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... on the Golden Jubilee Seat, Montpellier Gardens, Cheltenham
A pentagonal seat erected to celebrate the Golden Jubilee of Queen Elizabeth II in 2002
A few notes of the National Anthem
www.geograph.org.uk/photo/288691
~~ 52 weeks of pics // week 17 Anything Music ~~
There are a number of challenges I face when shooting ballet pics of Jessie. Mind you, I'm not complaining. I've very very grateful to the teacher (who is also the owner of the studio) for letting me shoot. But I just thought I'd give some insight into how I shoot and what kinda things I run into.
See the notes for explanation. :)
*and please...don't add any additional notes*
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Earlier today I found these two bank notes from the old country snuggled in the back of a dusty book. These were in general circulation between 1978 and 1990, and so would have seen me through the end of high school, my two years national service, my three degrees and my initial move to the UK. Fascinating times.
The note is supposed to depict Johan Anthoniszoon "Jan" van Riebeeck, but some National Party bureaucrat screwed up and the portrait on the old bank notes is of Bartholomeus Vermuyden, as painted by Dirck Craey (1650) and currently hanging in the Rijksmuseum. The actual van Riebeeck was far less glamorous as this portrait of him in the Rijksmuseum reveals. Researcher Jonkheer F.G.L.O van Kretschmar has also determined that the popular portrait of van Riebeeck's wife, Maria, was more likely that of Catharina Kettingh, wife of Bartholomeus Vermuyden. The real Maria van Riebeeck (nee de la Queillerie) was as frumpish as her husband - this is the portrait of her in the Rijksmuseum. Worse still, by all accounts the statue in Adderley Street, Cape Town, is not a likeness of Maria either, but of the "wife of the chairman of the Dutch committee that helped to organise the 1952 Van Riebeeck festival in Cape Town." (Giliomee and Mbenga, 2007, "New History of South Africa"). Incredible - you couldn't believe a goddamn thing under the old apartheid regime.
Interesting read here.
Additional images...
See my blog.
In early 1943 Lyttleton Ballard’s wife, living in Staunton Virginia, filled out an income tax form for 1942 and mailed it to Lyttleton in Alaska for his signature. It was not returned and Mrs. Ballard made out another form. More than two years later, in July 1945, an envelope was delivered to the Ballard home, now in Charlottesville Virginia containing a water logged envelope and an explanation of the “delay in delivery.” Inside was the tax form mailed in March 1943 that had been discovered in aircraft wreckage. In the interim years the family address had changed from Staunton VA, to Wickford RI, to Bradford RI to Martha’s Vineyard MA and finally to the home of an uncle in Charlottesville VA. Thomas Ballard, son of Lyttleton, gives the postal service a great deal of credit for tracking the family down and delivering the long lost letter. The post office included a letter of explanation with the long lost letter and tax form.
Visitors to the Columbia Memorial Space Center were asked a few questions in conjunction with the Smithsonian Institution Traveling Exhibition Service (SITES) exhibition "Suited for Space."
With good, old-fashioned pens and paper, visitors talked about their favorite spacesuits, what they would bring with them to the moon, and whether they'd like to visit the moon or Mars.
For more information about this exhibition and to see a tour schedule:
www.sites.si.edu/exhibitions/exhibits/suitedForSpace/inde...
For great interactive content, visit "Suited for Space" on Facebook: www.facebook.com/suitedforspace
Today we had a gig in The Hague. We had a lady as a substitute on saxophone. She played really well. So there were two ladies in the band this time.
March 2009.
I was reading a fashion and style blog by a girl* who is doing a really interesting project. She has taken 30 items of clothes from her wardrobe and is just wearing that lot for 30 days. Genius idea as it forces you to 'remix' your clothes! Anyway, while I was reading her blog I came across this little quote (which is what I really wanted to say today, long winded way around, I know!):
"Calm down and just be. Be who you are. You are the only one who can be that good at being you."
It is so true and needs to be taken notice of, I am continually comparing myself to others - there work, how skinny they are, why don't i live in France blah blah blah blah blah and I always come off worse, its just not worth it people! So stop it now.
*Kendi Lea - great name by the way
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Although in existence during earlier centuries, the "Marteau d'arme" was officially introduced as an offensive weapon by the mid 13th century. It was adopted by the infantry capable to inflict heavy damage to the armoured knights..
By the 15th century the marteau d'arme evolved in a weapon with a longer wooden handle whose metal end had a hatchet combined with a hook - "falcon's beak". These weapons were soon used by the cavalrymen, but with a shorter handle entirely made of metal until they were abandoned in the 16th centurywhen they were replaced by pistols.
In Eastern Europe the marteau d'arme was used for much longer, then in Central and Western Europe, as pistols were more expensive and rarer to come by.
This explains why the marteau remained popular for much longer in Ukraine, Poland, Moldavia, Hungary and preserved an undomitable "white arm" for highwaymen.
By the end of the 18th century, beginning of the 19th century, the marteau d''arme remained a symbol of power and social rank among aristocracy.
There are some beautiful examples of period engravings, soon after the Napoleonic wars, when Hungarian noblemen were displaying marteau d'armes as fashionable acoutrements, in the manner in which their English counterparts would use walking sticks.. During uncertain times such 'elegant" objects would always come in useful as defence weapons in case one was aggressed. the look of it was enough to inhibit any potential attacker who might be hammered and hacked to pieces.
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Arme de guerre dérivée de l'outil du même nom. Le marteau de guerre se composait d'un manche de bois terminé par une tête en plomb ou en fer et souvent munie d'une pointe dans le prolongement du manche. Bien que de telles armes furent certainement utilisées bien avant, le marteau d'arme semble avoir été admis dans les armées vers le milieu du XIIIe siècle. C'était une arme très lourdes, utilisée par les fantassins, capables de provoquer de gros dégâts et qui accélérât sans doute l'usage des armures de plates complètes. Au XVe siècle, le manche devient plus allonge et la partie métallique s'enrichit souvent d'une hache ou d'une pointe latérale(bec de faucon). A la même époque, apparaît un marteau plus court porté par les cavaliers et parfois entièrement fait de fer (cf. image). Ces marteaux furent en usage jusqu'au XVIe siècle dans la cavalerie avant d'être abandonnés au profit du pistolet.
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NOTE on the ORIGIN of the HUTZUL People:
The Hutsul (Romanian - Huţul) are mountain peoples with occupations in cattle breeding, and shepherding, forestry, and timber, who live in the upper reaches of the river Prut, in Pokutia (Romanian - Pocuţia). The origin of the Hutsul has been suggested to be one of the migrating peoples - Cuman, Scythian, Celtic, Gothic, Dacian, Romanian etc. However, they speak a dialect of Ukrainian and are generally thought to be Slavic, but have many Romanian influences in their language, costume and customs,
In the 9th century the political unity of the Ukraine was formed around the Poianian tribe of the Kiev region. Most of the original tribal names are only left as geographical and territorial names but in the mountainous Carpathians some diversity and traces of the old tribal characteristics have been preserved in the Slavic peoples of the Hutsul, Lemko and Boiko peoples.
The first references to the Hutsul are in the 14th century in current southern Ukraine. During the 15th century they colonised along the Prut river, over the mountains and along the Tisa river into Maramureş, and along the Ceremuş river towards northern Moldavia. In the 17th century they migrated across the mountains to the upper Suceava valley. By the late 17th century there were around 40 villages and further migration continued into the upper valleys of the Moldova and Bistriţa rivers.
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