View allAll Photos Tagged LongLasting
....we bought these flowers before Xmas, and they are still beautiful on my table, in the dining room. As I have taken a lot of photos of them so far, I couldn´t help posting one more.
A cable car or cable railway is a mass transit system using rail cars that are hauled by a continuously moving cable running at a constant speed. Individual cars stop and start by releasing and gripping this cable as required. Cable cars are distinct from funiculars, where the cars are permanently attached to the cable, and cable railways, which are similar to funiculars, but where the rail vehicles are attached and detached manually. Traditional cable car systems
The best known existing cable car system is the San Francisco cable car system in the city of San Francisco, California. San Francisco's cable cars constitute the oldest and largest such system in permanent operation, and it is the only one to still operate in the traditional manner with manually operated cars running in street traffic.
Found in a remote kipuka while hiking in Hawaii Volcanoes National Park on the Big Island of Hawaii. It was quite exciting for us to come across this endemic vine growing in such a remote area.
www.mun.ca/biology/scarr/Kipuka.htm
www.hawaiiannativeplants.com/ourplants/maile/
ABC's and 123's V is for VIne.
Wind farm high on the Lancashire Hills covered in snow, showing the isolated moorland of Northern England.
Well... I took the idea from holienmo.no from this link www.flickr.com/groups/strobist/discuss/72157623737675218
So i tried to do something really simillar, because his stuff was so awesome.
My grandfather is 93 years old and is still teaching at law school in most prestigious university in Chile, he has been the most longlasting teacher ever from that university and still takes the bus over to campus.
He is my role model.
Strobist info: I used a reflective umbrella umbrella box thing like a softlighter head hight camera left, a 430EX and cybersyncs.
[ EXPLORE Dec. 2 ~ #245 ]
[San Francisco Municipal Railway]
The PCC (Presidents’ Conference Committee) streetcar (tram) design was first built in the United States in the 1930s. The design proved successful in its native country, and after World War II was licensed for use elsewhere in the world. The PCC car has proved to be a long-lasting icon of streetcar design, and PCC cars are still in service in various places around the world.
The last PCC streetcars built for any North American system were a batch of 25 for the San Francisco Municipal Railway, manufactured by the St. Louis Car Company and delivered in 1951
The San Francisco Municipal Railway (SF Muni or Muni) is the public transit system for the city and county of San Francisco, California.
New hybrid by Jane Lyndsay & Toni O'Connor (Chelsea Gold Medallists www.tyningsclimbers.co.uk/ ) - Photo by Martin Wills.
Mystery solved. About the time I was looking to release a commercial hybrid I contacted Jane and Toni (holders of the National Collection of Passiflora Cultivars UK) for advice.
Jane told me that they had bred their own hybrid, 'Lynda Joy', that they were thinking to release also. But sadly for me, Jane and Toni, someone else beat us all to it: Myles Irvine with his "Snow Queen". As Jane said "how many white Passionflowers will the market stand" or words to that effect.
Anyway, 'Lynda Joy' is 'White Wedding' x 'Avalanche' and the flowers stay open for 3 days because it is a polyploid just like Myle's 'Snow Queen'. In fact, I cannot tell the difference. (Blooms 10cm diameter on average.)
[P. 'White Wedding' was bred by Henk Wouters & Roland Fischer (Netherlands/Germany) and P. 'Avalanche' by Cor Laurens of the Netherlands. An easy pair to cross breed. In fact everyone is in on the act -
www.ebay.co.uk/itm/Passiflora-White-Wedding-10-seeds-/380... & here, www.ebay.co.uk/itm/Passiflora-White-Wedding-15-seeds-Fres...]
In Australia's north plants like this exotic beehive ginger native to SE Asia grow well in our tropical conditions as long as they have plenty of water. This one is (I think) Zingiber spectabile, growing in a garden near Katherine in the Top End of the Northern Territory.
Sincere thanks for visiting my Australian nature offerings!
All my photographs are © Copyrighted & All Rights Reserved. Please do not reproduce or transmit in any form or by any means without full acknowledgement of it being my work. Use without permission is illegal so please contact me first if you’d like to use it.
frosted to perfection. Trichs shivering waiting to be blazed. A Heavy sedation SFV cut. Superb pain reducing antiinflamatary og kush from a master grower. A perfect varietal of Ocean Grown Kush citrus and trichs fuel the classic og taste but with a indi dom feel. Hits fast. No creeper here although the euphoria swings from good to great then levels off still providing longlasting relief. Also note that greatly euphoric strains can block pain alot even if you exclude the body sedation type of flowers.
Thanks for viewing!
Press "L" to see it large on black. Recommended!
Your comment and your fav will be much appreciated!
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All rights reserved.
© Jacopo Colombo | 2016
Please visit my website
ALL RIGHTS RESERVED. Do not use or copy this photograph without my permission.
Thanks all for views, comments and faves. Really Appriciated
ENDING VIOLENCE AGAINST
WOMEN AND GIRLS
Violence against women and girls is a grave violation of human rights. Violence happens in public and private places.
