I'll be loyal until the end.
Ethnicity: Japanese
Occupation: Besides being a faithful little sister and student. . . I wish I could work as a male actor in Takarazuka. . . or the monster equivalent, though more realistically, I'd like to be a linguist or author.
Info about ghoul: My mother is the rather infamous Kuchisake Onna (Slit-mouthed Woman). She isn't exactly my biological mother, but I love her nonetheless. For those who don't know the legend, my mother was a very vain and arrogant woman in her youth. . . while she was alive. She was known as Sayuri Madae, and she used to be a geisha. She retired and married a ninja who went by the name Tarou Yamamoto. He wasn't part of any major clan or anything, and I'm sure his name was fake. Yamamoto went out on a mission, and sometimes when ninja go on missions, they don't come back. So, mother was courted by a former samurai. Yamamoto came back, caught them in the act, and killed them both. Before he killed Mother, he slit her mouth open and stabbed her so she would scream. Then, he killed her through strangulation. Mother came back as an undead youkai, and she terrorizes people by asking them if they think she's pretty. She then takes off her masks and asks, “Do you still think I'm pretty?” If you say, “Yes” or “No,” she'll eventually kill you. If you say, “No,” it will be a painful death; she'll slit your mouth open and make you scream, much like Yamamoto did to her. If you say, “Yes,” she'll be merciful, but she'll kill you a week or so later. There's plenty of ways to avoid certain death when speaking with her. . . Mister Suzuki seemed to know how. I suppose I can't completely hate him, since he brought Yami into my life.
Anyway, I don't remember much about my life before meeting Mother. Something about a man with red hair and lots of fighting. Always fighting. Screaming, bleeding, burning—No. We won't talk about that.
Out of character answers.
Age: She's actually only about 46. Her aging is very erratic thanks to some of her adopted family's influence. She was adopted by the Kuchisake Onna when she was six years old—the year she died.
Why I think Kirei can be America's Next Top Monster: Well, Kirei has a wicked and creepy yet sexy and playful personality. She does have the obsessive devotion, and though she may not be much to look at, I'm hoping I can portray her strong yet erratic personality through photographs.
Information about the ghoul: She is the adopted daughter of the Kuchisake Onna.
She enjoys musical theater and opera. She'd love to play Doctor Frank-N-Furter in Rocky Horror Stage Show. Her ultimate dream would be to play Death in Elizabeth.
Her favorite authors are Koji Suzuki (no relation), H.P. Lovecraft, Stephen King, and Mark Z. Danielewski.
She suffers from a severe eisoptrophobia. She isn't afraid of mirrors but her own reflection. She can be in the same room as mirrors, but don't ever ask her to look in it.
She has a “big brother” complex with her human step-brother Yamato Suzuki (“Yami”), but hopefully, she'll get a “healthier” relationship.
She notices people's eyes, and that's what draws her into obsessing over them.
If there are anymore questions, feel free to direct them towards me or Kirei.
Cadets from 1st Regiment, Basic Camp, check in and begin inprocessing at Fort Knox, Ky., June 26, 2023. Basic Camp is a 31-day camp that allows Cadets a chance to see different aspects of the U.S. Army. | Photo by Keaton Silver, University of Mississippi, CST Public Affairs Office
Fotoshoot Basic Mode en Jeans met JIll als model in kleding van Only , vero Moda , fornarina , Pieces en Indian Rose. Kijk op www.basicmode.nl voor het online bestellen van de kleding.
Tools used to perform this retrofit:
The Gibson Les Paul Handbook by Paul Balmer ($16.50 from Amazon)
Dremel™ rotary tool (grinding, fret polishing)
Screwdriver with hex head socket, multiple tips stored inside
Hex bit for the above, to use sockets
Deep 1/4" socket, for jack and pot nuts
Narrow walled 5/16" socket, for truss rod adjustment
Small Phillips and Standard tip jeweler's screwdrivers
Wire snips and needle-nosed pliers
Multimeter, digital auto range ($13 on eBay)
Pair of alligator clip leads
Micrometer, with digital readout ($12 on eBay)
X-Acto™ knife
Small pistol-grip battery-powered drill with hex head socket
Turbo Tune string winder, pulls apart for drill use ($8 from Stew-Mac)
Helping Hands clips w/ lighted magnifier and soldering station
25 Watt soldering iron (pen type), chisel tip
Desoldering bulb, solder wick for cleanup
Solder, 60/40 resin core
Wire strippers
Bright halogen desk lamp
Acrylic ruler with metal straightedge to check fret level (not shown)
Also essential: Besides a few cleaning/polishing products, three large thick bath towels to lay flat or roll up, to both support and protect the guitar.
