View allAll Photos Tagged Boldest
This industrious little fellow is the boldest of a very small flock of Song Sparrows (Melospiza melodia) that work the shadowed path just north of Raptor Tree Pond, Thomson Marsh, Kelowna, BC.
I'm pretty sure I've photographed him or one of his family/flock in previous months and years. They're here year-round.
This series is much too long/repetitive, I know. But, as I'm not seeing much in the Marsh this year,
and as in the low light that the camera took care of,
and as Charley let me get this close,
and as the clarity of the bird is pretty decent,
I decided to put up the whole bunch except one!
Public Clocks Still Keeping Time On Philly’s Streets (At Least Twice A Day)
Commodore Barry
(1745-1803)
"Father of the American Navy"
Few Americans are well-acquainted with the gallantry and heroic exploits of Philadelphia's Irish-born naval commander,
Commodore John Barry. Obscured by his contemporary, naval commander John Paul Jones, Barry remains to this day an unsung hero of the young American Republic. As most naval historians note, Barry can be classed on a par with Jones for nautical skill and daring, but he exceeds him in the length of service (17 years) to his adopted country and his fidelity to the nurturing of a permanent American Navy. Indeed, Barry deserves the proud epithet, "Father of the American Navy," a title bestowed on him not by current generations of admirers, but by his contemporaries, who were in the best position to judge.
In the space of 58 years, this son of a poor Irish farmer rose from humble cabin boy to senior commander of the entire United States fleet. Intrepid In battle, he was humane to his men as well as adversaries and prisoners. Barry's war contributions are unparalleled: he was the first to capture a British war vessel on the high seas; he captured two British ships after being severely wounded in a ferocious sea battle; he quelled three mutinies; he fought on land at the Battles of Trenton and Princeton; he captured over 20 ships including an armed British schooner in the lower Delaware; he authored a Signal Book which established a set of signals used for effective communication between ships; and he fought the last naval battle of the American Revolution aboard the frigate Alliance in 1783.
With the 1777 British assault on Philadelphia imminent, Barry was forced to scuttle his new command, Effingham. Having to make do commanding only small craft, Barry carried out the boldest adventure of his career. His mission included the destruction of all British hay forage in the region, capture of enemy shipping in the Lower Delaware, and fighting off whatever came his way.
The Sailor Becomes a Soldier
john barry statue
Back to the Sea
On March 8, 1778, Barry attacked a British fleet with a tiny squadron of tubs — a plan made to order for the daring Irish commander. Barry took his mix of seven small craft, including rowboats, barges and longboats, and surprised two armed sloops as well as a fortified schooner capturing all three
Leslie Carr was a well-known railway poster artist and this poster, one of his boldest works, is to publicise the many Royal Navy dockyards open days that were held in the 1930s. These were at Chatham, Portsmouth & Devonport. The poster uses the 'Southern sunshine' style of lettering for the company name.
The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.
Built in 1938-1940, this Modern International-style concert hall was designed by Eliel Saarinen and Eero Saarinen to house performance spaces for the Buffalo Philharmonic Orchestra and other local musical organizations. Named by Edward L. Kleinhans, whom donated the money for the building’s construction in 1934, the building was named in the memory of his wife, Mary Seaton Kleinhans, and his mother, Mary Livingston Kleinhans. The performance hall was partially funded with money from the New Deal-era Public Works Administration (PWA), with local architects F. J. and W. A. Kidd assisting with the building’s design and construction, with lighting consultant Stanley McCandless and acoustical consultant Charles C. Potwin assisting with the design of the building’s performance spaces. The building was opened on October 19, 1940 with a concert by the Buffalo Philharmonic Orchestra. In 1964, the concert hall was the site of a speech by Robert F. Kennedy, whom was running to be elected as a Democratic Senator representing New York, which he gave in front of an audience of 6,000 people, and in 1967, Dr. Martin Luther King, Jr. gave a speech in the building’s main auditorium titled “The Future of Integration.”
The footprint of the building features two opposing parabolic curves, which make up the walls at the rear of the larger main auditorium and the smaller Mary Seaton Room, with the main auditorium being shaped like a triangle with curved sides and a curved vertex at the rear of the building, with a low one-story wing framing the main auditorium, consisting of offices and support spaces, as well as slender canopies and entrance vestibules. On the sides of the exterior of the main auditorium are stair-stepping walls that contain stairways to the upper balcony inside the auditorium, and a lobby cuts through the building between the two auditoriums, connecting the entrance vestibules on either side of the building, which contains open stairways to an upper level that provides access to the balcony of the main auditorium. The building’s exterior is clad in buff brick with limestone trim panels on the canopies, framing the entrance doors, the Mary Seaton Room, and on the walls framing the front reflecting pool, with an aluminum curtain wall containing exit doors and glazing on either side of the rear portion of the Mary Seaton Room, providing a visual break in the building’s exterior between the main volume of the performance hall and the larger adjacent structure that houses the lobby and main auditorium. The building’s interior is relatively simple with unadorned walls, clean lines, wood paneling and doors, ceilings in the auditoriums with ceilings featuring multiple bulkheads that conceal lightings and vents, as well as improve the acoustics of the performance spaces, and cantilevered stairways in the lobby.