It has many forms which range from domestic or intimate
partner violence to sexual harassment and assault, female
genital mutilation, trafficking, sexual violence in conflict
and gender-related killing.
The impact of violence ranges from immediate to longterm physical, sexual and mental health consequences
for women and girls, including death. It negatively affects
women’s general well-being and prevents women from
fully participating in society. Violence not only has longlasting consequences for women but also their families,
the community and the country at large. It also has tremendous costs, from greater health care and legal expenses to productivity losses, impacting national budgets and overall development.
#EndVAW #HearMeToo
Photo by Firoz Ahmad
All rights reserved
Location: New Delhi, India
Spanish postcard.
Virginia Valli (1895–1968)[ was an American stage and film actress whose motion picture career started in the silent film era and lasted until the beginning of the sound film era of the 1930s.
Virginia Valli, originally Virginia McSweeney, was born in Chicago, Illinois, and started acting in Milwaukee at a theater stock company. From 1916, she also acted in some 18 films at the Essanay Studios in Chicago, debuting in a minor part in the serial The Strange Case of Mary Page (1916), and quickly having all the female leads.. After that, she acted at the studios of World Film, Fort Lee, New Jersey. However, when features came along, Valli was reduced to supporting parts. By 1920, Valli had moved to California to act in films by Fox, Vitagraph and others. By that time she had already adopted the name of Virginia Valli. A major part she had in the Metro Pictures film The Man Who (Maxwell Karger, 1921) with Bert Lytell and Lucy Cotton, and scripted by June Mathis. On the film's success, Karger then directed Lytell and Valli in a string of fllms for Metro.
In 1922-1924, Virginia Valli did several films for Universal. A major part Valli had in John Ford's The Village Blacksmith (1922), based on Wadsworth Longfellow, in the northwoods melodrama The Storm (Reginald Barker 1922) with House Peters, and in The Shock (Lambert Hillyer, 1923), in which Lon Chaney falls in love with the daughter of his victim, combined with the San Francisco earthquake. Other memorable titles were The Signal Tower (Clarence Brown, 1924), Wild Oranges (King Vidor, 1924), The Confidence Man (Victor Heerman, 1924), Up the Ladder (Edward Sloman, 1925), and the British film The Pleasure Garden (1925) by Alfred Hitchcock. Location shooting for The Pleasure Garden was done in Italy and Germany. The film revolves around Patsy Brand (Valli), a woman who works as a dancer in a theater called "Pleasure Garden". She helps Jill (Carmelita Geraghty) to get a job in he theater. Via Jill's fiancee Hugh (John Stuart) she meets Levet (Miles Mander) and eventually marries him. They sail for Italy on a honeymoon. Levett and Hugh then go on a trip to one of the British colonies. Jill, meanwhile, has dropped Hugh for a rich prince who spoils her and she has become distant to Patsy. When Patsy receives notice that her husband is ill, she travels after him, but discovers he has an affair with a native woman. Patsy, instead, takes care of a really ill Hugh, which Levet doesn't like... The film was produced by Michael Balcon and Erich Pommer; it was Balcon who hired Valli as star of the film, being one of the first to do so. Also Carmelita Geraghty was American.
Virginia Valli continued appearing in films throughout the decade. She had no longlasting contracts with majors, so she played at all major and minor studios in the 1920s. In 1925 Valli acted in The Man Who Found Himself with Thomas Meighan. The production was carried out in the studio of Long Island, New York. Among her films were also the highlights Stage Madness (Victor Schertzinger, 1927) with Tullio Carminati, Paid To Love (Howard Hawks, 1927), with William Powell, and Evening Clothes (Luther Reed, 1927), with Adolphe Menjou. Her first sound movie was The Isle of Lost Ships in 1929, but her film career would not last much longer as her fame declined. After scarce adventures in sound cinema, she quitted acting in 1931. Valli was married to George Lamson and, in second marriage in 1931, to the actor Charles Farrell, a marriage that lasted until her death. They moved to Palm Springs, where she had an intense social life for years. She suffered a stroke in 1966, and died two years later, at the age of 73, in Palm Springs, California. She was buried in Welwood Murray Cemetery in that city. Valli did not have children.
Sources: Wikipedia (English, Spanish, and Italian) and IMDb.
Anthurium is a genus of about 1000 species of flowering plants, the largest genus of the arum family, Araceae. General common names include anthurium, tailflower, flamingo flower, and laceleaf. It's native to tropical America, from Mexico to northern Argentina and Uruguay. They are grown for their attractive flowering bracts which are popular with the cut flower trade. All parts of the plant, are poisonous. If ingested, may cause mild stomach disorders. Anthurium is a genus of herbs often growing as epiphytes on other plants. Some are terrestrial. The leaves are often clustered and are variable in shape. The inflorescence bears small flowers which are perfect, containing male and female structures. The flowers are contained in dense spirals on the spadix. The spadix is often elongated into a spike shape, but it can be globe-shaped or club-shaped. Beneath the spadix is the spathe, a type of bract. This is variable in shape, as well, but it is lance-shaped in many species. It may extend out flat or in a curve. Sometimes it covers the spadix like a hood. The fruits develop from the flowers on the spadix. They are juicy berries varying in color, usually containing two seeds. 9333
German postcard by NPG, no. 276.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
German postcard by Ross Verlag, no. 3077/1, 1928-1929. Photo: Max Munn Autrey / Fox.