Don't let a fear of soldering prevent you from doing your own guitar work. If you can play guitar, you already have more than enough dexterity to do it. Basic instructions and how-to videos are all over the Web; spend five minutes to learn and five minutes to practice, and you'll have it down well enough. Just remember:
1. Heat the part, not the solder; apply solder to the part, not the tip.
2. Don't get the parts too hot. That can melt insulation or fry a capacitor (I've 'cooked' a few pots and ruined them from excessive heating after lots of pickup swapping). Using hemostats or aluminum heat sink clips (even larger alligator clips) can keep things from overheating.
...
More than 600 Airmen and Guardians assigned to the 326th Training Squadron graduated from Basic Military Training at Joint Base San Antonio-Lackland, Texas, August 24-25, 2022. Col. Chris Forrest, Chief, Research Programs, RSI, HQ USEUCOM, reviewed the ceremony. (U.S. Air Force photo by Vanessa R. Adame)
More than 500 Airmen assigned to the 323rd Training Squadron graduated from Basic Military Training at Joint Base San Antonio-Lackland, Texas, Sept 14-15, 2022. Col. Lauren A. Courchaine, Commander, 37th Training Wing, reviewed the ceremony. (U.S. Air Force photo by Christa D'Andrea)
Image created by Mike Ramsey (www.patreon.com/mikeramsey) for my article published by the World Economic Forum (www.weforum.org/agenda/2017/01/why-we-should-all-have-a-b...)
love...
love...
some more love...
add a little tiny bit more of it...
aaaaand there you have it!
Enjoy : )
....just kidding....ingredients and making of over at my humple blog ; )
...here:
A quick portrait with Orbis ring light and small silver reflector.
I love how the light is a little harsh and soft at the same time. Nice glow on the skin and lots of detail in the shadows. I think I have to use the Orbis more often for portraiture!
Canon 100D/SL1 with Canon 50 mm f1.8II
Strobist: Canon 580EXII with Orbis triggered by Hähnel Tuff triggers. Flash with Orbis handheld left from camera a little angled down. Small silver reflector for fill.
Processed with Lightroom 5 and Alien Skin Exposure 6
Strobist Info: Godox AD200 with a 26-inch octo-softbox camera left and slightly behind and above the subject. Small white V-flat directly camera right of the subject.
This is Basic Beach, a tiki cocktail created at Trailer Happiness in London, England. Tiki cocktails are unique positioned towards "taking the piss" as a brit might say. This tall pineapple-heavy cocktail appears to be a retro-modern squeal to the Blue Hawaii. Instead of the extremely azure blue curaçao, the 80's sensation of Midori with its nearly radioactively intense green hue steps in. Banana liqueur shows up in place of the vodka, which brings some extra flavor. The tropical mix of banana and pineapple pair nicely with the melon for a delicious drink, even it isn't as nuanced. Just like the Blue Hawaii, it's best to let your ego go, embrace your inner basic bitch, and grab a selfie with this drink.
0.75 oz white Cuban-style rum
0.75 oz Giffard Banane du Brésil
0.75 oz Midori
1.5 oz fresh pineapple juice
0.75 oz fresh lime juice
Combine all of the ingredients into a shaker tin. Add a small scoop of crushed or pebble ice. Whip-shake until all or most of the ice is melted. Pour unstrained into a large chilled hurricane glass (or another appropriately selfie-worthy tiki vessel). Top with more crushed or pebble ice. Garnish with pineapple fronds and banana chips (or other flamboyant garnishes)
© Chase Hoffman Photography. All rights reserved.
St Edmund, Southwold, Suffolk
I kept meaning to come back to Southwold - the church, I mean, for I found myself in the little town from time to time. I finally kept my promise to myself in the summer of 2017, tipping up on a beautiful sunny day only to find the church closed for extensive repairs. The days got shorter, and by the time the church reopened it was too late in the year for me to try again. In fact, it was not until late October 2018 that I made it back there, on another beautiful day.