The Kleinhans Music Hall is a notable early example of Modernism and the International Style in the United States, and is also notable for being one of the boldest early designs by Eliel and Eero Saarinen, the latter going on to design the Gateway Arch in St. Louis, Dulles Airport Terminal in Virginia near Washington, DC, and the TWA Terminal at New York City’s John F. Kennedy Airport during the 1960s, with the parabolic curves utilized in this building being more heavily emphasized in those later structures. The building was listed on the National Register of Historic Places and designated as a National Historic Landmark in 1989. Today, the building remains a major concert hall in the city of Buffalo, and still houses the Buffalo Philharmonic Orchestra and Buffalo Chamber Music Society, with the building’s various performance, lobby, and rehearsal spaces being rented out for local performing arts groups and events.
Another visit to the West Country to see the new First liveries in Somerset. On my previous visit I was fortunate to catch the first vehicle midway through the rebranding.
First Group are in the process given areas their own identity back which can only be good for the enthusiast & travelling public. The example in Somerset is by far the boldest & very impressive.
August 2014.
The boldest of the backyard gray squirrels, I believe the same female who was moving her babies a couple of weeks ago.
The Great Falls / S.U.M. National Historic Landmark district is a 118-acre industrial historic site located in Paterson, New Jersey. Located just 12 miles west of New York City, it is home to the largest and best example of early manufacturing mills in the United States. It contains 18th, 19th, and 20th-century waterpower remnants, including a three-tiered water raceway system. At the district's core is the natural landmark Great Falls, the second largest waterfall by volume east of the Mississippi.(Only Niagara Falls is Larger in volume DAJ) is The 77-foot tall falls, engineered raceways and mills form a complex that is unique and irreplaceable to our nation. It has been described as America's very first systematic attempt to develop extensive waterpower for manufacturing purposes.
In 1791, Alexander Hamilton and a group of investors created the S.U.M., the Society for Establishing Useful Manufactures, to harness the tremendous power of the Passaic Great Falls. They hired Pierre Charles L'Enfant to design the largest, most significant power system at that time, one that diverted water from the Passaic River above the falls to mills along its route. It was the boldest private enterprise ever conceived in the early days of the United States. Hamilton envisioned an industrialized America and the creation of this raceway system was his ambitious example of how corporations could be organized to develop manufacturing on a large scale. With this enterprise, along with the law, finance and incentives he put in place as the nation's first Secretary of the Treasurer, Hamilton forged the basis of American capitalism. The planned industrialization of this historic place is the realization of the Hamiltonian vision of an industrialized America. This is truly a founding father's site.
The above information is directly from the Chamber of Commerce.The Great Falls is really something to see.I was blown away by the power of this site.
A must see.
© 2010 All rights reserved. This image may not be used in any manor
without my express permission .
Cokin FiltersGraduated Tobacco Filter
The male Calico has the boldest red colors. I love the hearts on the abdomen. The female has the same pattern but is yellow.
Explanatory graphic published in the February 19 issue of Science, describing the construction and deployment of the James Webb Space telescope.
Associated link: www.sciencemag.org/news/2016/02/building-james-webb-bigge...
86/100
I've been experimenting with composition and expansion lately, and I think this is the boldest attempt of mine so far. Perspective is one of the greatest 'virtue' of photography and also a great method to create something unusual... unique. Anyway, haters gonna hate.
TEXAS HONOR DAY - Texas Statehood Day - February 19
The legal entry of Texas into the Union was December 29, 1845;
yet, the decade-old Republic of Texas did not formally transfer to
the authority of the new State of Texas until February 19, 1846,
the day we celebrate as the end of the Republic of Texas.
With a deadline of the end of 1845 to accept the annexation as one
of the states of the United States of American, the Texans waited
until December 29, 1845, to accept the terms. The formal transfer
of authority from the Republic of Texas took place February 19, 1846,
at the log capitol in Austin with President Anson Jones presiding.
God Bless Texas!
The Texas State Song, enjoy: www.youtube.com/watch?v=bA1ZIyeY91E
and www.youtube.com/watch?v=eKs1dddUNkk&list=PLEE6DC9DBF0...
Texas, Our Texas! all hail the mighty State!
Texas, Our Texas! so wonderful so great!
Boldest and grandest, withstanding ev'ry test
O Empire wide and glorious, you stand supremely blest.