Virginia Valli (1895–1968)[ was an American stage and film actress whose motion picture career started in the silent film era and lasted until the beginning of the sound film era of the 1930s.
Virginia Valli, originally Virginia McSweeney, was born in Chicago, Illinois, and started acting in Milwaukee at a theater stock company. From 1916, she also acted in some 18 films at the Essanay Studios in Chicago, debuting in a minor part in the serial The Strange Case of Mary Page (1916), and quickly having all the female leads.. After that, she acted at the studios of World Film, Fort Lee, New Jersey. However, when features came along, Valli was reduced to supporting parts. By 1920, Valli had moved to California to act in films by Fox, Vitagraph and others. By that time she had already adopted the name of Virginia Valli. A major part she had in the Metro Pictures film The Man Who (Maxwell Karger, 1921) with Bert Lytell and Lucy Cotton, and scripted by June Mathis. On the film's success, Karger then directed Lytell and Valli in a string of fllms for Metro.
In 1922-1924, Virginia Valli did several films for Universal. A major part Valli had in John Ford's The Village Blacksmith (1922), based on Wadsworth Longfellow, in the northwoods melodrama The Storm (Reginald Barker 1922) with House Peters, and in The Shock (Lambert Hillyer, 1923), in which Lon Chaney falls in love with the daughter of his victim, combined with the San Francisco earthquake. Other memorable titles were The Signal Tower (Clarence Brown, 1924), Wild Oranges (King Vidor, 1924), The Confidence Man (Victor Heerman, 1924), Up the Ladder (Edward Sloman, 1925), and the British film The Pleasure Garden (1925) by Alfred Hitchcock. Location shooting for The Pleasure Garden was done in Italy and Germany. The film revolves around Patsy Brand (Valli), a woman who works as a dancer in a theater called "Pleasure Garden". She helps Jill (Carmelita Geraghty) to get a job in he theater. Via Jill's fiancee Hugh (John Stuart) she meets Levet (Miles Mander) and eventually marries him. They sail for Italy on a honeymoon. Levett and Hugh then go on a trip to one of the British colonies. Jill, meanwhile, has dropped Hugh for a rich prince who spoils her and she has become distant to Patsy. When Patsy receives notice that her husband is ill, she travels after him, but discovers he has an affair with a native woman. Patsy, instead, takes care of a really ill Hugh, which Levet doesn't like... The film was produced by Michael Balcon and Erich Pommer; it was Balcon who hired Valli as star of the film, being one of the first to do so. Also Carmelita Geraghty was American.
Virginia Valli continued appearing in films throughout the decade. She had no longlasting contracts with majors, so she played at all major and minor studios in the 1920s. In 1925 Valli acted in The Man Who Found Himself with Thomas Meighan. The production was carried out in the studio of Long Island, New York. Among her films were also the highlights Stage Madness (Victor Schertzinger, 1927) with Tullio Carminati, Paid To Love (Howard Hawks, 1927), with William Powell, and Evening Clothes (Luther Reed, 1927), with Adolphe Menjou. Her first sound movie was The Isle of Lost Ships in 1929, but her film career would not last much longer as her fame declined. After scarce adventures in sound cinema, she quitted acting in 1931. Valli was married to George Lamson and, in second marriage in 1931, to the actor Charles Farrell, a marriage that lasted until her death. They moved to Palm Springs, where she had an intense social life for years. She suffered a stroke in 1966, and died two years later, at the age of 73, in Palm Springs, California. She was buried in Welwood Murray Cemetery in that city. Valli did not have children.
Sources: Wikipedia (English, Spanish, and Italian) and IMDb.
Viaggiando, oltre a conoscere la cultura, il colore e la bellezza paesaggistica di tanti bei posti interessanti e pittoreschi, può capitare di imbattersi nelle situazioni più disparate...
Situazioni più o meno particolari che, immancabilmente, ci portano a tirar fuori in fretta e furia la nostra fidata macchinetta fotografica, piccola o grande che sia, speranzosi di riuscire a cogliere almeno qualche fotogramma in grado di contenere e comunicare l'emozione provata in quel momento, in modo tale da renderla indelebile nella nostra memoria e poterla, poi, condividere con i nostri amici più cari.
Ne è un chiaro esempio l'imbattersi in alcune "scene da un matrimonio" vicino ad un lago delizioso, soprattutto quando due centauri ed il caso creano delle scenette davvero singolari! :-)
Quando, poi, si è pronti a coglierne l'essenza assieme ad amici, il risultato finale può diventare ancor più memorabile, offrendo punti di vista differenti per un reportage più completo e... ricco di allegria!