Southwold is well-known to people who have never even been there I suppose, signifying one side of Suffolk to which Ipswich is perhaps the counter in the popular imagination. Some thirty years ago, the comedian Michael Palin made a film for television called East of Ipswich. It was a memoir of his childhood in the 1950s, and the basic comic premise behind the film was that in those days families would go on holiday to seaside resorts on the East Anglian coast. In the child Palin's case, it was Southwold.
The amusement came from the idea that people in those days would sit in deckchairs beside the grey north sea, or shelter from the drizzle in genteel teashops or the amusement arcade on the pier. In the Costa Brava package tour days of the 1980s, the quaintness of this image made it seem like something from a different world.
I remember Southwold in the 1980s. It was one of those agreeable little towns distant enough from anywhere bigger to maintain a life of its own. It still had its genteel tea shops, its dusty grocers, its quaint hotels and pubs all owned by Adnams, the old-fashioned and unfashionable local brewery. In the white heat of the Thatcherite cultural revolution, it seemed a place that would soon die on its feet quietly and peaceably.
And then, in the 1990s, the colour supplements discovered the East Anglian coast, and fell in love with it. The new fashions for antique-collecting, cooking with local produce and general country living, coupled with a snobbishness about how vulgar foreign package trips had become, conspired to make places like Southwold very sought after. Before Nigel Lawson's boom became a bust, the inflated house prices of London and the home counties gave people money to burn. And in their hoards, they came out of the big city to buy holiday homes in East Anglia.
Although they are often lumped together, the coasts of Norfolk and Suffolk are very different to each other (Cambridgeshire and North Essex are also culturally part of East Anglia, but the North Essex coast is too close to London to have ever stopped being cheap and cheerful, and Cambridgeshire has no coastline). Norfolk's beaches are wide and sandy, with dunes and cliffs and rock pools to explore. Towns like Cromer and Hunstanton seem to have stepped out of the pages of the Ladybird Book of the Seaside. Tiny villages along the Norfolk coast have secret little beaches of their own.
Suffolk's coast is wilder. Beaches are mainly pebbles rather than sand, and the marshes stretch inland, cutting the coast off from the rest of the county. Unlike Norfolk, Suffolk has no coast road, and so the settlements on the coast are isolated from each other, stuck at the ends of narrow lanes which snake away from the A12 and peter out in the heathland above the sea. There are fewer of them too. It is still quicker to get from Walberswick to Southwold by water than by land. Because they are isolated from each other, they take on individual personalities and characteristics. Because they are isolated from the land, they become bastions of polite civilisation.
Between Felixstowe in the south, which no outsiders like (and consequently is the favourite of many Suffolk people) and Lowestoft in the north, which is basically an industrial town-on-sea (but which still has the county's best beaches - shhh, don't tell a soul) are half a dozen small towns that vie with each other for trendiness. Southwold is the biggest, and today it is also the most expensive place to live in all East Anglia. Genteel tea shops survive, but are increasingly shouldered by shops that specialise in ski-wear and Barbour jackets, delicatessens that stock radicchio and seventeen different kinds of olive, jewellery shops and kitchen gadget shops and antique furniture shops where prices are exquisitely painful. Worst of all, the homely, shabby, smoke-filled Sole Bay Inn under the lighthouse has been converted by the now-trendy Adnams Brewery into a chrome and glass filled wine bar.
If you see someone in Norfolk driving a truck, they are probably wearing a baseball cap and carrying a shotgun. in Suffolk, they've more likely just bought a Victorian pine dresser from an antique shop, and they're taking it back to Islington. Does this matter? The fishing industry was dying anyway. The tourist industry was also dying. If places like Southwold, Aldeburgh and Orford become outposts of north London, at least they will still provide jobs for local people. But the local people won't be able to afford to live there, of course. They'll be bussed in from Reydon, Leiston and Melton to provide services for people in holiday cottages which are the former homes they grew up in, but can no longer afford to buy. Does this seriously annoy me? Not as much as it does them, I'll bet.