(chorus)
Texas, O Texas! your freeborn single star,
Sends out its radiance to nations near and far,
Emblem of Freedom! it set our hearts aglow,
With thoughts of San Jacinto and glorious Alamo.
(chorus)
Texas, dear Texas! from tyrant grip now free,
Shines forth in splendor, your star of destiny!
Mother of heroes, we come your children true,
Proclaiming our allegiance, our faith, our love for you.
Chorus:
God bless you Texas! And keep you brave and strong,
That you may grow in power and worth, throughout the ages long.
God bless you Texas! And keep you brave and strong,
That you may grow in power and worth, throughout the ages long.
Country music version of God Bless Texas:
The boldest of a group of sibling foxes, who's mother we haven't seen for a while. If we're out in the garden, he'll always swing by and hang out for a while. Occasionally he'll bring a more timid fox with him.
Lockdown has ment I've been able to spend more time with my garden birds, and I ended up (over the past year or so) encouraging the birds to feed from my hand. I've had House sparrows, great, coal and Blue tits and a Robin and breifly a few times, a starling (which was never invited, but was watching the others).
Out of the three tits, the blue tit has been the boldest and most intelligent of the three, and he has out shone the great tit in how to get my attention and knows when and where I am (which includes peering into the window and making some noise.) This has entertained my elderly neighbour, who watches from her window, and my sister, who struggles to get out has also been enjoying feeding them. Isn't nature just wonderful during stressful times!!
The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.
Timothée Chalamet bolstered his reputation as one of Hollywood's boldest dressers by showing up to the Oscars in Louis Vuitton womenswear.
The star wowed onlookers at Hollywood's Dolby Theatre on Sunday evening in an embroidered lace jacket and high-waisted pants from the label's Spring-Summer 2022 collection. He then put his own spin on the gender-fluid outfit with a sparkling necklace and a pair of black boots.
But it wasn't just what Chalamet wore that set social media alight, it was what he didn't: a shirt.
Bare-chested beneath his black blazer, the actor had fans swooning online. "Timothée Chalamet is basically a rockstar right?" wrote one Twitter user, with another joking: "I'd like to thank whoever made this outfit, Timothée Chalamet's parents, and God."
The 26-year-old star -- who featured in two movies nominated in this year's Best Picture category, "Dune" and "Don't Look Up" -- is known for his daring red carpet fashion. Recent award ceremonies have seen him named on "best dressed" lists thanks to his use of bright colors, sharp tailoring and elevated streetwear.
He also regularly looks to Louis Vuitton for the biggest occasions, not least the 2019 Golden Globes, where he wore a sparkling harness that went viral and sparked a menswear trend in the process.
Today I thought a lot about success.... I have always known what i wanted bigger picture wise for my business but I spent the day flip flopping back and forth between thinking I can do and thinking I can't. These days come and go, the days you think you have to throw in the towel and then there are the days (far more of these days) where you know you've got this because you're passion driven. Success happens one step at a time. It will take time, it will take even more hard work but when its what you live and breath, when its the epitome of who you are, when its your dream giving up is not an option. Its hardly even a real thought but self doubt can cloud your vision. You just have to remember that clouds break.
"asleep, passion is a smoldering ember; given air it is a white-hot fire. At its most modest, it feels like a gentle pang; at it boldest, it feels like a desperate need. It's why explorers explore, inventors invent, and painters paint. It's your key to success".
Tokyo International Forum
"Vinoly has likened the Glass Hall to nineteenth-century public spaces; indeed like arcades: both the Crystal Palace are recalled in this immense, awesome space with its monumental staircases and shimmering bridges and ramps, that are almost Piranesian in scale."
— Ivor Richards, "Space Odyssey", The Architectural Review, 1197, November 1996.
The Tokyo International Forum is a giant civic complex that had to accommodate cultural performances and business events yet direct significant pedestrian traffic through the nexus of four subway lines and two major train stations. The Rafael Viñoly Architects PC design solution provides significant public amenities as it integrates the large and complex program into the urban fabric. The Forum consists of the Glass Hall conference center, four elevated theaters, and an outdoor public plaza at ground level; an underground concourse unites below grade all the program elements, including an underground exhibition hall, and connects to the subway network.
The Glass Hall, set along the railroad tracks at the eastern boundary of the site, is one of the boldest structures in Japan, consisting of two intersecting ellipses that enclose a vast central lobby above the concourse level. This immense glass and steel enclosure is supported by a dramatic, 750-foot-long truss system overhead, supported on only two columns. The 197-foot-high laminated glass curtain wall is transparent to visually unify the elements of the complex, yet is designed to withstand extreme structural stress in an earthquake-prone area.
Pedestrian bridges connect the Glass Hall to the performance halls, four roughly cubic volumes, arranged sequentially by size along the west edge of the site and elevated to allow the public plaza to pass beneath; from north to south, the volumes contain a 5,000-seat theater, 3,000-seat flexible function space, 1,500-seat music hall, and 600-seat black box theater.