Iniziamo con la coppia di centauri che, imbattendosi lungo il cammino in uno scenario inaspettato, non ha resistito e si è fermata ad ammirare il lieto avvenimento...
PASSIONS AND EMOTIONS "ON THE ROAD"... (more pictures inside)
Travelling enables us not only to find out many beautiful and picturesque places, together with their cultural, naturalistic and architectural heritage, but even to chance upon the most disparate situations...
In fact, more or less unusual events can pop up when you never expect, thus making us take out our cameras in a rush to take at least one or two pictures that will be able to convey our emotions of the moment; thus making them longlasting in our memories as well as shareable with our dear friends.
Stumbling upon a wedding near a lovely lake is a clear example of it, above all when two bikers and the chance create a nice atmosphere, and a handful of enjoyable scenes! :-)
Catching the essence of that nice situations with your friends, then, makes the final result even more memorable, giving different POVs for a cheerful and complete reportage!
Let's start with that nice couple of bikers that, running across a pleasant but unexpected scenery along their way, decided to stop for a while; thus admiring that joyful event...
German postcard in the Film Sterne series by Rotophot, no. 118/1. Photo: Becker & Maass, Berlin.
Maria Orska (1893-1930) was a Russian-Jewish actress of the German stage and screen in the 1910s and 1920s.
On 16 March 1893 Maria Orska was born Effi Rahel Blindermann in Nikolayev, Russian Empire (now Mikolaiv in Ukraine). She was the cousin of the German actress Hedda Forsten and by her mother parented to the theatre impresario Eugen Frankfurter. Although she originally wanted to study law like her father wanted to, she became a stage actress and was discovered by the German actor and drama teacher Ferdinand Gregori when in St. Petersburg. In 1909 he brought her to Vienna's conservatory "k.u.k. Akademie für Musik und darstellende Kunst" (today Universität für Musik und darstellende Kunst Wien), led by him. In 1910, she followed Gregori to the Mannheim court theater where she debuted as "Daisy Orska" and soon drew attention to herself in plays by Strindberg and Schnitzler. In 1911 she came to the Schauspielhaus in Hamburg, where quickly she became the star of the company. In the season 1914/1915 Maria Orska, her stage name by now, moved to Berlin, where she performed at the "Theater in der Königgrätzer Straße" (today "Hebbel-Theater") as well as Max Reinhardt’s Berlin stage. In the same year Edith Andreae was introduced to her, with whom she held a longlasting friendship.
In Berlin the exiled Russian artist became known as interpreter of the works by modern playwrights such as Wilde, Strindberg, Schnitzler, Wedekind and Pirandello. She was a huge success in Wedekind’s Lulu in 1917. "She had sharp, piercing tones, the uncanny effect of which the little character fanatically exaggerated. She also cultivated mundane roles, in which she unfolded the pointed humours of a devious character ... In the field of erotic representation she dared to go remarkably far. She was not an elementary artist, but she had individual qualities that made her the darling of the audience“, the reporter and author Emil Faktor noted in the Berliner Börsen-Courier (16.05.1930) in occasion of her tragic death.
Since her marriage to her second husband, Baron Dr. Hans von Bleichröder jun. (1888 - 1938), a grandson of the Jewish banker Gerson von Bleichröder, the ambitious Maria Orska maintained an elaborate lifestyle. For a long time, she was at the center of so-called Berlin society, and also knew how to stage herself in private as an eccentric spectacle. Her popularity was reinforced by cinema. In 1915 she began a second career as a silent film actor and soon received top salaries. Maria Orska gave her screen debut at the Greenbaum-Film GmbH in Richard Oswald's melodrama Dämon und Mensch (Demon and Man, 1915) and played the shady Lina, who wants to take a cleansed criminal (Rudolf Schildkraut) away from the path of virtue. Maria Orska worked for the first time with the filmmaker and director Max Mack (1884 - 1973) in Das tanzende Herz (The Dancing Heart, 1916), which effected in a six-part Maria Orska film series for the cinemas in 1916/17, with Orska herself as protagonist in each film. The star was praised as "the unmatched interpreter of Strindberg's women, the most fashionable actress of today's Berlin". She was the representative of an "art entirely dedicated to nerves" (Der Film, no. 23, 01.07.1916). As a girl from the gutter she presented herself in Der Sumpf (The Gutter, 1916), but also in comedies such as Die Sektwette (The Champagne Bet, 1916) she was able to win the audience for herself.
But it was mostly the melodramas of those years in which Maria Orska performed the type of the wicked woman. After the dramatic film Adamant's Letztes Rennen (Adamant’s Last Race, 1917) and Der lebende Tote (The Living Dead, 1917), she was for Max Mack Die schwarze Loo (Black Lu, 1917), a gypsy woman who becomes the talk of the town, and who almost wrecks the marriage of a musician (Bruno Kastner). Director Max Mack abducts his audience into the dazzling half-world of the imperial capital. The acclaimed Maria Orska acted as Black Lu, who is constantly surrounded both in the demimonde world and high society. Between push dancing and amorous intrigue, the film develops its highly dared action for those days in expressive images and pointed situations, in which with remarkable determination the stern morality of the late German Imperial Empire is shaken.