So, lets go to Southwold, turning off the A12 at the great ship of Blythburgh church, the wide marshes of the River Blyth spreading aimlessly beyond the road. We climb and fall over ancient dunes, and then the road opens out into the flat marshes, the town spreads out beyond. We enter through Reydon (now actually bigger than Southwold, with houses at half the price) and over the bridge into the town of Southwold itself.
Having been so critical, I need to say here that Southwold is beautiful. It is quite the loveliest small town in all East Anglia. None of the half-timbered houses here that you find in places like Long Melford and Lavenham. Here, the town was completely destroyed by fire in the 17th century, and so we have fine 18th and 19th century municipal buildings. One of the legacies of the fire was the creation of wide open spaces just off of the high street, called greens. The best one of all is Gun Hill Green, overlooking the bay where the last major naval battle in British waters was fought. The cannons still point out to sea. The houses here are stunning, gobsmacking, jaw-droppingly wonderful. If I could afford to buy one of them as a weekend retreat, then you bet your life I would, and to hell with the people who moaned about it.
At the western end of the High Street is St Bartholomew's Green, and beyond it sits what is, for my money, Suffolk's single most impressive building. This is the great church of St Edmund, a vast edifice built all in one go in the second half of the 15th century. Only Lavenham can compete with it for scale and presence. Unlike the massing at St Peter and St Paul at Lavenham, St Edmund is defined by a long unbroken clerestory and aisles beneath - where St Peter and St Paul looks full of tension, ready to spring, St Edmund is languid and floating, a ship at ease.
Southwold church was just one of several vast late medieval rebuildings in this area. Across the river at Walberswick and a few miles upriver at Blythburgh the same thing happened. Blythburgh still survives, but Walberswick was derelicted to make a smaller church, as were Covehithe and Kessingland. Dunwich All Saints was lost to the sea. But Southwold was the biggest. Everything about it breathes massive permanence, from the solidity of the tower to the turreted porch, from the wide windows to the jaunty sanctus bell fleche.
Along the top of the aisles, grimacing faces look down. All of them are different. The pedestals atop the clerestory were intended for statues as at Blythburgh, but were probably never filled before the Reformation intervened. At the west end, above the great west window, you can see the vast inscription SAncT EDMUND ORA P: NOBIS ('Saint Edmund, pray for us') as bold a record of the mindset of late medieval East Anglian Catholicism as you'll find.
As at Lavenham and Long Melford, the interior has been extensively restored, but not in as heavy or blunt a manner as at those two churches. St Edmund has, it must be said, benefited from the attentions of German bombers who put out all the dull Victorian glass with blast damage during World War II. Here, the interior is vast, light and airy, and much of the restoration is 20th century work, not 19th century.
Perhaps because of this, more medieval interior features have survived. Unlike Long Melford, Southwold does not have surviving medieval glass (Mr Dowsing saw to that in 1644), but it does have what is the finest screen in the county.
It stretches right the way across the church, and is effectively three separate screens. There is a rood screen across the chancel arch, and parclose screens across the north and south chancel aisles. All retain their original dado figures. There are 36 of them, more than anywhere else in Suffolk. They have been restored, particularly in the central range, but are fascinating because they retain a lot of original gesso work, where plaster of Paris is applied to wood and allowed to dry. It is then carved to produce intricate details.
The central screen shows the eleven remaining disciples and St Paul. They are, from left to right, Philip, Bartholomew, James the Less, Thomas, Andrew, Peter, Paul, John, James, Simon, Jude and Matthew.
The south chancel chapel is light and open. The bosses above are said to represent Mary Tudor and her second husband Charles, Duke of Brandon. The screen here is painted with twelve Old Testament prophets, and Mortlock suggests that they are by a different hand to the images on the other two screens. Here on the south screen, some of the figures have surviving naming inscriptions, and Mortlock surmises that the complete sequence, from left to right, is Baruch, Hosea, Nahum, Jeremiah, Elias, Moses, David, Isaiah, Amos, Jonah and Ezekiel. Further, he observes that the subject is a usual one for the English Midlands, but rare for East Anglia, and that perhaps this part of the screen came from elsewhere. The same may be true of the other two parts - it is hard to think that the central screen was deliberately made too wide for the two arcades.