An outdoor public plaza occupies the space between the Glass Hall and the overhanging theaters. The plaza provides a corridor through the site, but is planted and enclosed by a granite wall (which also blocks noise and vibration from the transportation infrastructure) to provide a space that is both sheltered from the city and given monumental character by its size and by the surrounding buildings.
"The Tokyo Forum is severe and grand and at the same time welcoming—it has turned out to be a social as well as a cultural and transportation hub," says Rafael Viñoly. "That’s often the sign of a successful building: it fills a previously unrecognized need. And you make this happen by bringing together programs and people who might not otherwise have anything to do with one another."
June 21st 2009, Day 5 of The Great Western America Road Trip
Trip summery can be found here
If you have only 1 day in Yosemite and a hiker, I would highly recommend the Vernal and Nevada Falls up the Mist Trail and down the John Muir Trail. It is about 7-8 miles round trip. If that seems like to much you can make a loop out of just Vernal falls. The highlight of the day would be the mist trail, aka getting soaked trail. You hike up granite steps filled with green moss and wild flowers while getting drenched by Vernal Falls. After that you are treated to this amazing view that I am pretty sure maintains a constant rainbow. Next you then wind around the rock face until you reach the top. We stopped for lunch and meet the boldest squirrels ever, they would pretty much sit on you lap waiting for handouts. By the way, if I had a dime for every person I saw taking a picture of a squirrel during this 2.5 week it would pay for the trip! I mean what is so interesting about a squirrel???? Anyways we continued up to Nevada Falls, at the top you are treated to a large rock surfaced with a nice view of a canyon and those famous Yosemite domes and cliffs. It gets pretty steep in some sections but we took our time and made an entire day at it. That night we treated ourselves to pizza in the valley, very good and worth every penny!
Process: basically blended an exposure of the sky,mountains,trees,water in with 2 other exposures, one with the rocks and the other rainbow. Let me know what you think and if it looks natural. Also any suggestions for improvement are appreciated.
The peaks of the Teton Range, regal and imposing as they stand nearly 7,000 feet above the valley floor, make one of the boldest geologic statements in the Rockies. Unencumbered by foothills, they rise through steep coniferous forest into alpine meadows strewn with wildflowers, past blue and white glaciers to naked granite pinnacles.
La ferrovia elettrica a scartamento ridotto che collegava il capoluogo Biella al santuario di Oropa aveva un tracciato di 14 chilometri e superava il dislivello di 800 metri.
Fu inaugurata il 4 luglio 1911 a soli due anni di distanza dall'inizio dei lavori, rimanendo in funzione per meno di cinquant'anni: l'ultima corsa venne effettuata il 29 marzo 1958. Il servizio fu sostituito da un più moderno ed economico collegamento di linea con autobus.
Per decenni ha però rappresentato un’attrattiva turistica perché il tortuoso e affascinante percorso si distendeva fra i boschi delle prealpi biellesi. Per questo la linea Biella-Oropa si era guadagnata l'appellativo di "ferrovia più ardita d'Italia".
Ora all'interno del santuario, proprio presso il porticato nord in corrispondenza del vecchio capolinea, è conservata una motrice originale.
Grazie per la precisazione di "TramviaBiellaOropa" che segnala che la vettura esposta non è originale in quanto tutte demolite nel 1958. Si tratta di una motrice appartenente alle ex tramvie locarnesi risalente al 1904 e restaurata dall'Associazione Ferroviabiellaoropa nel 1996 e nuovamente nel 2010.
The electric railway that connected the Biella town to the sanctuary of Oropa had a route of 14 km and passed the gap of 800 meters.
It was inaugurated in July 4, 1911 just two years away from beginning of the construction work, remaining in operation for less than fifty years: the last run was made in March 29, 1958. The service was replaced by a more modern and economic connecting bus service.
For decades, however, represented a tourist attraction because the convoluted and fascinating journey through the woods stretched foothills of Biella. So the line Oropa-Biella had earned the nickname of “ the railway boldest of Italy”.
Now inside the sanctuary, just on the northern arcade at the old terminus, it is kept the original tractor.
I've seen many roadside coyotes. Yellowstone ranks the first and Yosemite is the second. This coyote is the boldest I've ever seen and I never expected it to happen in Death Valley. Usually a coyote stays on the roadside for handout, but it seems not in this case as I've watched it for almost 50 minutes. He is just so used to human and never panics.
White-crowned Sparrow (Zonotrichia leucophrys). Brush pile behind CNC, adjacent to Kelowna Rec Field, Kelowna, BC.
Well, he has a crown, and he is the boldest of all of his kin, so why not "King Kole"?
This two-part set shows how much camera angle affects our sense of the bird's giss*.