Die schwarze Loo was the last part of the Maria -Orska-series, which Mack realized for the Greenbaum-Film. Then Maria Orska paused from the film business and focused on her work at the theater for the next three years. In 1920 she reappeared on screen in the film Die letzte Stunde (The Last Hour), directed by Dimitri Buchowetzki, and the Emile Zola adaptation Die Bestie im Menschen (The Human Beast, Ludwig Wolff 1921), Der Streik der Diebe (The Thieves’ Strike, Alfred Abel 1921), and Paul Czinner's drama Opfer der Leidenschaft (Victims of Passion, 1922) as female partner of Paul Bildt. With the role of the capricious dancer Barberina Campanini in the first and third part of the Fridericus Rex series (Sturm und Drang, 1922; Sanssouci, 1923) Maria Orska finished her film career.
Orska’s attempt to become a theatrical actress in Paris failed. Disappointed, the celebrated artist returned to Berlin and accepted commitments at the Komödienhaus, the Deutsches Theater and the Lessing Theater. In 1927 for instance, in Hans Kaltneker's mystery play The Sisters at the theater in the Königgrätzer Strasse in Berlin, Orska played the lesbian Ruth. More and more however, Orska’s health visibly deteriorated by her morphine addiction. Divorced since 1925 by her husband, Dr. Hans von Bleichröder, Maria Orska became the talk of the town because of her own desire for death and her drug consumption. Nurses waited on the side stage with a syringe, directors dreaded every performance. Her suicide attempts - once she jumped off a train - soon became routine for the public. "They had an already typical character, they were each time after a rest and detox pause in the sanatorium, which the demon hunted artist used to leave like a fury, in order to escape from a life that had become worthless for her", Emil Faktor wrote in 1930.
All rehab attempts by Orska proved failing. She finally poisoned herself by an overdose of Veronal. The actress was brought to the Viennese General Hospital, where she died on May 16, 1930, at the age of only 37 – she couldn’t cope with a pneumonia because of her weakened body. Also the life of her sister Gabryela, who, born in 1894, became Marchesa di Serra Mantschedda when married to an Italian aristocrat, ended tragically, in 1924 (or 1926). Gabryela hanged herself in a Viennese hotel. Wikipedia claims it was after a row with her sister Maria. Their brother Edwin, aviator in the Russian Imperial Army, survived the First World War, the Bolshevik revolution, the Nazis, and the sisters. In 1938 he emigrated from Germany to Ecuador where he died in 1966.
"Maria Orska was completely subordinate to the intoxication of the stage until it crushed her. Her strange appearance confirmed how difficult it is to understand the phenomenon of the stage actor. She seemed so enveloped in the air of the scene, but at the same time she remained so simple. She was a theatrical crowd-puller and a rhetorical star, such as Wilde’s Salome, and was also the most humble of Hedwig in Wildente [The Wild Duck] by Ibsen. She was hot and cold, she played and she lived ", Fritz Engel wrote. The famous artist Oskar Kokoschka drew the actress in 1922. Lithographies after his work hang in various museums, e.g. the Staatlichen Kunstsammlungen Dresden.
Sources: www.steffi-line.de/archiv_text/nost_film20b40/178_orska_m..., German Wikipedia, filmportal, and IMDb.
I was at my cousins wedding & these lovely greenish-white orchids were part of the tables centerpieces. At the end of the evening guests were allowed to bring some home, so here they are a month later & still doing great!
Spanish postcard. Series Estrellas del cine, No. 45. Editorial Grafica, Barcelona. Late 1920s/ early 1930s. Columbia.
Virginia Valli (1895–1968) was an American stage and film actress whose motion picture career started in the silent film era and lasted until the beginning of the sound film era of the 1930s.
Virginia Valli, originally Virginia McSweeney, was born in Chicago, Illinois, and started acting in Milwaukee at a theater stock company. From 1916, she also acted in some 18 films at the Essanay Studios in Chicago, debuting in a minor part in the serial The Strange Case of Mary Page (1916), and quickly having all the female leads.. After that, she acted at the studios of World Film, Fort Lee, New Jersey. However, when features came along, Valli was reduced to supporting parts. By 1920, Valli had moved to California to act in films by Fox, Vitagraph and others. By that time she had already adopted the name of Virginia Valli. A major part she had in the Metro Pictures film The Man Who (Maxwell Karger, 1921) with Bert Lytell and Lucy Cotton, and scripted by June Mathis. On the film's success, Karger then directed Lytell and Valli in a string of fllms for Metro.