The north aisle chapel is reserved as the blessed sacrament chapel. The screen is harder to explore, because the northern side is curtailed by a large chest, but it features angels. Unlike the screens at Hitcham and Blundeston, which show angels holding instruments of the passion, these are the nine orders of angels, with Gabriel at their head, and flanked by angels holding symbols of the Trinity and the Eucharist. Mortlock says that they are so similar to the ones at Barton Turf in Norfolk that they may be by the same hand, in which case the central screen is also by that person. They are, from left to right, the Holy Trinity, Gabriel, Archangels, Powers, Dominions, Cherubim, Seraphim, Thrones, Principalities, Virtues, Messengers, and finally the Eucharist. The Holy Trinity angel still has part of the original dedicatory inscription beneath his feet.
If part or all of this screen came from elsewhere, where did it come from? Possibly either Walberswick, Covehithe or Kessingland, the three downsized churches mentioned earlier. More excitingly, it might have come from one of the churches along this coast that was lost to the sea, perhaps neighbouring St Nicholas at Easton Bavents, or, just to the south, St Peter or St John the Baptist, the two Dunwich churches lost in the 16th and 17th centuries. We'll never know.
If you turn back at the screen and face westwards, your eyes are automatically drawn to the towering font cover, part of the extensive 1930s redecoration of the building. The clerestory is almost like a glass atrium intended to house it. Also the work of the period is the repainting and regilding of the 15th century pulpit (a lot of people blanch at this, but I think it is gorgeous) and the lectern. Beneath the font cover, the font is clearly one of the rare seven sacraments series, and part of the same group as Westhall, Blythburgh and Wenhaston. As at Blythburgh and Wenhaston, the panels are completely erased, probably in the 19th century, an act of barbarous vandalism. Given that Westhall is probably the best of all in the county, we must assume that three major medieval art treasures were wiped out. Astonishingly, vague shadows survive of the former reliefs; you can easily make out the Mass panel, facing east as at Westhall, the Penance panel and even what may be the Baptism of Christ.
Stepping through the screen, the reredos ahead is by Benedict Williamson and the glass above by Ninian Comper, familiar names in the Anglo-catholic pantheon, and evidence of an enthusiasm here that still survives in High Church form. There is a good engraved glass image of St Edmund to the north of the sanctuary, very much in the 1960s fashion, but curiously placed. On the wall of the chancel to the west of it, the high organ case is also painted and gilded enthusiastically.
As well as the screen, Southwold's other great medieval survival is the set of return stalls either side of the eastern face of the chancel screen. They have misericord seats, but the best feature are the handrests between the seats. On the south side, carvings include a man with a horn-shaped hat and sinners being drawn into the mouth of hell. On the north side are a man playing two pipes, a monkey preaching and a beaver biting its own genitals, a tale from the medieval bestiary, apparently.
What else is there to see? Well, the church is full of delights, and rewards further visits which always seem to turn up something previously unnoticed. St George rides full tilt at a dragon on an old chest at the west end of the north aisle. There is good 19th century glass in the porch and at the west end of the nave. A clock jack stands, axe and bell in hand, at the west end, a twin to the one upriver at Blythburgh. This one has a name, he's called Southwold Jack, and he is one of the symbols of the Adnams brewery.
As Mortlock notes, there are very few surviving memorials. This is partly because St Edmund was not in the patronage of a great landed family, but it may also suggest that they were largely removed at the time of the 19th century restoration, as at Brandon. One moving one is for the child of a vicar, and there are some interesting pre-Oxford Movement 19th century brasses in the south aisle.
High, high above all this, the roofs are models of Anglo-Catholic melodrama, the canopy of honour to the rood and the chancel ceilure in particular. But there is a warmth about it all that is missing from, say, Eye, which underwent a similar makeover. This church feels full of life, and not a museum piece at all. I remember attending evensong here late one winter Saturday afternoon, and it was magical. On another visit, I came on one of the first days of spring that was truly warm and bright, with not a cloud in the sky. As we drove into town, a cold fret off of the sea was condensing the steam of the brewery, sending it in swirls and skeins around the tower of St Edmund like low cloud. It was so atmospheric that I almost forgave them for what they have done to the Sole Bay Inn.