*A term I've only recently begun using. Apparently, "jizz" is etymylogically more correct, but for obvious reasons in this day and age, I thing giss is a word that birders need to embrace, even though it too has other meanings that I don't like in the Urban Dictionary . New words are created "all the time," and I use it to mean "general impression size/shape .**"
**From www.birdforum.net/showthread.php?t=360686 , and note that I disagree with the writers preference for jizz over giss: "Good to see an article in the latest edition of 'British Birds' (May 2018 Vol 111 p264-274) confirming that the birding term 'jizz' was first published by T A Coward in 1921 who heard it from an unidentified Irishman. They debunk the suggestion that it comes from the military term GIS/GISS - general impression and shape/general impression size and shape - which appears to be without foundation. Despite looking for references and asking relevant authorities they could [sic. not is apparently omitted accidentally here!] find evidence that this term was ever used. They also unearth the fact that "jizz" was used in Ireland as early as 1900 as meaning "spirit" or "liveliness" which seems telling to me and the extension as it applies to bird ID a reasonable one (although they're less enthusiastic).
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1340467
Date first listed: 28-Jun-1960
Location
Statutory Address: Holy Trinity, Minchinhampton, Bell Lane, Minchinhampton, Stroud GL6 9BP
County: Gloucestershire
District: Stroud (District Authority)
Parish: Minchinhampton
National Grid Reference: SO 87219 00814
Details
Parish church. C14 tower and transepts. Remainder of church rebuilt 1842 by Thomas Foster of Bristol; chancel altered 1869-71 by William Burges. Porch room by Peter Falconer added in 1973. Ashlar and random rubble limestone; stone and Welsh slate roofs. Nave with aisles, north and south transepts, central tower and chancel. West entrance lobby addition and parish room. C14 tower and transepts, tower having tall deeply splayed 2-light pointed belfry openings with Decorated tracery; broach spire with narrow lucarnes to cardinal faces; upper part removed 1563 and replaced by crenellated coronet with crocketed pinnacles. Octagonal north east stair turret entered by pointed arched doorway in angle between chancel and north transept. Very fine south transept has large 5-light rose window, diagonal corner buttresses and row of closely-spaced side wall buttresses with 2-light pointed windows between. Plainer north transept with 3-light north and similar east window with reticulated tracery, north having circular Cl9 restored window above with quatrefoil tracery. Moulded pointed arched doorway on east side with hoodmould. C19 buttressed chancel has large 5-light geometrical traceried east window with double tracery in Burges's typical bold style; empty hooded image niche above. Perpendicular Gothic nave by Foster appears bulky against medieval crossing. Five Perpendicular aisle windows and one bay at west end with smaller window; 2-light clerestory windows with 4-centred pointed heads separated by gabled buttresses. Crenellated parapets with tall crocketed pinnacles at west end above angle buttresses. Four-light Perpendicular west window. Flat-roofed lobby obscures west doorway, links with hexagonal church room having sprocketed pyramidal roof with ball finial and stone cross windows. Interior: broad nave with panelled roof having gilt bosses and painted decoration to ribbing. Four-bay arcades with octagonal columns. C14 crossing arches die into responds of piers. Tierceron vaulting beneath tower taken off slender corner shafts with foliage capitals. Some medieval painting survives on nave arch. Timber boarded barrel vault to chancel with 1931 painted decoration by F.C. Eden. Highly polished encaustic tile to stepped chancel floor. Most remarkable part of interior is south transept, dominated by rose window and with pitched stone slab roof supported on stone cross-arches with scissor bracing, these set closely together relating to the external buttressing. Two ogee-arched Decorated mortuary tomb recesses below south transept window have rich crocket decoration and pinnacles, also retaining effigy of Knight in contemporary armour and his Lady, each on chest with quatrefoil front panelling. Similar tomb recess in north transept now obscured by organ. Many other fine memorials including brasses at west end of nave. Good segmental pedimented memorial in south transept to IEREMIE BVCKE, a Parliamentary officer, appears undated; oval brass plate below to Jacobus Bradley, S.T.P., died 1762 aged 70 has latin inscription - this formerly being attached to Bradley's monument in the churchyard (q.v.). Several good monuments reset high in nave between clerestory windows. All are fine, many of cadaver type, mostly to Sheppard family of Gatcombe Park. Especially good is one on south side by Ricketts of Gloucester to SAMUEL SHEPPARD, died 1770. Boldest on north side is pedimented plaque to JOSEPH ILES, died 1749, by Robert Chambers. Remainder of fittings mostly date from re-seating of church in 1875. Timber rood screen by F.C. Eden of 1920 was intended to be painted. Very complete stained glass: east window and south rose window by Hardman. West window and most aisles windows are by Herbert Bryans, a pupil of Kempe, installed 1899-1922. One window in north aisle by Edward Payne. Church at Minchinhampton originally given by William the Conqueror to the Abbaye aux Dames, Caen, passing to the nuns of Syon Abbey in 1415. A major rebuilding occurred in C12 but no trace of this survives. (J. Mordant Crook, William Burges and the High Victorian Dream, 1981; N.M. Herbert, 'Minchinhampton' in V.C.H. Glos. xi 1976, pp 184-207; A.T. Playne, Minchinhampton and Avening, 1915; and D. Verey, Cotswold Churches, 1976 and Gloucestershire: The Cotswolds, 1979)
© Historic England 2021
I was walking through swamps with my new trusty rubber boots and saw these bizarre looking trees slanted, as if reaching for something underneath them. The colors were rather drab and monochromatic, so I knew I wanted to create a black and white. I waited for the sun to come out from behind the clouds which illuminated the tree limb in the foreground. The main reason why I took this photo was because of the cool designs the trees made and how at this exact position their shapes have such peculiar designs that intermingle to form a cool pattern that looks like 2 spheres. I mean you could literally say it looks like a fish, a pac man, a rose bud, or even a flame! The possibilities are endless. I really liked the way the pattern was created, and carefully positioned myself to create the boldest pattern possible.