In 1922-1924, Virginia Valli did several films for Universal. A major part Valli had in John Ford's The Village Blacksmith (1922), based on Wadsworth Longfellow, in the northwoods melodrama The Storm (Reginald Barker 1922) with House Peters, and in The Shock (Lambert Hillyer, 1923), in which Lon Chaney falls in love with the daughter of his victim, combined with the San Francisco earthquake. Other memorable titles were The Signal Tower (Clarence Brown, 1924), Wild Oranges (King Vidor, 1924), The Confidence Man (Victor Heerman, 1924), Up the Ladder (Edward Sloman, 1925), and the British film The Pleasure Garden (1925) by Alfred Hitchcock. Location shooting for The Pleasure Garden was done in Italy and Germany. The film revolves around Patsy Brand (Valli), a woman who works as a dancer in a theater called "Pleasure Garden". She helps Jill (Carmelita Geraghty) to get a job in he theater. Via Jill's fiancee Hugh (John Stuart) she meets Levet (Miles Mander) and eventually marries him. They sail for Italy on a honeymoon. Levett and Hugh then go on a trip to one of the British colonies. Jill, meanwhile, has dropped Hugh for a rich prince who spoils her and she has become distant to Patsy. When Patsy receives notice that her husband is ill, she travels after him, but discovers he has an affair with a native woman. Patsy, instead, takes care of a really ill Hugh, which Levet doesn't like... The film was produced by Michael Balcon and Erich Pommer; it was Balcon who hired Valli as star of the film, being one of the first to do so. Also Carmelita Geraghty was American.
Virginia Valli continued appearing in films throughout the decade. She had no longlasting contracts with majors, so she played at all major and minor studios in the 1920s. In 1925 Valli acted in The Man Who Found Himself with Thomas Meighan. The production was carried out in the studio of Long Island, New York. Among her films were also the highlights Stage Madness (Victor Schertzinger, 1927) with Tullio Carminati, Paid To Love (Howard Hawks, 1927), with William Powell, and Evening Clothes (Luther Reed, 1927), with Adolphe Menjou. Her first sound movie was The Isle of Lost Ships in 1929, but her film career would not last much longer as her fame declined. After scarce adventures in sound cinema, she quitted acting in 1931. Valli was married to George Lamson and, in second marriage in 1931, to the actor Charles Farrell, a marriage that lasted until her death. They moved to Palm Springs, where she had an intense social life for years. She suffered a stroke in 1966, and died two years later, at the age of 73, in Palm Springs, California. She was buried in Welwood Murray Cemetery in that city. Valli did not have children.
Sources: Wikipedia (English, Spanish, and Italian) and IMDb.
2025 has seen the replacement of Transdev's Shuttle branded batch of Volvo B7RLE Wright Eclipse Urbans with new Mercedes Benz eCitaros and only time will tell if they are so longlasting. Here, 1814 (OIG 1814) - originally YJ05 KHO - departs Bradford for Keighley on 21st July, 2025. A short while later, I would travel on a sister bus as far as Saltaire.
Unhandled and fully triched.
Very expansive on inhales. Choka bud
Some nugs diesel petro fueled
most nugs peppery rich along with citrus oils
Descent analgesia and euphoria
Longlasting full body relief with little bogdown if any
Very fun and feel good strain that works either in early morning or late in the noche de amore.
Designer unknown (佚名)
2015
Longlasting friendship, cooperation and development
Chuancheng youyi hezuo fazhan (传承友谊合作发展)
Call nr.: BG E37/936 (Landsberger collection)
More? See chineseposters.net
Rose, one of my online friend who is study Japanese in Tokyo, and it's her 23-year-old birthday on Aug 19, 2009. Hermosa, her best friend from Australia sing this song, and I help to produce this MV to wish Rose a happy birthday .All the images you saw the MV are my photo retouching artwork. And after heard about lots of love & caring between Hermosa & Rose, who own an initimate relationship which are even closer than the real sisters, so in the super I did write a birthday wishes from Hermosa's point of view to her younger sister, Rose.
Please see the original Chinese supers & the English back translation for your easy understanding. Please join me to wish Rose a happy 23-year-old Birthday.
在時間的長河裡，今天是特別的，祝福Rose 生日快樂!
In the long time river, today is a special day to you, dear Rose and we wish you a happy Birhtday.
2009的初春，親愛的妹妹找到了屬於L & R 的幸福，為你開心的姐送上最美的祝福，願你們的愛情天長地久， 親愛的妹妹，你總在我心上， 珍惜著幸福的每一刻，讓真愛永恆!
It's so happy to hear you , my dear sister, Rose find the true love with Liyo this Spring, 2009. You are always on my mind, and you own my love & caring forever. Let's wish you happy & your love forever till the end of the world.
牽著你纖細的心與靜謐的情
隨著愛 跟他自由去飛行
開出屬於你生命中最美的璀璨
盡情享受年輕的甜美 自在 繽紛的青春
你思考 你盼望 你遠眺海的那一方
幸福垂手可得
Let Liyo bring you with love and travel together in your life onwards. Enjoy the gold times of the beautiful youth & love.