As I was leaving Fairchild Garden with my Russian friend Dmitry, a family of raccoons crossed the road in front of us. He had never seen raccoons before so he was amazed at the way they moved. And the one or two we saw at first, turned into a whole family crossing the road to reach a thicket of ripe palm seeds, obviously a treat. But a challenging experience for the gangly babies, who struggled to balance themselves as they reached for the fruit and shoved it in their mouths.
This one was the boldest, watching us but ignoring us, preferring to eat as many seeds as it could as fast as it could. Fuzzy, scraggly, alert-eared, wiry-tailed, he or she munched away.
Fairchild Tropical Botanic Garden, Miami FL
The image of the BMW Z4 Concept is an internet image. The background image is an image I took from the industrial area of St Joseph Missouri.
Roadster heritage shines through in every aspect of the All-New BMW Concept Z4, most noticeably in the roll bars and the quick-retracting soft top. Because the only thing more invigorating than pushing a powerful machine to its limits is feeling the wind whip by on every curve.
The revs run high. The emotions run higher. Every inch of the All-New BMW Concept Z4 was designed with grace, power, and passion in mind. This is a dream machine that inspires its driver – and seduces its audience.
The All-New BMW Concept Z4 draws attention wherever it goes, and with good reason: this is a vehicle for those who make passionate statements. The striking Valencia Orange Metallic exterior – a color reserved for only the boldest BMWs.
The All-New BMW Concept Z4 packs tremendous engine power into a compact body, rocketing from 0-60 so fast you’ll be left breathless. And you’ll feel every bit of that powerful torque from a driver’s seat positioned just forward of the rear axle.
source: BMWUSA.com
The white beaches of the Algarve are lashed by the wind that cleans the colors and makes them brilliant, even blinding; long tongues of sand where bathers occupy solitary spaces in a landscape that so resembles a desert; grains of sand like little bullets hit the body and leave painful marks, although invisible to the eye; Ocean rumbles in the lively surf that spares nothing and leaves rather entertain the boldest who face the impetuosity and the temperature; for everyone else there is relaxation, which knows no age, different for each age.
---------------------------------------------
Le bianche spiagge dell'Algarve sono sferzate dal vento che pulisce i colori e li rende brillanti, finanche accecanti; lingue lunghe di sabbia dove i bagnanti occupano spazi solitari in un panorama che tanto assomiglia a un deserto; granelli di sabbia colpiscono come piccoli proiettili il corpo e lasciano segni dolorosi, seppur invisibili alla vista; l'Oceano rumoreggia nella risacca vivace che nulla risparmia e lascia piuttosto divertire i più arditi che ne affrontano l'impetuosità e la temperatura; per tutti gli altri vi è il relax, che non conosce età, diverso per ogni età.
I think this may be another queen ant, although this time of the jack jumper ant (or related species). Any I.D. help much appreciated. Having been both bitten and stung by these ants (excruciating!), I was a little nervous and this was the boldest shot I took before sidling away, lol! Found near Govett’s Leap, Blackheath, Blue Mountains.
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1340467
Date first listed: 28-Jun-1960
Location
Statutory Address: Holy Trinity, Minchinhampton, Bell Lane, Minchinhampton, Stroud GL6 9BP
County: Gloucestershire
District: Stroud (District Authority)
Parish: Minchinhampton
National Grid Reference: SO 87219 00814
Details
Parish church. C14 tower and transepts. Remainder of church rebuilt 1842 by Thomas Foster of Bristol; chancel altered 1869-71 by William Burges. Porch room by Peter Falconer added in 1973. Ashlar and random rubble limestone; stone and Welsh slate roofs. Nave with aisles, north and south transepts, central tower and chancel. West entrance lobby addition and parish room. C14 tower and transepts, tower having tall deeply splayed 2-light pointed belfry openings with Decorated tracery; broach spire with narrow lucarnes to cardinal faces; upper part removed 1563 and replaced by crenellated coronet with crocketed pinnacles. Octagonal north east stair turret entered by pointed arched doorway in angle between chancel and north transept. Very fine south transept has large 5-light rose window, diagonal corner buttresses and row of closely-spaced side wall buttresses with 2-light pointed windows between. Plainer north transept with 3-light north and similar east window with reticulated tracery, north having circular Cl9 restored window above with quatrefoil tracery. Moulded pointed arched doorway on east side with hoodmould. C19 buttressed chancel has large 5-light geometrical traceried east window with double tracery in Burges's typical bold style; empty hooded image niche above. Perpendicular Gothic nave by Foster appears bulky against medieval crossing. Five Perpendicular aisle windows and one bay at west end with smaller window; 2-light clerestory windows with 4-centred pointed heads separated by gabled buttresses. Crenellated parapets with tall crocketed pinnacles at west end above angle buttresses. Four-light Perpendicular west window. Flat-roofed lobby obscures west doorway, links with hexagonal church room having sprocketed pyramidal roof with ball finial and stone cross windows. Interior: broad nave with panelled roof having gilt bosses and painted decoration to ribbing. Four-bay arcades with octagonal columns. C14 crossing arches die into responds of piers. Tierceron vaulting beneath tower taken off slender corner shafts with foliage capitals. Some medieval painting survives on nave arch. Timber boarded barrel vault to chancel with 1931 painted decoration by F.C. Eden. Highly polished encaustic tile to stepped chancel floor. Most remarkable part of interior is south transept, dominated by rose window and with pitched stone slab roof supported on stone cross-arches with scissor bracing, these set closely together relating to the external buttressing. Two ogee-arched Decorated mortuary tomb recesses below south transept window have rich crocket decoration and pinnacles, also retaining effigy of Knight in contemporary armour and his Lady, each on chest with quatrefoil front panelling. Similar tomb recess in north transept now obscured by organ. Many other fine memorials including brasses at west end of nave. Good segmental pedimented memorial in south transept to IEREMIE BVCKE, a Parliamentary officer, appears undated; oval brass plate below to Jacobus Bradley, S.T.P., died 1762 aged 70 has latin inscription - this formerly being attached to Bradley's monument in the churchyard (q.v.). Several good monuments reset high in nave between clerestory windows. All are fine, many of cadaver type, mostly to Sheppard family of Gatcombe Park. Especially good is one on south side by Ricketts of Gloucester to SAMUEL SHEPPARD, died 1770. Boldest on north side is pedimented plaque to JOSEPH ILES, died 1749, by Robert Chambers. Remainder of fittings mostly date from re-seating of church in 1875. Timber rood screen by F.C. Eden of 1920 was intended to be painted. Very complete stained glass: east window and south rose window by Hardman. West window and most aisles windows are by Herbert Bryans, a pupil of Kempe, installed 1899-1922. One window in north aisle by Edward Payne. Church at Minchinhampton originally given by William the Conqueror to the Abbaye aux Dames, Caen, passing to the nuns of Syon Abbey in 1415. A major rebuilding occurred in C12 but no trace of this survives. (J. Mordant Crook, William Burges and the High Victorian Dream, 1981; N.M. Herbert, 'Minchinhampton' in V.C.H. Glos. xi 1976, pp 184-207; A.T. Playne, Minchinhampton and Avening, 1915; and D. Verey, Cotswold Churches, 1976 and Gloucestershire: The Cotswolds, 1979)
© Historic England 2021
The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.
just as we were putting the finishing touches on this house, she tells me they have bought a new one. heh heh, here we go again!
The roads were unusable here this morning, but I managed to get out and find some deer this afternoon. No red deer around at all, but I found a trio of sika deer who were very patient with me. This was the lead deer of the group, who was boldest, happily walked in my direction. The other two were a little more timid, but happy to follow him.
A difficult, tiring day, but I think I'll look back at this shot and feel it was worth the effort.
Merida Classic Doll with Bear Cub Figure - 12''
US Disney Store
Released online 2016-06-20
$16.95
Aim for fun
Revisit the epic story of Brave with our boldest princess. This Merida Classic Doll, looking regal in her signature green gown alongside brotherly Bear Cub figurine, is ready for adventure wherever your imagination leads.
Magic in the details...
• Deluxe satin costume with sparkling organza trims
• Comes with brotherly Bear Cub figurine
• Fully poseable
• Part of the Disney Princess Classic Doll Collection
The bare necessities
• Ages 3+
• Plastic / polyester
• Doll: 12'' H
• Bear Cub: 2 1/2'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
Step into a room where colors dance, peace signs glow, and every cushion feels like a hug. 🌻✨
This cozy boho living room is a perfect patchwork of dreams — with sofas splashed in sunflowers and tie-dye rainbows, a fireplace flickering like it’s telling stories, and tables that look like they were painted during a joyful daydream.