Think & look forward the forever relationship in between Tokyo & Taipei.(Rose is study in Tokyo, and Liyo is now working at Taipei)
像陽光初昇，歷經千年的古老傳說，
展現了多樣的風華
關於愛情的尋覓
關於成長的解碼
都在你生日的這一刻
有了最美 最神秘 最自在 最清澈的解答
那就是一朵幸福自在的玫瑰
生日快樂! 親愛的Rose!
Like the golden moment of sunrise , we wish you love can be longlasting & conquer all the challenge in life. Your question about life growth & love will be answered from today, you will have enough wisdom , courage to find out the secret of the life & turn yourself into a most beautifu & real Rose. Happy Birthday to you, dear Rose.
祝福你 從此刻起
生命有了全新美好的開始
在 L 愛的呵護滋養下
綻放著屬於你自己
高雅的芬芳
無暇的純美
悠然的自在
天真的清新
We wish you can continue to grow strongly , keep your nature's beauty & become more elegant & true surounderred with Liyo's love.
姐與妹的心時時相繫
姐的祝福
從台灣到日本
從日本到澳洲
從澳洲到台灣
妳在我心上
相互成就愛的永恆
願幸福常在你身旁
生生不息直到永遠
Happy Birthday to You , dear Rose.
My heart & love are always with you no matter when & where, my best wishes to you restless from Taiwan to Japan, from Japan to Australia, and from Australia to Taiwan as a cirle. May love & happiness are with you forever and
Happy Birthday to you, dear Rose.
Anyone out there bought 3rd party NP-E3 batteries?? Well since theres been new releases on 1DS the elder brethren are dropping rapidly in price to many others glee (im one).
But when i saw the price tag on an original my jaws dropped (not even close to the floor drop when i saw what was inside which raised my temper i tiny tad).
Well myself as so many others chose to buy 3rd part and then i thought that i would transfer the original weathertightened end with the lock mechanism, well when it was time for the surgery i thought that i might aswell pry it open to see whats inside and i was a bit surprised to find 10 ordinary NiMH the quality is hard to determine, well i googled and ordered ten 20pcs HighEnd longlife NiMH´s faster than you could say DOH!
So now i have four NP-E3´s and two of them im confident in a longlasting/serving life. I would recommend that you dont do this if you´re not familiar in tampering with electronics.
The cost landed to a quarter of a new original NP-E3 about the same as a 3rd party but i totally rely on the battery and it was a bit fun to do.
CHEERS!
Fredrik Billgren
Anthurium is a genus of about 1000 species of flowering plants, the largest genus of the arum family, Araceae. General common names include anthurium, tailflower, flamingo flower, and laceleaf. It's native to tropical America, from Mexico to northern Argentina and Uruguay. They are grown for their attractive flowering bracts which are popular with the cut flower trade. All parts of the plant, are poisonous. If ingested, may cause mild stomach disorders. Anthurium is a genus of herbs often growing as epiphytes on other plants. Some are terrestrial. The leaves are often clustered and are variable in shape. The inflorescence bears small flowers which are perfect, containing male and female structures. The flowers are contained in dense spirals on the spadix. The spadix is often elongated into a spike shape, but it can be globe-shaped or club-shaped. Beneath the spadix is the spathe, a type of bract. This is variable in shape, as well, but it is lance-shaped in many species. It may extend out flat or in a curve. Sometimes it covers the spadix like a hood. The fruits develop from the flowers on the spadix. They are juicy berries varying in color, usually containing two seeds. 162
The complex layers of the passion flower are incredible, I have tried to capture the depth of the flower in this photograph.
For those of you who have yet to experience in person the wonder and beauty of copihue, I'll tell you that this amazing vine produces the most remarkably elegant, massive, thick, waxy flowers ever thought possible.
Nhu and I adore this species and this cultivar in particular, acquired in thanks to the valiant efforts of the University of California Botanical Garden's propagation programme for cultivars of this species.
'Toqui' is considered the largest and most vigorous of the rare white forms of the species, and its name comes from the indigenous Mauche language meaning "chief".
We've had this fabulous vine for over four years, purchased at the fall plant sale in 2007. I can hardly describe my elation at the time of purchase. For three of those it was restricted to a one-gallon-size pot, however just over a year ago we re-potted it into a two-gallon pot and it has rewarded us with girthy new stems, huge leaves and flowers bigger than ever. The flower pictured here is over 11cm long. Unfortunately I was a bit late in photographing the flower as the margin of the sepaloid tepal shown here has a brown edge as a month-old flower. Better luck next time.
Lapageria is endemic to Valdivian temperate rain forests where temperatures remain cool and mild year-round, between 2-27°C (35-80°F). Coastal California, especially central and northern coastal locales, including the San Francisco Bay Area have the most conducive environments in the US in which to successfully cultivate this species.