Dreamcatchers sway on the walls, a mischievous moon smiles down, and beads sparkle like tiny stars caught in the curtains. Everywhere you look, there’s a little bit of magic — a reminder to sip tea slowly, laugh loudly, and always follow the colorful path.
Tip: Mix your boldest prints, hang your happiest art, and let your living room tell its own wild, beautiful story.
B&C Hippy Full Set
* Unleash your inner hippie and bohemian essence with this captivating, unique furniture set. Featuring inviting sofas, an elegant coffee table, a charming end table, stylish lamps, and an array of delightful decor pieces, this collection is designed to enhance your living space. (I've also included some special items from my collection to add more character.)
=======================
Broomsticks and Cauldrons
LM: maps.secondlife.com/secondlife/Labyrinth%20of%20Darkness/...
MP: marketplace.secondlife.com/stores/30124
FLickr: www.flickr.com/photos/broomsticksandcauldrons/
FB: www.facebook.com/groups/1589166481894668
Discord: discord.gg/PT4uFXw9SN
Linktree: linktree linktr.ee/broomsticksandcauldrons
30 St Mary Axe, also known as the Gherkin (2001-2003).
Architect: Foster and Partners.
Leadenhall Street.
City of London, Greater London, England, United Kingdom.
Technical data:
Nikon D800 | PC-E Nikkor 24 mm f/3.5D ED | Induro AT213 tripod + BHL2 ballhead.
2s | f/7.1 | ISO 100.
This is the first image in a new series titled “London: In an Endless Rush”, a collection of images of the architecture of one of the largest and most enticing metropolis in Europe.
It is the seamless coexistence of the boldest creations of contemporary architects and ancient structures dating back to the Middle Ages that first caught my eye when I put a foot on the streets of London. That seems to be the norm in this city –as well as in many others throughout the United kingdom-, but is unfortunately rather uncommon in Mediterranean countries with exceptionally rich cultural heritages such as Spain or Italy. The Gherkin, with the church of St Andrew Undershaft in the foreground as seen from Leadenhall Street, symbolizes this fearless approach to urban planning. Something I look at with envy while submerged in the immobilism that dictates planning policies in my hometown.
This photograph also comes with a big thanks to my friend and fellow architect Carlos Campo who kindly hosted my days in town and even ventured out for some fun shooting in the gelid breeze sweeping the streets of London during those days. He is in fact a talented photographer specializing in time-lapse that only recently joined the Flickr community. Please feel free to check out his photostream for a spectacular long exposure capture of the Gherkin at the blue hour and make sure to follow him if you want to be among the first to watch some of his amazing time-lapse work in the near future.
I would also like to express my gratitude to Raul DC for generously sharing his extensive knowledge on this city with me both prior to and during my trip. It was great to finally meet him in person and be able to shoot side by side at some places I had been craving to visit for years. I look forward to the next time our paths cross.
Rembrandt Harmenszoon van Rijn (1606-1669), The Conspiracy of Claudius Civilis, c. 1661-62, oil on canvas, 196 x 309 cm.
Nationalmuseum, Stockholm
Canon 7D
The subject of the painting pertains to Dutch history. Gaius Julius Civilis, better known as Claudius Civilis, was the one-eyed leader of the Batavians who lived in the Netherlands at the start of the Christian era and revolted in 69 AD against the Romans. At the time of this painting, the Dutch liked to compare themselves to ‘their forefathers’, casting their own struggle for freedom from Spain in the light of the Batavian rebellion. The painting, originally 550 x 550 cm, was commissioned for the new Town Hall in Amsterdam to commemorate the bravery of the Dutch ‘ancestors’. After a disagreement with his commissioners, Rembrandt desperately cut down the painting, returned to him, to a quarter of the original size and partly repainted the remaining central fragment for easier sale.
The painting in its reduced size depicts the moment when Claudius Civilis collected the chiefs of the nation, the boldest spirits and the bravest warriors for a banquet and convinced them to join his rebellion, after which they swore their oath by striking their swords together and raising the beaker.
Hey my lovelies, our magnificent friend Katie Lewis is back in hospital after she got ecoli after her Liver Cancer operation. Please can i ask you all to post something BOLD for Katie as she is the boldest of us all ♥️♥️♥️ and the one who gave me confidence to find my inner gal. Thank you so much!
The peaks of the Teton Range, regal and imposing as they stand nearly 7,000 feet above the valley floor, make one of the boldest geologic statements in the Rockies. Unencumbered by foothills, they rise through steep coniferous forest into alpine meadows strewn with wildflowers, past blue and white glaciers to naked granite pinnacles.