Behind this curtain there is an audio Installation on which migrants sing the ‚Deutschlandlied‘ in 10 different languages. It made a great and longlasting Impression on me. The art project is part of ‚walking through walls‘, which marks the 30th anniversary of the fall of the Berlin Wall.
ODC Our Daily Challenge: Multicolor
My favorite and longlasting towel purchased more than 20 years ago (www.manufactum.de/)
dandellion is without doubt my best & longlasting TRUE friend amongst all the people I met in SL. We know each other for so long now, that I cannot imagine my days without a "gtalk" together.
Respect due to the "master" a/k/a Kato Salyut who inspired (and teached) some of the techniques used with this post-processing.
a small "poem" and a little italian lesson for both of you...
"If I were a swan, I'd be gone.
If I were a train, I'd be late.
And if I were a good man,
I'd talk with you
More often than I do.
If I were to sleep, I could dream.
If I were afraid, I could hide.
If I go insane, please don't put
Your wires in my brain.
If I were the moon, I'd be cool.
If I were a rule, I would bend.
If I were a good man, I'd understand
The spaces between friends.
If I were alone, I would cry.
And if I were with you, I'd be home and dry.
And if I go insane,
Will you still let me join in with the game?
If I were a swan, I'd be gone.
If I were a train, I'd be late again.
If I were a good man,
I'd talk with you
More often than I do...."
Spanish card by La Novela Semanal Cinematográfica, no. 77.
Virginia Valli (1895–1968)[ was an American stage and film actress whose motion picture career started in the silent film era and lasted until the beginning of the sound film era of the 1930s.
Virginia Valli, originally Virginia McSweeney, was born in Chicago, Illinois, and started acting in Milwaukee at a theater stock company. From 1916, she also acted in some 18 films at the Essanay Studios in Chicago, debuting in a minor part in the serial The Strange Case of Mary Page (1916), and quickly having all the female leads. After that, she acted at the studios of World Film, Fort Lee, New Jersey. However, when features came along, Valli was reduced to supporting parts. By 1920, Valli had moved to California to act in films by Fox, Vitagraph, and others. By that time she had already adopted the name of Virginia Valli. A major part she had in the Metro Pictures film The Man Who (Maxwell Karger, 1921) with Bert Lytell and Lucy Cotton, and scripted by June Mathis. On the film's success, Karger then directed Lytell and Valli in a string of films for Metro. In 1922-1924, Virginia Valli did several films for Universal. A major part Valli had in John Ford's The Village Blacksmith (1922), based on Wadsworth Longfellow, in the Northwoods melodrama The Storm (Reginald Barker 1922) with House Peters, and in The Shock (Lambert Hillyer, 1923), in which Lon Chaney falls in love with the daughter of his victim, combined with the San Francisco earthquake. Other memorable titles were The Signal Tower (Clarence Brown, 1924), Wild Oranges (King Vidor, 1924), The Confidence Man (Victor Heerman, 1924), and Up the Ladder (Edward Sloman, 1925).
Virginia Valli's best-known film is now probably the British film The Pleasure Garden (1925) by Alfred Hitchcock. Location shooting for The Pleasure Garden was done in Italy and Germany. The film revolves around Patsy Brand (Valli), a woman who works as a dancer in a theater called "Pleasure Garden". She helps Jill (Carmelita Geraghty) to get a job in the theatre. Via Jill's fiancee Hugh (John Stuart) she meets Levet (Miles Mander) and eventually marries him. They sail for Italy on a honeymoon. Levett and Hugh then go on a trip to one of the British colonies. Jill, meanwhile, has dropped Hugh for a rich prince who spoils her, and she has become distant to Patsy. When Patsy receives notice that her husband is ill, she travels after him but discovers he has an affair with a native woman. Patsy, instead, takes care of a really ill Hugh, which Levet doesn't like... The film was produced by Michael Balcon and Erich Pommer; it was Balcon who hired Valli as the star of the film, being one of the first to do so. Also, Carmelita Geraghty was American. Valli continued appearing in films throughout the decade. She had no longlasting contracts with majors, so she played at all major and minor studios in the 1920s. In 1925 Valli acted in The Man Who Found Himself with Thomas Meighan. The production was carried out in the studio of Long Island, New York. Among her films were also the highlights Stage Madness (Victor Schertzinger, 1927) with Tullio Carminati, Paid To Love (Howard Hawks, 1927), with William Powell, and Evening Clothes (Luther Reed, 1927), with Adolphe Menjou. Her first sound movie was The Isle of Lost Ships in 1929, but her film career would not last much longer as her fame declined. After scarce adventures in sound cinema, she quitted acting in 1931. Valli was married to George Lamson and, in second marriage in 1931, to the actor Charles Farrell, a marriage that lasted until her death. They moved to Palm Springs, where she had an intense social life for years. She suffered a stroke in 1966, and died two years later, at the age of 73, in Palm Springs, California. She was buried in Welwood Murray Cemetery in that city. Valli did not have children.
Sources: Wikipedia (English, Spanish, and Italian) and IMDb.
And, please check out our blog European Film Star Postcards.